Later Paintings

22 June – Teachers pack 28 October 2012 Introduction to the exhibition and aims of this pack

– Turner Monet Twombly: Later Paintings brings together works by JMW Turner (1775-1851), (1840-1926) and Cy Twombly (1928-2011), three of the most prolific and well-known artists of all time. – Focusing on their late work, the exhibition explores affinities between these artists in style, subject and artistic motivation. – The exhibition provides an opportunity for Turner and Monet to be seen within a contemporary context. – Highlights include iconic works such as Monet’s and Turner’s much loved romantic landscapes. The exhibition also showcases Twombly’s recent paintings of blooms, shown in the UK for the first time.

This pack is designed to support teachers and educators in planning a visit to Turner Monet Twombly: Later Paintings. It is intended as an introduction to the exhibition with a collection of ideas, workshops and points for discussion. The activities are suitable for all ages and can be adapted to your needs before, during and after your visit.

This is a PDF resource that can either be downloaded and printed out or viewed on a screen. The contents page includes hyperlinks that go directly to the different sections ‘Turner / Monet / Twombly’ if clicked Claude Monet Poplars on the Epte 1891 on. The website urls at the back of the pack will also link directly from Oil on canvas Tate the PDF resource to the sites if they are clicked on.

2 Teachers’ Pack — Turner Monet Twombly 3 Teachers’ Pack — Turner Monet Twombly Contents

3 Turner Monet Twombly: Later Paintings at Tate Liverpool

6 Turner 11 Turner – Activities 13 Work in Focus: JMW Turner Light and Colour (Goethe’s Theory) – the Morning after the Deluge – Moses Writing the Book of Genesis exhibited 1843 15 Work in Focus – Activities

16 Monet 20 Monet & Turner 21 Monet – Activities 23 Work in Focus: Claude Monet Nymphéas 1907 25 Work in Focus – Activities

26 Twombly 30 Twombly & Turner 31 Twombly & Monet 32 Twombly – Activities 30 Work in Focus: Cy Twombly Orpheus 1979 35 Work in Focus – Activities

36 Gallery Activities Claude Monet 37 Further Resources Water-Lilies 1916-1919 Courtesy Fondation Beyeler, Riehen, Basel Photo by Robert Bayer, Basel

4 Teachers’ Pack — Turner Monet Twombly 5 Teachers’ Pack — Turner Monet Twombly Turner

6 Teachers’ Pack — Turner Monet Twombly Turner Turner

Learning Aims: Joseph Mallord William Turner Turner decided to become an artist measure the moods of nature.’ – to provide contextual was born in Covent Garden, London at the age of fourteen and studied Though his watercolours were information on the artist in 1775. Following the death of at the Royal Academy of Art’s universally admired, the luminous – to explore Turner’s practice his younger sister and ill-health schools before being accepted palette and loose brushwork of – to explore Romanticism of his parents, he was sent to live into the academy itself, led by Sir his works in oil often provoked a with an uncle in Brentford at the Joshua Reynolds in 1790. Success hostile reception. The expressive age of 10, and then Margate, a came early and his reputation as a quality, particularly of his sketches place that he would return to many master of dramatic seascapes was is now seen as an important times throughout his life. The established by his first oil painting, precursor of modernism, but at boy was a prolific artist: he sent Fishermen at Sea when it was the time they may have seemed home drawings of buildings and exhibited to critical acclaim at the too radical for some critics. One the surrounding landscape which Royal Academy in 1796. reviewer scathingly referred to his his father proudly exhibited in the seascapes as ‘pictures of nothing, window of his barbershop By the age of 27 he had his own and all alike.’ in London. spacious studio at his home in Harley Street where he was also Turner’s success gave him financial

JMW Turner It is known that Turner worked as able to exhibit his works. He independence and enabled him to Rough Sea c1840-5 an assistant for several architects continued to show at the Royal travel widely throughout Europe. Tate as a youth, including Thomas Academy, becoming a full member It also allowed him the freedom Hardwick, James Wyatt and a in 1802 and was appointed acting to experiment with his painting, topographical draughtsman president in 1845. particularly in his later years. Thomas Malton, whom he later The art of his mature career is called ‘My real master.’ During this Due to his rising reputation as a characterised by vibrant colour period, he established his future landscape painter, Turner attracted and broad washes of paint that practice of sketching on location as sponsorship and commissions from accentuated the drama of his a basis for paintings that would be wealthy patrons all over Europe. favourite subjects: shipwrecks, finished later in his studio. He was described by the influential blazing fire, natural catastrophes critic John Ruskin as the artist who and phenomena such as rain, fog, could most ‘stirringly and truthfully sunlight and storms.

