EMBRACING OUR DIFFERENCES - The Ringling · complement the Embracing Our Differences curriculum. It highlights issues of identity, injustice, personal responsibility, conflict, and

EMBRACING OUR DIFFERENCES

AT

JAN 2019

INTRODUCTIONThis guide produced by The Ringling Museum has been designed to complement the Embracing Our Differences curriculum. It highlights issues of identity, injustice, personal responsibility, conflict, and compassion through a selection of artworks that encourage students to think both broadly, about universal humanitarian concerns, and specifically, about their own spheres of experience.

OBJECTIVESStudents will:

• Discuss the messages represented in each work of art and how those messages may be relevant to their own lives

• Understand the importance of art as an expression of the human condition across cultures and across centuries.

• Engage with a variety of objects in the Ringling collection, building visual literacy skills

USING THE GUIDEIn today’s society, open and honest dialogue between individuals is more important than ever. We can foster social cohesion by inspiring dialogue that supports the development of a civil society, from its smallest unit—the individual—outward to the family, the school, the community, the nation, and the world.

This guide has been created in a modular form. There are three thematic modules (Nowhere to Go, From the Inside Out, and Building a Better World), each which include three works of art related to that theme. For each artwork, you will find a summary of its meaning, suggested discussion points, and an additional comparative work in the Ringling collection to use if you want to continue the conversation.

You do not need to follow any particular order when viewing these objects. Each thematic module can be adapted to be appropriate for any grade level, although the suggested guidelines may be helpful in selecting the right works for your group:

NOWHERE TO GO | Grades 9-12

FROM THE INSIDE OUT | Grades 6-8

BUILDING A BETTER WORLD | Grades K-5

JAN 2019

Gallery 21

Edward Burne-Jones (British, 1833-1898), The Sirens, c. 1891/1898, SN422.

THE SIRENS

BACKGROUNDIn classical mythology, sirens were dangerous creatures who lived on a rocky island, singing in beautiful voices in an effort to lure sailors to shipwreck and death. In this imagined scene, a ship approaches a mysterious land filled with siren-like creatures awaiting its arrival. Scholars believe that the artist, Edward Burne-Jones, never finished this painting, but rather returned to it again and again until he died in 1898, leaving it in its present state.

DISCUSSION POINTSThroughout the world, displaced migrants are leaving their homes and coming to new countries that are often strange and unknown to them. Sometimes the people already living there do not want newcomers arriving to their country. Both groups feel frightened and worried about what will come next.

Think about the scene presented in this painting. Although it is inspired by mythology, it is not a direct reference to any one particular story. In fact, it is ambiguous enough that the emotions it conveys could be applied to many different scenarios of people arriving in new lands around the world today.

What words would you use to describe the mood of this painting? Why?

• How do you think the characters in this scene feel? • What do you think might happen next?

Who might the people on the ship be? How do you think they’ll be received when they arrive?

• Can you think of similar situations happening today, either in our country or across the globe?

What about this painting might have captivated or troubled the artist?

• Why do you think he never finished it?• What questions remain for you about this work of art? • What more do you want to know?

CONTINUE THE CONVERSATION

Jon Corbino was himself an immigrant to the United States, arriving here as a child from Sicily. He created this painting in 1939 as he was planning a large mural that had been commissioned by the WPA as part of the New Deal. Although his public mural depicts a pleasant day at the beach, this more personal painting reveals a greater sense of foreboding or angst.

Ask students to again discuss the perceived mood of this painting, grounding their answers in what they can observe. How does it make them feel? What ideas might the artist have been exploring? Prompt them also to consider the cultural context in which this was made: what was happening in 1939 globally? In the United States?

Jon Corbino, Bathers, 1939, Oil and casein on board, SN11125.

NOWHERE TO GO | NOWHERE TO GO: DISPLACEMENT, THE REFUGEE CRISIS, AND FACING THE UNKNOWN

JAN 2019

Gallery 9

Pitro da Cortona (Pietro Berrettini) (Italian, 1596-1669), Hagar and the Angel, ca. 1643, SN132.

