Toddler playtime Sian Lile-Pastore, 14 October 2010 Yesterday we had our second toddler session in the gallery. We will be holding the sessions once a month and each month will look at a different theme - this month the theme was Autumn, and the one before looked at farm animals. The sessions are quite informal giving the little ones a chance to play and experience our different activities and to socialise with the other children. Another important part of the session is that it is bilingual, so the staff who are working (Ffion,Iola and myself this month) can speak in Welsh or English to the children, and the songs that Ffion led at the end were also in Welsh. It's a nice way for English speaking parents to begin to learn Welsh with their children. So, what do we do? yesterday we had an art and craft table where the children could decorate pumpkin shapes or leaves, make leaf rubbings (although I find this is often a bit difficult for the under 3's!) or do some drawing. We also had a sensory tray filled with leaves, plastic bugs, fircones and dried lemon slices; coloured and scented playdough (yellow playdough was vanilla and the orange one cinammon and spices) with different cookie cutter shapes to play with; a sandpit and fircones (the sandpit was going to be our sensory tray and we were going to change it each month, but the children seemed to enjoy playing with the sand so much we didn't have the heart to change it! What I might do though is dye the sand at some point so it will be a little bit more exciting!); soft toys to play with and a quiet area with picture books. The picture books we had yesterday were 'Cwymp y dail' by Sian Lewis which is a Sali Mali book about Autumn, 'Cawl Pwmpen' by Helen Cooper - a nice autumnal book about pumpkin soup, 'Hibernation Station' by Michelle Meadows and Kurt Cyrus - an unbelievably cute story about animals hibernating, although perhaps a little too 'american' for some tastes (not mine!), 'The Tiny Seed' by Eric Carle - i love the illustrations in this, 'I am a Bunny' by Ole Risom and Richard Scarry - an adorable simple book about the seasons, and my find of the month, 'Autumn' by Gerda Muller - this was perfect for a bilingual session as it doesn't have any words (I didn't realise this when I ordered it) and consists of illustrations of the type of things that happen in the autumn - leaves falling off the trees, rainy weather, making leaf rubbings, making jam and hibernating animals. It's a lovely book to look through with a child as it lets them make up the story themselves. We ended the session with a song about Autumn, and sent them all off with a leaf bag and a leaf spotting sheet in case they wanted to have a walk around the museum.Next month our theme is buildings
Wales for Africa, now we're communicating Mari Gordon, 14 October 2010 Just met a journalist, who wants to do something with our story about the Government leaving housing out of the National Development Plan (which I still think must be an oversight?!).He's taken our press release and he loved the open letter, and he's coming back on Saturday to do interviews. Result.
Wales for Africa - touchdown Mari Gordon, 13 October 2010 First impressions:Zambia is very flat, so the horizon all around is low. Even at 6am it’s about 17°C and we’re warm and sticky. Driving from the airport towards Lusaka, it could pass for a southern European hot dry country - blue sky, yellow earth, palm trees. Except there's a burnt, nutty smell hanging on the air, making my nose tickle. The roads are pretty good, straight and smooth. It’s early and there’s not so much traffic, but we pass loads of cyclists, making a laboured journey towards town with their bikes laden with parcels wrapped in various materials, mostly straw, built up in a well-balanced if precarious heap up the back of the bike.When I got in the back of the car I automatically went to put on my seatbelt and, struggling a bit, asked where the buckle was only to be told with a smile that it was ok. I wondered what was ok, then realised that he was telling me it was ok not to wear a seat belt. Then I noticed that both men in the front weren’t wearing seatbelts either.I later learnt that the smoky smell is charcoal burning, and many of those brave cyclists we passed were carrying bundles of it to sell by the roadsides in Lusaka.
