NCEA Level 3 Art History (90491) 2011 — page 1 of 25

Assessment Schedule – 2011

Art History: Describe the meaning of iconographic motifs (90491)

Evidence Statement

Achievement

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Achievement with Merit

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Achievement with Excellence

The meanings conveyed through a range of iconographic motifs in art works are described. / The ways in which iconographic motifs are used to convey meaning are explained. / The importance of iconography in conveying meaning in art is evaluated.
Provides direct responses to the specific requirements of the question
Identifies and describes three appropriate iconographic motifs in two appropriately selected art works, at least one appropriate motif in each art work
Uses appropriate art historical language to describe meanings of the iconographic motifs which are relevant to the selected art works
Uses sufficient relevant information to clarify descriptions of the meanings of iconographic motifs / As for Achievement, plus:
Uses appropriate art historical language to explain the meanings conveyed by iconographic motifs in two appropriate art works
Demonstrates the ability to understand meanings conveyed by iconographic motifs in art works
Explains links between meanings conveyed by individual motifs and the overall meaning or content of an art work
Explains how the iconographic motifs give meaning to the selected art works. / As for Achievement with Merit, plus:
Discusses and evaluates the significance and/or effectiveness of the iconography in conveying meaning in art in a response which is directed towards the requirements of the question.
Provides perceptive and comprehensive discussions of the iconographic meanings of appropriate art works
Demonstrates broad and comprehensive understanding of art content and context by relating the iconography to appropriate contextual information and evidence
Evaluates the importance of iconography in relation to other factors such as styles, theory or media
Demonstrates insight and understanding of the role of iconography in the specified period or art movement

