Western Cape Education

Department
Directorate: Curriculum FET

VISUAL ARTS
REVISION BOOKLET
TOPIC 3: VISUAL CULTURE STUDIES
TERM 2

Grade 10

This revision program is designed to assist you in revising the critical content
and skills that you are covering this year. The purpose is to prepare you to
understand the key concepts and to provide you with an opportunity to
establish the required standard and the application of the knowledge
necessary to succeed in the examination.
The revision program covers the following topics:
 The themes covered in Grade 10

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 TABLE OF CONTENTS

Page
Overview of Revision packages 2
Themes in Grade 10 2
About this document 3
Theme 2: African Art 4
Theme 3: Non-Western cultures 6
Theme 4: Ancient civilisations 8
Theme 5: Classical World 10
Theme 6: Middle Ages and/or Islamic art 12
Theme 7: Renaissance 15
Theme 8: Baroque & Rococo 19
Templates for analysing artworks 21
Conclusion 22

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OVERVIEW: GRADE 10
Revision

The revision packages will focus on the following:

Term 1: Topic 3 – Visual Culture Studies (Theme 1 – Visual Analysis)
Term 2: Topic 3 – Visual Culture Studies (Themes 2 – 8)
Term 3: Topic 1 & 2
THEMES IN GRADE 10

There are 8 themes in Grade 10 Visual Culture Studies from which you must study 5.
Theme 1 is compulsory and covered in the Revision for Term 1. Your teacher will select
the other 4 themes that you will study in this year.
Theme Subject Content (Movements/artists that Page
should be studied) numbers
1 Visual analysis and P1-67
interpretation
2 African art  Palaeolithic Art P69-96
 Traditional African art
 San rock art
 Ancient cities of Great Zimbabwe,
Mapungubwe
3 Non-Western cultures  Native American art P97-126
from across the globe  Oceanic art
 Asiatic art, e.g., Chinese, Japanese
art
4 Ancient civilisations  Mesopotamia P127-160
 Egypt
5 The classical world  Greek art P161-194
 Roman art
6 Middle Ages and/or • Early Christian, Byzantine, P195-230
Islamic art Romanesque, Gothic art
7 Renaissance Development from Proto-Renaissance P231-260
to Mannerism
8 Baroque and Rococo Baroque artists from the Netherlands, P261-324
Italy, Spain etc.
French Rococo

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 • Specific artworks are selected from the different art movements/styles for an in-
depth study to illustrate the workings of these artworks in the various societies. A
minimum of four works of art should be studied in each theme.
• IMPORTANT: You will be tested on studied content in each theme plus Visual
Analysis questions on ‘unseen’ artworks. Important for both of these are your Visual
literacy skills to be able to analyse artworks, both studied and ‘unseen’. (

About this
document

• As stated above, your teacher will choose the FOUR themes you are going to study
this year.
• Search for the themes you have studied.
• Fill in the titles of the artworks you have studied in the class (minimum of four).
• Then there is a list of terminology you must know under each theme. Explain the
meaning of each in your workbook.
• Answer the specific questions that follows on the theme.
• These questions will test your understanding of terminology and the theme to apply
to artworks and develop your visual analysis writing skills.
• The focus of these questions will be mainly on the portrayal of the human figure
through the ages and in different cultures/civilisations.
• At the end of this document you will see that although there are differences
between the aims, characteristics and styles of the different civilisations and
periods, there are broader themes such as spirituality, religion, political issues,
capturing everyday life, etc. that artists explored through the ages and still do.

Studying the art of the past teaches us how people have seen
themselves and their world, and how they want to show this to others.
Art history provides a means by which we can understand our human
past and its relationship to our present, because the act of making art
is one of humanity's most fundamental activities.
http://www.bristol.ac.uk/arthistory/study/undergraduate/why-study-art/

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 THEME 2: AFRICAN ART

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
 Colonialisation  Pre-Historic
 Craft objects  Shaman
 Palaeolithic period  Stone Age
 Pre-Colonial Africa  Western art

Question 2.1

Figure2a: Dogon Kanaga Masks in a ritual Figure 2b: Dogon Kanaga Mask, Mali,
wood and organic paint, no date.

