HA1080

UNIVERSITY OF WARWICK

Summer Examinations: 2000/2001

MAKING AND MEANING

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Time allowed: 3 hours

Candidates must answer ALL questions in PART 1.

In PART 2, candidates must answer TWO questions, each of which must be chosen from a different section.

Part 1 counts for one-third of the total marks and Part 2 for two-thirds: candidates are advised to spread their time accordingly between the sections.

In Part 1, refer to each image by the letter on the back of the photograph/photocopy.

Read carefully the instructions on the answer book and make sure that the particulars required are entered on each answer book.

Photographs and photocopies MUST NOT be defaced or removed from the examinations room.

PART 1

A. Identify the media and technical processes used in this painting, and date it as closely as possible.

B. Identify the media and technical processes used in this image, and date it as closely as possible.

C. Identify the orders and discuss their use in this facade, in the context of classical architecture. Identify the building as closely as possible..

D. Describe the effects of decay and the restoration method being applied, in the context of modern conservation philosophy. Identify as closely as possible the materials and the period of this building.

E. Identify and comment on the materials and techniques, and date the image as closely as possible.

F. Identify and comment on the materials and techniques, and date the image as closely as possible.

PART 2

Section A: Making

1. What was the techinical impact of the use of glass as a material for mosaic tesserae?

2. How innovative were Victorian architects in their use of brick?

3. In what ways do different methods of paint application influence the appearance of the surface of an oil painting?

Section B: Christian Iconography

4. To what extent were artists dependent on the Bible for their depictions of the life of Christ?

5. How did artists make Old Testament images relevant to a Christian audience?

Section C: Media and Meanings

6. Was watercolour painting essentially drawing?

7. Did mastery in handling oil paint involve contradictions between art and craft?

Section D: Classical Mythology

8. Which mythological artist figures were popular with later artists and why?

9. Discuss the importance of Ovidian myth for erotic painting.

End

PHOTOMASTER

HA1080

UNIVERSITY OF WARWICK

Summer Examinations: 2000/2001

MAKING AND MEANING

PART 1

A. Simone Martini, Christ child, Maestà of 1315-21, Siena Palazzo Pubblico. Detail.

B. Michelangelo, Saint Matthew, 1503-06, Florence Accademia.

C. Oxford, Merton College. 19C Bath limestone facade, ashlar split by rusting cramps (1977).

D. Farnham Castle, late 15C gatehouse. Detail, brick, old English bond and diaper pattern.

E. Michelangelo, nude study for Adam, Sistine ceiling, red chalk drawing. Detail.

F. Thomas Girtin, Kirkstall Abbey, watercolour on laid paper, V&A.