Term 4 Week 3

Sadly this is last post of the year and nearly time for you to fly the nest.
I can't believe the year is over for you already. It's been an absolute pleasure and an honour to work with you all. I hope you've found the blog useful and informative....despite my dreadful jokes.

Well, we have absolutely finished all the Contemporary New Zealand Art topics and related revision, so these last few lessons will see us continuing to work on 15th Century Italian Painting. By looking at past papers, testing our vocabulary, using relevant quotes and basically consolidating all that you are already specialists in. Remember to refer to time lines if you still need to visualize the chronological order of work.
Here's a new little nugget for revision - Filippo Brunelleschi's Experiment - perfect for any linear perspective questions still causing concern.

Lastly, here's something to watch out for coming up this Summer, not in NZ sadly, but interesting and topical - and certainly worth having an opinion about, Leonardo: Painter at the Court of Milan.
Keep in touch and the very best of luck with all your exams.
Signing off for 2011x

Week 1 & 2, Term 4

Lets start at the very beginning, it's a very good place to start..........
Giotto, the father of Western Painting - remember him?

The Mourning (or Lamentation) of Christ c1305, Arena Chapel, padua

Kia ora koutou class
Hope you managed to get a short break from your studies this holiday, but now it's straight back to work.
Should you have temporarily lost your marbles, the exam is:
Wednesday 16th November @ 2pm and finishing therefore at 5pm, with Scholarship following hotly on it's heels on: Thursday 17th November, also in the afternoon. Don't forget a bottle of water, some mints, tissues, lots of spare pens, a lucky mascot, the kitchen sink............
These last 2 weeks will be filled with revision, revision and more revision. Each lesson will be structured around answering exam questions, maximizing your planning time, cutting out the waffle and working towards Excellence. Wowza.

If you are still wondering how to get started, it's worth going through old question papers yourself, consolidating your extensive vocabulary and using useful websites as revision power tools. This little slide show, with quotes should also excite your urge to get going!
In class we will be using our C.S.I. skills and working on specific topics which commonly occur in the 3 papers.
As we spent a considerable amount of internal exam preparation re-investigating the Early Renaissance, High Renaissance and Mannerism, this time we will be revisiting Contemporary NZ Art and each topic will be referenced through your workbook and gallery sites.

Plenty of extra chances for revision homework and extra study sessions. We'll organise these in class to find times which suit everyone. And most importantly, don't leave a question unanswered. See me anytime about exam preparation and let me know if I can do anything else to help.

Week 9 & 10, Term 3 Contemporary Diversity

image: John Pule -detail from Kulukakina

(after experiencing something miraculous, withdraw) 2004 -Queensland Gallery of Modern Art

The exams are behind us, but also ahead of us- well done for getting through the mock exams alive. Indeed it's - (cue the terrible 80's rock anthem) -

THE FINAL COUNTDOWN dananaanaa, danananana, dananaanaaa, danananaaaa..................

For the first few lessons we'll be reflecting on, regretting (?) and reappraising our revision skills. Now's a great time to recognise mistakes we made and engineer future success.

After this... until the end of term.... Contemporary Diversity in the art of Aotearoa.

What is Contemporary Diversity? The NCEA course outline describes it as:

"recognising the diversity of artists and approaches that currently exists, and is likely to continue to exist, in New Zealand art. Stylistic diversity, cultural diversity, and artists working with diverse media are some examples of diversity of art in New Zealand at the present time. Teachers are able to select content that is appropriate to their students, for example, an investigation of Pasifika art, or time-based art. The recommended artists listed above provide a starting point for consideration of contemporary diversity in New Zealand art with the inclusion of Pasifika artists such as John Pule and Fatu Feu'u, photographer Megan Jenkinson, sculptor Neil Dawson, and the figuration of Richard Killeen."

We will do just that and you'll notice that our workbook covers these artists, which is handy.

There are a few new ideas and phrases to get used to; worry not, you are well able to apply your CSI skills to understand all of the images we will discuss.

Before we begin, let's remind ourselves about our latest gizmo: POSTMODERNISM

Of course as the prefix suggests, it's a movement following Modernism.

It covers a range of styles, rejects traditional galleries, sometimes uses unusual or ready made materials and is impossible to clearly identify.

Confused? It's basically a rebellion. Artists deconstructing and reinterpreting ideas.

A modern version of Mannerism really.

Our old friend Duchamp was way ahead of his time and is really the grandaddy of the movement, (which didn't really get started until the 1960s).

