Progress

William Hogarth - The Rake’s Progress (Parts 1, 4 and 8), 1733

William Hogarth: William Hogarth (1697 - 1764) was popular with both artists and the public. He was a keen supporter of the and set up the country’s first public art gallery at the Hospital to promote British artists and to bring in wealthy people who would in turn support the Hospital.

The ‘Progress’ exhibition and this resource explore how Hogarth’s work continued to inspire future generations. His series of paintings, A Rake’s Progress, explores themes of lust, money and greed through a story with strong morals in it.

HOW THE RESOURCE WILL WORK: This resource has been written by artist Daniel Wallis to support teachers visiting the Foundling Museum’s exhibition ‘Progress’ and makes links to its permanent collection. The resource can be used as a tool to support teachers leading a session independently in the Museum, or used to accompany the artist-led workshops for which we have a charge of £90 per group (if you are coming on a self-guided visit please bring your own pencils and paper).

It is advised that you read through all sections before starting to help with your knowledge of the exhibition and artists. The resource is designed for you to easily differentiate the questions and activities to suit your group. A guide amount of time is given for each section; the whole resource can be used to lead a session of up to 2 hours.

NATIONAL CURRICULUM LINKS: The use of this resource, the Museum and the exhibition can be used to augment your teaching back in school, making links to Citizenship and Art & Design at KS2 and KS3 especially in these areas: • The roles played by public institutions in society. • The ways in which citizens work together to improve their communities. • Learning about great artists, architects and designers in history. • Expressing reasoned judgements that can inform their own work. • Using a range of techniques to record students observations in sketchbooks, journals as a basis for exploring ideas. • Learning about the history of art, craft, design and architecture, including periods, styles and major movements from ancient times up to the present day. Introduction: Progress of a Foundling The Committee Room

Emma Brownlow - The Christening

READ THIS TO THE GROUP: Before exploring the exhibition let’s find out a bit more about the Foundling Hospital and the Foundling children.

The Foundling Hospital opened in 1739 and closed in 1953. Life for a Foundling child would have been different depending on the different historical periods of the Hospital such as the Georgian and the Victorian eras. It began as a place to look after and educate deserted or unwanted children in the Georgian era and evolved into the contemporary 20th century charity Coram, an organisation that helps foster children across the country (it’s named after , the man whose vision it was to set up the Foundling Hospital). We could describe the original Hospital as a mix between an orphanage and a school.

Discussion Questions (5 minutes): Find the Emma Brownlow paintings The Christening and The Foundling restored to its Mother. These Victorian paintings show two events in the life of a Foundling, can you find the clues in them that reveal:

• All babies were christened with a new name. • Foundlings were brought up as Christians. • Older girl Foundlings helped look after the younger ones. • All Foundlings wore uniforms - girls wore uniforms like maids and boys wore a uniform similar to a soldier. • Girls were expected to become maids in domestic service and boys were expected to enter the military or apprenticeships. • If a mother found herself in a better financial situation and with a husband she could reclaim her child. • The room you are in is a reconstruction of one of the rooms in the paintings. FACTS: READ TO THE GROUP Other facts about the life of a Foundling: • Originally only children under 1 year old were taken in, using a lottery system to limit the numbers. • Babies were given to local wet nurses in the countryside to feed and bring up until they were old enough to join the Foundling Hospital (3-5 years old). • The Foundlings were well educated and taught maths, english and skills such as sewing for girls and rope making and marching for boys. • Music was taught at the school and most of the Foundlings were in the choir. Some of the boys played instruments in the boys band.