HAGAR AND THE ANGEL

BACKGROUNDThis story from the Old Testament shows Hagar and her son Ishmael in the midst of their banishment. Abraham, considered the father of the Israelites, and his wife Sarah had no children. Distraught, Sarah told Abraham to have a child by her maidservant, Hagar. When Sarah herself became pregnant and gave birth to her son Israel, Hagar and her firstborn son were banished. God took pity of Hagar and sent his angel to provide for her earthly needs and to promise that her son Ishmael would be the father of a great nation.

DISCUSSION POINTSHagar was banished when she and her son fell out of favor. Today, many families are exiled from their homeland when politics shift, making the once favored party the enemy. Many face the impossible choice of choosing to stay in their native land and face oppression, violence, or death, or fleeing and facing unknown challenges in their search for a new home.

• Hagar left behind everything she owned and everyone she loved to save her son. If you were exiled, what would be the hardest thing to leave behind?

• How does Ishmael seem to be reacting to the angel? What might it be like for a child who has been wandering the wilderness to suddenly find help and relief?


Gallery 14

Karel Dujardin, Hagar and Ishmael in the Wilderness, c. 1662, SN270.

This painting shows the same story, but in a different way. Ask students to compare the two works and describe the differences and similarities they notice. Consider color, form, perspective and subject matter representation. Which painting inspires more compassion for Hagar and Ishmael?

Which one do you find more uplifting and hopeful?

Ishmael did indeed go on to start a powerful nation, and is considered by many to be the patriarch of Islam. In the same way his half-brother Israel is considered to be the patriarch of Judaism. How might this story of two brothers influence politics, identity and religion today?


JAN 2019

Gallery 8

Luca Giordano, (Italian, 1634–1705), The Flight Into Egypt (detail), c 1696, SN157.

THE FLIGHT INTO EGYPT

BACKGROUNDThis painting depicts the Holy Family as they flee Jerusalem to escape a plot by King Herod to kill all male babies. Knowing that their child, the infant Jesus, wouldn’t be safe if they remained, Joseph and Mary set out on a long, potentially dangerous journey to Egypt.

DISCUSSION POINTSJoseph and Mary fled their home in Jerusalem to protect their infant child, Jesus.

• How far would you go to protect your loved ones? What are small things you can do to show someone you care about them and will stand up for them?

• Has anyone ever stood up for you?

• Who do you worry about the most? Who worries about you?


Gallery 8

Massimo Stanzione, Rest on the Flight into Egypt, c.1645, SN 146.

This painting depicts the same story, a popular subject for 17th century Italian painters. Compare and contrast the two paintings, noticing color, light, shadow, narrative and setting. In this painting we see the Holy Family resting on their flight. The story of the Flight into Egypt was a popular motif for church decoration and

culture. What kind of message would a painting like this send? What are some ways we can interpret this story today? Do you find this story relevant?


JAN 2019

Gallery 6

Giovanni Antonio Fasolo (Italian,1530–1572), Portrait of a Family Group (detail), c. 1561/1565, SN83.

PORTRAIT OF A FAMILY GROUP

BACKGROUNDWhile not much is known about this painting or this family, some information can be deduced by observation. From their clothing it appears they were wealthy nobility, but their expressions and postures provide opportunities for more complex interpretations. One major feature is the absence of the wife/mother. Dogs were traditional symbols of fidelity, and this lean, muscular pooch was probably also a hunting dog—another allusion to high status.

DISCUSSION POINTSAlthough it was standard for people having their portraits painted not to smile, we can look beyond the lack of smiles to dig more deeply into how these people might be feeling.

• Study each figure in this painting. What emotions do you think they convey? Look at their faces, body language, and how they are positioned in relation to one another. Brainstorm a list of possible emotions.

• Think imaginatively. What might be some of the reasons that no one here looks happy?

• What do you think the relationship between each of these people is? How might they get along?

The way we look and dress is often the first thing on which we are judged. Imagine someone was going to make a formal portrait of you.

• What would you wear?

• What would you choose for your background?

• Would you include any other people in your portrait? What about objects? What outward markers of your identity would you want to have?