The Kanaga mask was traditionally associated with funerary rituals to honour deceased
relatives and to guide their spirits to the realm of the ancestors.

2.1.1 Do you think Figure 2b is a true reflection of the mask? Explain how the function and
experience of the mask changed from Figure 2a to Figure 2b.
2.1.2 Discuss the form, use of material and stylisation of the mask in Figure 2b.

4
Question 2.2

Figure 2c: Mbuya mask, Figure 2d: Mask of Shira Punu, Figure 2e: Mask, Fang people
Pende tribe of the Congo, Gabon, wood, no date. of Gabon, 16th century.
wood and raffia, no date.

Figure 2f: Pablo Picasso, Detail Figure 2g: Matisse, Madame Figure 2h: Amadeo Modigliani,
from Demoiselle d”Avignon, oil Matisse (detail), oil on canvas, Portrait of Jeanne Hebuterne,
on canvas, 1907. 1913 oil on canvas, 1920.

2.2.1 African art had a huge influence on the development of modern art. Give two
examples of how each mask influenced the artwork directly below it.

Question 2.3

Figure 2h: Spirit Wife Figure, Baule, carved Figure 2i: Simone Leigh, Brick House, bronze,
wood, late 19th/early20th century. 2019.

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Brick house (Figure 2i) is a commissioned public sculpture in New York that celebrates black
women.
2.3.1 Explain the meaning of commissioned public sculpture.
2.3.2 How did traditional African sculpture such as the example in Figure 2h influenced
Brick House?
2.3.3 What influence did African architecture had on Brick House?
2.3.4 What do you think is the possible message/meaning of the figure considering the
title and that the figure lacks a pair of eyes.

THEME 3. NON-WESTERN
CULTURES

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
 Artefacts  Symbols
 Conceptual interpretation  Totem pole
 Indigenous/first nation people  Western civilisation
 Non-Western civilisation

Question 3.1

Figure 3a: Chinese art: Armoured kneeling Figure 3b: Indian art: Shiva Nataraja, Chola
Archer, painted terracotta clay, c. 221-206 BC dynasty, bronze, 12th century.

6
Figure 3a is one of the nearly 7 000 figures forming the Terracotta Army buried with the First
Emperor of China. The purpose of the army seems to be to serve with the Emperor in the
afterlife.
Figure 3b shows the Hindu god as the creator, preserver and destroyer of the universe and
conveys the Indian conception of the never-ending cycle of time.

3.1.1 Compare the portrayal of the two figures in Figure 3a and Figure 3b by referring to
the form, posture of the figure and style. What role did the specific medium used play
in these portrayals?
3.1.2 How is the never-ending cycle of time shown in Figure 3b?

Question 3.2

Figure 3c: Kitagawa Utamaro, Geisha in Figure 3d: Francisco Goya, The Parasol, oil on linen,
the Rain with Umbrella, woodblock, 1777.
1798.

Figure 3c is a coloured woodblock print from Japan in the style known as Ukiyo-e “(pictures
of the floating world”), while Figure 3d is an oil painting.

3.2.1 Briefly explain the technique of creating a woodblock print.

3.2.2 Woodblock prints were mass-produced and popular among the Japanese people.
How does this differ from the painting in Figure 3d?
3.2.3 Characteristics of Japanese prints include flat space, bold lines, vivid colours and
strong black shapes. Explain how these characteristics can be seen in Figure 3c.