Now, onto the new phrase:

Cultural Diversity

In Aotearoa we have gone beyond being a bicultural nation. Becoming a multicultural nation is a hot political topic and one which artists have begun to debate successfully through their art making, (and using a great deal more intellect than some small minded public figures).

And now, the artists who we are using to represent Cultural Diversity:

Fatu Feu'u - the art of Siapo (Samoan Tapa cloth) and the design elements

John Pule - plus his most recent work

Neil Dawson - his famous ferns and other wonderful works

Richard Killeen - check out the digital stuff too

Megan Jenkinson - and images from her Antarctica Arts Fellowship

I'd also like to tack on another significant contributor: Michel Tuffery. His political work IS making a difference (helpful in the Excellence thread of your answers) and finally, a handful of others who would also fit within this topic. Enjoy.

Term 3 Week 5, 6 & 7, 2011

Yes folks, the moment you've all been waiting for REVISION TIME ...dundundun. Exams are in Week 8.

After all our blood, sweat and my tears this year, I'd like to think your most notable achievement in Art History was greater than an incredible collection of pens and post-it notes appropriated from Mrs Gray.

Here's how the next three weeks are roughly going to roll:

Week 5:

Use of vocabulary in exams, checking timings and WHTBD for each paper.

Massaccio and Early Renaissance narrative and don't forget Masolino

Uccello and the landscape in perspective

Piero della Francesca featuring science, proportion and mathematics

Leonardo and Humanism

Week 6:

The High Renaissance and use of classical sculpture & architecture featuring Pontormo

Portrayal of spiritual events in Raphael and Pontormo

Breaking down theory into useable chunks - no relevant links here :-(

Sack of Rome and Medici madness

Video evidence as context for The Last Judgement and beyond

Week 7:

Quick fire tests, timed planning to answer exam questions and anything else you're stuck on.

Remember we are only covering in class SOME of what you need to know -

the rest is up to you. We have worked hard, so now is the time to show off.

Term 3 Week 4, 2011

Contemporary Maori Art. Yes, we've saved some of the best 'till (nearly) last.

In case you thought it was going to be all red, black and white, think again. Some of it will be, but be prepared for the unexpected, (a bit like the exams).

It seems incredible that until the 1984 exhibition Te Maori at the Metropolitan Museum, New York, Maori Art had not been considered as central to the identity of Aotearoa.

Even in NZ, it had rarely been viewed outside a few dusty displays in museums or on marae.

Luckily for us, Maori art forms have developed into political, social and cultural icons of our modern lives; by 2001 Maori artists were representing NZ on the world stage and a universal voice had been acknowledged for the artists we will be looking at.

One of the many visionary figures in this movement to highlight Maori art was Gordon Tovey.

He targeted young Maori trainee teachers to encourage participation in a bicultural arts education. Many of these teachers became the grandaddy's of Maori art today: Hotere, Matchitt,Adsett and many more.

We are well accustomed to seeing both traditional and contemporary images of Maori Art but need to remain mindful of whether they are appropriate, original or just tacky tourist goods.

Throughout this amazing topic we will be referring to the main themes of:

• Te whenua - the land
• Political events/ activism - Bastion Point 1978, Springbok Tour 1981, Hikoi 1976, 2004 & 2009
• Triti o Waitangi - treaty and settlement issues
• Cultural identity/ race relations - leadership, equality and status in an urban environment
• Prophet movements - Maori religious movements and faith healers
• Spirituality - concepts and cosmology

Our artists for this topic are:

Robyn Kahukiwa, the political activist

Shane Cotton and his recent exhibition plus review

Michael Parekowhai at his most ingenious

Jacqueline Fraser and some later works. The title of which make me laugh out loud.

Others not to be overlooked: Lisa Reihana, Shona Rapira Davies,

Hemi Macgregor and finally, the fabulous feminist, Emare Karaka.

This is our last post before revision kicks in - study well and purposefully.

You have been well prepared, the rest is up to you.

He moana pukepuke e ekengia e te waka.

A choppy sea can be navigated.

(persevere in your revision)

Week 3 & 4, Term 3 Postmodernism

Before we begin, let's unpick our this new phrase:

Postmodernism

Of course as the prefix suggests, it's a movement following Modernism.

It covers a range of styles, rejects traditional galleries, sometimes uses unusual or ready made materials and is impossible to clearly identify.

Confused? It's basically a rebellion and links very nicely to Feminism, questioning the purpose of art galleries and patrons. Challenging tradition and the stereotypes of what art is.

