Meindert Hobbema, The Avenue at Middelharnis, 1689 (oil on canvas)
(103.5cm3141cm) (National Gallery, London).
Analyse the ways in which the artist has depicted space and discuss his interpretation
of nature. (20 marks
Sir Jacob Epstein, Jacob and the Angel, 1940–41 (alabaster: a stone-like substance)
(214cm3110cm392cm) (Tate Britain, London).
Analyse the use of the material and the techniques employed to make this sculpture
and consider the ways in which they contribute to the interpretation of the figures.
Architect unknown, Salisbury Cathedral–west front, c.1220–58 (stone) (England).
Describe the appearance of this building and comment on the relationship between
structure and decoration.
Study Figure 1
Discuss the figures and their setting in this work and consider how the artist has
created a sense of drama.
Study Figure 2
Discuss the composition of figures in this sculpture and consider how the sculptor
has created a sense of movement.
Study Figure 3
Discuss the design and composition of the building and consider how the use of
materials contributes to the effect created.
Nature in art and architecture
(a) Explore how two buildings take inspiration from nature. At least one of your
examples must have been produced from beyond the European tradition.
(b) ‘An artist needs to experience nature at first hand in order to represent it
successfully.’
How far do you agree with this statement? To support your answer you must refer
to:
• named works of art from pre-1850 and post-1850
• your critical text(s).
Identities in art and architecture
(a) Explore how identity is expressed in two buildings. At least one of your examples
must have been produced from beyond the European tradition.
(b) ‘Portraits must be a true likeness of the sitter.’
How far do you agree with this statement? To support your answer you must refer
to:
• named works of art from pre-1850 and post-1850
• your critical text(s).
War in art and architecture
(a) Explore the representation of war in two paintings/2D works. At least one of your
examples must have been produced from beyond the European tradition.
(b) ‘Artists can ensure that from the destruction of war something of lasting value
emerges.’
How far do you agree with this statement? To support your answer you must refer
to:
• named works of art from pre-1850 and post-1850
• your critical text(s).
Paper 2: Invention and illusion: the Renaissance in Italy (1420–1520)
(a) Explain how materials and techniques have been used in one Renaissance
sculpture.
Paper 2: Invention and illusion: the Renaissance in Italy (1420–1520)
(b) Explain how one Venetian Renaissance painting has been shaped by its political,
social and/or cultural context.
Paper 2: Invention and illusion: the Renaissance in Italy (1420–1520)
(c) Explore and evaluate the contribution of one patron to Renaissance art. You must
refer to named works of art and/or architecture in your response
Paper 2: Invention and illusion: the Renaissance in Italy (1420–1520)
(d) ‘The interest in Classical Antiquity was the single most important factor in the
development of the Renaissance.’
How far do you agree with this statement? To support your answer, you must
refer to:
• named works of art and/or architecture
• your critical text(s).
Paper 2: Power and persuasion: the Baroque in Catholic Europe (1597–1685)
(a) Explain how materials and techniques have been used in one Baroque sculpture
produced outside Italy.
Paper 2 Power and persuasion: the Baroque in Catholic Europe (1597–1685)
(b) Explain how one secular Baroque building has been shaped by its political, social
and/or cultural context.
Paper 2 Power and persuasion: the Baroque in Catholic Europe (1597–1685)
(c) Explore and evaluate the impact of patronage on one specified artist
(Bernini, Caravaggio, Montañés, Puget, Rubens or Velázquez). You must refer to
named works of art in your response.
Paper 2 Power and persuasion: the Baroque in Catholic Europe (1597–1685)
(d) ‘Stirring the emotions of the spectator was the single most important priority of
religious art and/or architecture of the Baroque.’
How far do you agree with this statement? To support your answer, you must
refer to:
• named works of art and/or architecture
• your critical text(s).
Paper 3: Rebellion and revival: the British and French Avant-Garde (1848–99)
(a) Explain how colour has been used in one British painting of this period.
Paper 3: Rebellion and revival: the British and French Avant-Garde (1848–99)
(b) Explain the relationship between form and function in one building constructed
during this period.
Paper 3: Rebellion and revival: the British and French Avant-Garde (1848–99)
(c) Explore and evaluate the influence of Impressionism on Post-Impressionism.
You must refer to named works of art in your response.
Paper 3: Rebellion and revival: the British and French Avant-Garde (1848–99)
(d) ‘Social commentary is the single most important element in works of art
produced during this period.’
How far do you agree with this statement? To support your answer, you must
refer to:
• named works of art
• your critical text(s).
Paper 4: Brave new world: Modernism in Europe (1900–39)
(a) Explain how materials have been used in one building constructed during
this period.
Paper 4: Brave new world: Modernism in Europe (1900–39)
(b) Explain the ways in which one Futurist painting is experimental.
Paper 4: Brave new world: Modernism in Europe (1900–39)
(c) Explore and evaluate the impact of modern ideas on the work of one specified
artist (Brancusi, Braque, Epstein, Giacometti, Kirchner or Matisse). You must refer
to named works of art in your response.
Paper 4: Brave new world: Modernism in Europe (1900–39)
(d) ‘Few, if any, external influences on the work of modern painters and sculptors
have been more important than that of the tribal arts of Africa, Oceania and
North America.’
How far do you agree with this statement? To support your answer, you must
refer to:
• named works of art
• your critical text(s).
Paper 5: Pop life: British and American contemporary art and architecture
(1960–2015)
(a) Explain how techniques have been used in one performance or video artwork
produced during this period.
Paper 5: Pop life: British and American contemporary art and architecture
(1960–2015)
(b) Explain how High Tech features have been used in one building designed and
constructed during this period.
Paper 5: Pop life: British and American contemporary art and architecture
(1960–2015)
(c) Explore and evaluate the representation of gender or ethnicity in the work of one
specified artist (Warhol, Chicago, Hockney, Kelly, Ofili or Whiteread). You must
refer to named works of art in your response.
Paper 5: Pop life: British and American contemporary art and architecture
(1960–2015)
(d) ‘Political commentary is the single most important element in works of art
produced during this period.’
How far do you agree with this statement? To support your answer, you must
refer to:
• named works of art
• your critical text(s).