Hotere Oputae Cut : And Daisies Falling

8/9/2019 Hotere Oputae Cut : And Daisies Falling

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NCEA Level 2 Art History (90230) 2007 page 1 of 1

Assessment Schedul e 2007

Ar t History: Examine an art movement (90230)

Judgement Statement

Ac hievemen t Ac hievemen t with Meri t Achievement w ith Excell enc eThe context of the art movement isdescribed

and

the key characteristics of the artmovement are identified.

1 A

How selected works arerepresentative of the movement isexplained.

1 M

The relationships between art works,the art movement and its context areexplained comprehensively.

1 E

Candidates answer ONE question.

Evidence Statement

QUESTION ONE Grade

Social and historical factors that underlie the focus on land, are described.Key issues concerned with the land, as depicted by M ori artists, are identified.

Social and historical factors may include: Te Tiriti and its importance in New Zealand history Ownership, use and appropriation and changing values

Shifting values in rural and urban environments Socio-cultural associations with place Spiritual values and land Environmental awareness and conservation

Key issues may include: Appropriation of te whenua, the land, and specific history Conservation of land Spiritual or cultural values and land Land and socio-cultural identity

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As for Achievement, AND TWO art works / taonga by M ori artists that represent the focus onland are explained in terms of how they represent land issues.

EgRalph Hotere, And Daisies Falling , 1989

Hoteres Oputae series, to which this work belongs, were concerned with the conservation of a

site of specific cultural significance. Oputae headland was an historic lookout point in the OtagoHarbour town of Port Chalmers. The local authorities wished to remove the headland toprovide more loading facilities at the wharf, and a local protest ensued. Hoteres imagecontains identifying local landmarks the cross-like flagpole, the old M ori name for theheadland, and the word Cut, indicating where they were going to destroy the land. The daisiesdrawn across the hillside resemble those that grew there and that would fall with the hillside.The Oputae site was also historically linked with the important local sites of Aramoana andOtakau.

Jacqueline Fraser, Ko Aoraki te Maunga, 1991

Te whenua, the land, and the significance of place. This installation surrounds an emblematicrepresentation of the floor and walls of the wharenui. The woven matting on the floorrepresents a place to gather; the vertical figures are kaitiaki, or protective spirits, guardianspirits; the triangular patterns refer to tukutuku. Other motifs koru for example refer toidentity through traditional M ori culture. The greenstone chips denote mana. The centre motifis Aoraki (Mt Cook), the dominant landmark of the Southern Alps. The greenstone pounamu

refers to the South Island of New Zealand.

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As for Achievement with Merit, AND the relationships between the art works / taonga, theartist(s) concerns, and the social and historical factors that underlie land issues, arecomprehensively explained.

Hoteres work was one of a whole body of works he developed in response to the threat to theland, and one of several series, including the Aramoana series, that he developed inconnection with the issue of conservation of the land. There were three important concernsunderlying Hoteres feelings about the land:

it was the site of his own studio, and of a number of major and historically importantsculptures concerned with this site;

it was a protest over the domination of commercial interests over those of theindividual, and over the value of the land itself;

it was a site of historical and spiritual importance for the local M ori community. Although much of Hoteres work is abstract, many works are to do with political themes aboutprotecting the land.

Some cultural and land issues revolve around the loss of traditional identity and valuesassociated with specific landmarks or sites here Aoraki, the significant landmark for Kai Tahuiwi. The identification of the mountain as Mt Cook led to the loss of much of its traditionalsignificance for M ori, as it became a symbol representing more Eurocentric interests. Fraserreclaims its earlier M ori identity as Aoraki, a landmark of special significance for Kai Tahu, byrefocusing on its role as a culturally identifying landmark, and relating it to notions of marae orwharenui, traditionally closely associated with place and key sites or landmarks. Frasereffectively integrates the forms of mountain and house and kaitiaki to refer to the ways theseentities frame identity through place.

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QUESTION TWO

Key historical issues that have formed a central focus for M ori art are identified.Social and cultural factors that underlie the focus on historical issues, are described.