Fourteenth-century Italian Painting

Achievement

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Achievement with Merit

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Achievement with Excellence

Question One

The candidate has described the meanings conveyed by iconographic motifs in Lorenzetti’s Presentation in the Temple and one other appropriate fourteenth century altar-panel, eg:
In Ambrogio’s Presentation in the Temple the old woman on the right holds a scroll on which words are written. These words recognise the baby in the picture as the long awaited Saviour.
The Virgin Mary is recognised easily because she wears her usual clothes – a red dress to convey her human side and a blue cloak, which is heavenly and shows she has been chosen by God to have the baby Jesus.
In Pietro Lorenzetti’s Birth Of the Virgin, the nakedness of the small baby Mary in the front of the painting shows that she is innocent and that she was just an ordinary baby. / The candidate has explained how the iconographic motifs are used to convey narrative meaning in each of the two altar-panels, eg:
In Ambrogio’s Presentation in the Templewe can see that the Virgin Mary has brought the baby to the temple because she is still holding the baby’s white wrap with a hollow in it that is like the pose of the baby who is being held by the old man. Anna, who holds the scroll points to the baby to show that this is the baby the words on the scroll are referring to.
In Pietro Lorenzetti’s Birth Of the Virgin, Anna is resting on her bed after giving birth to the baby who is being washed by the two midwives in the foreground of the painting. In the room at the left, we can see that a servant is telling Anna’s husband, Joachim, about the baby’s birth.
  • God with reference to spiritualism and heavenly beings.
  • Parallels depiction of Presentation for Circumcision
  • Prophets at top of altarpiece prophesise Christ’s coming.
  • Bare feet references cleansing and washing of sin element.
  • Stars on ceiling and roof symbolise Mary as Stella Maris.
/ The candidate has evaluated the effectiveness of iconography in conveying narrative and spiritual meanings in fourteenth-century Italian altar-panels, eg:
These paintings were part of a set of narrative altar panels that stood in the Cathedral of Siena. Each altar panel depicted an important event in the life of the Virgin Mary, to whom the cathedral was dedicated. The iconography in each painting was an important aspect of this narrative programme because it drew attention to key aspects of the spiritual ideas associated with Mary and her role in the Catholic church.
For example, in Pietro Lorenzetti’s Birth Of the Virgin, everyday motifs such as the checked quilt on the bed and the view of gothic buildings seen through the opening on the left are effective in demonstrating that the Virgin Mary grew up as an ordinary human woman while her nakedness and halo effectively convey the important Catholic belief of the immaculate nature of the Virgin Mary.
The iconography of the architecture in The Presentation in the Temple is derived from the architecture of the Sienese cathedral and the robes and clothes of the painted priest are similar to those worn by contemporary priests. The use of this iconography is an effective way of conveying a sense of the Catholic Church’s universality. This is particularly effective in Simeon’s reverence for the baby, which is modelled on the priest’s pose during the consecration of the Host. This creates an effective expression of the spiritual significance of Christ’s body.
OR: Question Two
The candidate has described the meanings conveyed by iconographic motifs in two appropriate fourteenth-century paintings that depict the crucifixion of Jesus, eg:
In Giotto’s Crucifixion in the Arena Chapel the nude figure of Jesus is shown on the Cross. His pale nude body shows that he has died as a human being and the nakedness conveys the idea of his innocence because nothing is hiddenfrom God.
Duccio uses similar devices in his Crucifixion on the Maesta. At the top of this painting a host of winged angels show the sadness in heaven at the death of Jesus. The stylised ridges in the ground at the base of the cross show that this is Mt Golgotha where the cross was put.
Other imagery includes nails, thorns, tablet, Mary Magdalen and the Virgin. / The candidate has explained how the iconographic motifs are used to convey meaning about the crucifixion in each of the two paintings, eg:
Both artists use the conventional iconography associated with the Crucifixion to convey similar meanings in their paintings. Jesus was put to death at the end of his human existence and these two painters have both used the naked formto convey that Jesus died as a human being. Both have also made the figure of Jesus very pale to convey a sense of his innocence and purity in contrast to the violence of his death. This violence is also conveyed by the blood that drips from the side of Jesus and his hands and feet in both paintings. / The candidate has evaluated the importance of the iconography of the crucifixion of Jesus in conveying spiritual beliefs in fourteenth-century Italy, eg:
Both of these paintings present Jesus as the Christus mortuus in works that focus on the tragedy of the Crucifixion and its implications for humans. This imagery is enhanced by the grieving figures in each work, especially Giotto’s sad faced Virgin and Duccio’s Virgin who swoons mystically into the arms of a supporter in the manner described in the Franciscan text, Meditations on the Life of Christ. This text makes it clear that the faithful Christian should meditate on events in the lifeof Jesus in order to experience spirituality and express their faith. This led to the popularity of iconography in depictions of the Crucifixion that focused on the suffering of Jesus. This iconography was important in conveying the spiritual beliefs of the fourteenth century.

