Blog - Page 33 of 41 - Teacher Curator

Bernardo Bembo and La Bencina

June 16, 2020

by admin with No Comment Art Renaissance Student Activities Worksheets

**Hans Memling,** 1433 –1494
**Man with a Roman Coin (Bernardo Bembo),** ca. 1471-1474, oil on panel, 31 x 23,3 cm, Koninklijk Museum voor Schone Kunsten Antwerpen
**Leonardo da Vinci,** 1452-1519
**Ginevra de’ Benci,** 1474-78, oil on wood, 38,8 x 36,7 cm, National Gallery of Art, Washington DC – On the reverse side of the portrait of Ginevra: juniper, laurel, palm branches: VIRTUTEM FORMA DECORAT (Beauty adorns Virtue) https://www.nga.gov/collection/art-object-page.50724.html and https://www.nga.gov/collection/highlights/da-vinci-ginevra-de-benci.html and https://www.facebook.com/mauritshuis/posts/allow-us-to-introduce-bernardo-bembovarious-details-reveal-that-this-man-is-the-/1438404546228025/

“Therefore we will sing of the chaste love of Bembo, so that Bencia may rise up, made known by my verses. O lovely Bencia, Bembo marvels at your beauty, with which you could surpass the goddesses of heaven. Great Mars would wish to prefer this to his love for Venus, and Jupiter himself would abandon Europa and desire it. But Bembo in astonishment marvels more at you ancient virtue, you chaste heart and hands with the skill of Pallas…” writes Cristoforo Landino for the LOVE of Bernardo Bembo and La Bencina. http://www.italianrenaissanceresources.com/units/unit-2/sub-page-03/poems-about-ginevra-and-bembo/?fbclid=IwAR34DOVq8MMQgt7ZBJ651Bd2l-HGxjM6gTJFNNx0CHHsp2hZVi26XyAkHkM

The Venetian Ambassador to Florence, the intellectual Bernardo Bembo, first saw Ginevra on the 28th of January 1475, during the splendid Giostra Giuliano de Medici staged in Piazza Santa Croce in Florence. Ginevra de’ Benci, the daughter of Amerigo de’ Benci, director of the Medici Bank in Geneva and the second wealthiest man in Florence, seventeen years old, witty, enchanting and rich, married to Luigi di Bernardo Niccolini, a Florentine cloth-trader of importance, was present, dazzling with her charm, the elite of Florence. “In all the city you will not find a more beautiful girl, nor any more modest” wrote the poet Alessandro Braccesi. Suave Bernardo Bembo, a man in his early forties, married with children, with a mistress and a love-child, took little time in becoming La Bencina’s cavaliere servente. Among them, Leonardo da Vinci, young and amazingly talented, ready to immortalize an interesting story that still “haunts” us with its beauty and secrets, created one of his earliest masterpieces. https://books.google.gr/books?id=KWCNItrBe6oC&pg=PT163&lpg=PT163&dq=Florence+1475+Giostra&source=bl&ots=jY6VGoEF7e&sig=ACfU3U3t2D0MaOTr2VF5cHfdBamVl8s_Zg&hl=el&sa=X&ved=2ahUKEwio79a81YHqAhXBw8QBHb37B5AQ6AEwEHoECAUQAQ#v=onepage&q=Florence%201475%20Giostra&f=false

Leonardo’s painting of La Bencina, characterized as “the earliest of all psychological portraits” and depicting “a new sense of mystery and uniqueness of the human personality” is for me an alluring mystery behind rich foilage and an “alabaster” façade. The surviving poems, however, of her beauty and character is another story…

**The reverse side of Leonardo’s painting of Ginevra de’ Benci**

“I beg for mercy; I am a wild tiger” LaBencina wrote in one of her poems, the only verse that survives of her entire oeuvre. We can only wonder about her response to Bembo’s “Courtly Love.”

“…Therefore, lovely Bencia, imitating such arts as these, you come as an example to Tuscan ladies. Well known, I confess, is the love of Paris and the frenzy of the Spartan woman, but it is known for its base adultery. You, Bencia, are more beautiful than Leda’s child and are known to all peoples for your rare chastity…” by Cristoforo Landino

“Ginevra shed tears as you go, Bembo./ May she desire long delays and / Beseech the Gods above that / Every difficulty may hinder your journey. / And may she wish that the kindly stars / With adverse winds and heavy storms / Prevent your departure” by Alessandro Bracessi

Lorenzo de’ Medici, on the other hand, addressed two poems to her praising her decision to “leave the passion and evil of the city and to devote herself to prayer in the country… never looking back!” https://books.google.gr/books?id=fMDoImNWqHQC&pg=PA302&lpg=PA302&dq=Lorenzo+de+Medici+sonnets+Ginevra&source=bl&ots=DFGL8O9riU&sig=ACfU3U1FKJK0wSGfLjtePymRgLwoRWYOPg&hl=el&sa=X&ved=2ahUKEwi7jdXxvIPqAhUFNOwKHTZ3BIgQ6AEwAnoECAYQAQ#v=onepage&q=Lorenzo%20de%20Medici%20sonnets%20Ginevra&f=false and http://www.italianrenaissanceresources.com/units/unit-2/sub-page-03/poems-about-ginevra-and-bembo/?fbclid=IwAR34DOVq8MMQgt7ZBJ651Bd2l-HGxjM6gTJFNNx0CHHsp2hZVi26XyAkHkM

For a RWAP dedicated to Ginevra de’ Benci (RWAP stands for Research-Writing-Art-Project) please… Check HERE!