Wales for Africa - to work Mari Gordon, 13 October 2010 Spent a packed day meeting, greeting, listening to some pretty amazing people. I’ve already got a much better picture of who does what, who funds what and why. The NGO sector is huge in Africa, and for the most part it deals directly with civic and community organizations, but at some points, for example the Civic Forum on Housing & Habitat, where I am, it has to deal with the government in a lobbying and advocacy role. Interesting, as the Forum is funded by the Swedish Cooperative Centre, which is itself funded by the Swedish Government.Some things are surprisingly familiar - there are issues that the Zambian Government wants organizations to mainstream: sustainability is a familiar one; gender, perhaps; but HIV/Aids is a well established agenda here, and anti-fraud and corruption is actively being promoted now (I should know, I had to sit through the meeting!)
Becoming an Artist in the Eighteenth Century 8 October 2010 Joshua Reynolds (1723 - 1792), Charlotte (Grenville), Lady Williams-Wynn (1754-1830) and her Children, oil on canvas, purchased with assistance of the Art Fund and the National Heritage Lottery Fund 1998, NMW A 12964 William Hogarth (1697 - 1764), The Jones Family Conversation Piece, 1730, oil on canvas, Purchased with the assistance of the National Heritage Memorial Fund and the Art Fund 1996, NMW A 3978 Richard Wilson (1714 - 1782), Dolbadarn Castle, oil on panel, purchased 1937, NMW A 72 The social status of artists had traditionally been low. To earn the respect of his future clients, an artist needed a good general education, including some knowledge of geometry and of classical history and literature. Many were therefore the sons of middle-class professionals or tradesmen. An artist's training was still largely based on the traditional apprenticeship system. He became a pupil of an established artist, to whom he paid a fee. In return he was taught the technical skills of preparing paints and canvases, and learnt through example and by carrying out routine tasks. It was realised that more formal and structured training was also needed, and London had a number of drawing schools. The Welsh painter Thomas Jones attended two of these for eighteen months before beginning a two-year pupilage with Richard Wilson. Once he had achieved an acceptable level of skill, an artist might find work as a paid assistant, but eventually he had to establish his own practice. If he could afford it, a period of study abroad was a vital stage in developing a career. Nearly two hundred British and Irish artists travelled in Italy during the eighteenth century. Specialization Eighteenth-century British artists had to develop a particular skill that would attract customers. They did so by specializing in one of a number of 'branches' of painting. Theorists regarded history paintings, works with morally uplifting messages, often drawn from ancient history, as the 'highest' form of art. In practice the demand for history painting was largely met by the European Old Master paintings collected by the very wealthy. Most British painters were portraitists, as almost anyone who could afford it had their image taken — in miniature or in chalks or pencil, if an oil painting was too expensive. Reynolds cleverly flattered his aristocratic clients by giving their great portraits a touch of Old Master glamour. Some artists, notably Hogarth, developed the conversation piece of figures interacting in a domestic setting or painted 'fancy' or genre paintings of modern life. Others found a niche in painting animals, ships or flowers Landscape painting became increasingly popular as people's attitudes to nature changed. From being images of a place, it became a way of expressing ideals and emotions. Richard Wilson specialized in landscapes that conveyed the serenity of the classical world. Others sought to convey the beauty and grandeur they found in nature. The Emergence of a Profession To gain status and financial reward, artists had to leave their craft origins behind and establish themselves as professionals. They did this by becoming more highly skilled, but particularly by forming clubs and societies. These promoted members' interests, particularly through exhibitions, and kept out those felt not to be good enough. A number of leading artists, dissatisfied with the much larger Society of Artists, set up the Royal Academy of Arts in 1768. Membership was limited and by election. Its first President was Sir Joshua Reynolds (1723-1792), portrait painter and theorist, who mixed easily with the elite of the day. The Academy promoted professional status of artists and provide training. Success in its annual exhibition could make an artist's reputation. The Royal Academy's exhibitions were held in the 'Great Room' at Somerset House from 1780. Pictures were hung from floor to ceiling, and artists schemed to get their works 'on the line' — the potential purchaser's eye level. An artist also needed suitable premises in a fashionable area, to receive clients and show off his work. These were expensive but the prices that a successful artist could charge also increased sharply. Reynolds at the height of his success charged £200 for a full-length portrait, a sum which was then a middle-class annual salary.