Historical issues may include: Historical loss of cultural knowledge History of conflicting cultural values eg on land or place Changing status of artifacts / taonga History of race relations Changing developments in technologies, forms, or structures Maintaining carving traditions Preserving key colour conventions Preserving traditional themes whakapapa , mythologies etc Sustaining traditional craft technologies eg weaving, knotting ( t niko )

Social and cultural factors may include: Changing materials and technology custom board, routers, synthetic materials Loss or change of cultural knowledge Changing cultural interests in urban and rural environments Time Loss, reclamation, or replacement of cultural identities and practices

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As for Achievement, AND TWO M ori art works / taonga that represent historical issues areexplained in terms of how they represent those issues.

Eg Protest-related works focusing on reclaiming cultural heritageRobert Jahnke, Ng Ata O Te Whenua , 1990This sculptural installation comprises a number of structures resembling tools picks, axes,and sledgehammers. The tools represent those used in early trading and in the pioneeringenterprise, the processes of colonisation and appropriation. The works also resemble Taucross shapes. They carry signs including crosses, triangles, and spirals that have their

origins in signs used in earlier M ori traditions at Parihaka, for example. They are s tained onbrowns, blacks, deep reds; the colours of earth and blood, and colours found in whakairo ofearlier M ori art. In drawing together from this range of sources, the work combines signs fromoften disparate sources that reveal something of the complexity of the sources that informnotions of identity, and competing traditions that inform this, today and since P keh settlement. The work is a statement of protest against both the P keh appropriation of theland and the associated loss of identities.

Emare Karaka, Treaties (Nuclear Mother, ANZUS, Waitangi, Gleneagles) , 1984In the four panels that constitute this work, Karaka draws together images and events from ourdual European heritage that have come to signify failed or uncomfortable cultural relations:failed treaties (ANZUS, Waitangi, Gleneagles), the crucifixion, and images of skulls, deadbodies, contorted mask-like forms. The image is suffused with dark blacks and bloodlike reds.It is an uncomfortable, confrontational work that forces the viewer into uncomfortableassociations of ideas.

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As for Achievement with Merit, AND the relationships between the art works / taonga, theissues that have occupied M ori artists, and the social and cultural factors that underlie theseissues, are explained.

Ng Ata O Te Whenua The interplay of Christian and M ori iconography suggests the interrelationships woven throughthe Treaty of Waitangi the shadow of the land has been taken by the Queen, while thesubstance remains with the M ori. (Nopara Panakero) In this instance, Jahnke uses the seriesof structures to invert the relation: Inversion of form, the waxing and waning of structures, referto the usurpation of mana and land. The substance of the land has been taken by the Queenwhile the shadow remains with the M ori.

Treaties All art is politics, and all politics is art. The moko and the cross remain potent images ofprotest. The cross, with its additional religious meaning and subtexts of domination, has been aprimary symbol for artists dealing with the polemics of issues involving the Treaty of Waitangi.M ori women like Emare Karaka, Robyn Kahukiwa, Kura Te Waru Rewiri and Diane Princehave embraced the cross as an indictment of P keh colonization. ( Mataora p. 126)

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QUESTION THREE

For the nineteenth century period in which New Zealand was colonised, TWO circumstancesare described in which the art of that period was made.Key characteristics of the art of the colonisation period are identified.

Contexts (circumstances):

Topographical landscapes done in the 1830s to 1860s were made for the purpose ofrecording the lie of the land, and for encouraging new colonists. Areas which would besuitable for clearing for farmland, and areas which had easy access to water transport wereprimary concerns. Paintings were used to demonstrate that a civilised life was possible inNew Zealand, that there was plenty of wood ava ilable to build homes etc, and that therewere employment opportunities.

Watercolours used because they were portable, quick drying, more readily available thanoils and suitable for small paintings to be sent back to England. The artists were oftenamateur, without formal art training, and were unskilled in the use of oils.

Later, photography reduced the need for making a painted record of settlements, allowingartists to freely capture landscapes that appealed because of their drama or grandeur.

