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Making Myths Contents TEACHERS’ RESOURCE MAKING MYTHS CONTENTS 1: MAKING MYTHS: THE STORIES TOLD BY ARTISTS, CURATORS, COLLECTORS AND CONSERVATORS 2: COLLECTING GAUGUIN: CURATOR’S QUESTIONS 3: RE-INVENTING MYTH: FORM AND FUNCTION IN SOME EARLY MODERN ‘MYTHOLOGICAL’ WORKS FROM THE COURTAULD GALLERY 4: MANET, DEGAS, RENOIR AND THE THEATRE OF EVERYDAY LIFE 5: TAKEN AT FACE VALUE? SELF-STAGING AND MYTH-MAKING IN THE WORK OF GAUGUIN AND VAN GOGH 6: THE MATERIAL LANGUAGE OF PAINTINGS: CONSERVATION AND TECHNICAL ART HISTORY 7: REGARDE! FRENCH LANGUAGE RESOURCE: GAUGUIN ET LA POLYNÉSIE 8: GLOSSARY 9: SUGGESTIONS FOR RESEARCH AND PRACTICAL ACTIVITIES IN THE CLASSROOM 10: TEACHING RESOURCE IMAGE CD Compiled and produced by Carolin Levitt and Sarah Green Design by JWDesigns SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN RED TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN BLUE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. I hope the material will prove to be both useful and inspiring. Henrietta Hine Head of Public Programmes The Courtauld Institute of Art This resource offers teachers and their students an opportunity to explore the wealth of The Courtauld Gallery’s permanent collection by expanding on a key idea drawn from our exhibition programme. Taking inspiration from the 2013 summer display Collecting Gauguin: Samuel Courtauld in the ‘20s, the focus of this teachers’ resource is ‘Making Myths’. Resources are written by early career academics and postgraduate students from The Courtauld Institute of Art with the aim of making the research culture of this world renowned, Specialist University accessible to schools and colleges. Essays, articles and activities are marked with suggested links to subject areas and Key Stage levels. We hope teachers and educators of all subjects will use this pack to plan lessons, organise visits to The Courtauld Gallery and for their own Cover image: professional development. Paul Gauguin Maruru (Offerings of Gratitude/ Thank you), from the Noa Noa series, 1893-4. Woodcut print Sarah Green 20.5 x 35.6 cm Gallery Learning Programmer Image 2: The Courtauld Institute of Art Paul Gauguin (detail) Te Rerioa (The Dream), 1897 Oil on canvas 91.5 x 130.2 cm Unless otherwise stated all images © The Samuel Courtauld Trust, The Courtauld Gallery, London 1: MAKING MYTHS: THE STORIES TOLD BY ARTISTS, CURATORS, COLLECTORS AND CONSERVATORS Caroline Levitt In 1910, an exhibition took place at the go beyond simple appearances and that Grafton Galleries in London that would help to build an understanding of human define not only the British understanding life and thought. Artists of the nineteenth of recent French painting, but also the and twentieth centuries have sometimes category by which a certain group of artists drawn on the content of ancient myths has been known almost ever since: Manet or on the conventional style of painting and the Post-Impressionists was curated used to depict them as a means of either by Roger Fry - critic, painter and friend undercutting or exploring earlier ideas: of Samuel Courtauld. The poster [image Édouard Manet’s Le Déjeuner sur l’herbe 1] used a print of one of Paul Gauguin’s (c.1863-8) [for the Courtauld version see paintings, Poèmes barbares (1896). As essay 4] plays on the traditional depiction a result of the exhibition, Gauguin, Paul of nude nymphs cavorting freely in an Cézanne and Vincent Van Gogh became idyllic landscape, but subverts this with the understood as both ‘Post-Impressionists’ inclusion of clothed art students alongside and descendants of the flat, outlined, modern women, undressed with their ‘modern’ painting style of Edouard clothes strewn around the scene, painted Manet. The term post-impressionist has in Manet’s characteristically flat style. The proven almost as poorly understood painting caused much controversy when it as it has useful, but it is a key example was first made, and has itself gained almost of the ways in which terminology and mythical status as a starting point for the public understanding can be shaped by need to be refused from official exhibiting the activities of critics and curators. As spaces in order to be considered truly a collector, Samuel Courtauld had the ‘modern’. The very fact that Courtauld’s opportunity to shape the British public’s version of the painting is one of at least understanding of the painters whose works three copies that Manet himself made of he collected, defining and responding to the original is proof of its importance at the the popularity and value of one artist over time as well as now. another by his choice of acquisitions for both his personal collection and the public So, aside from the literal depiction of galleries for which he