7
THEME 4. ANCIENT
CIVILISATIONS

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
• Anthropomorphic • Hieroglyphics
• BC, AD and BCE • Idealisation
• Civilisation • Narrative
• Cuneiform writing • Pantheon of gods
• Divine Kingship • Profile view
• Frontal • Relief
• Stylised

Questions 4.1

Figure 4a: Assyrian Art – Ashurbanipal Hunting Lions, Nineveh, gypsum hall relief, c. 645 - 635 BC.

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The above images show the Assyrian lion hunt reliefs originally at the palace of Nineveh.
Only the king was permitted to hunt lions, but it was ‘fake’ as captured lions were released
from cages for the king to kill with arrows, spears, or his sword.
4.1.1 Explain what a relief is.
4.1.2 What effect do you think these reliefs had on a visitor to the palace?
4.1.3 Describe the convention (the way) and style in which the human figures were
depicted.
4.1.4 What is the emotions the lions evoke in you, the viewer? Explain why these emotions
were evoked by referring to images.

Question 4.2

Figure 4b: Egyptian Art – Wall paintings from the tomb of Nakht, fresco, c. 1401 – 1391 BC.

4.2.1 Explain the convention of portraying the human figure in Egyptian art. (How the
human was portrayed). Why are some adult figures larger than others in the same
picture?

4.2.2 What was the function of these wall paintings? (See how they remind us of comics).

4.2.3 Discuss the pattern and colour in these works.

4.2.4 What is the mood and atmosphere of these works compared with the Assyrian lion
hunt? Motivate.
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Question 4.3

Figure 4c: Ka-aper, carved Figure 4d: Khafre, carved

wood, 2465-2323 BC stone, 2570 BCE.

Khafre (Figure 4d) was a powerful king best known for his pyramid (one of the three Great
Pyramids of Gizeh) and the Sphinx which bears his likeness.
Ka-aper (Figure 4c) was an Egyptian priest and scribe.

4.3.1 Compare these two sculptures by answering the following:

 How the specific material influenced the forms of each sculpture?
 Reasons why you think Ka-aper was portrayed naturalistic, but Khafre very stylised
 What was the function of the statue of Khafre?
 What do you think the falcon behind Khafre’s head symbolised?

THEME 5:
CLASSICAL ART

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
• Art as propaganda • Kouros & Kore
• Contrapposto • Mythology
• Democracy • Naturalism
• Idealism • Secular
• Individual

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 Question 5.1

Figure 5a: Archaic Period: Figure 5b: Late-Classical Period: Figure 5c: Renaissance:
Peplos Kore, marble, 530 BC. Praxiteles, Aphrodite of Knidos, Sandro Botticelli, The Birth of
marble, 4 BC. (Roman copy) Venus, tempera, 1485–1486.

The Peplos Kore (Figure 5a) and the Aphrodite of Knidos (Figure 5b) show the development
of Greek sculpture from stylised to naturalism.
5.1.1 Explain the above statement by referring to their proportions and postures. Do you
see evidence of contrapposto and what is the effect thereof? Define stylised and
naturalism.
5.1.2 The Aphrodite of Knidos is one of the first life-size female nude sculptures in Greek
history and shows the goddess preparing for a bath. Who was Aphrodite in Greek
mythology? This figure inspired many artists in expressing an idealised female beauty
such as in the Birth of Venus (Figure 5c). What are the similarities between the two
figures in Figure 5b and Figure 5c? Why do you think it is an idealised idea of female
beauty?

Question 5.2

Figure 5d: Augustus of Prima Porta, marble, 20 Figure 5e: The Equestrian Statue of Marcus
BC. Aurelius, bronze, 161–180 AD.

