Pearson Edexcel GCE In History of Art (9HT0) Paper 2: Periods,. MARKING SCHEME. ACCURATE ANSWERS PROVIDED. GRADED A+

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Indicative content 1(b) AO targeting AO1: 3 marks; AO2: 2 marks. Marking instructions Answers must apply the level descriptors in line with the general marking guidance. Markers should note that... Level 1 contains no reward for AO2, and so is restricted to AO1. Indicative content guidance The indicative content below exemplifies points that candidates may make, but this does not imply that any of these points must be included. Other relevant points must also be credited. Indicative content Example: Villa Farnesina, Trastevere, Rome (1506-10) by Peruzzi • Designed for Agostino Chigi as a summer pavilion and first example of a ‘villa surburbana’ showing significant status in its innovation. • Status in its differences from the standard urban palazzo, such as the Ushaped plan and side elevation facing the street rather than the main façade as well as the use of two outward facing loggias. • Status also through the lavish decoration (on exterior, Tuscan order pilasters), and internally by Peruzzi (the Loggia of Galatea has a ceiling painted with the patron’s horoscope symbols and upstairs the Room of Views has illusionistic frescoes) and by Raphael. Level Mark Descriptor 0 No rewardable material. Level 1 1 Knowledge and understanding are basic. [AO1] No meaningful analysis or interpretation related to selected work. [AO2] Level 2 2–3 Knowledge and understanding are competent. [AO1] Competent analytical and interpretative comments, linking to selected work. [AO2] Level 3 4–5 Knowledge and understanding are excellent, detailed and precise. [AO1] Excellent analytical and interpretative comments, linking to selected work. [AO2]Question Indicative content 1(c) AO targeting AO1: 5 marks; AO2: 5 marks; AO3: 5 marks. Marking instructions Answers must apply the level descriptors on the next page in line with the general marking guidance (pages 3–4). The question clearly asks for two named works of art. Candidates who fail to refer to any named works of art will be demonstrating only ‘basic’ knowledge and should be awarded a mark in Level 1 (1–3 marks). Those who refer to only a single work of art will similarly fail to demonstrate an effective argument or knowledge and so should be limited to a maximum of Level 2 (4–6 marks). Indicative content guidance The indicative content below exemplifies points that candidates may make, but this does not imply that any of these points must be included. Other relevant points must also be credited. Indicative content Botticelli Birth of Venus 1483-5 (tempera on panel, 172 x 278cm) and Raphael Galatea c.1514 (fresco, 225 x295cm) Some may explore that: • Representation of almost life size, full length female nude in pagan context (rather than transformed into an Eve figure of religious significance) is highly unusual for this era. • Pose is clearly derived from classical antecedents (eg Capitoline Venus or Venus Pudica), modest pose, and curving, elegant contrapposto showing Renaissance priorities. • Entwined figures of the West wind Zephyr and Chloris (to the left) blowing Venus to shore add lyrical movement and create opportunities for additional decorative detail, such as the flowers, waves on the water and luminescence of the scallop sea shell. • Flat, patterned surface on which figures are all close to the front of the picture plane with scenic detail behind emphasise imaginative retelling of the ancient story rather than a realistic one. • In contrast, Raphael’s work is a fresco produced in Rome some 30 years later, but again depicting a vision of perfect beauty. His vertical composition includes a much wider supporting cast than Botticelli’s horizontal panorama, but the arrival of Galatea from the sea on a shell, this time drawn by dolphins, contains some obvious narrative similarities. • Raphael’s female figure is energetic, twisting her torso with arms to the left and hair and cloak blowing out to the right. This idea of opposition is reinforced with the pairing of Triton and nymph in the lower left of the composition.• High Renaissance symmetry and structure is seen in the organisation of the composition, particularly to be seen in the putti in the sky, and use of light and tone to emphasise the three dimensionality of the bodies. And evaluate that: • Although there is considerable uncertainty around the patronage and original intended location for Botticelli’s work, most agree that it is likely to be a Humanist commission. Possibly may have been commissioned to mark a wedding. • Neoplatonic readings credit the dual aspect of Venus as a symbol of both sacred and profane love (and beauty). • Many have seen the significance of both Michelangelo’s work and that of Roman painting as influences on Raphael’s work. • There is again, some dispute over the modelling of the figure of Galatea, with some suggesting it was based on Imperia, Chigi’s lover, but this is denied by Vasari. Level Mark Descriptor 0 No rewardable material. Level 1 1–3 Knowledge is basic, selected in a way that demonstrates a limited understanding of contexts of art. [AO1] Analysis and interpretation are limited, showing basic understanding of visual language. [AO2] Basic critical judgement, with limited reasoned argument and evidence. [AO3] Level 2 4–6 Knowledge is partially adequate, selected in a way that demonstrates uneven understanding of contexts of art. [AO1] Analysis and interpretation are uneven, showing a partially-adequate understanding of visual language. [AO2] Partially-adequate critical judgement supported by uneven reasoned argument and evidence. [AO3] Level 3 7–9 Knowledge is competent, selected in a way that demonstrates competent understanding of contexts of art. [AO1] Analysis and interpretation are competent, showing a competent understanding of visual language. [AO2] Competent critical judgement, supported