A small number of artists worked professionally in the late 19 th century.

Characteristics: Landscapes were more numerous than figure paintings. Early colonial landscapes topographical artists faithfully recorded the geographical

forms of the landscape and the progress made in settling New Zealand. Use of watercolours with pastel hues Early landscapes were often panoramic, giving an expansive view of the land with the

inclusion of small settlements. Later 19 th century landscape artists romanticised the landscape by depicting the most

spectacular scenes and enhancing the scale and power of mountains, waterfalls etc. Later in the century, works increased in size and the use of oils increased.

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As for Achievement, AND TWO appropriate art works a re discussed to explain how they arerepresentative of the nineteenth century period in which New Zealand was colonised.

Eg Charles Heaphy, Kauri Forest on the Wairoa River, Kaipara , 1840 As a colonial artist, Heaphys role was to record colonial life, hence the milling of Kauri.

Heaphy illustrates the success o f logging without any sign of the dangers involved inlogging.

Heaphy was an amateur artist he uses simple devices compositional divisions offoreground (men manoeuvring logs), middle ground (trees) and background (forest).Vertical emphasis created by trees is balanced by horizontals in the foreground and thediagonal direction of the forest in the background. The middle distance trees are a framingdevice providing a backdrop for the activities in the front and a method for leading the eye toview the great expanse of trees still to be milled.

The function of the work is to inform the audience is given specific information on thelocation ( on the Wairoa River ), lending credibility to the image.

Eg John Kinder, St. Pauls, Auckland , 1856 Illustrates the nature of settlement in an area of Auckland following colonisation the

importance of the Church is evident in its placement at the top of the hill, where it is able tobe sighted from a distance, and because of its size, as the largest building in the painting.

It shows the neat, civilised character of colonial settlement with solidly built houses (someseveral stories high), picket fence, and grassy roads.

The painting is executed in wash use of watercolour was convenient and morestraightforward to use than oils for amateur artists.

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As for Achievement with Merit, AND the discussion comprehensively explains relationshipsbetween the art works, the nineteenth century period in which New Zealand was colonised,and their contexts (the circumstances).

Eg Charles Heaphy, Kauri Forest on the Wairoa River, Kaipara , 1840 Heaphy was an artist and draughtsman for the New Zealand Company the company used

such images as advertisements for the prosperity that was promised for settlers coming toNew Zealand. The painting depicts an abundance of excellent wood for trade and building.

Eg John Kinder, St.Pauls, Auckland , 1856 Kinder was an Anglican churchman and a respected resident of the new colony. He records

the development of the colony and presents it in its best light as a tidy and prosperousplace.

Like many artists of the colonial period, he was an amateur artist with no formal training inart, but his paintings and drawings serve as a valuable historical record of what NewZealand looked like in the colonial period.

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QUESTION FOUR

TWO key contexts that led to the emergence of Modernism in New Zealand art are described.Key characteristics of Modernist art in New Zealand are identified and the contexts aredescribed.

Note: Answers may be very varied here depending on which artists the candidate selects asModernist.

Contexts: In New Zealand, the influence of modernism took varied forms as each artist selected differentaspects of the wide-ranging forms of modernism to explore.Peter Childs, in his book Modernism , Routledge, 2000, p.129, comments that Modernism isnot a precise label but instead a way of referring to the efforts of many individuals across thearts who tried to move away from established modes of representation.

Colour images of works from overseas became more readily available in magazines andbooks.

Artists travelled and returned with new ideas sometimes they became teachers passingon their awareness to younger artists.

Widening acceptance of various styles in New Zealand by art schools, critics, and artbuyers.

Exhibitions eg Henry Moore 1956, British Abstract Art 1958. (Brown and Keith state that theBritish Abstract Art exhibition exerted an influence quite out of proportion to the importanceof the actual works it contained , New Zealand Painting: An Introduction , p.174).

Key styles that influenced New Zealand artists included Fauvism, Expressionism, Cubismand Abstraction.

