CONTACTDEPARTMENT OF EDUCATION AND CULTURAL ACTION

ADOLFO GUIARDThe Little Village Girl withRed Carnation1903Oil on canvas73 x 60 cm

GABRIEL RAMOS URANGAUntitled

1976Oil on canvas

200 x 299.5 cm

ANONYMOUS ITALIAN ARTISTThe Nativity

End of 14th century,beginning of 15th century

Tempera on canvas101 x 195.5 cm

MARTIN DE VOSThe Rape of Europa

c. 1590Oil on oak panel133.7 x 174.5 cm

FRANCISCO ITURRINOGardenc. 1913-1919Oil on canvas64.6 x 50.2 cm

EDUARDO ARROYOThe Marxist Brothers´Cabin or A Portraitof the Artist asa Young Man1991Oil on canvas260.5 x 361 cm

CECILIO PLÁThe Countess of Yumuri

1906Oil on canvas

150 x 189.5 cm

MIQUEL BARCELÓDes potirons

(Pumpkins)1998

Mixed techniqueon canvas

200 x 300 cm

CONTACT

GUIDELINESFOR YOUR VISIT

TIMING THE VISIT

1. Arrival at museum at time agreed atpreliminary meeting.

2. Two animated films lasting 8 mins, oneabout colour, the other about form.

3. 60-minute walk through museum galleries commentingon works included in "Visiting cards".

4. Children make a painting with wax crayons. 15 mins.

5. Teachers and children fill in questionnaire.

6. Visit ends.

CONTACTDEPARTMENT OF EDUCATION AND CULTURAL ACTION

SUGGESTIONS FOR INTERDISCIPLINARY WORKFOR THE MUSEUM VISITBefore visiting the museum, it is a good idea to hold an interdisciplinary work session with the pupils.Here are some suggestions for activities:

Language- What is a code of communication? What is it used for? How many are there?- Study of the new lexicon in teaching materials.

Social Studies- Brief talk in class to find out their views on art and museums: what they are, who and what they are for, etc.- Talk about museums they have visited, what they were about, who they went with, what the visit was like, etc.

Natural sciences- Pure colours.- Binary colours.- The moisture meter.

WORK SUGGESTIONS FOR AFTER THE VISIT

1. Making a mural: THE MUSEUM.They can use the reproductions provided by the museum, or their own.Group work.

2. Making a collage.They can use reproductions of paintings or images from home (photos, postcards, magazines, stories, etc.).Individual work.

3. Dramatization.- Roles shared out: museum, galleries, security guards, colours, works...- Pupils write and act out their role.- In school, each pupil makes a painting on the subject of the visit to the museum for a group exhibition with: admissions, visiting hours for other groups, people to guard the exhibition, guides to explain or comment on the works, etc.

4. Discussion to find out what they think about their visit.

5. Free composition: the best thing about the museum.

DURING THE VISIT

Although all students are given a "Visiting card", the person in charge of the group can start the visitby asking the questions posed below.

Based on simple questions and the subsequent use of the "Visiting cards", this method helps studentsto develop their critical sense, and to comment on a selection of paintings in the museum. Ratherthan simply acquiring information, they are encouraged to interpret what they see for themselvesdirectly in the works of art. The idea is to promote a dialogue between the students as they look atthe selected works, in a kind of process involving learning through art.

Method for the visit:

1. Let your pupils look at the selected work in silence for about a minute before making any comments.

2. You don’t need to know anything about Art History to answer these questions coherently.

3. The idea behind the visit is to encourage them to think about what they see and stimulate their powersof observation, rather than proposing they come up with the "right answers".

4. It is a good idea to start with the comments before reading the title. Use the information you have onthe work sparingly, only if it is necessary in the context of what they say, and always after they’ve talkedabout it for a while.

5. You can always start by asking your pupils:What do you see in this picture?And then continue (if necessary):-What else is happening? -Can you add anything else?-What else can you see? -Does anyone see anything different?