• What qualities about you would be impossible to convey in a portrait?

The definition of family no longer means just a mother, father, and children. Think about how you define your family.

• Are there people who aren’t related to you that you still consider your family? Who?

• Has your definition of family shifted over time? What relationship has to exist in order for a group of people to be a “family”?

COMPARISONS IN THE RINGLING

Gallery 14

Frans Hals, Portrait of Pieter Jacobsz Olycan, SN251.

The man in this portrait, like the father figure in the Fasolo portrait, is dressed in rich, dark clothing and seems to be about the same age. However, he has an entirely different demeanor.

Ask students to compare the two men. Which would they rather have dinner with? Who seems more kind? More protective? What characteristics or describing words would they use for each?

FROM THE INSIDE OUT | IDENTITY & COMMUNITY

JAN 2019

Gallery 21

Alfred Stevens (Belgian, 1823–1906), A Portrait Group of Parisian Celebrities (detail), c. 1889, SN439.

A PORTRAIT GROUP OF PARISIAN CELEBRITIES

BACKGROUNDThis painting is just one piece of a larger mural created for the world’s fair held in Paris in 1889. It included all of the most important celebrities and public figures of the previous century. After the close of the fair, the large mural was divided into sections and dispersed. This section includes celebrities from the literary and performing arts, including the actress Sarah Bernhardt, who is wearing the white costume of one of the queen characters she played.

DISCUSSION POINTSIt would have been an artistic challenge to paint so many figures but give each a sense of personality or distinctness. Do you think the artist was successful in doing so?

• How many different personalities seem to be represented here? Who seems the most intimidating? Who seems the most aloof? Who seems the friendliest?

• What are you using to make these judgements? What can’t we know about these people just from looking at them?

This mural was painted more than 100 years ago. Today, we are more conscious about the importance of diversity, and we recognize the importance of including people of different races, genders, ages, religions, and nationalities.

• In what ways is diversity represented in this selection of people? How is this group lacking in diversity?

• If we were going to make a similar mural celebrating the most important figures in the last hundred years of America, which public figures might be included? Who would you want to see included? Try to come up with a diverse and inclusive list.


Gallery 21

Rosa Bonheur, Family of Deer (detail), SN433.

This painting was made by a woman during a time when many women were not empowered to become professional artists but instead were expected to fulfill domestic duties as wives and mothers.

Ask students to think about what challenges women artists might have encountered long

ago. Are any of those challenges still present for working women today?

You can also use this painting as an example of something people living in a very rural community might encounter, in contrast to the urban scene painted by Stevens. How do rural communities differ from cities or suburban communities?

Ask students where they live, and how that impacts their sense of community. Do they know most of their neighbors? What challenges come with living in each type of setting? What are the rewards?


JAN 2019

Pavilion Gallery

Hiratsuka Un’ichi (Japanese, born 1895), Stepping Stones in the Afternoon, 1960, SN11585.111.

Gift of Charles and Robyn Citrin, 2017.

STEPPING STONES IN THE AFTERNOON

BACKGROUNDHiratsuka Un-ichi was an influential Japanese print maker born in 1895 in the picturesque town of Matsue in Northern Japan. When he died in 1997, Hiratsuka had lived through two world wars, the world-wide technology boom, and the rapid modernization in post-World War II Japan. Hiratsuka was an influential teacher of the creative print (sōsaku hanga) movement, training generations of printmakers at the Tokyo School of Fine Arts and the Matsue Arts and Crafts Institute. Sōsaku hanga is a 20th century movement in a long tradition of Japanese woodblock printmaking dating back over a thousand years. Hiratsuka was also an important teacher outside of the classroom, organizing a community of artists known as the Woodpecker Society (Kitsutsuki-kai) in his home. The Woodpecker Society provided Japanese artists the support, encouragement and friendship in the devastating wake of the Second World War.

DISCUSSION POINTSLike many of his contemporaries, Hiratsuka was influenced by western art, namely landscape painting and abstraction. Hiratsuka also drew inspiration from his Japanese heritage and its long history of woodblock printmaking. When discussing his sources of inspiration, Hiratsuka said “western art gave me my technique, but Japanese art gave me my approach. So my light isn’t real sunlight and my shadows aren’t real shadows. They are creations of my own and I use them freely to help me get at the soul of whatever subject I’m handling.”

