Teachers' Notes for a Take One gallery session that uses a stone door pivot to step back in time to Ancient Sumer. Includes ideas for creative planning across the Key Stage 1 and Key Stage 2 curriculum.
Sickert stayed with his friend Walter Taylor at Brighton in August and September 1915 where he had access to the pierrots on the Promenade. He told Ethel Sands that he went every night for five weeks to the Pierrot Theatre. He painted this painting on his return to London and sold it to Morton Sands. Sir William and Lady Jowett immediately commissioned a replica.
Vernet made his reputation in Rome from 1734-53, attracting an international clientele as a specialist in marine painting. In 1750 he painted a series of four oval Times of Day destined for Joseph Leeson, later Lord Milltown. The Ashmolean painting is a rectangular replica of the fourth scene. Other Grand Tourists in Rome commissioned similar sets from Vernet in the 1750s.
Elias Ashmole (1617-1692), whose gift to the University of Oxford in 1683 formed the basis of the Ashmolean Museum in Broad Street is portrayed with objects reflecting his scholarly interests as an antiquary and herald.
Painted by Francesco Buoneri, called Cecco del Caravaggio (c.1610 - 1621)
This scene shows a young man holding a recorder in a room almost overflowing with still life objects. The musician in the scene confronts the viewer with a challenging air. The painting is clearly by a follower of Michelangelo Merisi, known as Caravaggio (1571- 1610), whose art had an enormous impact on a range of European artists. Over the years, scholars have suggested attributions to different French, Flemish and Spanish artists. Cecco del Caravaggio was first proposed as the author in 1943.
The Messiah violin dates from Stradivari's golden period of around 1700 - 1725. The violin owes its fame chiefly to its fresh appearance due to the fact that it was owned mainly by collectors and not professional players so it hasn't suffered from much wear and tear.
Painted in studio of Giovanni Paolo Panini (1691 - 1765)
This scene shows the Piazza del Popolo, the northern gateway to Rome for pilgrims or grand tourists. This was a popular subject for view-painting in the 17th and 18th centuries. Many famous buildings can be seen in the painting. The twin churches of S. Maria di Montesanto on the left and S. Maria dei Miracoli take centre stage. The dome of the Pantheon and the arcaded tower of the Palazzo Palma can be seen in the distance to the right.
This formed the major part of the Ashmolean's displays at its opening in 1683. A visitor to the Tradescant museum in 1638 recorded seeing there 'the robe of the King of Virginia' and it was later catalogued as 'Pohatan, King of Virginia's habit all embroidered with shells or Roanoke'. Powhatan was the father of Princess Pocohontas. The 'mantle' may have had some function, such as a temple hanging, rather than being a garment.
In this painting an Egyptian woman dressed in beautiful clothes and jewellery carries a crate of pigeons on her head and a beautiful green vessel in her right hand. She gazes out at us and stands barefoot in a fertile landscape close to the water's edge. The figure was read by Hunt's contemporaries as a kind of Egyptian goddess of plenty. Hunt believed that agriculture was the only aspect of the once-great civilization that had survived in Egypt.
The Romans renamed the Greek Hero Heracles, Hercules. Here we find Hercules facing a choice between pleasure and virtue. Heracles stands with two women who represent pleasure and virtue. Virtue stands on the left pointing up to a scene in the background that looks rocky, dark and challenging. Pleasure lies on the ground in an enticing way inviting Heracles to come and enjoy pleasure which can be represented by the jug of wine on the right.
Celebrated in his lifetime as a painter of perspective and of animals and landscape, Uccello was a versatile artist who worked at times on mosaic and stained glass design. This painting is a late work, probably of c. 1470. It is a highly original painting, both as a nocturnal landscape and as a brilliantly structured composition.olean.web.ox.ac.uk/learning-resource-take-one
This painting is on display in Gallery 65, Pissarro. The painting shows a view from the Pissarro's house at Eragny, looking towards the village of Bazincourt. The tall building on the left was converted into Pissarro's studio when he bought the property in 1892. The composition, which the artist referred to as 'modern primitive', was begun in 1886 but not completed until two years later, in the painstaking Pointillist technique Pissarro used for only a few years.
A young bull, known as Nandi in the later periods, often accompanies images of Shiva, as the god's associated vehicle or animal (vahana). Bull images of this kind are often positioned in front of a Shiva temple, facing towards the diety within the inner shrine.