6. A thorough inspection of the work enhances their powers of observation and makes their answers muchmore complex. Also, by answering these basic questions, they can come to conclusions about the imagethey are discussing while being aware of how they reached them. So you can continue your first questionwith:What is it you see there to make you say that?This question makes them think about their initial reactions and go back over their comments with someclear backing from the painting. A few possible variations:-Why do you think that? -What do you think of that?-Where do you see that? -Can you say a little bit more about that?

7. Once you’ve worked these simple questions out, you’ll find the subsequent work with the "Visiting cards",on discovering and commenting on the selected paintings, much more useful and interesting.

8. Finally, when you finish talking about a work, sum up the most interesting parts of what your studentshave said after discussing each painting in detail. By going back over their answers, you give their ideasvalidity.

Don’t be surprised if the process takes longer than you expected; you can always make any adjustments youthink are necessary depending on the situation.

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3

2

4

5

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WHERE TO FIND THE WORKS

DEPARTMENT OF EDUCATION AND CULTURAL ACTION

CONTACT

FLOOR

0FLOOR

1 2 3 4 5

6 7 8

1

CON

TACT

DEPA

RTM

ENT

OF E

DUCA

TION

AN

D CU

LTUR

AL A

CTIO

N

1. T

HE N

ATIV

ITY

2. T

HE R

APE

OF E

UROP

A

3. T

HE L

ITTL

E VI

LLAG

E GI

RL W

ITH

RED

CARN

ATIO

N

4. T

HE C

OUN

TESS

OF

YUM

URI

5.GA

RDEN

6.DE

S PO

TIRO

NS

(PUM

PKIN

S)

7.TH

E M

ARXI

ST B

ROTH

ERS´

CAB

IN o

rA

PORT

RAIT

OF

THE

ARTI

ST A

S A

YOUN

G M

AN

8. U

NTI

TLED

In th

e ea

rlies

t per

iods

, arti

sts d

rew

firs

t and

col

oure

dth

e dr

awin

g af

terw

ards

; col

ours

wer

e m

ixed

with

egg

and,

as

you

see,

wer

e du

ll ra

ther

than

glo

ssy.

In th

is p

aint

ing,

don

e on

can

vas

by a

n un

know

nar

tist,

the

who

le d

raw

ing

show

s th

roug

h. T

hepa

intin

g re

coun

ts a

relig

ious

eve

nt.

In w

hich

par

t of t

he p

aint

ing

is th

e dr

awin

g un

dern

eath

eas

iest

to s

ee?

Try

to c

opy

it be

low

.Th

ese

char

acte

rs li

ved

in th

e 1s

t cen

tury

, but

the

artis

t has

pain

ted

them

in th

e st

yle

of th

e 15

th c

entu

ry. I

f the

sam

e ar

tist

wer

e to

pai

nt th

em a

gain

toda

y, h

ow w

ould

they

be

dres

sed?

TITL

EA

RTIS

T

THE

NAT

IVIT

YAN

ONYM

OUS

ITAL

IAN

ART

IST

TITL

EA

RTIS

T

THE

RAPE

OF

EURO

PAM

ARTI

N D

E VO

S

Late

r, co

lour

was

mix

ed w

ith o

ils a

nd v

arni

shes

to a

chie

ve a

muc

hbe

tter r

esul

t, as

you

can

see

from

this

pic

ture

. The

line

s of

the

draw

ing

unde

rnea

th (i

n pe

ncil

or c

harc

oal)

have

com

plet

ely

disa

ppea

red

and

ever

ythi

ng s

eem

s re

al, t

he c

loth

s, th

e w

ater

, the

bull’s

hid

e an

d th

e w

oman

’s sk

in. Y

ou fe

el y

ou c

ould

alm

ost t

ouch

the

thin

gs y

ou s

ee.

Wha

t see

ms

mos

t life

like

to y

ou?

Try

to lo

cate

thes

e de

tails

on

the

pain

ting.

ART

IST

TITL

E

THE

LITT

LE V

ILLA

GE

GIR

L W

ITH

RED

CA

RNAT

ION

ADOL

FO G

UIAR

D

This

is o

bvio

usly

the

portr

ait o

f a p

erso

n, in

this

cas

e a

girl

who

mig

ht b

eab

out y

our a

ge. S

ee h

ow th

e ar

tist h

as c

hose

n to

pai

nt th

e pe

ople

in th

eba

ckgr

ound

and

the

flow

er in

the

girl’

s m

outh

. At a

dis

tanc

e al

l the

se th

ings

seem

real

, but

the

clos

er y

ou g

et th

ey te

nd to

go

fuzz

y; e

ven

the

flow

er is

just

a s

mud

ge o

f pai

nt.

