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Edexcel GCE

Art and DesignUnit 2 : AS Externally Set Assignment

Covertand

Obscured

Sunday, 17 February 13


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The starting points will help you generate ideas.

You may follow them closely,use them as background informationor develop your own interpretation of the theme.

Read the whole paper as any section may providethe inspiration for your focus.

Provide evidence that each of the four AssessmentObjectives has been addressed.

Possible Fine Art StartingPoints



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the history of place lied

hidden beneath or within its

current appearance

many artists strive to catch a

glimpse of that past which theycan sense in the present

3



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Andrew Wyethhttp://andrewwyeth.com/

Geraniums

1960, drybrush on paper.

Potted flowers grown byChristina Olson sit here on the

window sill of her house in

Cushing, Maine. Through the

window beyond the geraniums,

one can see the model best

known as the pink-dressed

figure in Christina's World

(1947 tempera, Museum of

Modern Art, New York). Ms.

Olson, her brother Alvaro, and

their farm were subjects ofWyeth's paintings and

drawings for decades ending

with the siblings' deaths in the

late 1960s. The house is now

open to visitors through the

Farnsworth Art Museum.

http://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.html


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Graham Chorlton

midcoast of Maine returning to the artist's birthplace in Chadds Ford, Pennsylvania

each fall. This scene shows a splash of unexpected color in the chilly, dark days

before spring. The painting was inspired by an actual incident when a bright piece of

litter, a newspaper advertisement, blew across a snowy hillside.

Sunday Times

1987, watercolor

on paper.

A marked

difference can beseen in the artist's

palette in the

Maine and

Pennsylvania

works, just as one

can see the

weather differ when

comparing the

summer and winter

months. The artist

and his familyspent the warm

months in the

http://andrewwyeth.com/images.htmlhttp://andrewwyeth.com/images.html


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Hotel Minerva'Hotel Minerva' (2007), the work

that lends the exhibition its name,

is of a hotel in Switzerland in

which Chorlton has never stayed.

His only encounter with it is

through an old postcard he once

found a postcard that reveals

little information about the hotel,only that it is in Lugano, or once

was. While not a particularly

distinctive building, it has a

grandeur and charm of its own,

and may once have been the

most modern and stylish place to

stay in the area. The nostalgia ofa vintage postcard, celebrating

the local hot spots of yesteryear,

is carried forward in Chorltons

painting as a memory that was

never experienced. For many

British people at the time the hotel

was built and the postcard

printed, continental Europe was a

far-away dream, a holiday

destination only for the rich and

glamorous a European

imaginary before the days of

budget airlines. Hotel Minerva

captures this sense of longing

through the filter of Swissmodernist architecture.

Graham Chorlton, Hotel Minerva,

2007,

Oil and acrylic on canvas, 63.5 x 76.2

cm



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Rachel Whiteread

Ghost

1990

Plaster on steel frame

269 x 355.5 x 317.5 cm


R h l Whi d


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Rachel WhitereadNumber 193 Grove Road used to be an unexceptional Victorian house in the East

End of London. Extensively remodelled, improved beyond habitability, it has become

both monument and memorial. It has become Rachel Whiteread's House: a strange

and fantastical object which also amounts to one of the most extraordinary and

imaginative public sculptures created by an English artist this century. 193 GroveRoad is no longer a home but the ghost of one perpetuated in art. It has no doors, no

windows, no walls and no roof. It was made, simply by filling a house with liquidconcrete and then

stripping the mould -

that is, the house itself,

roof tiles, bricks and

mortar, doors and

windows and all - away

from it. The result could

be described as the

opposite of a house,since what it consists of

is a cast of the spaces

once contained by one.

Andrew Graham-Dixon



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Daniela GullottaHer work depicts large empty interiors, often of an industrial nature. Her intention is to

draw the viewer's attention to the dramatic nature of space. Sometimes individual

objects are emphasized and human presence is always suggested though never

depicted.

Pantheon, 2010

mixed media on wood

140 x 200 cm

Interior (w.113), 2002mixed media on wood

138 x 198 cm



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Caspar David Friedrich

Monastery Graveyard In The Snow

Wreck in the Moonlight c. 1835

Temple in Agrient

http://www.caspardavidfriedrich.org/Temple-in-Agrient-large.htmlhttp://www.caspardavidfriedrich.org/Temple-in-Agrient-large.html


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Artist often use layers to hide

or reveal information in theirwork

11



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Christo and Jeanne-Claude

Wrapped Reichstag, Berlin, 1971-95


Rembrandt


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Rembrandt

The small panel, "Old Man witha Beard", dating from about1630, was brought to arthistorians in Amsterdam by a

private collector who believedit bore striking similarities tothe Dutch master's work.Unable to confirm the painter'sidentify despite severaltantalising clues, the experts

became convinced there wasa second image lyingunderneath the surface whichcould solve the problem onceand for all.They took the painting to twoX-ray imaging laboratories, theEuropean SynchrotronRadiation Facility in Grenoble,France, and the BrookhavenNational Laboratory in NewYork in the hope of uncoveringthe hidden layers of paint.