For student work on a RWAP dedicated to Ginevra de’ Benci, please… Check HERE!

Matisse Cut-Outs

June 11, 2020

by admin with No Comment 20th century Art Art Lesson Plans Powerpoints Student Activities Worksheets

**Henri Matisse, 1869-1954**
**Polynésie, la mer,** 1946, paper cut-outs painted in gouache glued on paper on canvas, 196 x 314 cm, Musée National d’Art Moderne, Centre Georges Pompidou, Paris

Henri Matisse once said… “There is no interruption between my older paintings and my Cut-Outs. Just that with an increasing sense of the absolute, and more abstraction, I have achieved a form that is simplified to its essence.” My students love Matisse Cut-Outs!

It all started back in the late 1940s when scissors assisted Matisse in turning almost exclusively to cut paper as his primary creative medium and thus… initiate his unique and famous Cut-Outs. There is something magical about Matisse’s Cut-Outs… they offer us such pure, candid, unreserved joy, our life, just by looking at them, becomes gratifying and amusing!

**‘It was like drawing, but with scissors… there was sensuality in the cutting’**
Henri Matisse on the Cut-Outs
Matisse working at the Hôtel Régina, Nice, c. 1952 on The Parakeet and the Mermaid
© Hélène Adant – Centre Pompidou – Mnam – Bibliothèque Kandinsky – Hélène Adant
https://www.tate.org.uk/tate-etc/issue-31-summer-2014/it-was-drawing-scissors-there-was-sensuality-cutting

“Matisse would cut painted sheets into forms of varying shapes and sizes—from the vegetal to the abstract—which he then arranged into lively compositions, striking for their play with colour and contrast, their exploitation of decorative strategies, and their economy of means. Initially, these compositions were of modest size but, over time, their scale grew along with Matisse’s ambitions for them, expanding into a mural or room-size works. A brilliant final chapter in Matisse’s long career, the cut-outs reflect both a renewed commitment to form and colour and an inventiveness directed to the status of the work of art, whether as a unique object, environment, ornament, or a hybrid of all of these.” https://www.moma.org/calendar/exhibitions/1429?locale=en

**Henri Matisse,** 1869-1954
**Large Decoration with Masks**, 1953, Gouache on paper, cut and pasted, and ink on canvas, 35360 x 9964 mm, National Gallery of Art, Washington
https://www.tate.org.uk/tate-etc/issue-30-spring-2014/his-brilliant-final-chapter

Matisse is a favourite artist among my students and I always enjoy teaching a Unit on his life achievements, culminating with his amazing Cut-Outs! Whether I teach Grade 1 Mythology, Grade 4 Cultural Geography, or High School Art History, Matisse’s Cut-Outs are always there to enrich my curriculum in the most remarkable way. Getting a taste of their fascinating stories, my students “read” them, in ways, appropriate to their level, they are always 100% engaged … and my teaching gets to be more than gratifying!

**Student Work on a Matisse Cut-Outs RWAP (by Haylee M.)**

Matisse Cut-Outs Lesson Plan

Essential Questions: What conditions, attitudes, and behaviours encouraged Matisse to take creative risks?

Goals: Facilitate students to understand and connect Matisse’s use of Colour from Fauvism to the Cut-Outs.

Enduring Understanding: Henri Matisse was a French painter in the early 20^th century, known as one of the founders of Fauvism, an art movement that is identified with the emotional and bold use of colour, and the creator of the Cut-Outs technique.

At first, I Introduce the Lesson to my students and present the Essential Questions we will work on. Then, I show a Youtube Video on Matisse’s Cut-Outs (Here is my favourite https://www.youtube.com/watch?v=rLgSd8ka0Gs) and Being Inquisitive I initiate a conversation. The Lesson continues with my PowerPoint, more discussion follows and the Unit on Matisse’s Cut-Outs culminates with students achieving an Enduring Understanding of our Lesson and performing an Assessment Activity.

For my Matisse PowerPoint, please… Check HERE!

The student RWAP (RWAP stands for Research-Writing-Art-Project) is… HERE!

Student Work on Matisse Cut-Out RWAP, please… Check HERE!