Characteristics

Characteristics will be dependent on the artist selected.eg John Weeks was influenced by Cubism and emphasises formalist concerns, as doesMcCahon in works such as Kauri 1953.

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As for Achievement AND with reference to TWO art works an explanation is given of how theworks show the influence of the Modernist art movement.

Eg John Weeks, Cavern , date unknown Cubist interest in shape and colour rather than representing the exact surfaces of a

cavern, the forms creating the cavern are suggested by contrasting light and dark areasand contrasting colours such as cream and green.

The textural effects of the paint enliven the painting surface and perhaps give animpression of water and rough rocky cavern walls.

Eg Colin McCahon, Northland Panels , 1958 Shows the influence of Modern American artists such as Pollock and De Kooning. Adopts a large-scale format with his paintings to walk by. Combines abstract and figurative features as Pollock and De Kooning do. Canvas is left un-stretched. Brushwork is loose, providing the freedom that is associated with Modernism. Parallels Rothko in his expression of spiritual aspects.

Eg Colin McCahon, Here I give thanks to Mondrian , 1961 Shows the influence of abstract art from Europe and America, and in particular the

influence of Mondrian. References the abstract rectangular forms frequently used by Mondrian but McCahons

work is freer he tips the rectangle on the diagonal (compared to Mondrians well-knownhorizontal versus vertical grids).

Applies the paint more freely too than Mondrians smooth surfaces, so introduces theabstract expressionist features into the work.

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As for Achievement with Merit, AND the relationships between the characteristics of the artworks and the context of the Modernist art movement are comprehensively explained.

Eg Colin McCahon, Northland Panels , 1958 McCahon visited America in 1958 this workwas painted on his return and demonstrates some new stylistic features that appear to derive

from the experiences of his trip eg he saw a show of Japanese scroll paintings by TomiokaTessai their long narrow format is echoed in the Northland Panels however McCahonclaimed that Tessai had little direct influence. The huge size of some American art worksappears to have had a greater impact. On his return, McCahons works are a blend of new andformer elements.

Eg Colin McCahon, Here I give thanks to Mondrian , 1961 McCahon was living in Grey Lynnat this time, and his work in this period has less focus on landscape. Here, the elements arealmost fully abstract. He commented that The painting reflects the change I felt in shifting fromTitirangi to that of the urban environment based on the landscape I saw through thebedroom window (M. Bloem and M. Browne, Colin McCahon A Question of Faith, 2002,p.193). McCahon attempted to follow the modern practice of using masking tape to create thelines in the composition but had difficulty and did them by hand. McCahon also shared some of

the Modernist painters interests in spirituality, such as Mondrians proposals for transcendingthe local and earthly in order to occupy a cosmic and spiritual realm (ibid. p.194).

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QUESTION FIVE

A description is given of TWO contexts in which the Romantic art movement developed.Key characteristics of the Romantic art movement are identified.

Contexts: Artists were reacting against the Neo-Classical movement that had dominated the Frenchacademic system since the 1780s.The Romantic movement in literature and music had a similar impact in changing the nature ofthese arts also.19 th c. political circumstances and revolution altered peoples perceptions and personalcircumstances the class system was shaken and middle-class citizens began to demandmore say in the affairs of the country and to explore new opportunities. Baudelaire, aninfluential art critic in mid 19 th c., wrote of the need to seize the epic quality of contemporarylife. The Romanticists initially supported the Napoleonic desire for dominance in Europe butafter his fall they often sided with the revolutionaries. Interest in the sublime was distinguishedfrom focus on the beautiful. The Romantic ideals are also expressed in landscape paintings,and French artists would have been aware of the developments of Turner and Constable.

Characteristics:

Subjects Contemporary references artists often depicted the tragic and dramatic events oftheir time. Exotic subjects the interest in the Islamic world of North Africa and the Middle Eastis shown in exotic dress, accessories and environment.

Composition asymmetric compositions replaced the symmetry and balance of Neo-Classicism. There was strong use of diagonals, pyramidal compositions, and complex,interlocking forms.

Figures often had complex poses and showed extensive movement.

Colour an important vehicle for expression of emotion rich, warm tones are often used.

