Background: Representations of hostility and violence have been used in a wide array of cultures. These might include but are not limited to:

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Marianna Wood
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1 1. Throughout history, art representing hostility or violence has been used for a variety of purposes. Select and fully identify two such works of art from two different cultures, one of which must be from beyond the European tradition. Explain how and why each work of art communicates hostility or violence. ( 30 minutes) Send to students to make test corrections: Background: Representations of hostility and violence have been used in a wide array of cultures. These might include but are not limited to: demonstrations of power or intimidation that are hostile or violent social, political, or national hostility or violence religious or ritual acts that represent hostility or violence personal hostility or violence, either heroic or irrational forces of good and evil in mythical and/or historical imagery cultural or natural forces international or intercultural conflict madness or psychological states that represent hostility or violence battle scenes or hunting scenes You have three tasks: 1. to fully identify two appropriate works of art that communicate hostility or violence. One work of art must be from beyond the European tradition 2. to address how each work of art communicates hostility or violence 3. to analyze why each work of art communicates hostility or violence Better essays fully identify two appropriate works of art, one of which is from beyond the European tradition. They analyze both how ( in each work) the formal aspects of pose, gesture, or action ( as in scenes of hunting or battle, or demonstrations of power, intimidation, irrational, antisocial, social, national, ritual, or religious acts) communicate hostility or violence and why the function and context of each work of art communicates hostility or violence. Weaker essays may use less appropriate examples, such as works of art that are technically from beyond the European tradition but do not effectively address the issues raised by this question. The identifications might be vague, refer only to general types of art works, or not locate the works specifically in time or place. The discussions might be vague or merely descriptive and provide little or no critical analysis. Essays that simply describe acts of hostility or violence will earn lower scores.

2 Points to remember: Appropriate choices are works of art that clearly communicate hostility or violence This question requires an identification that makes it clear to the reader which specific work of art or architecture is being discussed. Sometimes the full identification may be located within the body of the essay. Scoring Criteria Score scale Fully identifies two appropriate works of art that communicate hostility or violence. At least one of these works of art must be from beyond the European tradition. Provides a full analysis of how and why each work of art communicates hostility or violence. The lower score is earned with the essay contains some imbalance or has minor errors. 7 6 Fully identifies two appropriate works of art that communicate hostility or violence. At least one of these works of art must be from beyond the European tradition. Provides an analysis of how and why each work of art communicates hostility or violence but is less full than a 9 8 essay. The lower score is earned when the essay is notably unbalanced or contains errors significant enough to weaken the analysis. 5 This is the highest score an essay can earn if it deals with one appropriate choice fully and correctly Identifies two appropriate works of art that communicate hostility or violence. At least one of these works of art must be from beyond the European tradition. Identification may be incomplete or faulty, and choices may be inappropriate. Essay may describe how or why hostility or violence is represented, but the discussion may be unbalanced and contains errors. 4 3 Identifies two works of art that communicate hostility of violence. At least one of these works of art must be from beyond the European tradition. Identification may be incomplete or faulty. Essay may describe how or why each work of art communicates hostility of violence, but it may be unbalanced and contain errors. The lower score is earned when the essay lacks meaningful discussion or contains significant errors. Only one appropriate choice is identified. the discussion is weak and contains errors. The lower score is earned when the essay is wholly descriptive, lacks meaningful discussion or contains significant errors.

3 2 1 Identification is incomplete and/or inappropriate. if choices are appropriate, there is minimal discussion Only one appropriate choice is identified and the essay is incomplete and inaccurate. The lower score is earned when there is no discussion of merit. 0 Makes an attempt, but the response is without merit because it restates the question, includes no identifiable choices, or makes only incorrect or irrelevant statements Self portraiture provides a wide range of information about the artist in addition to physical appearance. Choose and fully identify two self portraits, in any medium, each from a different art historical period. Analyze how each self portrait conveys information about the artist and his or her era. (30 min)