Old Man with a Beard, dating from about 1630

The X-ray next to another self-portrait of RembrandtSunday, 17 February 13

C


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Caravaggio

Most artists executed rough preliminary drawings on the canvas before painting in

order to be certain of composition and proportions. Amazingly, x-rays have revealed

that Caravaggio did no such thing. Instead of preparatory drawings, the artist would

trace rough indications in the first layers of paint with the handle of his brush, and then

go right ahead with the rest of his painting.


V G h


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Van Gogh

A new X-ray technique has revealed a

previously unknown portrait of a woman by

Vincent van Gogh, which was painted overby the artist.

The peasant woman's face was hidden

behind the work Patch of Grass, completed

by Van Gogh in Paris in 1887.

Van Gogh is known to have often reused

canvasses to save money.

With a sophisticated X-ray analysis

scientists have identified why parts of

the Vincent Van Gogh painting 'Flowersin a blue vase' have changed colour

over time - a supposedly protective

varnish applied after the master's death

has made some bright yellow flowers

turn to an orange-grey colour.


L Ri


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Larry Rivers

"After 1961, popular and commercialimages and insignia became a major

element in Rivers' painting. He showed

consistent if not immediately conscious

preferences of subject in terms of his own

particular attitudes and technical gifts. He

was drawn to the Dutch Masters cigar box

label because it in turn reproduced

Rembrandt's Syndics, and gave him the

opportunity to modulate a theme in both

crude and more finished definition across

popular media and back to its originalsource in fine art. The medium of traditional

art is the theme of his popular subjects; the

contemporary world, the object of his 'fine

art' handling and painterly virtuosity."


R b t R h b


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Robert Rauschenberg

Bed, 1955. Oil

and pencil on

pillow, quilt, and

sheet on wood

supports, 191.1x 80 x 20.3 cm

Canyon, 1959. Oil, pencil,

paper, metal, photograph,

fabric, wood, canvas,

buttons, mirror, taxidermied

eagle, cardboard, pillow,

paint tube and other

materials, 207.6 x 177.8 x 61

cm

Rival, 1963. Lithograph,

composition 60.3 x 44.1cm


Jasper Johns


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Jasper Johns

White Numbers, 1957. Encaustic oncanvas, 86.5 x 71.3 cm 0 through 9, 1961 (cast 1966).Aluminum, 66 x 50.2 x 2.2 cm


David Hepher


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David Hepher

These works

speak in a

heterogeneous

visual language,

the

Mondrianesque

grids of the

buildings are

interrupted by

segments of

landscape torn

from other

urban areas;

streaks of paint

mark their

architectural

anatomies;

spray paint

mimicking tags

of graffiti litter

the canvas.


Adriana Varejao


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Adriana Varejao

Azulejaria "de tapete" em carne viva, 1999

oil on canvas and polyurethane on aluminum

and wood support, 150 x 190 x 25 cm

A Malvada (The Wicked), 2009

graphite on paper, 64 x 72 cm

http://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejohttp://www.lehmannmaupin.com/artists/adriana-varejo


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The secret of private lives

and experiences are often

gidden behind closed doorsor expressions that give

nothing away

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Manet
http://www.getty.edu/art/exhibitions/manet_bar/


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Manet

Manet's Bar at the Folies-BergerSunday, 17 February 13

Velasquez
http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/http://www.getty.edu/art/exhibitions/manet_bar/


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VelasquezLas Meninas, c. 1656,

oil on canvas,

318 x 276 cm,

Museo Nacional del Prado, Madrid

video

This, the most famous ofVelzquezs works, offers a

complex composition built

with admirable skill in the use

of perspective, the depiction

of light, and the

representation ofatmosphere. 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

reflected in the mirror at the

back of the room, leading to

series of extraordinarilycomplex spatial relations.Sunday, 17 February 13

Caroline WalkerConservation, 2010,

Oil on canvas 200 x 290 cm
http://www.youtube.com/watch?v=IiTtGENiVOAhttp://www.youtube.com/watch?v=IiTtGENiVOA


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Caroline WalkerOil on canvas, 200 x 290 cmOccupying a place between document and fiction, my painting practice explores

the relationship of women to domestic space, and reflects on a history of

representing women in art. The locating of a specific house, most recently a

contemporary grand design, is the starting point for creating a set in which the

fictitious scenarios I develop can unfold.

