Q1: Name and date images A and B, and compare and contrast them with
reference to ideas about artists’ sexual, gender and/or ethnic identities?
Image A
Image B
Q2: ‘There is no test of our acquaintance with nature so absolute and unfailing, as the
degree of admiration we feel for Turner’s painting.’ (John Ruskin, Modern Painters I,
1843). Discuss with regard to Turner’s changing reputation.
Q3: Using three examples, discuss why Caravaggio’s use of light was celebrated in
his own time and how it has influenced his followers through the ages.
Q4: Why has the reputation of Peter Saul changed over time?
Q5: How has the reputation of Diane Arbus been controlled at different times and by
different parties?
Q6: In what sense is Gluck’s masculinity instrumental to understand the meaning of Gluck’s painting then and now?
‘Q7: Collage [is] … especially relevant to the hyphenated character of diaspora
identities’ (Kobena Mercer, Cosmopolitan Modernisms, p. 126). Discuss in relation to
the work of Romare Bearden.
Q8: How do ‘Happenings’ complicate conventional understandings of ‘the artist’?
Q9: What methods have scholars used to attribute works specifically to Luca della
Robbia and why is the correct attribution of his work important? Explain using at least
two examples.
Q10: Using specific examples, discuss at least two reasons scholars struggle to
attribute works to individual members of the Carracci workshop.