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In later life he gained a reputation Research... Role play! for his virtuoso performances at Turner’s career and discuss his Have a volunteer pretend to be the Royal Academy’s Varnishing early works. Trace the development Turner on Varnishing Day. Ask him Days. He would send unfinished of his art, particularly noting his questions about his art, his life and canvases to the gallery in advance use of colour, light and his painting what/why/how he is painting. which were described by a technique. Compare his art to contemporary critic as being ‘like that of other landscape artists chaos before the creation.’ He of the period (eg John Constable, would then proceed to complete Samuel Palmer, John Linnell) to the works before an appreciative see how innovatory his approach if not bemused audience, often to painting was. employing unconventional painting techniques to add to the spectacle. For more information on Turner and his art see JMW Turner Light and Colour (Goethe’s Theory) - tate.org.uk/art/artworks?sid=75&w The Morning After the Deluge - Moses Writing the Book of Genesis s=date&wv=grid exh 1843 Tate Visit... Turner Monet Twombly: Later Paintings at Tate Liverpool or the Clore Gallery at Tate Britain to see Turner paintings in real life (or your local gallery may have one of his paintings). Make sketches, write notes to remind you of the impact of seeing these works up close!

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J.M.W.Turner Light and Colour (Goethe’s Theory) – the Morning after the Deluge – Moses Writing the Book of Genesis exhibited 1843

This painting was exhibited in 1843 with the following lines, allegedly written by the artist:

The ark stood firm on Ararat; th’retuning sun Exhaled earth’s humid bubbles, and emulous of light Reflected her lost forms, each in prismatic guise Hope’s harbinger, ephemeral as the summer fly Which rises, flits, expands, and dies.

— Fallacies of Hope, M.S.

A companion to Shade and Darkness – The Evening of the Deluge 1843, this triumphant explosion of light celebrates God’s Covenant with Man following the Flood. The Biblical event, recorded in the Book of Genesis, was said to have been written by Moses. Here, the prophet is sketched indistinctly against the light at the centre of the composition, along with the brazen serpent that he used for healing (and which later became a symbol for modern medicine).

Turner’s choice of subject matter for these two works may have been JMW Turner Light and Colour (Goethe’s Theory) - suggested by John Martin’s Eve of the Deluge 1840 and The Assuaging The Morning After the Deluge - Moses Writing the Book of Genesis of the Waters 1840, which the artist would have seen when they were exh 1843 exhibited together at the Royal Academy. Tate 12 Teachers’ Pack — Turner Monet Twombly 13 Teachers’ Pack — Turner Monet Twombly + +  Work in Focus Work in Focus Activities

In many of his later works, Turner the latter, blues, blue-greens Find out... Discuss... omitted details such as people and and purples, were interpreted as about colour wheels. Talk the effects of light. What happens objects in order to concentrate gloomy, melancholic and coldness. about colour combinations. when you try to take a photograph on the effects of light and the The oppositions of light and dark What happens when you mix into direct light? What happens elements. The central swirling were also added to the equation in colours together? What happens when you pass a beam of light vortex is a motif that Turner Turner’s two paintings: Shade and when you place dots of colour through a prism? What is a commonly used in his seascapes Darkness to describe the Deluge or pixels alongside each other? spectrum? Can you mix coloured in order to evoke the all-engulfing and Light and Colour to evoke Stare intently at a primary colour light in the same way you can forces of nature and also to hope and optimism of its wake. and count to twenty slowly. Then mix coloured paint? disorientate the viewer by offering The former mixes dark purples, transfer your gaze to a sheet of no sense of a horizon. His Deluge blues and blacks in a turbulent, white paper….what do you see? Research... is also invested with spiritual emotional whirlpool whilst the Mix your own colours and invent other interpretations of floods significance as a reminder of the latter radiates light and hope names for them. in art, music and literature (eg awe-instilling power of God. from its centre. Turner associated Masaccio’s Deluge 1386 at the yellow with the life and energy- Discuss... Brancacci Chapel, Florence; The title makes reference to giving qualities the sun. Light was the effects of colour. What are your Michelangelo’s Sistine Chapel Goethe’s theory of colour and also significant to the artist as the favourite colours? Make a list of frescoes; Dexter Dalwood The when Turner was asked to explain emanation of God’s spirit. your personal associations with Deluge 2006; Thomas Cole The this painting, he is said to have each colour and then compare your Subsiding of the Waters 1829; replied, ‘red, blue and yellow.’ The Compared to the landscapes of his list with those of your classmates. Camille Saint-Saëns Le Déluge artist owned and studied Charles contemporaries, Turner’s scenes 1875; Julian Barnes A History of Eastlake’s translation of Goethe’s appear incredibly modern today. Paint... the World in 10½ Chapters 1989) Fahrbenlehre, which appeared in Traditionally, colour and light were your own seascape with wild and discuss modern floods Britain in 1840. Goethe’s colour used to define or enhance form, weather, bright sunlight and try out and tsunami. wheel divides the primaries into not to take its place. In Turner’s different colours and techniques ‘plus’ and ‘minus’ categories: the late works, colour and light almost for applying the paint. You could former, reds, yellows and yellow- became a subject for his painting copy examples by Turner before greens he associated with gaiety, in its own right. creating your own ideas. warmth and happiness, while

