Edexcel GCE

Art and Design

Unit 4 : A2 Externally Set Assignment

Inside, Outside, In Between

Sunday, 17 February 13

The starting points will help you generate ideas. You may follow them closely, use them as background information or develop your own interpretation of the theme. Read the whole paper as any section may provide the inspiration for your focus. Provide evidence that each of the four Assessment Objectives has been addressed.

Sunday, 17 February 13

Louise Bourgeois
Maman, 1999, Steel and marble, 9271 x 8915 x 10236 mm, Tate

"Maman", the giant egg-carrying spider, is a nurturing and protective symbol of fertility and motherhood, shelter and the home. With its monumental and terrifying scale, however, "Maman" also betrays this maternal trust to incite a mixture of fear and curiosity.

You Tube video Maman

Tate: Louise Bourgeois: Maman Work of the Week, 1 June 2010

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Placing work of art inside, outside or in between specic environments can have an important impact on our perception of them.
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Damien Hirst

BBC News, placement of the statue in pictures.

The Virgin Mother, 2005, Painted bronze, 10232 x 4620 x 2065 mm

Sunday, 17 February 13

Barbara Hepworth
I kept on thinking of large works in a landscape: this has always been a dream in my mind. The Family consists of 9 separate pieces The Family of Man, Bronze, individuals starting with a young girl and 1970, complete groups at Yorkshire Sculpture Park nishing with ancestors and an Ultimate form. In between they cover the various ages of man. They are abstract, but clearly represent people, becoming more sophisticated as they mature. Interview Hepworth
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Howard Hodgkin

The North Sea, 2000, 33.6 x 38.6cm, Oil on wood

Dark Evening, 2011, 52.7 x 66cm

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Deviating from accepted formats creates interesting and dynamic optical effects

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Anthony Frost
Anthony Frost's paintings are bright, full of colour and expression. They include repeated motifs (lines, triangles and dots) and a mix of materials (acrylic, hessian, sail cloth, string and other materials that come to hand). This hints at a complexity in the work, which at rst sight appears quite straightforward. Although there is an element of planning in each work, there is also a random element which manifests itself in the creative process: Adding a piece of material or a tie that can change the painting's The Beats, 25 x 25 cm, Mixed media on direction in unplanned ways. Zimmer Stewart canvas Gallery

Sublime Frequencies II ,76 x 50 cm, Mixed media on canvas Electric Honey, 76 x 61 cm, Mixed media on canvas
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Patrick Hughes

Open Space, 2012, 69 x 155 x 21 cm

Authorities, 2008,11 x 242 x 42 cm

Three minute lm
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Artist who use gallery space as an integral part of the work of art with installations that utilise the buildings they are houses in...

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Anish Kapoor
Svayambh, 2007, Wax and oil-based paint Dimensions variable

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Craftworkers also exploit the potential of the interesting shaped surfaces on the many different forms they create
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Craftworkers

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Capturing the effects of light when passing from inside to outside

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 Maybe I am not very human what I wanted to do was to paint sunlight on the side of a house.

Edward Hopper
Nighthawks, 1942 Oil on canvas 84.1 x 152.4 cm

Summer Evening 1947; Oil on canvas, 30 x 42 inches

Morning Sun, 1952, Oil on canvas, 28 1/8 x 40 1/8 inches

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From the Royal Exchange, Rain Effect

Cannareggio, Venice, 2005

Ken Howard
Summer Evening, Sennen
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Zoos and wildlife parks provide spectacular opportunities for artists to encounter terrifying wild creatures in what would be perilously close proximity wild
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Cologne Cathedral, Germany

Henri Rousseau, Surprised, 1891, Oil on canvas, 129.8 x 161.9 cm

Sunday, 17 February 13

Anyone who can experienced breaking down on a busy motorway, and stepped out of a safe and comfortable vehicle, noisy and dangerous roadside verge, will be aware of how powerful an experience such a transition can be.
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Evening Haze, Thurne Dyke, Norfolk , Oil on canvas board, 21.6 x 26.7 cm

Edward Seago

A Norfolk Village, Aldeby , Oil on canvas, 75.9 x 101.5 cm

The Anvil Cloud , Oil on canvas, 101.6 x 127 cm

The Rainbow , after 1945, Oil on board, 22.2 x 27.1 cm

Sunday, 17 February 13

John Virtue
Landscape No.662 , 2003 White acrylic, black ink, shellac & emulsion on canvas, 183 x 183 cm

John Virtue's monochromatic landscape is from a series of views of London taken from different points along the River Thames. St Paul's Cathedral can be seen from the river, looking towards Blackfriars Bridge, its monumental dome modelled in viscous black paint. Initially, it seems as if little else is distinguishable, but gradually other details start to emerge, such as the steeple of a church on the horizon. This painting and 'Landscape No.664', another work by John Virtue in the Government Art Collection, are the result of a unique working process which Virtue has developed during his career. He applies paint to the canvas using a wide gamut of tools, including brushes, rollers, basting syringes, spray guns and calligraphy brushes, and sometimes even his ngers and toes.