purchased works. myths, we can think about the ways in Collecting as a practice is a central tenet which the methods of depicting scenes, of The Courtauld Gallery’s 2013 summer including the process of staging a scene display Collecting Gauguin, the occasion before painting it, can be considered in on which this teachers’ pack is produced. terms of making something essentially However the myth-making potential of fabricated seem real and at the same time promotional or self-promotional activity - full of meaning. The essay ‘Manet, Degas, from curating, collecting and critiquing, to Renoir and the Theatre of Everyday Life’, portraiture and self-portraiture, whether examines the practice of using models in visual or literary - is a theme that emerges the work of Renoir and Manet in order to and that can be considered in a number of paint scenes that are often considered to ways. function as snapshots of everyday activities in nineteenth century Paris. Far from being The presence of myths and mythology in straight documents, however, we must painting has an extensive history, which consider very carefully the ways in which goes back to the depiction of figures and the artists have set up these paintings to Image 1: events from epic tales, perhaps as create a specific image of the working and Poster for the First Post-Impressionist Exhibition a showcase for the artist’s talent and leisure classes of the time. Manet, Degas 1910. breadth of understanding, or with the and Renoir were, in this sense, makers of 76.3 x 50.9 cm intention of morally educating the viewer: myth in their own right. this is the subject of Naomi Lebens’ Image 2: Pierre Auguste Renoir essay, ‘Re-inventing Myth’. From the use The idea of staging and promotional Portrait of Ambroise Vollard, of specific stories such as that of Cupid portraiture collide very neatly in Renoir’s 1908 and Psyche by Sir Joshua Reynolds [see Portrait of Ambroise Vollard (1908) [Image Oil on canvas essay 3] to the evocative inclusion of 2]. Renoir shows Vollard, one of the art 81.6 x 65.2 cm Greek and Roman architectural references dealers and collectors of himself, Cézanne, by artists such as Rubens, myths, stories Gauguin and Picasso (amongst others) CURRICULUM LINKS: KS3+ and their settings are a vessel for artists gently caressing a sculpture, quite possibly Art and Design, History, Art History, and (as well as writers) to express ideas that a small 1900 plaster study of a crouching other Humanities THE PROCESS OF STAGING A SCENE [...] CAN BE CONSIDERED IN TERMS OF MAKING SOMETHING ESSENTIALLY FABRICATED SEEM REAL AND AT THE SAME TIME FULL OF MEANING. ” these places was not always that depicted in his canvases. Indeed, the poet Charles Morice warned viewers of Gauguin’s first exhibition of Tahitian works in 1893 that ‘to find your way around the island his work would make a bad guide, if your soul is not akin to his’. Whilst the women of Brittany would dress up in traditional dress to assist the tourist industry, the practices of farming in that area were in fact more advanced than Gauguin would have us believe in Haystacks. Likewise, the ‘barbarism’ he insisted upon in the South Seas was a rapidly fading fantasy as these islands, French protectorates, were increasingly affected by Catholic missionaries and other marks of colonial rule. The ‘Regarde!’ activity in this pack is designed to help with language learning through looking at the work of Gauguin, but it also highlights the myth-making potential of both imagery and language, in particular that used by Gauguin in his prints. If the 1910 poster for Fry’s Grafton Galleries exhibition can nude by Aristide Maillol. Vollard, who has the ability to shape what we know of be held responsible for the widespread was described by those who knew him pictures, as described by Alysia Sawicka understanding of Gauguin, Van Gogh as having ‘bulldog features‘ is shown in her essay ‘The Material Language of and Cézanne as ‘Post-Impressionists’, the here quite differently, to be a bourgeois Paintings’. Conservation should perhaps be painting Poèmes barbares (Barbaric Poems) gentleman and a conoisseur, engrossed considered alongside the work of collectors depicted on it can perhaps also be seen in the art that he loves and oblivious to his and curators as a part of the way in which as emblematic of Gauguin’s activity as an own slightly unkempt appearance - look, artworks come to us: rarely directly from the artist: his paintings, and those of so many for example, at the protruding handkerchief artist, but often through the lens of those other artists, are like poetry - creating or perhaps even tear in his right jacket who have studied and interpreted them in atmosphere and weaving narratives out pocket.
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