14 Teachers’ Pack — Turner Monet Twombly 15 Teachers’ Pack — Turner Monet Twombly Monet

16 Teachers’ Pack — Turner Monet Twombly 17 Teachers’ Pack — Turner Monet Twombly Monet Monet

Learning Aims: this group of artists and the style – to provide contextual of painting associated with them. information on the artist’s Originally meant as an insult, a background and the critic at the first exhibition of this development of his career group’s work in 1874 scornfully – to provide a brief introduction referred to the unfinished to appearance of the paintings as – To discuss links between the ‘impressionist’ and the name stuck. work of Monet and Turner The impressionist style developed from their method of painting Claude Monet was brought up in which employed short, rapid the Normandy port of Le Havre brushstrokes in order to capture where he became a landscape fleeting atmospheric conditions artist under the tuition of Eugène as they worked directly in front Boudin and his earliest images of their subject in the open air. were of the coastal scenery The availability of metal tubes of surrounding the industrial town. oil paint meant that they could Claude Monet take their materials out into the Poplars on the Epte 1891 In 1862, Monet became a student Tate of Charles Gleyre in Paris and landscape, whereas previous met Frédéric Bazille, Jean- artists such as Turner were Auguste Renoir and Alfred Sisley. restricted to boxes of watercolours Disillusioned with traditional for sketching outdoors. famous studies of the French was a painting Monet had greatly art, they shared ideas about Besides painting the natural railway of the 1870s, the artist admired on his visits to London. new approaches to painting and landscape, Monet was also was living opposite the station at decided to exhibit their works with attracted to the man-made Argenteuil on the outskirts of Paris. other like-minded artists such as environment such as the streets Turner’s Rain, Steam and Speed – Edgar Dégas and Camille Pissarro. of the developing city of Paris and the Great Western Railway 1844, It was Monet’s painting, Impression the newly constructed railway one of the first paintings to depict Sunrise 1872-3, that gave a label to system. When he painted his this modern means of transport, 18 Teachers’ Pack — Turner Monet Twombly 19 Teachers’ Pack — Turner Monet Twombly Monet &  Turner Activities

Monet is known to have viewed Though Monet shared Turner’s Research... Make... Turner’s paintings in the London fascination with light and the impressionism: Who were the a series of paintings or drawings of galleries with Camille Pissarro effects of the elements, the impressionists? When did they one subject. Use different colours, during their stay in 1871, and former’s interest was motivated paint? What did they paint? How materials or styles of painting then on subsequent visits over less by drama and romanticism did they paint? What impact did each time you record your motif. the following decades. In his than a desire to capture nature as impressionism have on the art You could scan or photocopy your paintings of the city, such as he experienced it. He observed of their time? How did the art of images to add even more variation Waterloo Bridge 1902, Monet took and recorded his subject matter Monet and his circle influence to the series. on Turner on his own grounds, the systematically and objectively, other artists? Thames being a favourite subject often returning to the same motif Compare... of the British artist. again and again to paint it in Record... Monet’s Waterloo Bridge 1902 different atmospheric conditions your impressions of everyday life with Turner’s The Thames above (for example , poplars, with sketches, as a blog or using Waterloo Bridge 1830-5. Make mornings on the Seine, the façade a camera. Note changes in notes on differences in the artist’s of Rouen cathedral). Monet’s weather, time of day, changes in approach to the subject: style, paintings were usually created light etc. You could also record or colours, brushstrokes etc. You in front of the subject and then describe different sounds, smells, could also examine both artists’ sometimes finished in the studio textures that you experience in views of Venice. whereas Turner’s oil paintings were a typical day. the result of composite studies, sketches and his imagination.