Imagine yourself as one of the Foundlings in these paintings in the Committee Room

William Hogarth - The March of The Guards to Finchley

FACTS: READ TO THE GROUP The painting on the end wall of the Committee Room, The March of The Guards to Finchley, is a great example of how Hogarth helped raise money for the Hospital. Instead of selling the painting, Hogarth sold lottery tickets offering the painting as a prize. Money raised from selling these tickets went to the Foundling Hospital. He also gave some of the tickets, including the winning ticket to the Foundling Hospital. The Hospital was able to keep both the painting and the money raised from the tickets sales. Hogarth: A Rake’s Progress PROGRESS EXHIBITION

READ THIS TO THE GROUP: Hogarth was already a well know artist before he started supporting the Foundling Hospital. As well as setting up the country’s first public art gallery at the Foundling Hospital he also:

• Designed the Hospital uniforms that the Foundlings wore. • Supervised the wet nurses that looked after baby Foundlings. • Designed the Foundling logo. • Organised art exhibitions. • Raised money for the Foundling Hospital through public events. • Was one of the first Governors of the Foundling Hospital.

William Hogarth - The Rake’s Progress: 1. The Heir- 1735

ActivitY (10 minutes): The Rake’s Progress is a series of eight paintings that tell the story of Tom Rakewell - the son and heir of a rich merchant, who comes to , wastes all his money on luxurious living, partying and gambling and as a consequence ends up first in prison, then in a psychiatric institution. On display are etching copies of the paintings.

In groups of three take one word from the list below and try to link it to one of the scenes: Fortune Partying Help Disapproving Money Fun Greed Waste Violence Gambling Begging Friendship

Then find Tom Rakewell in your scene and think about why Hogarth has painted him in that way – look at the body language and facial expressions. Stand in front of the image and pose like Tom. Feedback your link and findings to the class. William Hogarth - The Rake’s Progress: 4. The Arrest - 1735

Discussion Questions (5 minutes): • What happened in Tom Rakewell’s story? • What is the moral? • Why would an artist want to tell a story like this? • Hogarth made this before cameras existed. Where do we see modern versions of stories like this? • Why do we enjoy watching TV programmes and films about people who are similar to Tom Rakewell?

William Hogarth - The Rake’s Progress: 8. The Madhouse - 1735 : Diary of a Victorian Dandy PROGRESS EXHIBITION

Yinka Shonibare: Diary of a Victorian Dandy, 14:00 Hours - 1998

READ THIS TO THE GROUP: Yinka Shonibare’s work links to black cultural identity. He was born in England, moved to Nigeria when he was 3 years old and came back to do his A-levels at 17. The title of this series of photographs tells us it is set in Victorian times. It’s unlikely that any rich Victorians were black, just as all the Foundlings at the time would have been white and were brought up in the Christian faith.

Discussion Questions (5 minutes): In the diary of a Victorian Dandy, Shonibare is in the photos surrounded by actors playing the parts of his friends and people he meets during a day in the life of a fictional Victorian Dandy. There are five scenes, each titled with a time of the day. We can imagine what happened to lead from one scene to the next.

• What would you have in common with a Victorian child of the same age? • What is different in the world now? • What have your parents and grandparents told you was different about their childhood? • Why did Shonibare use photography? The original version of this work was shown at stations across the London Underground as huge posters. • Shonibare played the main character. Is it obvious who he is? ActivitY (10 minutes): Move to the Introductory Gallery.

In groups of three explore the Introductory Gallery looking for objects that could be used as props to tell us something about the Foundlings and their lives in the Hospital. Remember the Brownlow paintings, perhaps there are objects here that could add to those stories or go beyond it?

Each person in the group should make one quick drawing of an object on A4 paper – if possible life sized. Feedback your findings.

Yinka Shonibare: Diary of a Victorian Dandy, 17:00 Hours - 1998

ActivitY (15 minutes): Stay in your group of three but move up to the Court Room where there is more room.

Find another group of three and team up to make a group of six.

Create a freeze frame scene through posing (one person could be the director, guiding the actors): • Tell part of the story of a Foundling’s day. • Think back to body language and facial expressions. • Use some of your drawings as props. • Create a title for your scene that gives a clue as to what the Foundlings are doing (perhaps give it a time of day like Shonibare did).