Within Postmodernism, artists are deconstructing and reinterpreting ideas.

A modern version of Mannerism really.

Our old friend Duchamp was way ahead of his time and is really the grandaddy of the movement, (which didn't really get started until the 1960s).

Be prepared for the unexpected in the exams with this topic and remain confident in the knowledge that you have the skills to win.

Familiarising yourself with these contemporary NZ artists will help.

In understanding the concept of postmodernism it is imperative that you appreciate the significant contribution NZ makes on the world stage of modern art.

Here's a couple of examples to make Lexi's head hurt looking for the 'real painting':

Judy Millar and Frances Uprichard at The Venice Biennale and the amazing etal, a collective who appear in a variety of guises and also were Biennale exhibitors.

I'm also adding in Michael Parekowhai to this mix. Although technically falling into the topic of Contemporary Maori Art, he is also a perfectly Postmodern man. Check out his 2011 contribution to the Biennale bonanza.

In terms of coursework/ homework: you should have completed 3 exam questions during week 3 and 4 - two in class and one at home. Your workbooks will need to be up to date, with all pages on Feminism and also Parekowhai completed for Monday 22nd, when we really start to get to grips with Contemporary Maori Art.

Term 3 Week 2 & 3, 2011

Feminist Art is about Challenging the Patriarchy - questioning stereotypes and celebrating subject matter which has always been used as a tool of subjugation against women, for example, menstuation.

Before we begin this taboo breaking topic, it is important that we clarify two aspects to HERSTORY - history from a female perspective:

• artists who are celebrating the female: goddess images/ feminine ritual and
• artists deconstructing social and cultural practices: confronting the establishment/ political consciousness raising

MANY feminist artists cross between the two concerns, but it will be useful to organise your research and learning in this way.

From 1970s onwards, feminists from the USA like Judy Chicago,

Cindy Sherman and Miriam Schapiro, (who worked tirelessly to establish traditionallyfeminine art forms such as fabric work to become accepted in art galleries), were role models for female New Zealand artists.

By raising the awareness of female inequality in America, feminists ensured it became an issue in Aotearoa. This work is still going on today, join the Guerilla Girls in their onslaught against stereotyping in Hollywood.

NZ Artists such as Allie Eagle asserted the importance of issues that primarily affect women: rape, abuse, contraception and abortion.

Her works such as "Empathy for a Rape Trial Victim" 1978 and

"This Woman Died: I Care" 1978, made a tremendous difference in confronting previously ignored subject matter, in a public arena.

Make sure you understand the context behind the Women's Movement in NZ.

The fabulous Jaqueline Fahey affirmed women's experiences and brought, what had previously considered the seemingly banal - by men - grrrrrrrr, to art institutions.

Throughout her career she has challenged assumptions that household chores and real family situations were not suitable subject matter as "High Art".

Final Domestic Expose - I Paint Myself, 1982, is huge. It's scale alone is enough to qualify it as High Art, however, the use of collage and decorative chaos is enough to sideline her as an emotional and erratic woman!

Never likely to be shown alongside McCahon or Woollaston. As if she needs it.

Our final artist for this topic - although we could spend all year on this theme alone- is

Carole Shepheard. Her work includes the use of craft materials and core imagery, such as circles - see Amazon Shield, a celebration of strong Matriarchal cultures. Added to this, Shepheard uses the grid as a format to illustrate quilts and stitching and photography to demonstrate aspects of female power.

Summing up aspects of the NZ Feminist Art topic :

• use of craft "low art" techniques, celebrating weaving, quilting, stitching
• equality - women working collectively, changing names, blurring boundries - not artist as lone genius - please we've had enough of this you self indulgent Expressionist males
• un- saleable works - performance art, collaborative pieces not suitable for traditional galleries
• confrontational/ political work - shocking the male viewer - BOOO!
• female imagery - and an opportunity to say VAGINA on the school blog :-)

Term 3 Week 1 & 2, 2011

They're mad, bad and dangerous to know.
That's how one art critic described two of the three artists we deal with in this topic.

Expressionism is all about getting down and dirty with your feelings and portraying them through the magic medium of paint.
These guys are what's known as Neo Expressionists - a combination of emotional paint work with a good dose of rational planning to make the work readable.
One central painter in the background was Rudi Gopas, an Art Teacher at Ilam, who expounded the theories of European Expressionism.
He brought this new style to the NZ public with lashings of thick brush marks and swathes of yellow and purple paint..
Other artist models who make a huge impact on these men are:
Francisco Goya (don't loose your head),
Vincent Van Gogh (watch that razor, mind your earrr........too late) and
Francis Bacon (fancy a sandwich?), among many, many others.