4 For grading Background: This question asks the student to analyze how self portraiture conveys information about the artist and his or her era. It is intended to make students think about self portraiture as a mode of representation and to consider the wide range of information self portraits convey about artistic identity, the inner life or psyche, gender, and social status. The emergence of autonomous self portraiture in Europe during the fifteenth and sixteenth centuries can be linked to a growing self consciousness about identity, the development of autobiographical literature, and changing conceptions of the artist s role and status. Self portraits provided an arena for technical experimentation, self exploration, and self fashioning and could serve as artistic manifestos or publicity tools. Self portraiture has been widely practiced since the Renaissance. An early example of an autonomous self portrait is Albert s self portrait medallion from c Van Eyck s Man in a Red Turban (1433) may be a self portrait, though evidence for this rests on interpretations of the work s inscription and of the subject s gaze. Durer made a series of self portraits in various media beginning in his teenage years. Parmigianino s youthful self portrait of 1524 reflects mannerist conceits, as does Lavinia Fontana s of c Caterina van Hemessen s self portrait at easel, aged 20 (1548), may be the first self portrait by a Northern Renaissance woman artist. Renaissance examples of self portraits contained within compositions include Ghiberti s tiny cast bronze self portrait ( ) on the east doors of Florence s Baptistery, Raphael s self portrait within the school of Athens in the Vatican s Stanza Della Signature ( ), and Michelangelo s self portrait on the flayed skin of St. Bartholomew in his Sistine Chapel Last Judgment ( ) Baroque, Rococo, and Neo Classical self portraits by women artists include those of Artemisia Gentileschi ( 1630), Judith Leyster (1635), Angelica Kauffmann ( numerous images dating from the 1750s to the 1790s), Elisabeth Vigee Lebrun ( 1786 and 1790), and Adel de Labille Guiard ( 1785) Rembrandt used himself as subject throughout his career. Self portraits abound in the modern era, beginning with Van Gogh, Gauguin, and Cezanne. Among twentieth and twenty first century artists, one might note self portraits in a range of media by Pablo Picasso, Egon Schiele, Frida Kahlo, Francis Bacon, Alice Neel, Andy Warhol, Bruce Nauman, Chuck Close, Ana Mendiita, Cindy Sherman, Hannah Wilke, Adrian Piper, Carolee Schneeman, Jaune Quick to see Smith, and many others. Students have three tasks: To fully identify two self portraits, in any medium, each from a different art historical period.

5 To analyze how each self portrait conveys information about the artist To analyze how each self portrait conveys information about the artist s era Better essays fully identify two appropriate self portraits from two distinct art historical periods. These responses analyze how each work conveys information about the artist and his or her era. Weaker essays may include a discussion of only one self portrait or discuss two self portraits from the same art historical period. These responses may have vague or partial identifications. Essays that simply describe the works, providing little or no critical analysis about how the self portraits convey information about the artist and his or her era, earn lower scores. Points to remember: Self portraits may be either autonomous or contained within a larger composition. Students may be tempted to focus on physical appearance, but the question requires them to analyze how self portraits convey information about the artist and his or her era A discussion of stylistic features may be accepted as a discussion of era provided that the answer makes specific connections between stylistic features of the work and its period. Students must address two specific self portraits. Generic discussions of a body of self portraits are not sufficient. The specific identification may emerge only through the description of the work. Works that reflect the biography of the artist but that do not constitute true self portraits are not typically acceptable choices Three dimensional examples of self portraiture are acceptable Non western examples of self portraits are acceptable; however, these are often not included in the survey texts This is a 30 minute question Scoring Criteria Score scale Fully identifies two appropriate self portraits, in any medium, each from a different art historical period. Provides a full analysis of how both works convey information about the artist and his or her era. The lower score is earned when the essay is somewhat unbalanced or has minor errors.