**Student Work on a Matisse Cut-Outs RWAP (by Kalypso I.)**

Alexandrian Mischievous Dog

June 9, 2020

by admin with No Comment Ancient Greek Art Art Student Activities Worksheets

**Mosaic of a Mischievous Dog,** Ptolemaic period, 2nd century BC, Length 3.25 m; width: 3.25 m, Museum of Antiquities – Bibliotheca Alexandrina

There was once a Dog, according to Aesop, who was so ill-natured and mischievous that his Master had to fasten a heavy wooden clog about his neck to keep him from annoying visitors and neighbours. But the Dog seemed to be very proud of the clog and dragged it about noisily as if he wished to attract everybody’s attention. He was not able to impress anyone. You would be wiser, said an old acquaintance, to keep quietly out of sight with that clog. Do you want everybody to know what a disgraceful and ill-natured Dog you are? This is definitely not the case for the Alexandrian Mischievous Dog depicted in the most adorable Mosaic! https://www.youtube.com/watch?v=gQDRKs8tfag and https://fablesofaesop.com/the-mischievous-dog.html

If you are a dog lover this Alexandrian Mosaic will become your favourite! It is about a kind but mischievous dog, that looks at you with big, guilty eyes because he has just dropped a pitcher down and spilt perfectly good wine… The Alexandrian Mosaic of this mischievous but remorseful Dog makes your heart leap and your hands open up for a big embrace!

This wonderful 2^nd century BC composition once decorated a floor in the royal quarter of Alexandria in Egypt. It is an astounding floor mosaic executed using the tiniest cubes in the Opus Vermiculatum (“worm-like work”) technique. Developed in Greece during the Hellenistic period, the “Opus Vermiculatum is a method of laying mosaic tesserae to emphasise an outline around a subject.” This mosaic method allowed very fine details, imitating the illusionistic approach of Hellenistic painting. “It was generally used for emblēmata, or central figural panels, which were surrounded by geometrical or floral designs in opus tessellatum, a coarser mosaic technique with larger tesserae; occasionally opus vermiculatum was used only for faces and other details in an opus tessellatum mosaic.” https://en.wikipedia.org/wiki/Opus_vermiculatum and https://www.britannica.com/art/opus-vermiculatum

We will never know if the Mischievous Dog Mosaic depicts a scene from a popular Hellenistic literary work performed in Alexandria. The mosaic itself gives no clues. The mosaicist created a circular composition, stark and minimal, with the Dog mosaic as a precious emblēma in its center. Quoting the Library of Alexandria Museum site where the mosaic is exhibited “the mosaic illustrates a dog sitting next to an inverted Greek vase. The details of the scene highlight the artist’s ability to make a realistic portrait of the dog so as to express the strength and vitality of the animal. Thus, the dog’s coat, spotted with black, is finely depicted, as well as the red collar that surrounds its neck. The central stage includes several colours, including black, white and yellow. The artist was able to accentuate the shadow-light contrasts by representing the dog from the angle of 3/4; the front part reflects the light while the rest of the body is in the shade. The same is true for the bronze vase, the gradation of its colours shows the reflection of light on the central part, while the sides are more and more shaded. The artist, using these rigid and inanimate materials, has indeed managed to give depth to the scene presented. This piece testifies to the virtuosity of the mosaic design workshops in Alexandria.” http://antiquities.bibalex.org/Collection/Detail.aspx?lang=fr&a=859

For a Student Activity, please…Check HERE!

**A view of the Bibliotheca Alexandrina in Alexandria, Egypt**

Early Christian Funerary Paintings

June 4, 2020

by admin with No Comment Art Byzantium Exhibitions Museums Student Activities Travel Worksheets

**Tomb Painting of a Bird (Lark?),** early 5^th century, fresco painting, Museum for Byzantine Culture, Thessaloniki (Photo: Makis Skiatharesis, ΜΒΠ archive)

“A Work of Art which did not begin in Emotion is not Art” Paul Cezanne said… and I think of him every time I visit Room 3, “From the Elysian Fields to the Christian Paradise” in the Museum of Byzantine Culture in Thessaloniki, to admire the exhibited Early Christian Funerary Paintings. http://mbp.gr/en/room-3-elysian-fields-christian-paradise

Museum of Byzantine Culture in Thessaloniki

Visiting the Thessaloniki Museum of Byzantine Culture is a true cultural experience. For years now, I have visited it with my Pinewood students, trying to instil upon them the fine essence of Byzantine art and culture. The actual Museum building comes to my assistance… every time! In 1989, the Museum’s architect, Kyriakos Krokos, wrote: I wanted a space within which movement would create a feeling of freedom, stirring up the senses, and where the exhibit would be a surprise within the movement. Walking through the Museum with my students, one surprise surpasses the other. The floor and wall mosaics in the first Early Christian Period Room, attract everybody’s attention, the Byzantine tunics with their fine embroideries are eye-catching, the icons and the intricately illuminated manuscript in the Middle Byzantine Period Room are definitely noticed. Finally, as we are about to leave, one last surprise: a beautiful Post-Byzantine golden eikonostaasi, one last startling work of art to ponder. After each visit, my students, pencils, notebooks and cameras, in hand, surprised and dazzled, come one step closer to understanding our Byzantine heritage! What more can I ask…