Light use of bright, exotic light and chiaroscuro effects.

Line little emphasis on outline.

Brushwork expressive brushwork and lightly textured surfaces.

Space complex spatial relationships and often a sense of extensive depth.

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As for Achievement, AND with reference to TWO OR MORE art works an explanation is givenof how the works are representative of Romanticism.

Eg Gericault The Raft of the Medusa, 181819

Contemporary subject In July 1816 the French frigate Medusa ran aground off the African coast. Because there

were not enough lifeboats, 150 passengers and crew constructed a raft while the captain(who owed his position to his social connections), and other crew, embarked in thelifeboats. The raft had little food or water and drifted for 13 days. Only 15 survived the sun,murder, madness, cannibalism, and suicide.

Gericault shows the moment when the survivors see the sails of their rescue ship. The dramatic subject is conveyed through expressive gesture. Incorporates the sublime, uncontrollable nature in a storm setting.

Complex composition Forms are contained within two large triangles, or pyramids, extending from their apexes at

the top of the mast and the head of the standing figure. There are also smaller triangleswithin these that serve to unify the figures. Romantic art often employed strongcompositional designs to contain the chaos of individual forms within the work.

Light Chiaroscuro is used to highlight some bodies eg the limbs of the figure falling towards thespectator out of the picture plane, and to provide strong contrasts between dramaticgestures and the stormy sky.

Form Gericaults poses are complex with overlaying of forms. Muscular, perfect body structure.

Colour A restricted palette and a wide tonal range. Does not have the warm tones associated with many Romantic works.

Eg Delacroix, Horses Emerging from the Sea , 1860

Subject exotic the rider with turban suggests that Delacroix has been inspired by his earliervisit to Morocco. An idyllic setting is suggested through the sweeping, fairly isolated coastlineand fishing boat.

Composition The composition is less complex than some Romantic works but uses diagonalsto create a sense of movement, eg the diagonal formed by the horses.

Light The bright light of an exotic setting is suggested in the white caps of the water but astormy sky also threatens such combinations are typical of Romanticism as it creates adramatic effect.

Brushwork Loose brushwork suggests the movement of the water in the bottom right of thecanvas and light brushstrokes are used to indicate the buildings on the hills behind thisserves to create a hazy appearance, reducing the emphasis on the background scene.

Colour The red tunic on the man riding the grey horse is the only bright hue in the canvasand draws the spectators attention to the key subject reds were frequently used in Romanticworks because they are associated with passion and drama.

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The discussion comprehensively explains relationships between art works, the Romantic artmovement, and its contexts.

Eg Gericault The Raft of the Medusa, 181819 Gericault was the archetypal Romantic artist he travelled widely to broaden his

experience and explore new exotic subjects. Gericault was deeply moved by the tragic events of the Medusa he interviewed survivors,

studied the newspaper reports, observed the movement of the sea, and collected limbsfrom the local hospital to understand the different stages of decaying flesh. The composition with strong diagonal stresses refers back to Baroque rather than Neo-

Classical examples. The classicised idealisation of figures was continued by the Romantic artists.

Eg Delacroix, Horses Emerging from the Sea , 1860 The impression of the wildness of the subject with horses rising on their hind legs and the

man twisting back to control them is typical of the dramatic subjects selected by Romanticartists. Horses also appear in other works by Delacroix, such as The Abduction of Rebecca18568, and he did numerous paintings of lions, which he claimed to have seen roaming inthe mountains of Morocco.

The loose brushwork is typical of his later works, through which he captures the fluidmovement of the horses, sky and water.

The impact of Moroccan light influenced his increasingly light palette.

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QUESTION SIX

TWO social and / or artistic factors that led Post-Impressionist artists to develop their individualstyles are described.Key characteristics of Post-Impressionist artists individual styles are identified.

Social and artisti c factors (Contexts): Earlier in the century, artists were often concerned to show the social impact of the

revolutionary period and of industrialisation, but by the late 1880s and 1890s theseconcerns were less prominent. Instead, Post-Impressionist artists frequently exploredpersonal concerns (eg Van Gogh), or artistic concerns (eg Czanne) or exotic subjects (egGauguin).