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Claude Monet, Nymphéas 1907

In 1890, Monet began to transform and depth in painting. On the the large garden attached to one hand he emphasised the his house in with exotic flatness of the lily pads and their plants, flowers and a Japanese proximity to the picture plane and bridge over a lake with water lilies. on the other hand he suggested During the last thirty years of his the murky depths of weeds and life, he created over 250 paintings water through tangled strands of of watery landscapes as he pigment alongside the reflected became increasingly occupied with and refracted light of the pond. this floating environment. With Nymphéas 1907, and most of his water lily paintings, the His first series of Nymphéas was image appears cropped. The artist exhibited in 1897. He had already focuses on the water and flowers created serial studies of a number and details such as the edges of of subjects including haystacks, the pond, its banks or surrounding poplars and the façade of Rouen garden are removed, so that the cathedral. In these paintings, he viewer is denied help in spatially used the same motif as a vehicle locating the image. Instead, for investigating the effects of there is a focus on paint, colour light, heat and the elements. With and sensuous brushstrokes that Claude Monet the water lilies, he took these characterises the late style Nymphaéas 1907 Tate studies further and explored of Monet. the tension between surface

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This painting is one of 48 similar His first response as his family Research... Find out... scenes painted between 1904 and and his life fell apart was to give Monet’s garden at Giverny. about flower symbolism. 1906. For him, the subject was up painting, but then he returned Find photographic images of the In Japanese art, for example, associated with melancholy and to his pond with the intention of garden and compare them to his the water lily (or lotus flower) it has been suggested that the totally immersing himself and the paintings of the same views. Find represents the struggle of life by obsessive painting of this motif viewer in the sensation of water out about other artists who created alluding to its ability to develop was perhaps his way of dealing and flowers. In particular, he aimed their own artistic landscapes/ and flower despite its muddy, with sadness in his life. Between to revive an idea he had conceived environments eg Nikki de Saint murky environment. the end of the 19th century and nearly twenty years earlier of Phalle, Vanessa Bell and Duncan the First World War, he lost his producing enormous paintings Grant, Henry Moore, Barbara Make... close friend Alfred Sisley, his to be hung in a circular room that Hepworth, Ian Hamilton Finlay, water lilies collages with second wife Alice, step-daughter would allow the viewer to share Le Facteur Cheval etc. layers of coloured tissue paper, and son. He was diagnosed with his experience of his lily ponds. embroidery silks, inks and cataracts and then his family life In 1918, as his contribution to Create... textiles. Create a richly textured was completely destroyed with the the war effort, he donated 20 your own Water Lilies and colourful image. outbreak of war and his remaining panels from this series of water lily paintings. Find a lily pond in son and step-son were enlisted in paintings to the French nation. In a park, garden or garden centre Design... the French army. Throughout this 1927, a few months after Monet’s and take close-up photographs an imaginary garden or period, he applied himself to his death the exhibit finally opened of the water and flowers to help landscape for your art. Make art and in particular, his to the public at the Orangerie in you with your painting. sketches or models. Where water lilies. Tuileries Gardens, Paris. would it be located? What features would you incorporate?

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26 Teachers’ Pack — Turner Monet Twombly 27 Teachers’ Pack — Turner Monet Twombly Twombly Twombly

Learning Aims: Born in Lexington, Virginia in 1928, Black Mountain College in North moved to Italy where his work – to provide contextual Edwin Parker Twombly (sharing Carolina,1951-2. The predominantly reflected his love of poetry, an information on the artist his father’s nickname ‘Cy’ after a black and white palette of his early increasing fascination with classical – to provide a brief introduction Chicago White Sox baseball player) works shows an affinity with fellow mythology and his engagement to the work of Cy Twombly studied in Boston and New York Black Mountain students Robert with the light and landscape of – to discuss Twombly’s affinities at the height of American abstract Motherwell and Franz Kline. The the Mediterranean. His sculptures with Turner and Monet expressionism and then at the stressed surfaces of many of his also became suggestive of classical progressive and experimental works of this period also suggest forms - assembled from found an interest in the art of post-war materials but often covered in Europe where he was enabled to white paint or plaster. travel on a student grant in 1952. In the 1970s he began to evoke On his return to America, he was landscapes through a combination conscripted to the US Army before of colour, text and collage. His resuming his career as an artist. work from the 1980s onwards While serving in the army as a seeks to capture life at its most cryptologist, he created pictures fleeting and ephemeral and he at night in the dark, imitating the became increasingly fascinated automatic drawing associated with by water. He began to imitate Surrealism. This technique was its characteristics by flooding incorporated in the dense pencil the surfaces of his works with scribbles he made on the surface fluid acrylic paint, often applying of his early paintings. These and smearing the material with graffiti-like scrawls subverted the his fingers to create a sense of calligraphic gestures of artists such spontaneity and urgency. as Jackson Pollock and Lee Krasner: his fragile, child-like marks