Grade 6 students eploring the Museum of Byzantine Culture in Thessaloniki, photographed by Kostas Papantoniou

When I visit the Museum of Byzantine Culture alone and am in a mood, I cannot fully describe, my steps take me directly to Room 3: “From the Elysian Fields to the Christian Paradise.” Dimly lit, usually very quiet, full of elusive treasures to discover, this is my place, the Room, I love…

Room 3: “From the Elysian Fields to the Christian Paradise” was the first Exhibition Room in the Museum to open, back on the 29th of March 1997. It was the result of an EU funded Research Program, titled “The Transformation of the Roman World AD 400-900.” As the title of the Exhibition Room connotates, this is an area dedicated to afterlife during Late Antiquity. All exhibited items come from tombs in cemeteries excavated outside the Walls of Thessaloniki. They consist of funerary gifts, inscriptions, and items of worship of the dead. According to the Museum experts “The exhibit is complete with a series of extremely rare and unique funerary paintings. These illustrate in an exceptional way the transition from the Late Antiquity concept of the afterlife into a heavenly place of material prosperity, along with the shift from the funerary customs and decoration of Antiquity that still survives to the final triumph of the Cross with the emergence of the New Religion and the establishment of the belief for the Last Judgment and the Resurrection of the Dead.” http://mbp.gr/en/room-3-elysian-fields-christian-paradise

View of **Room 3: “From the Elysian Fields to the Christian Paradise”** in the Museum of Byzantine Culture in Thessaloniki (Photo: ΜΒΠ archive)

It is these unique funerary paintings I seek out every time I visit my favourite Museum in Thessaloniki. They carry Hellenistic Naturalism and Roman Verism, traditional Late Antique or novel Christian subject matter, higher or poorer quality craftsmanship… all together, these amazing frescoes transfer me to an exciting world of unwavering changes and exciting cultural developments… the world of the Early Christian period and the artistic milieu of Thessaloniki, a city worth visiting!

Articles you might find interesting about Early Christian Funerary Paintings in Thessaloniki: https://www.academia.edu/24852527/Iconographic_Programs_of_the_Early_Christian_Tombs_of_Thessaloniki_in_the_Context_of_the_Contemporary_Traditions_of_the_Funerary_Art_English_translation_ and https://bookonlime.ru/lecture/8-early-christian-funerary-painting-thessaloniki-macedonian-and-roman-traditions and https://www.didaktorika.gr/eadd/handle/10442/13516

For a Student Activity on Early Christian Funerary Painting, please… Click HERE!

The Month of June

May 31, 2020

by admin with No Comment Art Powerpoints Renaissance Travel

**The Month of June,** latest 1407, possibly by Maestro Venceslao, Fresco, Torre Aquila, Castello del Buonconsiglio in Trento, Italy

The Month of June is an amazing fresco that comes from the Torre Aquila in the Castello del Buonconsiglio, in Trento, Italy. It is part of a fresco Cycle of the Twelve Months painted on the walls of the tower’s 2nd-floor main room. Today, only eleven of the original 12 panels survive as a 16th-century wooden spiral staircase, connecting the tower floors, destroyed the painted panel of March. The famous painted Cycle of the Months is divided into twelve panels, one for each month. Each one of the twelve panels is separated by a slender column, distinctive yet subtle, so as not to disturb the natural continuity between months and the seasons.

This exceptional room, 6 x 5,8 x 3 m in size, was commissioned by Prince-Bishop George of Liechtenstein, as a quiet, atmospheric retreat, away from the rest of the Castello’s busy and noisy state quarters. It has been suggested and widely accepted that the painter of this extraordinary fresco Cycle of the Months was Maestro Venceslao, a Czech painter, popular in the Tyrol area of the time.

June is the 6^th month of the Year and the beginning of summer. A glorious, busy month for both the aristocrats and the peasants of Trento. With snow disappearing even at the highest peaks, the shepherds and the servants of the Prince-Bishop George of Liechtenstein, need to move to the mountainous pastures, where most of the Prince’s possessions are. They need to take care of his cows, while their women do the milking, and the processing of milk to butter and cheese. Are they making a 15^th century version of the famous Trentino cheese Bela Badia? In May, all citizens of Trento had a moment to rest, but in June, they all go back to their daily chores! https://www.tasteatlas.com/most-popular-cheeses-in-trentino-alto-adige-sudtirol

