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The Docent Muse December 2011

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The Docent Muse December 2011 The Docent Muse December 2011 From the Editor on December 4 • Bonjour Japon and EdoPop docents are engaging Mary Bowman visitors and making great connections among the works of art. The lovely snowfall we had last night finally removed • The new tour office computers are in use. A few the silly notion from my head; summer is not coming docents and guides have used the portable data back for a while! I’m counting Muse contributors as projector to give presentations at offsite loca- one of my most appreciated gifts this season. Thank tions. you to all of this issue’s contributors and to our • Six curators talked about recent accessions in unflappable online publisher, Merritt. I hope more of November. We will hold more sessions like this you will consider sharing your experiences and ideas in the next segment of Continuing Education. with our large docent community. Other gifts come • MGP staff conducted a contemporary art tour in when doing tours in which unexpected moments the galleries, looking at new accessions related to make all the preparation seem the proverbial drop in our Asia, Americas, and Africa collections. We the bucket. had lively conversations and the consensus was to One such: spend more time together in the galleries. While halfway through a tour with a large group of • The Docent Forum was a good opportunity to 4th graders, one solemn little boy stuck close to my discuss issues of concern to docents and brain- side, but didn’t seem particularly enthused about storm new ideas about resources and tours. anything we’d seen. On a longer walk to the next JeanMarie Burtness’s report on the National object he confided, “One of my friends at school told Docent Symposium gave us some potential new me I’d HATE this.” I mentally gulped, then dared to tour ideas to explore. ask, “Do you?” He looked up at me and replied, • We plan to start organizing and digitizing object “No, I just love it.” files in January. Let me know if you can help. Volunteering, by definition, means giving. It also • We will hold participatory activities and improvi- means getting back. sation workshops in the next semester of Contin- Happy Holidays, everyone! uing Education. More to come about that! Musings from MGP As I watch and participate in the myriad of activities around the museum, I know that none of it would be Debbi Hegstrom possible without our dedicated and passionate group At the half-way point of this touring year (already?), of volunteers. I wish you the happiest of holiday sea- I’d like to reflect on some of the new opportunities I sons and (some) downtime to re-energize for the mentioned in the September Docent Muse and take unfolding potential of the New Year! note of many things that are happening in the gal- leries. Here’s an update and some observations. National Docent Symposium Highlights • Winterlights tours are going strong, with two JeanMarie Burtness, decorated period rooms and several participatory Docent Executive Committee Chair activities added to the tours this year. In early October, I had the good fortune to attend • Book tour attendance is growing – the word has the four-day National Docent Symposium, hosted by gotten out! New titles have been announced for the Saint Louis Art Museum and the Saint Louis Art December through May. See your latest Arts Museum docents with over 400 other docents from magazine and take a tour. the United States and Canada. Part of the conference was spent attending and participating in docent-led breakout sessions. I’m always on the lookout for referred to as prompts. The goal is to use the artwork touring techniques that encourage in-depth observa- as motivation for storytelling and creative writing tion and extended discussion with our visitors, partic- activities when the students leave the museum. After ularly high school students. Here are two sessions the tour, students have another thirty minutes to go that I thought were interesting. back to one or two favorite works to begin writing. Docents from the San Francisco Museum of With “Art Inspires Narrative Writing,” docents do Modern Art presented a technique that they have meet and talk with the teacher prior to the museum found to be successful with upper grades. The docent visit so that students are prepared to do writing both has students sit down and take time to look at all the in the galleries and back at their school. The teacher paintings in one gallery. The docent shows students a does the follow-up, but occasionally The Carnegie different painting created by one of the artists in that Museum of Art docents have received short stories same gallery on the iPad (although it could be a large and poems related to their collection. photo prop). The docent asks, “In what ways is this Carnegie docents select artworks that focus on painting like some of paintings in this room? Follow- characters, setting, theme, and plot. Here are some of up questions can be “ … in terms of the content? the questions that they shared with us. These ques- Colors used? Brushwork? Landscape? Facial fea- tions could also be used to promote speculation and tures?” and so on. Students are asked to compare and interpretation on other tours. find similarities in four or five artworks in the room Character: After you carefully examine this char- with “ … and what else do you notice?” and “Tell me acter, list at least ten details that tell us about the more.” The tone is thoughtful but light-hearted and character. What is this person thinking? If this char- sort of game-like. acter could tell you about his/her life, what would We docents know that curators place art objects he/she want you to know? Artists create characters in in galleries because they are related in some way. the same way writers do, by providing details. What Here students discover similarities through their own details in the painting support your response? collaborative investigation. The docent can end with Setting: What is special about this place? What “As a matter of fact, this painting on the iPad was does this place sound like? How does it smell? Would painted by the same artist who painted that one. Like the character from the previous painting fit into this art historians, you noticed a variety of similarities in setting? Why or why not? the style and content in all these paintings.” The Theme: What idea do you think the artist is try- point is for visitors to think, talk, and be actively ing to communicate? How does the artist express involved in increasing their own awareness about art. attitudes about life through the work? They are also practicing a type of analytical thinking. Plot: What seems to be happening at this The Carnegie Museum of Art docents offer a moment? What events may have led up to the tour titled “Art Inspires Narrative Writing.” Each moment shown? What will happen next? Is there a student receives an Idea booklet to jot down short conflict here? What is the conflict? observations during the tour. They stop at four to six To find out more about the National Docent artworks in an hour, and open-ended questions are Symposium organization, please go to their new web- used to stimulate conversations. Then, to generate site www.nationaldocents.org. imaginative thinking, the docent uses more questions, 2 The Red-Coated Hunter v. the Hobbema was born in Amsterdam in 1638, the Provenance Detective son of a carpenter. At fifteen, he and his younger Kay Miller brother and sister were sent to an orphanage. Within two years, he was apprenticed to the famous land- Ever look at that quirky little red-coated hunter in scape painter Jacob van Ruisdael. Hobbema special- Meindert Hobbema’s splendid 1665 Wooded ized in elaborate woodland scenes. Watermills were a Landscape with a Watermill (G311) and think that he favorite theme. In 1668, he married, and through his seems oddly out of place? wife’s connections obtained the post of Amsterdam’s “For years, MIA paintings curators have suspect- Sealer of Weights and Measures, weighing and meas- ed that the hunter was an interloper, added a century uring imported wines. With a wife and job, his out- or so after Hobbema completed the piece,” said Erika put of paintings slowed. The last years of his life Holmquist-Wall, assistant paintings curator and head were grim. His wife and two children died in 1704. of the MIA’s Provenance Project. This makes her the Five years later, he died in poverty and was buried in museum’s chief detective in documenting the often- a in a pauper’s grave. elusive ownership histories of art objects. It is said that Hobbema painted the soul of a There were lots of tip-offs that the hunter was a landscape. He loved Holland and it showed. Billowy later addition. First, his hunter’s 19th-century cos- clouds emit patches of sun light over a meandering tume is that of an upper-class British gent in the late stream, watermill and cottage rooftop. Such scenes 18th or early 19th century, not a huntsman from were in great demand by wealthy patricians in Hobbema’s 17th-century Holland. Second, the Amsterdam. Given Holland’s flat topography, images hunter’s stance was enthusiastic, but wrong: of verdant, woodlands were especially desirable. This Although he aims vaguely in the direction of birds in particular watermill is in the hilly part of Holland, at flight, his gun also points willy-nilly at three boaters Singraven, near the German border.
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