Look

at t

he c

olou

rs. W

hat f

eelin

g do

they

giv

e yo

u? C

heer

fuln

ess,

hea

t, co

ld,

sadn

ess?

Why

?

Do y

ou th

ink

this

girl

com

es fr

om a

rich

fam

ily o

r not

? W

hy?

* W

e ha

ve ta

ken

the

back

grou

nd o

ut o

f the

pic

ture

for y

ou to

pai

nt, a

t hom

e or

in

clas

s, w

hate

ver s

ettin

g yo

u lik

e fo

r the

girl

(you

r nei

ghbo

urho

od, s

choo

l, a

park

)

TITL

EA

RTIS

T

THE

COU

NTE

SS O

F YU

MU

RICE

CILI

O PL

ÁTh

is is

als

o a

portr

ait,

but h

ere

the

artis

t has

pai

nted

a w

oman

in a

ver

yel

egan

t dre

ss s

urro

unde

d by

lots

of t

hing

s lik

e pi

eces

of f

urni

ture

, a c

arpe

tan

d so

on.

All

of it

hel

ps u

s to

kno

w w

hat t

his

wom

an w

as li

ke a

nd th

e ki

ndof

thin

gs s

he li

ked.

Whi

ch c

olou

rs a

ttrac

t you

r atte

ntio

n m

ost i

n th

is p

ortra

it?

Now

dra

w a

n ex

pres

sion

you

like

on

the

coun

tess

’s fa

ce: h

appy

,sa

d, a

mus

ed o

r ang

ry.

In c

lass

, use

thes

e fa

ces

to ta

lk a

bout

how

exp

ress

ions

cha

nge.

Whi

ch o

bjec

ts b

elon

ging

to y

ou w

ould

you

like

to a

ppea

r in

your

por

trait?

In th

e 20

th c

entu

ry, c

olou

r bec

ame

so im

porta

nt in

pai

ntin

gs th

at s

omet

imes

, not

onl

y is

ther

e no

dra

win

g, b

ut a

lso

noth

ing

we

can

reco

gnize

.Pa

inte

rs w

ho p

aint

this

kin

d of

pic

ture

wan

t us

to fe

el s

omet

hing

whe

n w

e se

e th

eir p

aint

ings

. Som

etim

es th

ey ju

st w

ant u

s to

like

them

. The

yno

long

er p

aint

bec

ause

som

eone

pay

s th

em to

but

bec

ause

they

wan

t to

expr

ess

them

selv

es a

nd ta

lk to

us

thro

ugh

thei

r pai

ntin

gs.

TITL

EA

RTIS

T

GA

RDEN

FRAN

CISC

O IT

URRI

NO

This

gar

den

with

tree

s an

d flo

wer

s lo

oks

like

a go

od p

lace

to b

e on

a h

otda

y. E

very

thin

g is

pai

nted

dire

ctly

in c

olou

r, w

ith n

o dr

awin

g w

hats

oeve

run

dern

eath

.

Whi

ch o

ther

col

ours

apa

rt fro

m g

reen

are

ther

e?

Wou

ld y

ou in

clud

e an

y ot

her t

ype

of tr

ee in

this

gar

den?

Whi

ch o

ne?

Why

?

Whe

n he

pai

nted

this

pic

ture

, do

you

thin

k th

e ar

tist h

ad a

ny o

f the

se tr

ees

inm

ind?

Whi

ch o

ne?

DES

PO

TIRO

NS

(PU

MPK

INS)

TITL

EA

RTIS

T

MIQ

UEL

BARC

ELÓ

In th

e pa

intin

gs w

e ha

ve s

een

until

now

, the

arti

sts

only

use

d pa

ints

.Bu

t her

e th

e pa

int s

eem

s to

be

mix

ed w

ith s

omet

hing

els

e.