One might wonder how the young Trento noblemen and ladies spend their June days… think no further, the answers are in the Trento fresco. Enjoying the best time of the year, young men and ladies of noble birth spend their days in the countryside! They walk out of their walled cities, as depicted in the upper left side of the painting, wearing their finest clothes, and join in the festivities of the month. Long summer days are on their thresholds and they embrace them! The lower part of the painting shows 5 couples dancing in a circle accompanied by their dogs and a group of musicians who set the tone. Are they celebrating the first day of Summer? The scene is inviting to say the least… a garden surrounded by green hedges, beautiful lilies, playful dogs and a quintet of merry musicians! https://www.worldwidewriter.co.uk/frescoes-of-trento-the-painted-city.html

The Best Art You’ve Never Seen: 101 Hidden Treasures From Around the World by Julian Spalding, Rough Guides Reference, 2010 https://books.google.gr/books?id=L3e0BgAAQBAJ&pg=PA11&lpg=PA11&dq=cycle+of+the+months+paintings&source=bl&ots=PDmmhZPn37&sig=ACfU3U0ZvpPwd-ZSa8dnhL4AUn2uBLt26g&hl=el&sa=X&ved=2ahUKEwjVxcGIzNzmAhWRGewKHQiuD5g4ChDoATAGegQIBxAB#v=onepage&q=cycle%20of%20the%20months%20paintings&f=false

Until Next Month… check HERE! for a PowerPoint!

Eάλω η Πόλις

May 29, 2020

by admin with No Comment Art Byzantium Roman Art

Eάλω η Πόλις remembers the Fall of Constantinople to the Ottomans on the 29th of May 1453. Tabula Peutingeriana, one of the most important Late Roman Itineraries, presents the city of Constantinople in an interesting way.

Tabula Peutingeriana

Modern English dictionaries define the word Itinerary as “a detailed plan for a journey, especially a list of places to visit.” Did you know that an Itinerarium (plural: Itineraria) was an Ancient Roman road map where cities, villages, Mansiones and Mutationes were listed, with the intervening distances marked?

What we know today about Rome’s road system comes from one such Itinerarium, the famous Tabula Peutingeriana, named for its former owner, Conrad Peutinger, a German humanist. Tabula Peutingeriana is a 13th-century copy of an antique world Itinerarium of Roman roads from the British Isles up to India and Central Asia, created sometime around the 4th century A.D. The entire map was originally a long, narrow parchment roll and in its present state measures 6.75 meters long but only 34 centimetres wide. https://www.euratlas.net/cartogra/peutinger/

**Tabula Peutingeriana** and the city of Constantinople

At first sight, the Tabula Peutingeriana looks very unlike any modern map. It shows the entire Roman world in full colour, including cities, the locations of lighthouses, bridges, inns, tunnels, and most importantly, all the major Roman roads are listed. The distances between various cities and landmarks are marked. But, the landmass and the seas have been stretched and flattened. The Mediterranean has been reduced to a thin strip of water, more like a river than a sea. Instead of being oriented from north to south, the map, which is only 34 cm wide, works from west to east. https://digitalmapsoftheancientworld.com/ancient-maps/tabula-peutingeriana/

The director of the Department of Manuscripts, Autographs and Closed Collections at the Austrian National Library, Andreas Fingernagel, says it is an intensely practical document. “The red lines are the main roads. Every so often there is a little hook along the red lines which represents a rest stop – and the distance between hooks was one day’s travel… Every so often there is a pictogram of a building to show you that there was a hotel or a spa where you could stay, some of the buildings have large courtyards – a sign of more luxurious accommodation,” he said.

For a PowerPoint on Tabula Peutingeriana, please… Click HERE!

Virtual Trip to meet the Pre-Raphaelites

May 26, 2020

by admin with No Comment 19th century Art Art Travel

**Dante Gabriel Rossetti,** 1828–1882
**Monna Vanna**, 1866, oil on canvas, 88,9 cm × 86,4 cm, TATE Britain, London

“Conception, my boy, fundamental brain work, is what makes all the difference in art…” once said, Dante Gabriel Rossetti. During COVID 19 Days, we need a new meaningful Conception of our Life, and how we can make it powerful and fulfilling… just like ART! London, home of Dante Gabriel Rossetti and his Brotherhood friends, is an ideal Virtual Trip to meet the Pre-Raphaelites! Please… Stay in the comfort of your HOME! Snack on something deliciously BRITISH! …and ACTION!

The **Guildhall Art Gallery in London**, founded in 1886 as the “Collection of Art Treasures worthy of the capital city,” exhibits some superb examples of Pre-Raphaelite works.

According to the TATE experts “The Pre-Raphaelites were a secret society of young artists (and one writer), founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael. …Inspired by the theories of John Ruskin, who urged artists to ‘go to nature’, they believed in an art of serious subjects treated with maximum realism. Their principal themes were initially religious, but they also used subjects from literature and poetry, particularly those dealing with love and death. They also explored modern social problems.” https://www.tate.org.uk/art/art-terms/p/pre-raphaelite.