There are may threads to link the NZ Expressionist artists in this topic, death being one of them and use of self portraits, (check this out), another.
They have all considered themselves as outsiders and struggled with deeply personal issues.
All of them have benefited from study grants which gave them the chance of long spells away from NZ, traveling to see the major art collections of the world, particularly Europe and USA.
Use all of these factors when writing a context answer.

So roll on the drums please.....here are the bad boys of paint you need to know -
Philip Clairmont
Tony Fomison, and a little extra about Allen Maddox
Jeffrey Harris
Enjoy the topic and widen you world view further by learning a little more about another art movement.

In terms of housekeeping.....Academic Counselling and School Ball preparations will mean that lessons will be disrupted on Thursday 4th August and Friday 5th August. Normal service will be resumed on Monday 8th August.

Here's how we'll be rolling.......

Monday 1st -Expressionism & Clairmont.

All Happy Holiday Homework is due in.

Tuesday 2nd - Clairmont to pg 34 and Clairmont column pg 42.

Homework pg 43.

Wednesday 3rd to Friday 5th - Fomison.

Homework up to pg 38 & pg 42 Fomison column.

Monday 8th - Harris pg 39 and portraiture pg 45.

Hand in books to check notes up to date.

Tuesday 9th - Harris pg 40/41 & pg 44

Wednesday 10th - Finishing up Expressionism pg 43 and any other Q&A.

Happy Holiday Homework

Just when you thought it was safe to lie in bed and empty your heads of all that learning, there's more..

I've posted this good and early for those of you off to Malaysia, so no excuses :-)

This holiday you need to:

• Ensure all your notes are completed and well organised for NZ Abstraction
• Stick all colour pictures into EVERY chapter of your NZ workbook
• Understand the importance of Dargaville's very own Milan Mrkusich to this topic
• Complete a Style exam question, planning AND writing the answer, Albrecht v Mrkusich - see me for the hand out
• Complete pg 27 with your choice from the NZ Abstraction topic that's landscape based
• If there's any time left, start making revision cards and quote 'post it notes'

Please also ensure you're up to date on all work from Week 10&11 - see the 'housekeeping' section of that post. All work to be handed in first lesson back. Have fun :-)

Term 2 Week 10 & 11 2011

Two whole weeks to go before a holiday and there's still lots more learning ahead of us

In this topic, New Zealand abstraction is usually considered in relation to international artists and movements.

There will be references to Abstraction and Expressionism & AbEx.

You need to also know the difference between Lyrical Abstraction

(lots of simplification and expression- Jackson Pollock -try this Pollock painting, also essential viewing is the colour field artist, Mark Rothko),

and Geometric Abstraction, useful artist models include: Piet Mondrian and Kasimir Malevich.

When you get a handle on this topic, friends will be amazed at your genius and it should give you some impressive exam answers too.

What do we need to know? Abstract art is not about the figurative, (people, objects, places), more about ideas. Sometimes abstract painting is mainly about the physical act of making art, the viewer is therefore able to make their own interpretation about the work.

The influence of overseas artists in NZ is essential in this topic, plus the impact of the big O.E. and travel/ study grants make to McCahon, Hotere and Albrecht.

New Learning Alert!

What is the difference between Perceptual versus Conceptual reality?

It is essential here that you know the difference. Make sure you do.

Meantime, back at the action.......the factors for a changing NZ art scene:

During all that isolation and loneliness that the NZ landscape artists had been concentrating on, the rest of the world was speeding up with their new ideas for art.

Last week we got up close and personal with Cubism, which came 30 years late to NZ thanks to McCahon's Kauri images, and it wasn't well received. Eventually NZ got TV, colour art magazines from the USA and direct flights overseas. Progress.

You'll be relieved to know that Aotearoa did catch up, eventually.

Here are the headline artists for the topic......

Colin McCahon and last week's Iconography homework - Elias Series

Ralph Hotere and the important role he has played as a NZ Protest Artist and social commentator. You should also know the range of materials he uses and how they relate to NZ.

Gretchen Albrecht and her richly coloured abstract paintings, plus her early influences and new sculptural direction.

Housekeeping Alert!

By the end of this term we should be at the end of the NZ Abstraction chapter in our workbooks.