Wha

t oth

er m

ater

ials

do

you

thin

k th

e ar

tist h

as u

sed?

Do y

ou th

ink

he o

nly

used

bru

shes

?

This

is q

uite

a b

ig p

ictu

re a

nd th

ere

are

lots

of t

hing

s in

it. H

ow d

o yo

u th

ink

Miq

uel B

arce

ló p

aint

ed it

? By

lean

ing

the

canv

as a

gain

st a

wal

l, pu

tting

on

the

floor

, or o

n a

tabl

e, p

erha

ps?

Why

?

Is th

ere

anyt

hing

spe

cial

that

attr

acts

you

r atte

ntio

n in

this

pai

ntin

g? C

ould

you

exp

lain

it?

TITL

ETH

E M

ARX

IST

BRO

THER

S´ C

AB

IN o

rA

PO

RTRA

IT O

F TH

E A

RTIS

T A

S A

YO

UN

G M

AN

ART

IST

EDUA

RDO

ARRO

YO

Ther

e ar

e a

lot o

f cha

ract

ers

pain

ted

in a

spe

cial

way

in th

is p

aint

ing.

Wha

t is

it th

atm

ost a

ttrac

ts y

our a

ttent

ion?

Now

try

to fi

nd th

ese

deta

ils in

the

pict

ure:

You

may

hav

e ha

d tro

uble

find

ing

one

of th

ese

deta

ils. I

f so,

whi

ch o

ne w

as it

and

why

?

Like

the

artis

t in

the

pain

ting,

use

lette

rs fr

om y

our o

wn

nam

e to

com

plet

e on

e of

thes

e fa

ces

(you

can

finis

h dr

awin

g or

col

ourin

g it

atho

me

or in

cla

ss).

TITL

EA

RTIS

T

UN

TITL

EDGA

BRIE

L RA

MOS

URA

NGA

I lik

e it

I don

’t lik

e it

Wha

t col

ours

are

ther

e?

Whe

n I l

ook

at th

e pa

intin

g I t

hink

:I d

on’t

care

whe

ther

I se

e it

or n

otI l

ike

look

ing

at it

I’m g

lad

I’ve

seen

itI d

on’t

min

d lo

okin

g at

it a

t all

I’d p

refe

r not

to s

ee it

I’d li

ke to

look

at i

t:Fo

r a s

hort

time

A lo

ng ti

me

The

thin

g I l

ike

mos

t is

that

:Th

e co

lour

s m

ake

shap

esTh

ere

are

lots

of c

olou

rsTh

e co

lour

s in

clo

se u

pTh

at it

’s ve

ry b

igN

othi

ng

The

thin

g I l

ike

leas

t is:

Whe

n I l

ook

at it

, I fe

el:

Peac

eful

Surp

rised

Plea

sed

Frig

hten

ed

Bore

dN

ervo

usSa

dI d

on’t

feel

any

thin

g

I im

agin

e w

hat i

t is:

DEPARTMENT OF EDUCATION AND CULTURAL ACTION

1. What did you like the most about your visit? What least?(Mark one answer only in each column)

Most Least

Seeing the paintingsSeeing the sculpturesWalking round the museumThe filmsFinding things out about the museumThe filesGetting the chance to paintEveryone talking about the works

2. Has the visit made you more interested in seeing other things in the museum?Not at all Not much I’m just as interested Quite a lot Yes, a lot more

3. Would you like to come back to the museum another time?Yes, soon Only on a special occasionYes, in a few years’ time No

4. Who would you like to come back with?My school Family or friends A museum guide I’d not come back

5. The visit seemed:Short About right Long

6. Did you enjoy your visit? Give it a score between 1 and 10.

1 2 3 4 5 6 7 8 9 10

7. What was the best part of the visit? Why?

8. Choose the sentence (one only) that best sums up what you think about art museums.

They are places for people who know a lot about art. Anyone can enjoy a visit. They are no use to anyone. They are serious places to learn and enjoy in silence. You enjoy them more the more you know.

Thank you very much for coming.

CONTACTYEAR and GROUP

SURVEY

Most Least

Yes, in a few years’ time No