Let’s uncover the mysteries of this secret society of painters with the help of our KIDS and the TATE https://www.tate.org.uk/kids/explore/who-is/who-are-pre-raphaelites …and let’s explore Pre-Raphaelite London! https://theculturetrip.com/europe/united-kingdom/england/london/articles/a-pre-raphaelites-tour-of-london/ and https://www.standard.co.uk/go/london/arts/pre-raphaelite-art-london-best-paintings-exhibitions-a3965701.html

Movie Time with the Pre-Raphaelites… and ACTION!

Effie Gray is a 2014 British biographical film written by Emma Thompson and directed by Richard Laxton. It is based on the true story of John Ruskin’s marriage to Euphemia Gray and the subsequent annulment of their marriage. https://www.imdb.com/title/tt1605798/ and https://www.youtube.com/watch?v=5BLzK1z0EII

Desperate Romantics is a six-part television drama series about the Pre-Raphaelite Brotherhood, first broadcast on BBC Two between 21 July and 25 August 2009. Discussing the series’ billing as “Entourage with Easels,” Franny Moyle, whose book about the Pre-Raphaelite Brotherhood, Desperate Romantics: The Private Lives Of The Pre-Raphaelites was an inspiration for the series, said: “I didn’t pitch it as ‘Entourage with easels’ … I pitched it as a big emotional saga, a bit like The Forsyte Saga. Having said that, I think it was a useful snapshot – a way of getting a handle on the drama.” https://www.imdb.com/title/tt1346018/?ref_=kw_li_tt and https://www.youtube.com/watch?v=g4BraAD71cE

The BBC Documentary, The Pre-Raphaelites: Victorian Revolutionaries, examines the 19th century Pre-Raphaelite Brotherhood art movement. This 3-Part Documentary explores its origins, some early works and the criticism faced by the Brotherhood. https://www.youtube.com/watch?v=FkWONORqHZw https://www.youtube.com/watch?v=Oe9JOWEYldU https://www.youtube.com/watch?v=OSCRU73LIms

FOOD… with Victorian Recipes

What did the Victorians eat? Mrs. Avis Crocombe was the head cook at Audley End House in the 1880s. She compiled many different recipes in her handwritten cookery book, which includes a range of Victorian delights – including a recipe for a roasted swan! Will they prove interesting to taste? https://www.english-heritage.org.uk/visit/inspire-me/victorian-recipes/

Small Arch of Galerius

May 22, 2020

by admin with No Comment Art Powerpoints Roman Art Social Studies Student Activities Travel Worksheets

**Small Arch of Galerius,** early 4^th century AD, carved from a single block of marble, Archaeological Museum of Thessaloniki

“The Galerian Complex, the most important monumental group in Thessaloniki, was built at the turning-point of two worlds, the Roman and Byzantine. Its erection began in the late 3rd century-early 4th century AD when the Caesar Galerius Valerianus Maximianus (293-311 AD) chose Thessaloniki as the seat of the eastern part of the Roman Empire.” The Small Arch of Galerius found in the Octagon area of the Complex, valued and cherished, is exhibited today in the Archaeological Museum of Thessaloniki. http://galeriuspalace.culture.gr/en/

One of the most important buildings within the Galerian Complex, the Octagon is a significant and luxurious structure worth exploring. It was the first important building that visitors arriving at the Palace by sea would enter and be dazzled. Facing the glorious Thermaic Golf of Thessaloniki, the Octagon is massive and opulent. All Palace buildings were meant to impress the visitor and set the tone… the Octagon area did an excellent job!

Excavation of this amazing structure started in 1950 and continued up until 1981, bringing to light all that survives today. A splendid conservation and restoration program continued and in 2008, the archaeological site of the Palace of Galerius in Thessaloniki was awarded a EUROPA NOSTRA medal by the European Union. Today, the Galerian Complex, right in the heart of the city, is one of the most popular archaeological sites in Thessaloniki.

The Galerian Complex and the Octagon Area

… Agathoniki was on an official visit to the Court of Emperor Galerius in Thessaloniki… powerful and rich, she was treated with respect for her age and the loyal services extended to the Emperor… She was modestly dressed but her gifts to the Emperor were valuable and exotic, coming all the way from Seres, the mythical lands of the East. She was guided to enter the Palace Complex through the grand, South Peristyle Court, its Porticos adorned with magnificent floor mosaics and a beautiful garden in the center. It was her first visit to Thessaloniki and she enjoyed every single thing she saw… she was, however, on a mission, so she briskly walked through a triple arch, a Tribelon with two columns, to enter an impressive Vestibule with two semi-circular niches on its narrow ends. She stopped for a minute to compose herself, reflect on her mission, and confidently entered the grandest room of the Palace… the domed Octagon! The room was magnificent! Its walls were covered with multicoloured marble revetments and square panels intricately worked in the opus sectile technique. The floor, featuring marble geometric motifs, created simple yet elegant chromatic oppositions… and there were four different Emblemata, right where she was standing, worthy of a great master! What a wonderful Audience Hall this is, she thought, as the entrance of the Emperor brought her to her knees…

Agathoniki, the imaginary visitor of our story, saw many more wonderful rooms and artefacts in the Palace of Galerius… My favourite artefact, still surviving today, is a small, marble Arch. Discovered at the north end of the eastern portico of the South Peristyle Court, the Small Marble Arch crowned a horseshoe-shaped niche framed by pilasters. This Arch, known by the conventional name “The Small Arch of Galerius”, is on display in the Archaeological Museum of Thessaloniki. Could this small, luxuriously adorned, niche be a Palace Temple?