• What might Hiratsuka mean when he says “Japanese art gave me my approach?” How does the culture of your upbringing affect the way you view the world?

• What might the artist mean by getting at “the soul” of his artwork? What could the soul of this print be? Why would the artist choose to represent that subject?

• Looking at this print, what do you notice? What stories does this print tell?

Hiratsuka spent over thirty years living and working in Washington DC. He lived with his daughter, Keiko Moore, who often served as her father’s translator.

• What challenges do immigrants face when moving to a new country? How might immigrants stay connected to their homeland?

• Hiratsuka’s Woodpecker Society provided community and support for people during a difficult time. In what ways does community support individuals? What communities do you belong to where you find peace and friendship?

Continued on next page


JAN 2019

STEPPING STONES IN THE AFTERNOON Continued


Pavilion Gallery

Maeda Masao, Mount Zaō Crater Lake (detail), 1953, IL2018.18.6

This print was made by Hiratsuka’s friend and fellow artist Maeda Masao. Like Hiratsuka, Maeda was influenced by both western and Japanese art, though

he had a very different style from Hiratsuka. By using color, Maeda achieves a sense of realism that transports the viewer into this idyllic landscape. Hiratsuka, on the other hand, predominately created visually striking prints exclusively using black ink. Compare and contrast these prints, discussing the ways these artists are portraying the natural environment.


JAN 2019

Gallery 8

Bernardo Strozzi (Italian, 1581–1644), Act of Mercy: Giving Drink to the Thirsty (detail), c. 1618–1620, SN634.

ACT OF MERCY: GIVING DRINK TO THE THIRSTY

BACKGROUND

The seven acts of mercy (feeding the hungry, giving drink to the thirsty, clothing the naked, welcoming the stranger, caring for the sick, visiting the imprisoned, and burying the dead) were a popular subject for seventeenth-century painters. This was a time when poverty was prevalent and charity was a social necessity. In this composition, the artist uses dramatic light and shadows to draw our attention to the exchange between the three figures receiving water and the woman carefully pouring it for them.

DISCUSSION POINTSActs of mercy, or kindness, can come in all forms. It can be as simple as pouring water for the thirsty or something much bigger.

• What’s the smallest act of kindness you can think of? How might it still have a big impact on someone?

• What is the biggest act of kindness you can think of? How often does something like that happen?

• If you had to think of the most important acts of kindness you’ve performed, what would they be? Why do you consider these the most important? What was the result of them?

Discuss the ways in which water is essential to everyday life.

• Count how many times you’ve used water today—how many of those times did you stop to think about the water you were using?

• What happens when someone doesn’t have access to safe, clean water?

• Ask students what the term “water crisis” might mean. Explain that Cape Town, a city in South Africa, is facing a “water crisis” and is expected to run out of clean water soon. What are some of the factors that could have caused this to happen? What kinds of solutions might be possible in a situation like this?


Chao Gallery

Guanyin, Goddess of Mercy, porcelain, c 1900, SN11122.152.

This East Asian spiritual figure, most commonly associated with Buddhism, is often looked upon as a source of unconditional love and compassion.

Have students study this sculpture carefully. What words would they use to describe her? What type of feeling do they get from looking at her? How might a figure like this be comforting in times of trouble?

You may also have them compare the Guanyin figure to the Warrior figure directly next to it—contrasting the two different demeanors can emphasize the sense of calm and peace in the Guanyin.

BUILDING A BETTER WORLD | ACTS OF KINDNESS AND FRIENDSHIP

JAN 2019

Gallery 4

Piero di Cosimo (Italian, 1462–1521), The Building of a Palace (detail), c. 1516, SN22.

THE BUILDING OF A PALACE

BACKGROUNDThis busy scene depicts many people at work while an impressive building rises out of an undeveloped landscape in the background. Although scholars disagree on the ultimate meaning of this painting and why it might have been commissioned, it is nevertheless a reflection of the Italian Renaissance in its study of perspective, interest in classical architectural forms, and keen observations of the world at work.