Share with each other. : The Vanity of Small Differences THE PICTURE GALLERY

Grayson Perry - The Vanity of Small Differences - 2012

READ THIS TO THE GROUP: The Vanity of Small Differences tells the story of the rise and demise of Tim Rakewell. It is composed of characters, incidents and objects that Grayson Perry encountered on his own journeys. He focuses on the emotional attachments we make to the things we choose to live with, wear, eat or read. We all have different tastes and it is an important part of our identities.

Discussion Questions (5 minutes): Before we look at Perry’s work let’s think about ourselves and objects that define us.

• Do you like going to school? • Do you like weekends? • Do you see friends from other schools in the evenings? • Do you like the school holidays? • What is your favourite past time or hobby? • Where do you buy your clothes from? • How is your hair cut? • What one object would you bring with you if you were coming to live in the Foundling Hospital? • What makes you an individual? Grayson Perry - The Vanity of Small Differences - 2012

FACTS: READ TO THE GROUP • The Foundlings all wore uniforms (originally designed by William Hogarth). • There was one haircut for boys and one for girls. • They all ate the same food at the same time. • They lived in the same place they went to school and stayed there all the time. • They wouldn’t have had weekends or holidays that were different to their weekday lives as you do. • They didn’t own any personal items such as toys or games.

How do you think a Foundling could have their own personal identity?

ActivitY (10 minutes): All the portraits in this room are of people connected to the Foundling Hospital in some way. Pick a portrait. If you can’t see the whole body that is fine.

• Read the description next to the portrait – does it reveal any more about the person’s identity or personality? • Can you imagine more about them from this portrait? • Are they a funny, friendly, or shy person? • Is their voice deep and do they have an accent? • What are their likes and dislikes? • What do they do in their day to day life?

In groups of four (each person must have picked a different painting) take it in turns to introduce the person in your painting to each other. Tell them as much as you can about the person.

ActivitY (10 minutes): • Take the person you have just explored in the portrait and imagine them in a story or on a journey. • Freeze frame part of the story and illustrate it in Perry’s style using colour pencils on A4 paper. • Think carefully about what is in the background and how this can help tell part of the story. • Objects are an important part of storytelling in Perry’s artwork, include at least two in your drawing.

ActivitY (5 minutes): Take your drawing down to the Progress exhibition. Think about how you told the story of the person in your artwork. How did the objects help tell the story? Compare this to Perry’s tapestries and how he tells a story within them. David Hockney: A Rake’s Progress progress exhibition

David Hockney - A Rake’s Progress - 2a. The Gospel Singing (Good People) (Madison Square Garden) - 1961-63

READ THIS TO THE GROUP: Although David Hockney’s series of etchings have the same title as Hogarth’s they don’t try to tell us a moral story but illustrate experiences and observations from his own life including travelling to New York in the early 1960s. In a way they are autobiographical.

Inspired by artists and popular advertising imagery, some of these works have scenes similar to famous artists work or contain characters and writing from adverts and products.

• Flying Tiger in plate 1 comes from the character that advertised an airline Hockney travelled with. • Letters on the label in plate 3 are from the brand of hair dye he used – Lady Clairol. • The singer in plate 2a is Mahalia Jackson who he heard sing in New York. • The ties the men in plate 2a are wearing are actual ties he saw three people wear. • Hockney hadn’t seen people wearing headphones and listening to music like the person in 8a. • He thought the kids he saw on the streets of New York were mainly deaf and these were hearing aids.

Discussion based activity (10 minutes): Divide into pairs or groups of three and pick a plate from the series and work out the story in it, thinking of David Hockney as the main character. Feedback to the group. David Hockney -A Rake’s Progress - (Top): 1. The Arrival (Bottom): 3. TheStart of the Spending Spree and the Door Opening for a Blonde 1961-63

ActivitY (15 minutes): David Hockney made 35 plates for this series but cut it down to just the 16 we see here. We are going to make one drawing of something from our lives. We’ll start with more than one then narrow it down.