This Arch, known today as “The Small Arch of Galerius”, is on display in the Archaeological Museum of Thessaloniki. According to Thessaloniki Museum experts, “The arch, a work of high artistic quality, is the product of a local workshop in Thessaloniki. The rich relief decorations occupy three sides of the arch. The main side depicts two men from the East, possibly Persians, raising two circular medallions with their hands. The right medallion depicts Gaius Galerius Valerius Maximianus, while the left one initially depicted his wife, Galeria Valeria. During a later intervention, after Galerius’ death, a mural crown was added to the female portrait. This alteration transformed the female bust into the depiction of a deity, most probably the “Tyche (fortune) of Thessaloniki”, who accompanied Galerius, the deified ruler of the city. Two winged Eros figures holding a garland fill the space between the medallions. Another medallion with a bust of Dionysos is located at the inner part of the arch, surrounded by vine branches. The right side of the arch depicts the hooved god Pan playing a pipe and holding a lagobolon (stick for hunting hares). The left side depicts a maenad.” http://galeriuspalace.culture.gr/en/monuments/oktagono/ and https://www.amth.gr/en/exhibitions/highlights

Along with my Grade 6 students, we study the history of Thessaloniki, visit the Archaeological Site of the Galerian Complex and prepare a RWAP (Research-Writing-Art-Project) that they thoroughly enjoy…

For a PowerPoint on the Galerian Complex Octagon Hall, please click HERE!

For a student RWAP on the Small Arch of Galerius, please click HERE!

For examples of Student RWAP Work, please click HERE!

Grade 6 student RWAP
RWAP stands for Research – Writing – Art – Project

Singer with a Glove…

May 19, 2020

by admin with No Comment 19th century Art Art Impressionism Student Activities Worksheets

**Edgar Degas,** 1834 – 1917
**Singer with a Glove,** c. 1878, pastel on canvas, 53.2 x 41 cm, Harvard Art Museums/Fogg Museum

“Art is not what you see, but what you make others see,” Edgar Degas once said. What do we really see in his pastel painting of a Singer with a Glove?

“What a creature he was, that Degas!” Renoir said about him, and he was right! A reluctant Impressionist, the offspring of a wealthy family with Creole ties, Edgar Degas studied in the École des Beaux-Arts in Paris and then in July 1856, he travelled to Italy, where he would remain for the next three years drawing and painting numerous copies of works by the great masters of the Renaissance. However, Degas’s Italian art studies were not conventional. He learnt the secrets of each painter’s art by focusing his attention to a particular detail that had caught his attention, a secondary figure in a large composition, or a minor portrait in a master’s painting.

**Edgar Degas,** 1834 – 1917
**Self-Portrait,** 1863, oil on canvas, 925 x 665mm, Calouste Gulbenkian Museum, Lisbon

Upon his return to France in 1859, and for the next thirteen years, Degas kept busy exhibiting, annually, at the Salon (1865-1870) drawing attention with his historic paintings, defending Paris as an enlisted member of the National Guard, during the Franco-Prussian War of 1870, and travelling extensively visiting friends in France or spending a year visiting family in New Orleans (1972). In 1873 Degas was back in Paris, facing the death of his father and financial ruin due to enormous business debts amassed by his brother René. He sold his house and Art Collection to preserve his family’s reputation, and started fresh, producing much of his greatest work, joining a group of young artists who were soon to be known as the Impressionists.

**Edgar Degas,** 1834 – 1917
**A Cotton Office in New Orleans**, 1873, oil on canvas, 73 cm × 92 cm, Musée des beaux-arts de Pau, France

Degas participated in seven of the Impressionist Exhibitions (1874-1886) taking a leading role in their organization and final disbanding in 1886. Deeply conservative in his social views, Degas disliked the term “Impressionism” that was popularly attached to the group as much as he disliked and mocked painting “en plein air” like Monet and others did, writing “You know what I think of people who work out in the open. If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don’t mean to kill anyone; just a little dose of bird-shot now and then as a warning.”

He was very much, however, an Impressionist in painting the reality of the Parisian world around him with a strong sense of immediacy, using blazing and luminous colours, the force of light, and off-centre compositions. By the late 1860s women became Degas’s source of inspiration, and conforming to contemporary ideas, Degas painted hard-working women like milliners and laundresses, but women entertainers as well, like Ballet Dancers and Singers.