Cy Twombly contrasted with the confident Quattro Stagioni Part III: Autunno 1993–1994 gestures of abstract expressionism. Tate © Cy Twombly Foundation In the late 1950s, Twombly

28 Teachers’ Pack — Turner Monet Twombly 29 Teachers’ Pack — Turner Monet Twombly Twombly & Monet & Turner Twombly

Twombly was a great admirer Turner and Twombly both engaged Monet and Twombly also shared Another theme that is common of Turner’s art. His Study from with history and mythology. The an interest in the formal qualities to the work of Twombly and Monet the Temeraire 1998-9 was epic themes addressed by Turner of painting and an affinity with is transience. Monet’s serial works inspired by Turner’s The Fighting include the stories of Dido and materials, colour, texture of their such as the façade of Rouen Temeraire 1839 when he was Ulysses, whilst Twombly’s works paint. The works made by Twombly cathedral or haystacks, explore invited by the , include allusions to the myths of for the Venice Biennale of 1988 changing seasons and different London to respond to works in Bacchus and Orpheus (see Work in in response to the city’s watery times of day. Twombly’s Quattro their collection. The themes of Focus below). surroundings have inevitably Stagioni 1993-5 gives a sense of loss, mourning and nostalgia been compared to Monet’s lily the changing times of year in four were shared by these artists in Both artists occasionally addressed ponds. Whereas Monet’s paintings distinct paintings with an overall a number of works, for example contemporary events. Turner’s suggest the reflective surfaces mood of decline, loss and the Turner’s Burial at Sea 1842, which works addressed the subject of and aquatic depths, in Twombly’s passing of time. represents the funeral of fellow slavery, the battles of Waterloo work the paint itself has the artist David Wilkie and Twombly’s and Trafalgar and the burning characteristics of water. The thin Nini’s Painting 1971, where the of the House of Commons. In washes with drips give the works artist attempts to come to terms 1990, Twombly made a series of the appearance of having been with the death of a friend through sculptures, Thermopylae 1991, splashed or ‘rained’ upon. an outpouring of emotional, Epitaph 1990 and Lepanto 1990 indecipherable script. that make indirect reference to conflict in the Middle East. Twombly used the addition of handwritten words on his canvases in order to extend the visual frame of reference of his paintings and Turner also incorporated text in the form of verse which was exhibited alongside some of his paintings.

30 Teachers’ Pack — Turner Monet Twombly 31 Teachers’ Pack — Turner Monet Twombly  + Activities Work in Focus

Research... For example, you could close your Cy Twombly dada, surrealism, coBra, american eyes, use a crayon that Orpheus abstract expressionism and discuss has been taped to the end of 1979 possible influences of other artists a broom handle, tape several on the art of Cy Twombly (eg crayons together to draw with Kurt Schwitters, André Masson, them simultaneously. Run riot! Paul Klee, Jean Dubuffet, Franz Kline, Robert Motherwell, Paint Water! Jackson Pollock etc) Try to capture the effects of drips, rain, waves, trickles, splashes, Make... currents, rivulets, whirlpools, surrealist automatic drawings. condensation, icicles, puddles Draw freely on a sheet of etc. Look at art by Turner, Monet, paper with your eyes covered. Twombly for inspiration Alternatively, place the paper inside a box so that you cannot Write... see your hand as you draw. Play a list of words that you music or watch television so that associate with different times you do not think about what of year. Think of sights, sounds, you are drawing. Doodle! Be smells, textures. Use these words spontaneous! to write a series of poems and then create accompanying images Scribble! to capture the changing seasons. Cy Twombly Orpheus 1979 Line a room with large sheets You could also compile a playlist Tate of paper and express yourself of songs to accompany your with crayons and pencils. Try out words and pictures. different techniques and tools.

