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Escuela Oficial de Idiomas de Telde CEFRER Level SKILLS ACTIVITY TITLE A2 B1 B2 C1 C2 L R W S A room with a different view X X X X Antonio Padrón and Edvard X X X X Munch: Emotions I, II, III At the Antonio Padrón museum X X X X Getting to know Antonio X X X X X Padrón Moving forward X X X X X Paintings from Scratch X X X X The artist inside me X X X X The Green Ray X X X X X The indigenous room X X X The meaning of the cards X X X 2 A room with a different view Level: B1 Time: 60 min Author: Charo González Martín Objectives To make students aware of the importance of dreams and imagination. Suggested material Photocopies of the activity. Paintings from the Internet that are at: Antonio Padrón Museum, The Canarian Parliament, University Foundation of Las Palmas. Coloured pencils, pieces of paper, pins. Further activities Students can write a dialogue and role play it.They could be the people in Felo Monzon’s painting. Intercultural awareness Different people from different cultures living in ‘El Risco’, sharing their failures and successes. Bibliography http://blogdesantiagogil.blogspot.com.es/2011/06/la- improvisacion-de-la-belleza.html https://www.wdl.org/es/item/13058/ https://www.canarias7.es/hemeroteca/el_poder_de_los_riscos- MFCSN217128 El Risco, Oil on canvas 75x102cm,1956, Felo Monzón, Gabinete Literario. Las Palmas de G.C. El Risco,oil on canvas, 41x34 cm, ca.1932-1935, Casa-museo Antonio Padrón, Gáldar, G.C El Risco, oil on canvas, 350x100 cm, 2009, Fundación Universitaria Las Palmas (FULP) 3 Activity 1. Students walk around the class and look at the three paintings pinned on the notice boards: El Risco de San Nicolás, a traditional working-class neighbourhood set in one of the ridges overlooking the city. They sit in groups and talk about their differences and similarities. 2. Students choose the painting they like most and stand next to it. They share their ideas and comments with the students in their group. 3. Students draw their own ‘Risco’ and pin their drawings on the notice boards. They explain to their group of students why they chose those colours and if they painted people or not. 4. Students fill in the gaps of a letter that Oramas could has written. They answer back to him. 4 A room with a different view 1. Students walk around the class and look at the three paintings, with the same title ‘El Risco’, pinned on the notice boards. El Risco de San Nicolás is a traditional working-class neighbourhood set in one of the ridges overlooking the city. They sit in groups and talk about their differences and similarities. ‘El Risco‘ by Jorge Oramas ‘El Risco‘ by Felo Monzón 5 ‘El Risco‘ by Ignacio Bordes 2. Students choose the painting they like most and stand next to it. They share their ideas and comments with the students in their group. 3. It’s time to draw your own ‘Risco’. Once you have drawn it, explain to your group why you chose those colours and if you painted people or not. 6 4. Oramas is in the hospital, opposite ‘El Risco’. Imagine he has painted his picture and written the following letter. Fill in the gaps with a suitable word from the chart below. “I have just finished a new painting, I had been dreaming about it for months, palm trees and bright houses. Somehow I know that I will be safe in this image forever. When I wrote my name I knew that I was leaving my (1) ……….....……….. in each of my strokes. I can only look at what is seen from this window. That’s my whole world. If I did not paint I would die even if they saw me (2).....……………... Sometimes I just look and then remember what I saw. The light hardly appears on the walls of the houses or the objects I see from my window. That is why I paint, many times by heart, or by (3) ………...……….. what others do not see, some luminous landscapes where there is only desolation and misery, and where there is neither money nor time to put the colour with which I dream houses and landscapes that I need to imagine to go on living. If I showed it all as I saw it I would (4)………….......... I paint with bright colours because I want to feel (5) ………....………. and because art always defeats time. The more I suffer the more joyous I dream. Now I am on the other side, trying to paint that joy I lived then. I only (6) ………......……... in life and in what I see or what I paint. I breathe deeply and remain concentrated on the sunlight on one of the palm trees that was already before us on the banks of the Guiniguada ravine. I’ve always been fascinated by palm trees. If I do not paint those houses as I see them, nobody would do it. Each one puts his own gaze on the landscape, and when we see it we confuse that landscape with all our life experience, with what we have suffered and with what we have loved. Just when I’m more crestfallen and more defeated is when I paint more luminous and more colorful paintings, when I need to transform those cliffs that today, with the (7) ………….......… of the trade winds that have not seen the blue of the sky for a week, look more (8) ……….....………... and grayer than never. If I paint them as I see them, I would die. I need to put it another way. I paint not to die at all when I leave. I know I do not have much life left and that it is unfair for any man to die before he is at least twentyfive“. soul breathing imagining alive dead die believe clouds 7 5. Imagine you are living in El Risco. You have recently got the letter above from the painter. Write back explaining what is really going on in your neighbourhood and try to cheer him up. Dear Jorge, 8 Notes on the painter and answer key This painting was painted in San Martin Hospital, where the CAAM (a museum) is situated nowadays. Oramas was taken to hospital in 1932 because he suffered from tuberculosis. He died three years later. This artist gave the Canaries the purest example of the trend of magical Realism. It was his grandmother who took care of him when he was orphaned by the death of his parents and siblings because of tuberculosis, of which he also died when he was only 24. However, there is no bitterness or resentment in his work, as the light, central element, erases his difficulties. In his paintings we can see a strange poetic objectivity, which makes him see the world as it is. “I have just finished a new painting, I had been dreaming about it for months, palm trees and bright houses. Somehow I know that I will be safe in this image forever. When I wrote my name I knew that I was leaving my soul in each of my strokes. I can only look at what is seen from this window. That’s my whole world. If I did not paint I would die even if they saw me breathing. Sometimes I just look and then remember what I saw. The light hardly appears on the walls of the houses or the objects I see from my window. That is why I paint, many times by heart, or by imagining what others do not see, some luminous landscapes where there is only desolation and misery, and where there is neither money nor time to put the colour with which I dream houses and landscapes that I need to imagine to go on living. If I showed it all as I saw it I would die. I paint with bright colours because I want to feel alive and because art always defeats time. The more I suffer the more joyous I dream. Now I am on the other side, trying to paint that joy I lived then. I only believe in life and in what I see or what I paint. I breathe deeply and remain concentrated on the sunlight on one of the palm trees that was already before us on the banks of the Guiniguada ravine. I’ve always been fascinated by palm trees. If I do not paint those houses as I see them, nobody would do it. Each one puts his own gaze on the landscape, and when we see it we confuse that landscape with all our life experience, with what we have suffered and with what we have loved. Just when I’m more crestfallen and more defeated is when I paint more luminous and more colorful paintings, when I need to transform those cliffs that today, with the clouds of the trade winds that have not seen the blue of the sky for a week, look more dead and grayer than never. If I paint them as I see them, I would die. I need to put it another way. I paint not to die at all when I leave. I know I do not have much life left and that it is unfair for any man to die before he is at least twentyfive“. 9 Antonio Padrón and Edvard Munch: Emotions I, II, III Level: B1 Time: 270 min Author: María Mercedes Hernández Rey Objectives To talk about feelings and emotions by comparing Padrón‘s and Munch‘s different paintings.

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