1.2 Verduidelik waarom Goldblatt hierdie twee tradisies van kuns op sy foto vergelyk. (2)

3.2 Wat was die doelstellings van die Rorkes Drift sentrum?     (4)

SECTION B:  ISSUES THAT ART ADDRESSES IN INTERNATIONAL ART

2.2   Look at Image C and in a paragraph argue why Image C belongs to the Fauvist movement. Refer to the movement’s stylistic characteristics, such as the formal elements and Fauvist influences that you identify in the artwork in your discussion.   (8)

2.4   In approximately one page refer to Image D and E to explain the similarities and differences between the two German Expressionist movements. Categorize Image D and E into either DIE BRÜCKE or  DER BLAUE REITER.  Include their use of the formal elements of art and stylistic characteristics in your discussion. Make sure you look at the mark allocation.   (16)

1.5 Wire is Oltmann’s main medium for making sculptural works and he manipulates it in a way that emphasises hand-made process. He uses the linear quality of wire to create forms and surfaces through techniques that look like handcrafted weaving, knitting and crocheting. These techniques are traditionally seen as women’s work.  How does his use of this technique and medium create meaning in Image A ? (2)

Kliek regs op die knoppie om FIGURE  D  & E  in ‘n nuwe TAB oop te maak:   2.3 Gee die kunstenaars se name en titels van FIGUUR D  en  E.      (4)

   3.3 Referring to ONE artwork by a Polly Street artist and ONE artwork by a Rorke’s Drift artist discuss how these artists reflected their social circumstances through their choice of subject matter and style.     (12)     2 Artist 4 marks   2 Title with Brief description Relevant facts 8 marks    

QUESTION 1 Study Images A and B, read the text and then answer the questions that follow. Right click on the button below to open  IMAGES  A  & B  in a new TAB:   1.1   In Image B, the artist David Goldblatt makes reference to African indigenous art as well as traditional Western painting. Identify two aspects of the photograph that link with western traditions of painting and two aspects that link with African indigenous art. (4)

VRAAG 3:  POLLY STREET & RORKES DRIF KUNSSKOLE 3.1  Voorsien ‘n kort sosiale konteks van ‘n Afrika-kunstenaar in Suid-Afrika toe hierdie kunsskole geskep is?            (4)