There Is More Than One Way to View Artwork Not only does this help them connect to the artwork on a deeper level, but it inspires them to create their own meaningful works.ģ. Since the institute, I’ve been working much harder to teach my students about the context of the artworks we study, so they understand how artwork can be meaningful to both the creator and the audience in many ways. This helped cement Durer’s fame as a printmaker, as it allowed even more people to experience his work. Durer depicted a violent scene to evoke the climate of the time, but after the millennium passed, he was able to republish the plates of these prints for the art market. Now, I’ve learned that this particular work was created near the end of a millennium, when talk of an apocalypse was common. I was already familiar with this work, but before the institute I’d only thought of it as a biblical scene. One of the most spectacular pieces was Albrecht Durer’s woodcut “ The Four Horsemen of the Apocalypse ,” which is one of the 15 illustrations in his “Apocalypse” series, originally published in 1498. In this session, we were able to view original works up close, even observing them with magnifying glasses. Teachers were able to get up close and personal with artworks, using magnifying glasses to note minute details. One session in particular made me realize that this was something I’d been neglecting to address in my own teaching.
The Historical Context of Artwork MattersĪfter attending the institute, I spent a lot of time reflecting on how historical context influences artists and their work. The photographs I took at Liberace’s demonstration have become an invaluable resource that I return to time and time again when my students are in creative slumps or when their confidence is low because of a perceived mistake.Ģ. But the creation of art is about working and reworking until you get it right. Too many students enter my classroom thinking that they should be able to create a masterpiece immediately, in one sitting, without making any mistakes along the way. I’ve also led discussions with my students about the concept of layering color and working around mistakes, as Liberace did in his demonstration. In my elementary art classes, I have shown photographs from this demonstration to students in order to help them understand that the creation of art is a process-even for the most accomplished artists. During the session, Liberace applied the colors of Titian’s work to his own painting as he spoke to us about the process. Before his demonstration, Liberace had completed the first stages of the painting so that the figure and a base of neutral colors were already on the canvas. 1542), a portrait of the 12-year-old grandson of Pope Paul III. It featured a plethora of lectures, gallery tours, teaching strategies, and hands-on learning experiences-but three lessons stood out to me as the most worth sharing.Īt the workshop, noted painter and sculptor Robert Liberace led a demonstration where he reproduced Titian’s “ Ranuccio Farnese ” (c. The workshop I attended highlighted the social and cultural context of Renaissance art and demonstrated interdisciplinary teaching strategies.
Each year, the NGA offers two of these six-day trainings, which help educators learn about art history and integrate visual art into their classrooms, no matter what subject they teach. Last summer, I had the opportunity to attend the National Gallery of Art’s Teacher Institute in Washington.
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