Fifteenth-century Italian Painting

Achievement

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Achievement with Merit

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Achievement with Excellence

Question Three

The candidate has described the meanings of iconographic motifs that convey meaning about the relationships between the Virgin Mary and another figure in two appropriate fifteenth century paintings, eg:
In The Annunciation by Leonardo da Vinci iconography is used to represent the divinity of Mary and the idea that she is pure and specially chosen. The enclosed garden represents her virginity, the colour blue and her halo represent her holiness, and the Madonna Lily, which the angel presents to her, represents purity. Deep space leads the eye to the sea and the idea of Mary as the port of salvation and star of the sea. She has her hand on a book, probably the book of Isaiah, which foretells the coming of Christ and her unique role.
In Piero’s Madonna of Mercy, 1445, the Virgin Mary represents the protection of heaven as seen in her wide blue cloak, the gold setting and her large scale in comparison to the everyday people beneath her. She is centrally placed and the figures look up to her in their gazes and gestures of humility and prayer. / The candidate has explained how iconographic motifs are used to convey meaning about the Virgin Mary’s relationships with other figures in the two paintings, eg:
Leonardo places Mary outdoors and extends the iconography to the natural environment in order to describe the narrative and Mary’s special relationships with others. She sits outdoors and her response to the angel is one of surprise, seen in her gesture and expression. The angel is a spiritual figure, seen in the wings, halo and gesture of blessing given to Mary, which indicates that she has been specially chosen.
In Piero’s painting, iconographic motifs have been used to convey the protective nature of the Virgin Mary’s relationships with spiritual and / or earthly figures. Mary is shown as occupying both the heavenly and earthly realm as her monumental figure extends to both, with her feet placed on the ground and her upper body being surrounded by gold, representing the supernatural light of heaven. / The candidate has evaluated the effectiveness of iconography in fifteenth-century Italian painting in conveying meaning about the Virgin Mary’s relationships with both heavenly and earthly figures, eg:
Leonardo uses iconography to portray the complex nature of Mary and her relationships with others, both human and divine. There are some traditional iconographic motifs such as the book of Isaiah to show Mary has been chosen by God: ‘The Lord himself will give you a sign. Look, the young woman is with child and shall bear a son, and shall name him Immanuel.’ Isaiah 7:14. True to Leonardo’s interest in nature, her divinity is also found in the iconography of the natural world, also seen in Madonna of the Rocks. Mary is also clearly a young woman, seen in her gesture, expression and anatomical correctness. This attention to human form is seen in Leonardo’s preparatory drawing for this work that shows light falling on drapery, convincingly suggesting knees beneath, with all the figures kneeling and giving a sign of blessing.
The specific meanings of the flowers in the painting.
Piero’s Altarpiece, Madonna of Mercy, in San Sepolcro, was commissioned by the Misericordia, a charitable organisation who took care of the sick and dying. The wider community, and by extension, the viewer is represented by the variety of figures beneath Mary, who intercedes and protects on their behalf. This is similar to Piero’s sacra conversazione Madonna and Child with Saints, where Mary has a similar relationship of protection and intervention.
OR Question Four
The candidate has described the meanings of iconographic motifs used to convey meaning about the life and work of St Peter in two appropriate frescoes in the Brancacci Chapel, eg:
In The Tribute Money, St Peter isidentified as one of the senior disciples by his grey hair and beard. His importance is also conveyed by his placement in the centre of the composition beside Christ.
InThe Baptism of the Neophytes,St Peter is again identified by the grey hair and beard and the same coloured robes he wears throughout the fresco cycle. His placement in this composition conveys his importance – he stands solidly in the foreground, surrounded by the other figures.The yellow robe of St Peter and his age and gesture references his humble nature. / The candidate has explained the meanings about the life and work of St Peter in the two frescoes, eg:
Peter is seen to have an important role in the miracle taking place, because he is in all 3 parts of the continuous narrative. In the centre he stands beside Christ and his frowning expression and strong pose convey a sense of defiance and surprise. His following actions show him obeying Christ to get money from the mouth of the fish on the left, and then paying the tax collector on the right.
St Peter extends his arm confidently to baptize a new Christian who kneels in a pose of worship. St Peter pours the cleansing water from the upturned bowl over the head of the new Christian and the water drips down in a naturalistic way to the pool of water beneath. / The candidate has evaluated the effectiveness of iconography in art of this period in conveying a sense of the spiritual importance of the life and work of St Peter, eg:
Peter appears to be Christ’s right hand man in this work, both literally and figuratively. He shows respect and obedience to Christ, and this is seen in the way his pose echoes Christ’s in the central group. In this fresco he plays a part in a miracle. In other frescoes in this cycle he does miracles of his own, such as in St Peter Healing with his Shadow. This work foreshadows his importance as the first Pope, “the rock on which I will build my church,” as Jesus said.
This scene of baptism was taken from the book of Acts in the Bible, where it tells of thousands being baptized. Here St Peter carries on the ritual set by St John the Baptist where Christians show their commitment and faith. He takes on this important role with power and authority as he leads others in following the Christian faith.

