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GCE MAY 2009 : A2 2, Art

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ADVANCED General Certificate of Education 2009 History of Art and Design assessing Module 5: Art A2D21 Assessment Unit A2 2 [A2D21] THURSDAY 14 MAY, AFTERNOON TIME 2 hours. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Part A and one question from Part B. INFORMATION FOR CANDIDATES The total mark for this paper is 70. All questions carry equal marks, i.e. 35 marks for each question. Quality of written communication will be assessed in all questions. 4523 Part A Selected Pre-1900 Art Answer one question from your chosen section in this part. Section 1 Roman Sculpture 1 Give a broad critical appraisal of Roman sculpture, establishing contexts and referring to appropriate periods and works. [35] 2 Critically appraise two major examples of Roman relief sculpture, establishing their contexts. [35] 3 Critically appraise two major examples of Roman free-standing sculpture, establishing their contexts. [35] 4 Discuss the significance of portraiture with Roman sculpture, establishing contexts and referring to appropriate periods and works. [35] Section 2 High Renaissance and Mannerist Italian Painting 5 6 4523 Give a broad critical appraisal of High Renaissance and Mannerist Italian painting, establishing contexts and referring to appropriate centres, painters and works. [35] Over the course of High Renaissance and Mannerist Italian painting, religious subjects were increasingly treated in personal, even sometimes irreligious, ways. Discuss. [35] 2 [Turn over 7 Discuss the relationship between High Renaissance and Mannerism within Italian painting in relation to two major works. [35] 8 Critically assess the artistic significance of one of the following in relation to painting: (a) Leonardo da Vinci (b) Tintoretto (c) Giorgione [35] Section 3 High Renaissance and Mannerist Italian Sculpture 9 Give a broad critical appraisal of High Renaissance and Mannerist Italian sculpture, establishing contexts and referring to appropriate centres, sculptors and works. [35] 10 Compare and contrast two major examples of High Renaissance and Mannerist Italian portrait sculpture. [35] 11 Discuss the relationship between High Renaissance and Mannerism within Italian sculpture in relation to two major works. [35] 12 Critically assess the sculptural significance of Michelangelo, establishing relevant contexts and referring to appropriate works. [35] 4523 3 [Turn over Section 4 French Painting, 1860 1900 13 Give a broad critical appraisal of the use of colour in French painting, 1860 1900, establishing contexts and referring to appropriate movements, painters and works. [35] 14 Compare and contrast the painting approaches of two major French Symbolist painters, referring to appropriate works. [35] 15 Give a broad critical appraisal of French Impressionist painting, referring to appropriate painters and works. [35] 16 Critically assess the artistic significance of one of the following: (a) Edgar Degas (b) Henri de Toulouse-Lautrec (c) Paul C zanne (d) Vincent Van Gogh (e) Odilon Redon (f) mile Bernard 4523 [35] 4 [Turn over Section 5 British Painting, 1850 1900 17 Compare and contrast the painting approaches of two major Pre-Raphaelite painters, referring to appropriate works. [35] 18 In relation to British painting, 1850 1900, discuss one work for each of two of the following themes: (a) myth or religion (b) Oriental influence (c) naturalism (or realism) versus painterliness (d) modernity [35] 19 Compare and contrast the painting approaches of two major Victorian Realist painters, referring to appropriate works. [35] 20 Critically assess the artistic significance of one of the following: (a) Edward Burne-Jones (b) John Brett (c) John Singer Sargent (d) Philip Wilson Steer 4523 [35] 5 [Turn over Part B Selected Post-1850/1900 Art Answer one question from your chosen section in this part. Section 6 European and North American Motion Photography, 1850 Present 21 Give a detailed critical appraisal of the one major production that represents for you the very best of film or television. [35] 22 Discuss the relationship between film and television over the course of their histories, establishing contexts and referring to appropriate genres, practitioners and works. [35] 23 Compare and contrast the work of two film directors, one representative of the Hollywood star and studio system and the other not. [35] 24 Critically assess the artistic significance of one of the following directors: (a) Alfred Hitchcock (b) Jean-Luc Godard (c) Michelangelo Antonioni (d) Clint Eastwood (e) Werner Herzog (f) Kenneth Branagh 4523 [35] 6 [Turn over Section 7 European and North American Painting, 1945 1970 25 Identify the three artists that represent for you the best of European and North American painting, 1945 1970, establishing contexts and critically appraising works in support of your choice. [35] 26 All paintings are essentially semi-abstract, the most abstract having representational elements and the most representational abstract elements. Discuss in relation to European and North American painting 1945 1970, referring to appropriate movements, painters and works. [35] 27 Compare and contrast two major works representative of either Abstract Expressionist or Op Art painting within the years 1945 1970. [35] 28 Critically assess the artistic significance of one of the following in relation to painting (and/or other two-dimensional work) between about 1945 and 1970: (a) Willem de Kooning (b) Robert Rauschenberg (c) Roy Lichtenstein (d) Yves Klein (e) Henri Matisse (f) Lucian Freud 4523 [35] 7 [Turn over Section 8 European and North American Painting, 1970 Present 29 Give a broad critical appraisal of European and North American painting since 1970, establishing contexts and referring to appropriate movements, painters and works. [35] 30 Discuss an example of post-1970 European or North American painting in relation to each of two of the following themes: (a) photographic and/or cinematic influence (b) sense of time and/or place (c) mythological and/or religious reference (d) art historical reference (e) Modernism and/or Postmodernism [35] 31 Give a broad critical appraisal of either Super-Realist (or Photo-Realist) or Postmodernist painting, referring to appropriate painters and works. [35] 32 Critically analyse two major post-1970 paintings (or other two-dimensional works) by one of the following: (a) Julian Schnabel (b) Frank Auerbach (c) David Hockney (d) Patrick Caulfield (e) Steven Campbell (f) Peter Howson (g) Patrick Heron 4523 [35] 8 [Turn over Section 9 European and North American Sculpture, 1945 Present 33 Which two practitioners do you see as having contributed most to European and North American sculpture since 1945? Establish contexts and critically appraise appropriate works in support of your choice. [35] 34 The role of technical or manual skill in post-1945 European and North American sculpture varies widely. Discuss in relation to two sculptors, establishing contexts and referring to appropriate works. [35] 35 Give a broad critical appraisal of one of the following sculptural movements or categories, referring to appropriate sculptors and works: (a) Pop (or New Realism or Neo-Dada) (b) Minimalism (c) Super-realism (or Hyper-realism) (d) Performance [35] 36 Critically appraise the post-1945 sculptural work of one of the following: (a) Sol Le Witt (b) Christo (c) Alexander Calder (d) Barbara Hepworth (e) Niki de Saint Phalle (f) Barry Flanagan (g) Rachel Whiteread 4523 [35] 9 [Turn over Section 10 Irish Painting and Sculpture, 1970 Present 37 Compare and contrast two post-1970 Irish artworks revealing a strong sense of time and/or place. Establish relevant contexts. [35] 38 Identify what you see as a major theme in post-1970 Irish art and discuss it in relation to appropriate artists and works. [35] 39 Compare and contrast the treatment of religion and/or politics in the work of two Irish artists active since 1970, referring to appropriate works. [35] 40 Critically assess the artistic significance of one of the following: (a) Raymond Piper (b) R. J. Croft (c) T. P. Flanagan (d) Deborah Brown (e) Joe McWilliams (f) John Vallely (g) John Aiken 4523 [35] 10 [Turn over THIS IS THE END OF THE QUESTION PAPER S 1/08 936-007-1

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Additional Info : Gce History Of Art May 2009 Assessment Unit A2 2 Art - Revised
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