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 5.1.1
Both Figure 5b and Figure 5c show Roman
emperors. Explain how their power was
portrayed in each sculpture. Look at their
postures. What do you think is the
significance of the raised arms?
5.1.2
Which one do you think shows more
power of the emperor? Consider the
inclusion of the horse in Figure 5e. Give
reasons for your answer.
5.1.3
What do you understand by the term
realism and how is it evident in these
works?
5.1.4
Do you think there is a specific Roman
Figure 5f: Kehinde Wiley, President Barack character in these work? Explain by
Obama, oil on canvas, 2018. comparing to the Greek sculptures
(Figures 5a and 5b)

5.2 Figure 5f is the official portrait of former USA president, Barack Obama.
5.1.1 What is the focal point of this work? Give a reason for your answer.
5.1.2 The president of the USA is not only a powerful figure in his country, but also in the
world. Why do you think this is an unusual official portrait and how do you think it
portrays Obama? Do you think it is a successful portrayal of a modern power figure?
Give reasons for your answers.

THEME 6: MIDDLE AGES

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
 Crusades  Islamic Art
 Icon  Manuscripts
 Iconography  Symbolism
 Idolatry  Tesserae
 Illumination
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 Question 6.1

Figure 6a: Early Christian, Sant’Apollinaire in Classe, mosaic, 6th century.

Read the following description of the work above and answer the following questions:

The upper section of the triumphal arch depicts, inside a medallion, Christ. At the sides, within a
sea of clouds, are the winged symbols of the four Evangelists: the Eagle (John), the Winged Man
(Matthew), the Lion (Mark), the Calf (Luke). The lower section has, at its two edges, the walls
showing precious gems from which twelve lambs (symbols of the Twelve Apostles) exit. The sides
of the arch show two palms which, in the Bible's symbolism, represent justice. The decoration of
the apse can be divided into two parts: in the upper one, a large disc encloses a starry sky in
which is a cross with gems and the face of Christ. Over the cross is the hand of God is protruding
from the clouds. At the side of the disc are the figures of Elijah and Moses. The three lambs in the
lower sector symbolize the saints Peter, James and John. In the lower one is a green valley with
rocks, bush, plants and birds. In the middle is the figure of Saint Apollinaire, portrayed in the act of
praying God to give grace to his faithful, symbolised by twelve white lambs.

6.1.1 The medium used for this work was mosaic. Explain how this was made.
6.1.2 Most people were illiterate during this time. What would the function of this work
have been in those times?
6.1.3 Explain why this work is symbolic and name two examples from this work.
6.1.4 The work can also be described as a narrative work. Explain.
6.1.5 How would you describe the style of this work?

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Question 6.2

Figure 6b: Saint Matthew, Ebbo Gospels, ink and tempera on vellum, c. 816 – 35.

6.2.1 Explain illumination by referring to the work.

6.2.2 Where and why was these manuscripts produced? What was the function of them?
6.2.3 St Matthew is shown as he was inspired to write his Gospel. How can you see his
inspiration in this work?
6.2.4 Why can the work be described as expressionism?

Question 6.3

This work was commissioned by

the Tatham Gallery in
Pietermaritzburg to tell the story
of the 2021 KZN rioting and to
pray for the many people in KZN
who were suffering at this time
6.3. 1
Explain how this story was told by
describing some of the scenes in
this work.
6.3.2
What is the function of the
wording in the work?

Figure 6c: Mapula embroideries, 2021 KZN rioting,

embroidery on material, 2021.

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 THEME 7: RENAISSANCE

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
• Chiaroscuro • Naturalism
• Classical Elements • Northern Europe,
• Contrapposto • Perspective
• Distortion • Proto-Renaissance
• Foreshortening • Renaissance
• Fresco • Sfumato
• Genre • Symbolism
• Humanism • Universal Man
• Idealised • Warts And All
• Monumental

Question 7.1

Figure 7a: Rottgen Pieta, painted limestone, c. Figure 7b: Michelangelo Buonarroti, Pieta,
1300. marble, 1499.

7.1.1 The Rottgen Pieta (Figure 7a) dates from the Middle Ages, while Michelangelo’s Pieta
is from the Renaissance. Compare how the same theme was interpreted by referring
to the proportions and style.