Sunday, 17 February 13

JMW Turner
Turner is perhaps the best-loved English Romantic artist. He became known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes.
The Fighting Temeraire, 1839, Oil on canvas 90.7 x 121.6 cm

Dutch Boats in a Gale 1801, Oil on canvas, 162.5 x 221 cm

Sunday, 17 February 13

Portals into different worlds or environments are often explored by artists and writers. Doorways, windows and mirrors have been used as devices to allow the viewer glimpses into secret places. Selfportraits often allow the viewer to effectively step into the painters studio or even gain access to the artist psyche.
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Jan Van Eyck

This work is a portrait of Giovanni di Nicolao Arnolni and his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. The ornate Latin signature translates as 'Jan van Eyck was here 1434'. The mirror reects two gures in the doorway. One may be the painter himself. Arnolni raises his right hand as he faces them, perhaps as a greeting.
The Arnolni Portrait, 1434, Oil on oak, 82.2 x 60 cm

Sunday, 17 February 13

Velasquez
Las Meninas, c. 1656, video oil on canvas, 318 x 276 cm, Museo Nacional del Prado, Madrid

This, the most famous of Velzquezs works, offers a complex composition built with admirable skill in the use of perspective, the depiction of light, and the representation of atmosphere. The Infanta Margarita, wears white and appears in the center of the composition, surrounded by her ladies in waiting, the meninas, along with two court buffoons and a mastiff. The King and Queen are reected in the mirror at the back of the room, leading to series of extraordinarily complex spatial relations.
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When a building loses its roof or windows, nature is quick to invade and reclaim the space. Artists have often used this imagery to make powerful statements about the fragility of human existence and the futility of attempting immortality.

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English Romanticism

Richard Wilson John Crome John Sell Cotman Thomas Girtin Richard Parkes Bonington John Constable

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Ruins of West Front, Tintern Abbey c. 1794-5, Watercolour and graphite on paper, 32,5 x 23,5 cm

JMW Turner

Before he had entered the Royal Academy schools at the age of 14, Turner had worked as an architectural draughtsman. This training is evident in his fascination with the famous ruins of Tintern Abbey. Tourists of the time were as much impressed by the way that nature had reclaimed the monument as by the scale and grandeur of the buildings. Turner's blue-green washes over the abbey's far wall blend stone and leaf together.
Sunday, 17 February 13

John Piper
Christ Church, Newgate Street, 1941

Incendiary bombs gutted Christ Church during the Blitz. Impression of east end of church, built by Wren, as it looked from nave the morning after it had been gutted by incendiary bombs from a Nazi air attack. Christ Church steeple, also seriously damaged, was reerected in 1960 but the church was never fully restored. This is one of a group of paintings John Piper produced in December 1940 and January 1941 featuring London's bomb-damaged churches.

Sunday, 17 February 13

Anselm Kiefer

Audio Athanor
Athanor, 1991, oil, sand, ash, gold leaf and lead foil on canvas, 225 x 380 cm

Shulamite ,1983. Oil, emulsion, woodcut, shellac, acrylic, and straw on canvas. 541 x 368.3 cm

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The ability to visualise the nished piece as if it was trapped inside the raw material has been appreciated by many sculptors.

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Michelangelo

David, 1501-1504 Gallery of the Academy of Fine Arts

Piet, St Peters, Rome, 14991500

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In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it

Auguste Rodin

The Kiss, Le Baiser, 1901-4, Pentelican marble, object: 1822 x 1219 x 1530 mm, 3180 kg
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The idea of releasing a person or animal from an inorganic block and bringing it to life has inspired artist for many centuries

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A seven-foot adolescent girl in a bathing suit, "Ghost" was "the perfect metaphor for her poignant discomfort with her own body

Ron Mueck

Ron Mueck is a London-based photo-realist artist. Born in Melbourne, Australia, to parents who were toy makers, he labored on childrens television shows for 15 years before working in special effects for lms . Muek then started his own company making models to be photographed for advertisements. Eventually he concluded that photography pretty much destroys the physical presence of the original object, and so he turned to ne art and sculpture.

Ghost, 1998 Fibreglass, silicon, polyurethane foam, acrylic bre and fabric

"Peek inside and you can see teeth, gums and even a little faux saliva," writes Plagens of "Mask II." "Stand beside it for a moment, and you'll swear you can hear him snore."
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Mask II, 2000

Many naturally occurring objects have startling contrasts between their inner and outer surfaces. Fruits such as watermelon, lychee, coconut, kiwi fruit and shells like abalone, conch and mussel demonstrate this. Some organic structures including jellysh and prawns are so transparent that their internal organs can be seen through their outer skins. Still life painters have been fascinated by these objects.
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Nature morte avec des oiseaux morts

Pierre Dupuis

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Juan Snchez Cotn

Still Life with Game, Vegetables, Fruit, 1602

Quince, Cabbage, Melon, and Cucumber, 1602

Juan Sanchz Cotn developed the basic components of "bodegones," or still lifes: dark background, mostly fruits and vegetables, shadows and shades to create a realistic appearance, and the use of various types of lighting. His still lifes are executed awlessly and look almost like photographs.
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Many of these painters simply revelled in the sumptuousness and beauty of such objects, seeking no other purpose that to produce as lifelike an image as possible.

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Laura Shechter
Once the outlines of the images are transferred to the canvas, I start painting. I control my light source--that's why it's dark in here. I want a very specic light--I'm really trying to capture a Moment of Light. My goal is to convey the precise visual sensation of the surfaces of the objects at one instant of light.
White Porcelain Heart, 2002, Oil on Canvas Still Life with White Heron, 1998, Oil on Canvas

Sunday, 17 February 13