Italian Renaissance Sculpture

Achievement

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Achievement with Merit

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Achievement with Excellence

Question Five

The candidate has described the meanings of iconographic motifs used to convey a sense of spiritual experience in two appropriate free-standing sculptures, eg:
Donatello, Mary Magdalene
Iconography is used to show the repentant character of Mary Magdalene after the time spent in the wilderness at the end of her life. This is seen in her matted hair and skeletal body with her thin hands in a gesture of prayer and her sunken eyes looking into the distance.
St John the Baptist, 1454 (Venice)
Donatello uses iconography to portray the devoted character of St John the Baptist after his time spent in the wilderness. This is shown in his matted hair and beard and the animal skins he is dressed in. His pose indicates his role to foretell the coming of Christ, as seen in his pointing gesture. / The candidate has explained how these motifs have been used to convey a sense of spiritual experience in the two sculptures, eg:
Mary Magdalene’s hair forms a garment that covers her aged and once beautiful body. Iconographically it could also relate to the earlier incident in her life where she washed Christ’s feet. This motif helps to convey the idea of her humility and devotion to Christ.
Unlike earlier depictions of St John the Baptist, which depicted him as the strong forerunner to Christ, here Donatello has portrayed the humble saint after his time in the wilderness where he lived on locusts and honey. His importance as a divine prophet is indicated by the gold cloak around his shoulders. / The candidate has evaluated the importance of iconography in conveying a sense of spiritual experience in Italian Renaissance sculpture, eg:
Carved in wood after Donatello’s return from Padua, this sculpture depicts the repentant, humble character of Mary Magdalene at the end of her life. Iconographic motifs are used to create a strong contrast to Mary Magdalene’s early life, rumoured to be that of a prostitute. The gaunt body and face are without physical beauty, replaced by a sense of spiritual humility and devotion, seen in the open mouth caught in prayer and the gesture of almost joined hands echoing this.
Donatello has used iconography to portray the devoted character of St John the Baptist and his important role in the Christian story, to foretell the coming of Christ, to ‘prepare the way of the Lord’ as prophesied in Isaiah and repeated in Matthew’s Gospel. Donatello has portrayed John with his mouth open as if in the act of preaching this message. Donatello may also have been influenced in his portrayal of a strong spiritual character by St Antonine, Archbishop of Florence, who described St John the Baptist as a ‘burning and shining light’.
OR Question Six
The candidate has described the meanings conveyed by iconographic motifs in two appropriate non-religious sculptures, eg:
In Donatello’s Gatamelata, the pose and gestures of the figure show bravery and importance. The figure sits with a straight back on a large regal horse. His expression shows control and determination as he looks directly ahead.
Michelangelo’s Victory has a swirling, serpentine pose that suggests movement, energy and strength. The two figures contrast with each other – one is young and in a pose of victory while the other figure is older and in a pose of defeat. / The candidate has explained how motifs have been used to convey meaning in each of the sculptures, eg:
Donatello has used iconography to show the role this commander played in war and the type of person he was. The tools of war are included such as the canon ball the horse rests its foot on, the sword, armour and baton. There is a sense of tension in the upright pose of the commander and the way the horse stands still while his mouth is open and nostrils flair, as if they are parading or preparing for action.
The pose of the two figures in Michelangelo’s group suggests victory after a battle or conflict. The older figure beneath conveys the idea of defeat in his crumbled pose and helpless expression while the youth above stands victorious in his upright pose and his satisfied expression. / The candidate has evaluated the importance of iconography in conveying meaning in non-religious Italian Renaissance sculpture, eg:
The equestrian sculpture features Erasmo da Narni, a famous mercenary commander in the Venetian Army. The regal horse and the proud commander together make this sculpture an image of power. Donatello may have been influenced by classical Roman examples such as Marcus Aurelius in Rome, to convey this classical ideal of a war hero as well as a Renaissance man
Victory was commissioned for Pope Julius II’s tomb and was to be placed between two other powerful figures – the slaves. The Mannerist style of the figura serpentinata conveys the idea of super strength combined with muscular power. The pose shows the triumphant youth over the older, roughly chiseled figure beneath. The writer Roberta Olsen suggests this could represent virtue triumphant over vice and may resemble Michelangelo’s features in the older, fallen figure.

High Renaissance and the Development of Mannerism

Achievement