6 7 6 Fully identifies two appropriate self portraits in any medium, each from a different art historical period. Provides an analysis of how both works convey information about the artist and his or her era. The lower score is earned when an essay is unbalanced or contains errors significant enough to weaken the analysis. 5 Identifies two appropriate self portraits, in any medium, each from a different art historical period. Identification may be incomplete or faulty. The essay fails to analyze how both works convey information about the artist and/or the artist s era. The essay may be wholly descriptive, unbalanced, and contain errors. Note: this is the highest score an essay can earn if it deals with only one appropriate choice fully and correctly. 4 3 identifies two self portraits, in any medium, each from a different art historical period. Identification may be incomplete or faulty, and choices may be less appropriate. The essay is descriptive, and discussion is unbalanced or general. The lower score is earned when the essay lacks meaningful discussion and/or contains significant errors. Identifies only one appropriate choice. The discussion is not developed and contains errors. The essay is descriptive, and the description is unbalanced or general. The lower score is earned when the essay lacks meaningful discussion or contains significant errors. 2 1 Identification of the two self portraits is incomplete and/or inappropriate. If choices are appropriate, there is minimal discussion. Only identifies one appropriate choice, and the discussion is incomplete and inaccurate. The lower score is earned when there is no discussion of merit. 0 makes an attempt, but the response is without merit because it restates the question, includes no identifiable choices, or makes only incorrect or irrelevant statements.

7 3. Left slide: William Hogarth. The Marriage Contract from Marriage a la mode. Ca Right slide: William Hogarth. The Breakfast Scene, From Marriage a la mode. Ca Both of these paintings were made by the same artist. Identify the artist. Citing specific details from the paintings, analyze how the artist used satire to comment on class and taste in the society of the time. ( 10 minutes) Background: William Hogarth ( ) is credited with creating a distinctively English style of painting, what he called modern moral painting, which satirized contemporary society and carried a moralizing message. Hogarth s highly topical narrative scenes appealed to a broad urban public. The eighteenth century was the golden age of literary satire in England. Hogarth, who was influenced by the theater and the rise of the novel, was a close friend of Henry Fielding. The six paintings that comprise Marriage a la mode ( ) served as models for the set of engravings, published by subscription in Hogarth turned to French engravers to ensure the technical virtuosity and elegance of the prints. The series satirizes arranged marriages and fashionable taste, the decadence and impotency of the aristocracy, and the crass social striving of the wealthy merchant class. Hogarth utilizes the mock heroic satirical commentary on the decadence of fashionable taste and mores, conspicuous consumption, and the Rococo style, which he parodies, notably in The Breakfast Scene. The Marriage Contract and The Breakfast Scene establish the narrative arc of the series and foretell its tragic outcome. The paintings are intended to be read sequentially like the scenes of a play. Hogarth s dance novelistic structures focuses on visual details, which propel the narrative, disclose character, and function symbolically. He uses paintings within paintings, dress, décor, and visual parody to indict his characters and satirize their decadence and pretension. The Marriage Contract depicts gout ridden Earl Squander (who points to his illustrious family tree), marring his son to the daughter of a wealthy London merchant. The

8 cynical arranged marriage provides money to repair the earl s crumbling Palladian house and buys an aristocratic title for the merchant s daughter. The Breakfast Scene depicts the young couple s foundering marriage, decadent lifestyle, and dubious taste. The curvilinear composition parodies the fashionable Rococo style. The garishly decorated interior betrays their lack of taste just as their negligent clothing and body language connote their immorality and dissipated lifestyle. Students have two tasks: 1. They must identify the artist as William Hogarth 2. They must analyze how the artist used satire to comment on class and taste in the society of the time, citing specific details from the paintings to make their case. The best response will display an understanding of how satire functioned as a rhetorical strategy in eighteenth century England, amusing the public and carrying a subversive or moralizing message. Simply describing the narrative action and visual elements in the two scenes is not sufficient. Rather, students must analyze how Hogarth used satire as social commentary and interpret how elements, such as the crumbling Palladian house in The Marriage Contract, or the over the top Rococo clock and nouveau riche taste in The Breakfast Scene, function emblematically. Points to remember: Students are not asked to identify the period or the individual paintings, but they must understand the artistic and cultural context in order to analyze how the artist used satire to comment on class and taste in the society of the time. This is a 10 minute question Scoring Criteria Score scale correctly identify the artist as Hogarth. Analyzes how the artist used satire to comment on class and taste in the society of his time. Analysis is full and without significant errors 3 correctly identifies the artist as Hogarth. Analyzes how the artist used satire to comment on class and taste in the society of his time. Analysis is not as full and may contain minor errors. Does not correctly identify the artist as Hogarth but is otherwise a 4