DISCUSSION POINTSThere are lots of small details in this scene, and it can be overwhelming to try to take it all in on your own. Divide the painting into imaginary sections (far right background, center foreground, etc) and work with your classmates to take turns describing all the things you notice happening in your specific section.

• What did you notice initially? What more did you find as you continued to look carefully?

In this painting, we see many people working together to accomplish a major feat. Think about the importance of teamwork and building something together.

• What causes do you think are most important to support to build a better world (for example the environment, ending conflict and war, equal rights for all, preventing animal extinction, etc.)? What networks or organizations do you know about that already exist that are dedicated to that cause? What actions do they take?

• How much can you accomplish on your own? How might your actions be amplified if you worked with others?


Gallery 7

Salvator Rosa, An Allegory of Study, SN152.

Ask students to compare this image of a person at work to The Building of a Palace. Here, rather than collaboration, we see one man working alone.

Does he seem lonely, or is he happy to focus on the task at hand? Compare teamwork with individual work: when is one better than the other? Which do you prefer, and why?


JAN 2019

Gallery 18

Giovanni Graneri (Italian, 1736–1778), Drawing of the Lottery, Piazza della Erbe, Turbin, c. 1756, SN195.

DRAWING OF THE LOTTERY, PIAZZA DELLA ERBE, TURBIN

BACKGROUNDIt is a busy market day in the city square. Near the center, a horse and cart have fallen, breaking a distraught vendor’s wares. On the balcony in the background, a winning lottery is drawn as townspeople in the crowd clutch their tickets. The proceeds from lotteries typically benefitted institutions like orphanages and asylums – and so it is an orphan who extracts the winning number from a box. A glimpse of everyday life, the painting may also reflect on chance and fortune. The accident of the upturned cart, the intermingling of social classes in the square, and the orphan drawing the winning number might suggest that life, like the lottery, is a game of chance.

DISCUSSION POINTSThis scene shows all different types of people mixing together at a town market. Some are poor, some are rich, and others are in between. In the United States today, too, there is a range of income levels, from individuals who are very wealthy to those who don’t have enough money to survive from day to day.

• What are some of the ways people might get wealthy in our society?

• What are some factors that might make it difficult for a person to get him or herself out of poverty?

• What generalizations or stereotypes do we tend to make about wealthy people? What about poor people?

In the center of this painting, a horse has fallen down, overturning pots and pans with him. The people immediately surrounding the horse are upset, but other people in the scene don’t seem to notice.

• What does it mean to be a bystander? Can you think of examples when you saw an incident occur in your school but you chose not to get involved? Why did you make that choice? If you could relive that situation, would you make the same choice?

• How would you define the word “up-stander?” What does it mean to stand up for something?

• When is it a good idea to intervene in a situation? When is it ok to look the other way? Think of specific examples for each.

Continued on next page


JAN 2019

Gallery 18

Giovanni Graneri (Italian, 1736–1778), Drawing of the Lottery, Piazza della Erbe, Turbin (detail), c. 1756, SN195.

DRAWING OF THE LOTTERY, PIAZZA DELLA ERBE, TURBIN Continued


Gallery 18

Michelangelo Pergolesi (Italian, active 1777 – 1801), Settee, c. 1750, SN1803.

Within the same gallery as the painting, notice the opulent pieces of furniture (including side tables, mirrors, settees, and chairs) on

display. These items indicate a certain level of wealth and status.

Ask students to choose one piece and describe it. How is it different from the type of furniture they have in their home? Would it be comfortable or convenient to use? If not, why might someone choose to have it in their home?

As you visit the rest of the museum, particularly galleries 15, 19, and 20, notice other decorative art items that seem to have been made for elite members of society. What do these objects have in common? How do they differ?


JAN 2019

Documents

EMBRACING OUR DIFFERENCES - The Ringling · complement the Embracing Our Differences curriculum. It highlights issues of identity, injustice, personal responsibility, conflict, and