by appropriate reasoned argument and evidence. [AO3] Level 4 10–12 Knowledge is good, selected in a way that demonstrates secure understanding of contexts of art throughout. [AO1] Analysis and interpretation are coherent throughout, showing a secure understanding of visual language. [AO2] Good critical judgement, supported by coherent reasoned argument and evidence throughout. [AO3] Level 5 13–15 Knowledge is detailed, accurate and in depth, selected in a way that reveals excellent understanding of contexts of art throughout. [AO1]Analysis and interpretation are perceptive throughout, showing excellent understanding of visual language. [AO2] In-depth critical judgement, supported by excellent reasoned argument and evidence throughout. [AO3]Question Indicative content 1(d) AO targeting AO1: 10 marks; AO2: 10 marks; AO3: 10 marks. Marking instructions Answers must apply the level descriptors on the next page in line with the general marking guidance (pages 3–4). The question clearly asks for named works of art and/or architecture and so candidates must cover at least two named works. Candidates who fail to refer to any named works of art or architecture will be demonstrating only ‘basic’ knowledge and should be awarded a mark in Level 1 (1–6 marks). Those who refer to only a single work of art or architecture will similarly fail to demonstrate an effective argument or knowledge and so should be limited to a maximum of Level 2 (7–12 marks). This is a synoptic question. Candidates are therefore expected to integrate knowledge and understanding from works they have studied, as well as the visual analysis and interpretation skills applied to the different types of art. In this question, candidates are expected to make reference to their critical texts and, for the upper levels, to integrate their comments into their argument. The specification makes clear that this reference to critics may be by name, quotation or argument. Indicative content guidance The indicative content below exemplifies points that candidates may make, but this does not imply that any of these points must be included. Other relevant points must also be credited. Indicative content Students will need to strike a balance between depth and breadth. They must create a relevant and evidenced argument in their response and will need to explore the detail on at least some of their selected works to achieve the requirements of the higher levels. Discussion should cover both formal and contextual elements, and at the top end, these concepts will need to be evaluated and integrated with appropriate reference or quotation of critical texts. The stronger candidates will provide a conclusion to summarise their final reaction to the statement of the question. Some may agree: • From 1434, Cosimo de Medici invested hugely (reputed to have spent 600,000 gold florins) in the fabric of Florentine society, providing vast patronage and also worked to achieve political stability, particularly in the negotiation of peace with Lombardy and throughout Northern Italy, which allowed the city to prosper. Council of Florence in 1439 and efforts to end the schism in the Christian church (between Catholic and Orthodox) also created a higher profile for the city as a key venue. The duration and level of success of the family dynasty meant that the Florentine Renaissance is unthinkable without the Medici, and Michelozzo Medici Palace might be used to illustrate their control and contribution both by exploration of the architecture and GozzoliProcession of the Magi and paintings in the Chapel. However, Michael Levey suggests that the apparently commanding role of Lorenzo de Medici as great patron was partly the result of later Medici propaganda. • Contribution and employment of culture of learning for both artists, Humanists and Neoplatonists, and tolerance of secular subjects in addition to religious ones allowed for cultural riches of Florentine Renaissance. Introduction of Greek manuscripts and Byzantine scholars into Florence and collection of classical sculptures. Medici support also significantly affected the status of artists. Botticelli Venus and Mars (c 1485, oil on panel, NG) thought to have been worked on with the Medici poet Poliziano. • Direct patronage of major undertakings: Brunelleschi and the Old Sacristy of the Church of San Lorenzo; Donatello David and Fra Angelico for the Convent of San Marco. Detailed discussion of at least one of these works, exploring their contribution to an emergent Renaissance style would be needed to support this argument and achieve high AO2 credit. Others may argue: • That the Florentine Renaissance was instigated in part at least, by the work of Masaccio, and neither of his key works The Holy Trinity and the Brancacci Chapel were commissioned by the Medici family. His innovations on linear perspective, realistic figures, single light source and shadows are crucial to the development of the Florentine Renaissance and indeed these works predate the Medici’s final climb to power (and expulsion in 1434). Detailed analysis and evaluation of his contributions in at least one of these works would be needed to support this argument and secure good AO2 credit. According to Vasari, his travels to Rome with Masolino were spurred on by his friendship with Donatello and Brunelleschi, and these, in 1423, again predate the era of Medici influence. • Geraldine Johnson argues that an ambitious programme of urban planning and civic statuary was undertaken… during the half century between the establishment of a patrician dominated regime in 1382 and the rise of the Medici family in the 1430s. (Although others might cite Giovanni de Medici’s involvement from 1397 to put this argument in defence of the statement.) • Ghiberti Baptistery Doors (1425-52) and life size statues by Donatello Habbakuk, (1424) which Vasari calls an outstanding work, finer than anything else he had ever made, and Nanni di Banco Assumption of the