9 2 correctly identifies the artist as Hogarth. Discusses how the artist used satire to comment on class and taste in the society of his time, but the answer lacks specificity and may contain errors. Does not identify the artist as Hogarth but is otherwise a 3 1 Correctly identifies the artist but includes no other discussion of merit Does not identify the artist as Hogarth but is otherwise a 2 0 makes an attempt, but the response is without merit because it fails to identify the artist or makes only incorrect or irrelevant statements

10 3. The images show a plan and a view of the pyramid complex at Giza. Using specific evidence, analyze how the pyramid complex was shaped by both the beliefs and the practices of the culture that built it. (10 minutes) Two tasks for Students 1. Using specific evidence, analyze how the pyramid complex at Giza was shaped by the beliefs of the culture that built it. 2. Using specific evidence, analyze how the pyramid complex at Giza was shaped by the practices of the culture that built it. Points to remember This is a contextual analysis question. While students are not required to identify Old Kingdom Egypt in their responses to the question, they will need to provide at least a general identification of ancient Egypt in order to analyze how the pyramid complex was shaped by both the beliefs and the practices of the culture that built it. The highest score a response can earn if it does not address how the pyramid complex at Giza was shaped by both the beliefs and the practices of the culture that built it is 2 points. In their responses, students are not limited to evidence from the plan and the view. They may also refer to other relevant evidence. Students are not required to address both the plan and the view. Scoring Criteria 4 response demonstrates thorough knowledge and understanding of the question. Using specific evidence, the response clearly and accurately analyzes how the pyramid complex at Giza was shaped by both the beliefs and the practices of the culture that built it. The response may include minor errors that do not have a meaningful effect on the analysis. 3 Response demonstrates sufficient knowledge and understanding of the question. Using specific evidence, the response accurately analyzes how the pyramid complex at Giza was shaped by both the beliefs and the practices of the culture that built it. However, the

11 response may be somewhat unbalanced with a stronger discussion of how the pyramid complex was shaped by either the beliefs of the practices of the cultures that built it, although both are represented and/or may include minor errors that have some effect on the analysis. 2 response demonstrates some knowledge and understanding of the question Using evidence, the response addresses how the pyramid complex at Giza was shaped by both the beliefs and the practices of the culture that built it, but the discussion of that evidence is less analytical than descriptive. It may be overall general, simplistic, or unbalanced. For example, the discussion of how the beliefs shaped the pyramid complex may be mostly accurate, whereas the discussion of how the practices shaped the complex may include errors that affect the response. Using specific evidence, the response accurately analyzes how the pyramid complex at Giza was shaped by either the beliefs or the practices of the culture that built it, not both. 1 Response demonstrates little knowledge and understanding of the question. The response demonstrates some general familiarity with the issues raised by the question by discussing how the pyramid complex at Giza was shaped by the beliefs and/or the practices of the culture that built it. However, the response is weak, overly descriptive, and /or contains significant errors. 0 response demonstrates no discernible knowledge of understanding of the question. The student attempts to respond, but the response makes only incorrect or irrelevant statements. The score of 0 points includes crossed out words personal notes, and drawings.

AP ART HISTORY 2007 SCORING GUIDELINES

AP ART HISTORY 2007 SCORING GUIDELINES Question 3 Left slide: William Hogarth. The Marriage Contract, from Marriage à la Mode. ca. 1743-45. Right slide: William Hogarth. The Breakfast Scene, from Marriage