15
Question 7.2

Figure 7c: Raphael, The Marraige of the Virgin Mary, oil on panel, 1504.

7.2.1 This painting by Raphael from the High Renaissance depicts a marriage ceremony
between Mary and Joseph. Discuss why this is a good example of the High
Renaissance by discussing how the following characteristics of the Renaissance was
used by Raphael.
 Naturalism - ‘like a window upon the world’.
 Linear, aerial perspective and vanishing point
 Centalisation
 Classical elements
 Religious subject matter
 Calm, balance and harmony.

16
Question 7.3

Figure 7d: Fra Angelico, The Annunciation, fresco, 1440 – 1445.

The announcement by the angel Gabriel that Mary would conceive a child to be born the son of
God

Figure 7e: Sandro Botticelli, Primavera, tempera on panel, ca. 1480.

Primavera means ‘spring’ and depicts a group of figures from classical mythology in a garden.

Figure 7f: Pieter Breughel, Peasant Dance, oil paint and tempera, 1567.

17
Answer the following by referring to Figures 7d – 7f.
7.3.1 By looking at the subject matter identify the work best suited to the following
categories and give a reason for your answer:
7.2.1.1 Secular
7.2.1.2 Genre painting
7.2.1.3 Religious
7.3.2 Briefly discuss the difference in the portrayal of the figures in Figure 7b and Figure 7c.
Refer to terms such as stylisation, idealism, naturalism and the mood/atmosphere.
7.3.3 What shows that Figure 7d came from Northern Europe and why the term ‘warts and
all’ is used on some of these works.
7.3.4 Explain how Breughel created a sense of movement in Figure 7d.

Question 7.4

This woodprint by the Northern

European master, Albrecht Dürer, is
part of a series of woodprints based
on the Bible Book of Revelations. The
four horseman are from left to right –
death, famine, war and conquest.

Figure 7g: Albrecht Dürer, The Four Horsemen of the Detail bottom left
Apocalypse, woodprint, 1498.

7.4.1 Describe how Dürer portray the different figures (Death, Famine. War and Conquest)
and what are the holding.

7.4.2 How did Dürer combined reality and fantasy? (look at the enlarged detail).

7.4.3 How would you describe his technique?

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THEME 8. BAROQUE &
ROCOCO

Specific artworks studied:

1.
2.
3.
4.
Terminology to know:
● Asymmetrical composition ● Genre paintings
● Baroque ● Protestantism
● Chiaroscuro ● Reformation
● Contrast ● Rococo
● Counter-Reformation ● Sensuality
● Distortion ● Vanitas

Questions 8.1
Both Figure 8a and Figure 8b
depicts Baroque interpretations of
Judith beheading general
Holofernes to protect her people.

8.1.1
Referring to any one of these two
paintings explain how the
following characteristics of
Baroque Art were as shown in the
work.
 Asymmetrical composition
 Chiaroscuro
 Rich colour
 Figures in exaggerated poses
 Theatrical and dramatic

Figure 8a: Artemisia Gentileschi, Judith Slaying Holofernes,

oil on canvas, 1612 – 13.

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 8.1.2
Figure 8a was painted by a
woman and Figure 8b by a man.
Can you see it in viewing the two
works? Compare the portrayal
(posture and facial expressions)
of the two Judith’s. Do you think
there is a stereotypical portrayal
of a woman in them?

Figure 8b: Caravaggio, Judith Beheading Holofernes, oil on

canvas, 1598–1599.

Question 8.2

Figure 8c: Baroque - Jan Vermeer, Girl Reading Figure 8d: Rococo - Francois Boucher, The
a Letter at an Open Window, oil on canvas, Secret Message, oil on canvas, 1767.
1657–59.