Virgin, Duomo (c.1421) were installed on key buildings and it was this initiative that laid the foundations for the Florentine Renaissance. Detailed discussion of at least one of these works, exploring their stylistic shifts from Gothic to an emergent Renaissance style would be needed to support this argument and achieve high AO2 credit. • Other families in Florence also made important contributions, arguably creating a competitive spirit that spurred on both patrons and artists togreater achievements. Ruccellai (according to Chadwick) suggested that art (patronage) gave him contentment and pleasure because they (the objects) serve the glory of God, the honour of the city and the commemoration of myself. Alberti Palazzo Ruccellai might be discussed here, although Vasari argues that the famous Alberti is better known for what he wrote than for the work of his hands and his 1452 text On the Art of Building was more influenced by his travels to Rome and study of Vitruvius than by the Medici family. A conclusion will be necessary for students to give their final position in response to the statement. Level Mark Descriptor 0 No rewardable material. Level 1 1–6 Knowledge is basic, selected in a way that demonstrates a limited understanding of contexts of art. [AO1] Analysis and interpretation are limited, showing basic understanding of visual language. [AO2] Basic critical judgement, with limited reasoned argument and evidence. No relevant reference to critical texts. [AO3] Level 2 7–12 Knowledge is partially adequate, selected in a way that demonstrates uneven understanding of contexts of art. [AO1] Analysis and interpretation are uneven, showing a partially-adequate understanding of visual language. [AO2] Partially-adequate critical judgement supported by uneven reasoned argument and evidence. Some relevant use of view(s) from critical texts. [AO3] Level 3 13–18 Knowledge is competent, selected in a way that demonstrates competent understanding of contexts of art. [AO1] Analysis and interpretation are competent, showing a competent understanding of visual language. [AO2] Competent critical judgement, supported by appropriate reasoned argument and evidence. Competent use of view(s) from critical texts. [AO3] Level 4 19–24 Knowledge is good, selected in a way that demonstrates secure understanding of contexts of art throughout. [AO1] Analysis and interpretation are coherent throughout, showing a secure understanding of visual language. [AO2] Good critical judgement, supported by coherent reasoned argument and evidence throughout. Secure integration of view(s) from critical texts. [AO3] Level 5 25–30 Knowledge is detailed, accurate and in depth, selected in a way that reveals excellent understanding of contexts of art throughout. [AO1] Analysis and interpretation are perceptive throughout, showing excellent understanding of visual language. [AO2]In-depth critical judgement, supported by excellent reasoned argument and evidence throughout. Insightful integration of view(s) from critical texts. [AO3]Power and persuasion: the Baroque in Catholic Europe (1597‒1685) Question Indicative content 2(a) AO targeting AO1: 3 marks; AO2: 2 marks. Marking instructions Answers must apply the level descriptors in line with the general marking guidance. Markers should note that Level 1 contains no reward for AO2, and so is restricted to AO1. Indicative content guidance The indicative content below exemplifies points that candidates may make, but this does not imply that any of these points must be included. Other relevant points must also be credited. Indicative content Example: Giovanna Garzoni Plate with white beans, 1650-62 • Commissioned by the Medici family, and painted while she was in Florence, the work shows the developing interest in botany and realism in both its detail and depiction of space. Garzoni had travelled widely across Europe and may have been influenced by Clara Peeters’ ‘breakfast pieces’ which she had seen in Northern Europe. • The pink carnation in the foreground may symbolise marriage, while the beans – shown in a large pile in the centre of the composition and out of their pods in the foreground may symbolise fertility and health. • Much attention has been given to the realism and decay of the pods here, which may show her awareness of Caravaggio’s work (seen while she was working in Rome) as well as signifying the transience of life. Level Mark Descriptor 0 No rewardable material. Level 1 1 Knowledge and understanding are basic. [AO1] No meaningful analysis or interpretation related to selected work. [AO2] Level 2 2–3 Knowledge and understanding are competent. [AO1] Competent analytical and interpretative comments, linking to selected work. [AO2] Level 3 4–5 Knowledge and understanding are excellent, detailed and precise. [AO1] Excellent analytical and interpretative comments, linking to selected work. [AO2]Question Indicative content 2(b) AO targeting AO1: 3 marks; AO2: 2 marks. Marking instructions Answers must apply the level descriptors in line with the general marking guidance. Markers should note that Level 1 contains no reward for AO2, and so is restricted to AO1. Indicative content guidance The indicative content below exemplifies points that candidates may make, but this does not imply that any of these points must be included. Other relevant points must also be credited. Indicative content Example: Artemisia Gentileschi Self-Portrait as the Allegory of Painting, (1638 oil on canvas) • Probably produced while she was in London. She holds a brush in one hand and a palette in the other, following the standard emblematic handbook of the period, the Iconologia of Cesare Ripa, where Painting is described as 'a beautiful woman, with full black hair, dishevelled and twisted’. This shows her status as a successful (and rare) female artist and develops a precedent set by Casoni’s portrait medal of Lavinia Fontana. [Show More]

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