Post-Impressionist these artists built on Impressionist principles to move in a newdirection ie the Impressionist movement had began to disintegrate and lose favour by themid 1880s. Post-Impressionists, in part, reacted against some features of Impressionismeg its formlessness.

While Paris remained a major artistic centre, artists did not always focus their attention onParis eg Czanne Provence, Van Gogh Arles, Gauguin Tahiti.

Colour theories of Chevreul.

Characteristics :Eg Seurat (Neo-Impressionist). Subjects middle class at leisure. Pointillism. Solidity of form. Deliberate compositional structure and balance. Vibrant colour.

Eg Gauguin Subjects the landscape and people of Brittany and Tahiti man uncorrupted by modern

life, people living in their natural state. Forms are often strongly outlined.

Space appears flattened. Use of high viewpoints. Broadly brushed planes sometimes thinly applied. Use of arbitrary colour.

Eg Van Gogh Subjects portraits of friends, landscapes around Arles he painted what he felt a sense

of the personal. Incorporates Japanese prints in some works. Bold forms. Brushstrokes follow form appearance of rapid strokes, broadly applied with a palette

knife, emotion-filled strokes, creates textures. Colour based in naturalism but enhanced to create an emotional response. Sometimes uses rapid recessions, awkwardness of spatial relationships.

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As for Achievement AND, with reference to TWO art works of the Post-Impressionist period,the characteristics of artists individual styles is explained.

Eg Seurat Le Chahut, 188990 Depicts a typical caf concert or music hall nightclub a main form of entertainment in

Paris in this period. Employs pointillism a painting technique where small dots of different colours are

juxtaposed in order that the colours will, at a distance, blend in the eye of the viewer(optical mixing). For example, blue and red dots of colour are placed side by side to createa purplish hue for the bass players jacket in the foreground.

Forms are well-defined, and sometimes an outline of dots is used to more precisely defineforms eg the legs of the dancers. Seurat developed a new way of modelling form throughcareful selection and placement of dots, eg the use of lighter tones to model the back of thehead of the bass player.

The repetition of forms (legs of dancers) reinforces the rhythms played by the musicians. Forms are also deliberately flattened by selection of similar colours, eg the chests of the

dancers and the lamps. Simplification of form adds to the clarity of the image. A low viewpoint has been adopted so the spectator aligns with the musicians this

emphasises the kicks of the dancers. Well-ordered composition the diagonal emphasis created by the alignment of the

dancers legs and neck of the double bass, is balanced by the vertical pole and uprightstance of the bass player. The lamps provide a framing device at the left and top.

The figures in Seurats Chahut are frozen, static and stable despite the active poses theyadopt.

Eg Van Gogh Wheatfield with Crows , 1890 Applies black paint in thick strokes to represent the crows and yellow paint for wheat

moving in the wind. His expressive brushwork, which follows form, is identifiable as hispersonal style.

The composition appears to be simplified to a horizontal band for the sky and a furtherhorizontal band for the wheat and grass below.

Forms are simplified the sun is an irregular patch of pale blue while the pathways through

the wheat are sweeping lines of red and green paint.

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As for Achievement with Merit, AND the discussion comprehensively explains relationshipsbetween the art works, the contexts in which Post-Impressionism developed, and Post-Impressionist styles.

Eg Seurat Le Chahut 188990

Seurat titled the work Chahut , which means uproar, which probably refers to the audience

reaction to the popular Can-Can dancers (featuring high kicks) shown here. The works ofToulouse-Lautrec in the same period also feature nightclubs as a main subject. Deliberate clarity of form is a reaction against the dissolution of form in Impressionist art. Seurat had adopted a theory that lines express emotions, so the viewer might sense that

the diagonals following the raised arms and legs of the dancers, encourage mirth, as dothe little bows on the girls shoes and hair. (Discovering the Great Paintings, Seurat,Fabbri, p22) .