8.2.1 In both Figure 8c and Figure 8d a young woman is reading a letter. Compare the two
works by referring to the following:
 Describing the scene
 Use of light
 Colour
 Painting technique

8.2.2 By carefully looking at Figure 8d, identify five characteristics of the Rococo style.

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 Template for analysing
artworks

It is important that you continuously practise your visual analysis skills and to use the
terminology correctly. One way to practice this skill is to create captions around the image
of a work of art. Look at the following example and use the template to create your own
summaries. It will especially assist you to understand the specific artworks you need to study
in each theme and will help you to prepare for tests and examinations.

Example:
THEME/MOVEMENT: STYLE OF WORK MEDIUM AND TECHNIQUE
When was it made? Stylised What was it made of?
Where was it made? (materials/techniques)
Archaic Period, Ancient Marble freestanding sculpture
Greece, c. 570 B.C.
ARTIST, TITLE: MESSAGE AND MEANING
Kouros of Tenea (Why was it made? Intention or
(artist unknown) purpose)
Part of the sculptures of nude
SUBJECT AND DESCRIPTION youths known as kouros (The
(What is it?) clothed young women are known
An idealized statues of a as kore.) The reasons for creating
young man in the nude with these figures are not always clear.
a rigid posture. Arms next to Some of these male figures were
the body, hands clenched, funerary monuments while others
one foot slightly in front of were found in sanctuaries where
the other and the raised they were placed as offerings to
head looking straight the gods. These figures represented
ahead. Have the typical the idea of youthfulness and vigour.
mysterious smile.

FORMAL ART ELEMENTS

How was it made? (art elements & principles, style)
The emphasis placed on the broad shoulders, developed pectoral and calf muscles,
narrowness of the waist and the roundness of the thighs and buttocks all contribute to
the athletic appearance of this youth. The precisely defined facial features are
characteristic of the Archaic period as the smile is called an “archaic smile” and the
impassive stare and stylized long flowing hair can also be seen in other examples. In
earlier versions of the kouroi the outlines of features such as the calves and thighs were
emphasized while the Kouros of Tenea shows a more naturalistic approach in which the
modelling is more rounded.

21
Template to use:
THEME/MOVEMENT: STYLE OF WORK MEDIUM AND TECHNIQUE
When was it made? What was it made of?
Where was it made? (materials/techniques)

ARTIST, TITLE: MESSAGE AND MEANING

Why was it made?
Intention or purpose

SUBJECT AND
DESCRIPTION
What is it?

FORMAL ART ELEMENTS

How was it made? (Art elements & principles, style)

CONCLUSION

Let’s play a game…

All the artworks below appear in the Grade 10 textbook. Identify the civilisation or
movement of each of the artworks. Try to do it without your textbook to see how many you
can identify correctly. You can then look for the correct answers in your textbook.

1 2 3 4

22
 5 6 7 8

9 10 11 12

13 14 15 16

17 18 19 20

The Grade 10 content covers a time period from around 30 000 BC/BCE until around 1770
and covers artworks from all the continents, except Antarctica. You will have studied
selected artworks and civilisations/periods.

How does this study help you in your own practical work?
 It shows you how artists across time and civilisations have expressed similar subject
matter and themes in different styles and media.
 Artists have always been influenced by other artists and artworks, and in the same
way you can and should be influenced and inspired by this study. Read and,
research civilisations, artworks and artists you find exciting and inspiring.

23
In this document you have answered questions on many artworks on different subject
matters such as:
 Portraits
 Figure Studies
 Religious artworks
 Mythological artworks
 Political Artworks
Can you identify the subject matter of the different works?

You also answered questions on artworks that can be studied under broad themes such as
artworks that:
 express spiritual and religious issues  show everyday life

 express political power  express beauty

 investigate gender issues  depict specific events

As your journey continues through the study of artworks from different ages, you will be
able to add to these broad themes and others, because Visual Arts tells us what it is to be
human and how to become human through art.

Pablo Picasso, Self- Pablo Picasso, Self-

portrait at 15 years portrait at 90 years
old old

24