In terms of homework, I'll be collecting book in on Friday 8th to check McCahon/Hotere notes, up to pg 21, and Wednesday 13th to check on Albrecht work, up to & including pg 25.

There will also be an exam sample to attempt and submit, a context question on Hotere's Dawn Water Poem and some work for the holidays - see the next post for details :-)

Term 2 Week 8 & 9, 2011

It's time for a new divider in our Art History folder ready for our final topic:

Modern New Zealand Art.

You all now have a Sylvia Dixon workbook, with your colour plates to be added as you go, but of course there will be hand outs too, so keep the hole punch at the ready Melissa.

From now onwards there will be a change to the blog posts.

Each post will represent a section of each topic. This may still require weekly posts or simply summaries of the work for each section, we can review the process as we go - let me know what suits you best.

In terms of weekly housekeeping: Week 8 sees us hurtling toward

Stage Challenge on Friday 24th June -ggggooooooooooo Dargaville!

This means lessons will be disrupted on Thursday 23rd for the final rehearsal day and 24th for the performance.

Anyone not involved will be booked into the computer rooms for research and colour plate search for your workbooks.

Final reminder that Resubmissions for Investigate an art issue are due on Wednesday 22nd, at the start of the lesson. Kia ora.

Anyway, back at the bat cave, this post is a prelude to the topic -

It's the background research for all your CSI investigations, which will be coming soon.

What do we need to know before we get onto the exciting stuff?

Well, before the 1940s in New Zealand, European artists were stuck in a 19th century rut.

Landscape was the favourite subject here in 'Godzone'. Based on the British style, it was perfect to record and idealise picturesque views to send back to the Mother Country, England.

Artists such as Goldie (not the Rapper!) and Lindauer (not the wine!) recorded the lifestyle and faces of significant Maori people, but their work was still designed for European tastes and illustrated Maori Chiefs as

'noble savages'.

European culture was seen as superior to Maori and no effort was made to recognise or celebrate the rich visual traditions of the indigenous people.

Painters were hanging onto traditional ways of working and had no real knowledge of the exciting world of Cubism, Abstraction and Expressionism which was all the rage in Europe.

Finally, during the 1930s and 40s NZ art critics began to demand greater attention to local issues and pictures about honest, rural life. But how to do it?

Of course, another factor in the mix was World War II, making this tiny country more nationalistic and patriotic.

Thus, NZ Regionalism in art was born.

Our attention will be focussed on the following artists:

Rita Angus - her painting 'Cass' 1936, was voted NZs favourite in 2006

William (Bill) Sutton

Doris Lusk

Colin McCahon - he's the one to watch. Also take note of the fabulously exciting book byCharles Cotton, "Geomorphology of New Zealand". Colin McCahon, and his wife, received this as a wedding present, (better than a toaster I guess), and it changed the way McCahon was to observe and depict the land.

All these artists, along with Toss Woollaston develop their own individual characteristics but collectively, they represent a breath of fresh air to NZ art - Regionalism.

Not a true representation but a familiar landscape. An icon of identity.

Depictions of Isolation and Loneliness and most importantly, freedom from British traditions.

Extra information for your big brains.......

Also worth noting and 'Excellence' material information in a Context question, is the impact and influence of William Saunderson La Trobe.

In 1922, he began a scheme to encourage art teachers from England - not more of Mrs Gray I hear you groan- but wait, there's more....

La Trobe Scheme aimed to improve the cultural significance of NZ art, (of course, completely ignoring the traditions of Maori cultural history!).

The teachers he wooed to NZ fair shores brought new and exciting ideas like

Post Impressionism, the influence of Cezanne, Gauguin and plenty of expressive brushwork and dazzling colour.

The two key imports were: firstly Robert Nettleton Field and later on Christopher Perkins. Their work encouraged young artists to find their own methods of expressing what exactly made a NZ landscape - the use of local subject matter with symbolic meanings.

They also taught modern ideas of flattened space, strong outlines and simplified forms.

Both Toss Woollaston and Colin McCahon were profoundly changed as artists because of the La Trobe Scheme and in turn, their work has deeply impacted on the NZ artists we will be considering this term.

So there you go, a little extra gem of knowledge to use, when the going gets tough in a NZ art Context question.

Term 2 Week 7, 2011

Before we say arrivederci to Mannerism, let's ponder on the wonders of the following era, the brilliant Baroque. This final flourish may help you to consolidate evidence and justify a conclusion for an Excellence in 3.5. For those in any doubt check out the how and why and apply to your view point in Task3.