32 Teachers’ Pack — Turner Monet Twombly 33 Teachers’ Pack — Turner Monet Twombly + +  Work in Focus Work in Focus Activities

Twombly’s monumental, almost viewers would be less familiar with Find out... Make... monochromatic work Orpheus the stories of antiquity. Where about Orpheus and the stories a painting of your own name or 1979 has the Greek characters myth is referred to in his work, associated with him. Read other a friend’s. Use appropriate font, Oρϕeύϛ scrawled in wax crayon the images are deliberately ancient myths and legends and materials, style and techniques to across its surface. Some of the obscure. Enigmatically fading make your own paintings in the evoke the character behind the letters are almost obscured by letters evoke blurred memory style of Twombly, combining text name. You could expand this into a thin wash of colour that looms and forgotten history. This is not and image. a collage and add photographs, like a cloud and drips over the a painting that tells the story of labels, sweet wrappers, text making it barely legible. Only Orpheus or relates his deeds; it is Compare... memorabilia etc. the letter ‘O’ asserts itself on the a painting about the loss of these Twombly’s representation of the canvas, and even this is irregular tales, not knowing, ignorance. Greek story of doomed love, Hero in form as though hastily scribbled and Leandro 1981-4 with Turner’s with a hesitant or wavering hand. version (The Parting of Hero and Rather than helping to make sense Leander exhibited 1837). What of the image, the writing intrigues means does each artist use to and confuses the viewer. The word relate a story, create atmosphere ‘Orpheus’ is all that remains of and express emotion? Discuss the story of the Greek hero whose their use of colour, paint and text. mournful lyre-playing charmed the (Turner wrote verses to accompany gods of the underworld. his image when it was exhibited). For further information on each Turner and Twombly both engaged painting see with history and mythology in their www.tate.org.uk/servlet/ViewWork art. Whereas Turner’s reference ?workid=18685&roomid=2010 to mythology would have been http://www .tate.org.uk/modern/ understood by his art’s classically exhibitions/cytwombly/explore. educated audience, Twombly shtm recognised that his modern

34 Teachers’ Pack — Turner Monet Twombly 35 Teachers’ Pack — Turner Monet Twombly Gallery Activities Further Resources

Sunsets Water Books All three artists painted this Compare and contrast Turner, subject. Compare their approaches Monet and Twombly’s seascapes, – Lewison, Jeremy Turner Monet Twombly: Later Paintings, – look at techniques, colours, coastlines, rivers, lakes and their Tate Publishing, 2012 structure, moods, atmosphere. different light conditions, weather – Leeman, Richard Cy Twombly: A Monograph, Make colour notes and sketches to and locations. Find out about the Thames and Hudson 2005 help you create your own paintings places they depicted eg London, – Moorby, Nicola and Warrell, Ian How to Paint like Turner, or collages in the classroom. Venice, Normandy. Tate Publishing 2010 – Serota, Nicholas Cy Twombly: Cycles and Seasons, Tate Publishing 2008 Colour Review the exhibition – Wildenstein, Daniel Monet or the Triumph of the Impressionists Hand out a colour swatch to each Pretend you are a reporter. Make Taschen 2010 of your students and ask them notes on lay-out, lighting, display – Wilton, Andrew Turner in his Time Thames and Hudson 2006 to find a painting that uses that techniques, interpretation (texts, colour. How is it used? Where is guides, captions etc) Which works Online it used? Describe texture, size of are highlights for you? What don’t brushstrokes, thickness of paint you like and why? Which works are http://www.tate.org.uk/whats-on/exhibition/colour-and-line-turners- etc. What does it express? Describe grouped together and why? Would experiments/colour-and-line-room-guide/colour-and-line mood, emotion, atmosphere you recommend the exhibition to http://www.tate.org.uk/file/turner-and-venice-teachers-pack evoked by that colour. Use your other visitors? http://www2.tate.org.uk/turner/ investigations to create your own http://www.tate.org.uk/learn/online-resources abstract painting – eg ‘Turner’s http://www2.tate.org.uk/turner/travelsv2/turnerstravel.htm Yellow’, ‘Twombly’s Red’, ‘Monet’s http://www.tate.org.uk/whats-on/exhibition/cy-twombly Green’… http://painting.about.com/od/oldmastertechniques/a/Techs_Monet.htm http://painting.about.com/od/oldmastertechniques/a/painting_Monet. htm

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