• Fold an A4 sheet into 4. • Think of 4 stages or chapters in your life- these could be events that have taken place, people you have met, and places you have been. • Write a title for each chapter in a different box on the sheet. • Using just words try to develop a few of these chapters by listing real things that could appear in those scenes. Remember how Hockney included the hair dye, the ties, the airline and the singer. • Hockney was inspired by popular culture. Can you think of a TV programme, film, book, or song where a similar scene to one of your scenes may have taken place? Write it on your list. • Are there any other details you could add?

Pick one of your chapters. On a new sheet draw your scene in David Hockney’s style using just the black and red pencils. Give your piece a title. Jessie Brennan progress exhibition

READ THIS TO THE GROUP: The Foundling Museum builds on the legacy of the Foundling Hospital and its relationship with artists like Hogarth by continuing to work with contemporary artists. For this exhibition the Museum has commissioned a brand new work by an artist called Jessie Brennan.

The Foundling Hospital worked with people from other art forms too, the most well-known being Handel, the composer of the Messiah and the chimes of Big Ben. In the same way the Museum now works with musicians, actors and writers – perhaps you will have heard of Jaqueline Wilson and her Hetty Feather books? Discussion (5 minutes): How have the contemporary artists (Shonibare, Perry, Hockney and Brennan) in the exhibition been inspired by Hogarth? What does Brennan’s work have in common with any of them? How is it different? Can you imagine what Brennan’s other art looks like and the work she made before being asked to respond to The Rakes Progress by the Museum? You can look it up back at school here: www.jessiebrennan.co.uk

Jessie Brennan: A Fall of Ordinariness and Light, 2014

From left to right: The Order Land, The Scheme, The Enabling Power, The Justification

ActivitY (10 minutes): On an A5 sheet of paper write in large clear letters one word to describe something you have learnt today about one of the following:

• The artworks in the Progress exhibition. • The artists who made the work. • The Foundling Hospital. • The Foundling Museum. • The Foundlings themselves.

Lay the A5 sheets in a row in the centre of the room (you may need to move to a bigger space). Divide in half and stand on either side of the row. If you can see any repeats in the list of words on the floor remove the duplicates.

We could say that this is a list of words that the Foundling Museum might give to an artist as a brief when ask- ing them to make a new artwork for this exhibition, just as they did to Jessie Brennan.

As a group reduce the list to the 10 most important words to help an artist make a new artwork about the Foundling Museum that would fit in the Progress exhibition. Put them in order of importance.

Back at school you could design and make an artwork that fits this brief. LINKS TO EXPLORE AT SCHOOL:

LINKS TO EXPLORE AT SCHOOL:

You can look at these both before or after your visit here:

William Hogarth: http://en.wikipedia.org/wiki/A_Rake’s_Progress

Yinka Shonibare: http://www.iniva.org/library/archive/people/s/shonibare_mbe_yinka/gallery

Grayson Perry: http://www.victoria-miro.com/exhibitions/_429/?a=12

David Hockney: http://www.tate.org.uk/art/artworks?gid=65348%21&ws=acno&wv=list

Jessie Brennan: http://www.jessiebrennan.co.uk/

The Progress exhibition: http://www.foundlingmuseum.org.uk/events/view/Progress/

All images © of Coram in the care of the Foundling Museum unless stated.

Enquiries: Emma Middleton Melany Rose Curator: Projects Learning Coordinator: Schools and Families The Foundling Museum The Foundling Museum 40 , London WC1N 1AZ 40 Brunswick Square, London WC1N 1AZ T:+44 (0)20 7841 3610 T:+44 (0)20 7841 3510 F:+44 (0)20 7841 3607 F:+44 (0)20 7841 3607 [email protected] [email protected] www.foundlingmuseum.org.uk www.foundlingmuseum.org.uk