**Edgar Degas,** 1834 – 1917
**Singer with Glove,** 1878, pastel on paper marouflé on toile, 62,5 x 48 cm, Copenhague, Ordrupgaard, Danemark
**Café Singer**, 1879, oil on canvas, 53.5 × 41.8 cm, Art Institute of Chicago
**Singer with Glove,** 1878, drawing on paper, Louvre Museum
http://www.degas-catalogue.com/fiches.php?id=25

The Singer with a Glove is one such painting. Using the harsh artificial light needed to illuminate the stage of the famous Parisian Café Chantant, maybe his favourite Café des Ambassadeurs, Degas presents the singer as she holds an operatic note holding her gloved hand up to stress her effort! He uses harsh light and strong colours… shades of orange, washes of pink and green, stark black and pure white. Degas uses light and colours to dominate his composition and create… drama needed to stress new values for France’s newly established Third Republic!

Bibliography on Degas is extensive and interesting. For easy access to Internet short articles on the painting in focus, please go to https://www.harvardartmuseums.org/art/228652 and https://fashionhistory.fitnyc.edu/1884-degas-singer-in-green/ and https://en.wikipedia.org/wiki/Edgar_Degas#cite_note-26

For a student Activity on the painting of the Harvard Art Museums Singer with a Glove by Edgar Degas, please… click HERE!

The Mauritshuis

May 14, 2020

by admin with No Comment Art Museums Powerpoints Renaissance Travel

**Hans Holbein the Younger (formerly attributed to)**
**Portrait of a Woman from Southern Germany,** c. 1520 – 1525, oil on panel, 45×34 cm, The Mauritshuis in The Hague

“A visit to a museum is a search for beauty, truth, and meaning in our lives. Go to museums as often as you can” wrote Maira Kalman and she couldn’t be more right. Go to the Mauritshuis in the Hague, stand in front of the Portrait of a Woman from Southern Germany and quietly wait for the experience to envelop you!

Back in 2006, I visited the Mauritshuis in the Hague for the first time, and I will never forget the Experience. It is the kind of Museum I particularly enjoy and love… small, intimate and colourful! https://www.mauritshuis.nl/en/

Designed as a private house for Johan Maurits of Nassau, Count (from 1664), Prince of Nassau-Siegen, Grand Master of the Order of Saint John (Bailiwick of Brandenburg) and governor of Dutch Brazil, the Mauritshuis is palatial in both, inspiration and essence. The Prince of Nassau-Siegen hired the finest architects of the time in The Netherlands, Jacob van Campen and his assistant Pieter Post, to design and materialize his dream residence. Johan Maurits, however, was not in a harry! As governor of the Dutch Brazil and one of Holland’s preeminent military leaders, he travelled extensively, while his architects were busy building important architectural works to establish their name. So, the Mauritshuis started in 1636 and finished in 1641. The Prince lived in the house for only three years, from 1644 to 1647, after which he moved to Germany for yet another important post, to become stadtholder of Kleef.

Mauritshuis is often referred to as Sugar Palace, but this is not a reference to the light-coloured natural stones used for building its façade. Johan Maurits earned a lot of money in Brazil trading in sugar cane, and Mauritshuis was made possible thanks to cane sugar and to the efforts of enslaved men and women from Africa. Sugar Palace is just one reminder of European colonialism and exploitation! https://www.mauritshuis.nl/en/discover/mauritshuis/history-of-the-building/

Today, the building Johan Maurits of Nassau commissioned is one of the finest examples of Classicist Dutch Architecture in The Netherlands and the Home of a Great Collection of Dutch Masterpieces. Mauritshuis is the home of Vermeer’s Girl with a Pearl Earring or the astounding View of Delft, Rembrandt’s Anatomy Lesson of Dr Nicolaes Tulp or his 1669 Self-Portrait, Carel Fabritius’ Goldfinch of 1654, Paulus Potter’s Bull of 1647, and The Garden of Eden with the Fall of Man of 1615 by two famous Flemish masters: Rubens and Brueghel.

Today, I would like to stand in front of a Renaissance Painting I find alluring… the Portrait of a Woman from Southern Germany of 1520-25, formerly attributed to Hans Holbein the Younger. Her face is so striking, standing out well against a rather cool, blue background… beautiful but stark, pale, yet bright, clear and strong. She wears a finely pleated collared blouse, a fur-lined jacket fastened with a red cord and a rather old-fashioned cap and veil, like those worn by townswomen in Southern Germany. Whoever painted this magnificent Portrait, the Woman from Southern Germany, young and demure, greets us with her hands clasped, her eyes modestly cast down, and a faint smile to brighten her whole face! She is grand! https://www.mauritshuis.nl/en/explore/the-collection/artworks/portrait-of-a-woman-from-southern-germany-275/detailgegevens/

For a PowerPoint on more Renaissance Paintings in the Mauritshuis Museum, please… click HERE!