From a housekeeping point of view, Investigate an art issue is due in on Tuesday 14th at the start of the lesson, giving an extra day's grace to our chemistry students who are titrating on Monday.

While we are bidding farewell to Italy we will be waving enthusiastically to the start of the 20th Century.

In class we'll be constructing visual timelines and thinking a lot about the world wide view over the next 400 years. This will also be of assistance to those of you working on Visual arts 3.1 Research and analyse approaches to established painting practice.

When we arrive at 1900ish we will begin to consider the changes that colonisation, cubism and later, abstraction in Europe and the USA, bring to the artistic profile of Aotearoa.

Our main text for the next topic 'Modern New Zealand Art' is the superb Sylvia Dixon NCEA Level 3 workbook plus lots more hand outs and notes from yours truly.

We are half way through the academic year and we still have further to travel on this fabulous art history adventure. Make every Art History lesson count.

Buckle up and let's get learning.

Term 2 Week 6, 2011

It's our last week of manic Mannerism and 3.5, Investigate an art issue.

By now, you have established your issue and have organised the works for you exhibition.

Remember your submission can be in a number of forms - power point, picture catalogue, written essay, detailed poster, a model of your art gallery etc etc. Just ensure each assessable task is clearly labelled and well organised - refer to your Task Sheet ( Student Instructions), or check with your teacher. Check out your art works at major galleries (online) and see how they do it and write the captions on the artists.

Here are some other tips:

• Add all sites, film & youtube clips, books and handouts to your bibliography as you go
• Use 'headers' and 'footers' to label your images correctly ( if you can, avoid hand writing your name on beautifully printed picture pages)
• Use quotes to help support your arguments/ point of view
• Context info ( the history) will help you to expand your issue for Merit and judge it's importance
• Examine the different points of view and have a reason for your opinion for Excellence
• Introduce new evidence or information to strengthen your case in Task 3 , also for Excellence

Also coming up this week - comparisons between the major players in the High Renaissance and Mannerist era. Use your CSI skills to compare/ contrast:

Donna Velata versus Lady in Red Dress

Entombment versus Deposition

Transfiguration versus Joseph in Egypt

All this work will make you experts in this 1520 - 1600 period of erotic confusion.

Next week we ricochet through time and space to arrive in 20th Century NZ.

The Mannerist Portrait

Welcome to Week 5 le studentesse.

Hope we are still enjoying the Mannerist vibe. Here's a little bit of extra viewing for those of us using the mannerist portrait as a focus, or evidence in our Achievement Standard - Investigate an Art Issue.

Remember to add this to your bibliography and any other groovey clips you find along the way. The more view points you watch/ read/ listen to, the better equipped you will be to argue your case.

Enjoy..............

Term 2, Week 4&5 2011

Buon giorno! Good morning my lovelies -

OK, OK, so the Bronzino, "Allegory with Venus and Cupid" wasn't what you wanted as this week's header. As you noticed, back by popular demand, more of Michelangelo, but this time featuring his vision of horror, The Last Judgement.

Last week we started looking at the stylistic developments in Mannerism, all that twisting movement and bright, ice cream colours.

I'm also hoping you've watched the Luther clips this weekend and have started to learn who's who during this era.

To start off this post we'll consider Pontormo's Entombment which is a fantastic example of Mannerist extremes.
While our focus shifts to the issues surrounding this period 1520-1600 we'll begin a four week quest to complete our final internal achievement standard -

3.5: 'Investigate an art issue' for another big 4 credits.

So, by 1523 Clement VII, ( the guy you wouldn't buy a used car from), becomes the second Medici Pope - following on from Leo X, the 'fat, lecherous pig' - Luther publishes a serious challenge to the Church: Stop the sale of indulgences and clean up your act, or else!

Needless to say, they didn't, so Europe spiraled into 120 years of war.......starting with the Sack of Rome and Reformation.

Following directly on the heels of Luther was the Catholic Church's answer :

the Counter Reformation and Council of Trent.

Don't worry your pretty little heads about too much of this - your job is to know how and why the developments of Mannerism impact on the C.S.I.
(context, style and iconography)of the art.

Meantime, have a clear idea about an issue, which for us is

a POINT of DISCUSSION, (see Mrs Weissing for a definition of issues!), relating to Mannerism that you will explore in your 3.5.

Artists in the frame this week:

Michelangelo: Medici Tombs and Last Judgement

Bronzino: Portraiture

Pontormo ( Bronzino's teacher) and Parmigianino

Ciao for now, see you in class and good luck with the research.