The regular use of dots of colour differs from the Impressionist use of short, rapidly appliedbrushstrokes.

Seurat drew on Chevreuls theories in his book On the Law of Simultaneous Contrasts ofColours, but Seurat uses this knowledge of colour relationships to intensify effects through

juxtaposing complementary colours. The inspiration for Seurats painting was probably Degass The Orchestra of the Opera , but

the figures in Degas work are, by contrast, more relaxed and informal which gives a senseof movement. This demonstrates the more spontaneous approach of the Impressionistswhen compared with the slower, more preplanned approach of Seurat.

Eg Van Gogh Wheatfield with Crows , 1890 The expressive qualities of his art relate to his intense and passionate personality. He

suffered from mental illness and depression in the last years of his life, and this may havecontributed to the subjects of his work, eg the depressed looking Portrait of Dr. GachetJune 1890 or to the distortions of space eg Bedroom at Arles 1889.

The violence of the brushwork in Wheatfield with Crows can be partially explained by thedeterioration in his mental health in mid-1890. He worked furiously, simplifying theelements of crows, sun, and wheat fields to the essentials of colour and rhythm. Theimpasto application of paint in broad sweeping strokes makes the work seem restless andagitated.

Several weeks after painting this work, he returned to these wheat fields with a pistol andtried to end his life.

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QUESTION SEVEN

A description is given of TWO factors that led to the Neo-Gothic style being chosen byarchitects.Key characteristics of the Neo-Gothic style are identified.

Contexts and Characteristics:

The competition f or the Houses of Parliament in Lo ndon h ad establis hed Neo-Gothic asthe favoured styl e in England in the 1840s.The Anglican revival of the 1840s establish ed Neo-Gothic as the only acceptable style foran Anglican church.

The Gothic style was Bishop Selwyns preferred style for many of the churches built in NewZealand in the 1840s. Selwyn believed that through adopting ecclesiological principlesevident in medieval forms of architecture, the church would be spiritually renewed(P. Shaw, A History of New Zealand Architecture , p.24).

The materials available in New Zealand determined the development of Selwyns buildingprogramme. Construction in wood emerged from the failures experienced with stone eg thescoria structure used for St. Stephens Church, Parnell, began to disintegrate from the

moment it was built. Rather than the renowned stone Gothic Cathedrals in England and Europe, wooden

medieval buildings became the models for the wooden churches built in New Zealand. The new church building programme arose from the context of the development of the

Anglican Church from its initial missionary functions to the development of a church to caterfor the new colonists.

In the mid- to late 19 th century, some architects also adapted Gothic styles for public buildings by that time there was a slightly wider range of materials available, such as brick.

Key features: pointed arches, rose windows, steeply pitched roofs, tall spires and belltowers, contrasting use of colour eg grey stone structure with white decoration.

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As for Achievement, AND TWO appropriate buildings are discussed to explain how they arerepresentative of the Neo-Gothic style in New Zealand architecture.

Eg Old St.Pauls, Wellington, 1866 Originally consisted of a nave, apsidal sanctuary, two side aisles, octagonal vestry and tower

over the entry this was in keeping with the wishes of ecclesiologists and follows Gothicpractices.

Large Gothic pointed arch windows and contained within them are two smaller archedwindows.

The steep spire and decorative windows are Gothic in style. The interior has exposed Gothic pointed rafters. The trefoil motif (symbolic of the Trinity) is employed to decorate the wood where the beams

and columns join.

Eg Christchurch Cathedral, 1860 Gothic appearance through the solid stone exterior; comprises Gothic features such as

buttresses here, rather than the large flying buttresses required to support the height ofGothic stone cathedrals, the buttresses are small rectangular projections.

The cathedral has a Gothic pointed arch entry porch, steep spire upon a square tower,narrow pointed-arch windows, a large rose window, and steep roofs.