A combination

of the existing

contents of the

house and

additional propsare used to

subvert an idea

of domestic

order, while a

lone female

figure inhabits

multiple

characters from

the cleaner, to

the mistress, to

the lady of thehouse.Sunday, 17 February 13

Francis Bacon


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Francis Bacon

Four Studies

for a Self-

Portrait, 1967,

oil on canvas,

91.5 x 33 cm

Three Studies

from the Human

Body, 1967, oil

on canvas,

197.5 x 147.6

cm


Justin Mortimer


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Justin Mortimer

Annexe, 2012, 240 x 180 cm

Creche, 2012, 220 x 180 cm


Paula Rego The Maids, 1987, Acrylic on canvas-backed paper, 213 x244Th h h f h


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244 cmThe story at the heart of the

painting came to Paula Rego

ready-made in the form of

Jean Genets play The Maids

(1947), itself based on thereal-life case of the Papin

sisters, Christine and Lea,

who worked as maids for a

rich Parisian family. One day,

frightened for no apparent

reason other than that of apower cut which

inconvenienced and possibly

frightened the sisters, they

brutally murdered the mother

and daughter of the family

while the man of the housewas out at work. In working

with the story, Paula Rego

seems to have focused on the unnatural closeness of the sisters, both to each other

and the mother and daughter they murder. Ambiguity and menacing psychosis

reverberate within the picture, much of it carried in the objects with which the room isclaustrophobically furnished.Sunday, 17 February 13


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The extraordinary often lied

hidden within the ordinary

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Pieter de Hoogh


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gDe Hooch is noted for his interior scenes and use of light. His favorite subjects were

middle-class families in ordinary interiors and sunny courtyards, performing their

humble daily duties in a calm atmosphere disrupted only by the radiant entry of natural

light penetrating a door or window.

A Mother and Child with its Head in Her Lap, c.

1658-1660

The Courtyard in Delft, 1658

Oil on canvas, 73.5 x 60 cm


Vermeer


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Hotspots in theimage!

A Girl Reading a Letter by an Open Window, c.

1657

oil on canvas, 83 x 64.5 cm

Young Woman with a Water Pitcher c. 1664-1665, oil on

canvas, 45.7 x 40.6 cm

Hotspots in the

image!


Chardin
http://www.essentialvermeer.com/catalogue/young_woman_with_a_water_pitcher.htmlhttp://www.essentialvermeer.com/catalogue/young_woman_with_a_water_pitcher.htmlhttp://www.essentialvermeer.com/catalogue/young_woman_with_a_water_pitcher.htmlhttp://www.essentialvermeer.com/catalogue/young_woman_with_a_water_pitcher.htmlhttp://www.essentialvermeer.com/catalogue/girl_reading_a_letter_by_an_open_window.htmlhttp://www.essentialvermeer.com/catalogue/girl_reading_a_letter_by_an_open_window.html


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Chardin is renowned for the quiet charm of his carefully constructed genre scenes

and still lifes. His skill at recording the look and feel of objects was astutely

commented upon in the 19th century.

The Silver

Tureen ,

c. 1728,

Oil on canvas,

76.2 x 108 cm


SickertGirl at a Window, Little Rachel, 1907, Oil

paint on canvas, 508 x 406 mm
http://www.tate.org.uk/art/images/work/T/T06/T06447_10.jpghttp://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/tate/large/tate_tate_n03846_10_large.jpg


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Walter Sickert was one of the most influential British painters of his day. He thought

that most paintings were too sentimental and that art needed to embrace the dark side

of real life.

Ennui (boredom in French), c.1914

Oil on canvas, 152.4 x 112.4 cm


Morandi
http://www.tate.org.uk/art/images/work/T/T06/T06447_10.jpghttp://www.tate.org.uk/art/images/work/T/T06/T06447_10.jpghttp://www.tate.org.uk/art/images/work/T/T06/T06447_10.jpghttp://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/tate/large/tate_tate_n03846_10_large.jpghttp://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/tate/large/tate_tate_n03846_10_large.jpg


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Winifred Nicholson
http://www.winifrednicholson.com/node/161/106


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Blue Hyacinths in a Winter Landsca

Oil on board, 1950s, 61 x 76cm

Cheeky Chicks

Oil on canvas

1950 62 x 75cm


Nina MurdochPrawle Point, 2010, egg tempera

on gesso panel, 48 x 78 in
http://www.winifrednicholson.com/node/161/106http://www.winifrednicholson.com/node/161/106


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Antony GormleyAnother Place, 1997


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