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As for Achievement with Merit, AND the discussion comprehensively explains the relationshipsbetween the selected buildings, the Neo-Gothic style, and its context. Classical styles rather than Gothic were favoured for public buildings, so the most numerous

examples of Gothic Revival design are churches. Selwyn was a member of the Ecclesiological Society (also known as the Cambridge

Camden Society), whose ideas led to neo-Gothic Churches that followed strictecclesiological principles being built all around the world eg the design of Old St. Pauls

follows the layout deemed appropriate for ecclesiastical buildings. The Ecclesiological Society preferred the Pointed Gothic style, but economics in the new

colonies led to more modest adaptations eg St. Johns College Chapel built in wood withsmall rectangular, rather than arched windows, small bell tower etc.

The ecclesiologists condemned the covering of beams and rafters, so framing was exposed.This suited the wooden constructions that Thatcher designed, where exterior vertical framingcould be both decorated and functional through the addition of cross-bracing, eg St. JohnsCollege Chapel. The use of exposed interior bracing and beams is demonstrated in Old St.Pauls.

Following his desire to revive Medieval building designs, Sir George Gilbert Scott originallysuggested a wooden building for Christchurch Cathedral, but the discovery of suitable stonein Canterbury led to an alternative plan in stone.

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QUESTION EIGHT

A description is given of TWO OR MORE contexts that led New Zealand architects to adopt theInternational Style.

Key elements of the International style of architecture are identified.

Contexts: Modernism and the International Style had largely been ignored in New Zealand during the

interwar years; but by the 1940s, some young architects, many of whom had workedoverseas, were determined that Modernist practices would prevail.

There were also architects who emigrated from Europe to New Zealand to escape anti-Semitism and Fascism, eg Friedrich Neumann (Frederick Newman) and Ernst Plischke. Themodernist International Style was introduced into New Zealand substantially by Plischke andNewman.

Plischke arrived in New Zealand in 1939 having already gained an international reputation.He was influenced, among others, by Le Corbusier and Peter Behrens.

Viennese architect Frederick Newman arrived in New Zealand in 1938 having been trainedat the cole des Beaux Arts in Paris and having worked in Moscow and Vienna beforecoming to New Zealand.

The term International Style derives from the title of a book (exhibition catalogue from theMuseum of Modern Art 1932) by Henry-Russell Hitchcock and Philip Johnson, whichidentified the characteristics of Modernism and recognised that it had become aninternational style.

Characteristics (key elements): Radical simplification of form. Rejection of ornament. Preference for glass, steel, and concrete as building materials. Transparency in manner of construction. Acceptance of mass-production and industrial techniques and aesthetics.

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As for Achievement, AND an explanation is given of the ways in which TWO OR MOREappropriate buildings are representative of the International Style in New Zealand architecture.

Eg Mt. Eden Flats, Ernst Plischke, 1942 A design for thirty-five flats arranged in a U-shape around a grassed quadrangle most of

the flats faced this courtyard rather than the street. The flats were arranged in blocks that were regular in form and simplified to their key

rectangular elements. Included a roof garden, as in some of Le Corbusiers designs. His design was compromised through demands that more flats be added and the courtyard

scaled down.

eg Symonds Street Flats, Frederick Newman, designed 1939, built 1947.

Constructed from reinforced concrete. Simple, but distinctive, curved faade. Each floor and flat is identical with its balcony and window placement so that a symmetrical

and regular pattern of windows is apparent. Flat roof, in the manner used by Le Corbusier, Gropius and other Modernist architects.

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As for Achievement with Merit, AND the discussion comprehensively explains the relationshipsbetween the selected buildings, the International style and the contexts in which they were built. Both Plischke and Newman worked for the Department of Housing Construction and

contributed to projects such as the Kupe Street multi-unit development in Orakei, the DixonStreet Flats, Wellington and the Mt. Eden Flats. The development of multi-unit buildings lentitself to the International Styles functionalist, simplified forms made from the preferredmaterials of concrete and glass.

Newman promoted Modernist principles in New Zealand, through published articles andlectures, and believed that high blocks of flats will lead to a more dynamic interpretation ofnew society (P. Shaw, A History of New Zealand Architecture , p.143). The design andfunction of the Symonds Street Flats fulfils his stated beliefs.

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