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The Chester Beatty Collection as a Teaching and Learning Resource

‘Like long-distance travel, art history can provide a different set of circumstances that allows us, even stimulates us, to reflect on present circumstances with clearer vision’ ( Addiss, S. & Erickson, M., 1993. Art History and Education , University of Illinois Press).

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The Chester Beatty Collection as a Teaching and Learning Resource

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  1. ‘Like long-distance travel, art history can provide a different set of circumstances that allows us, even stimulates us, to reflect on present circumstances with clearer vision’ (Addiss, S. & Erickson, M., 1993. Art History and Education, University of Illinois Press)

  2. The Chester Beatty Collection as a Teaching and Learning Resource Aoife Keogh

  3. Background and Process • Positive Collaborative Process. • Variety of educational contexts. • Current and proposed new art history curriculum and exam. • Arts institution experience. • Masters in visual art education (NCAD) research. • Analysis of available curriculum material. • Previous resources designed.

  4. Artefacts Rationale • To highlight the value of the Chester Beatty Library as a teaching and learning site for Leaving Certificate art history and appreciation. • To explore the Chester Beatty collection as a valuable source of first-hand experience and research. • To create a student centred ‘workbook’ that promotes critical and reflective observation. • To provide a relevant and inclusive curriculum resource facilitating intercultural understanding. ‘Students fundamentally meet all learning initiatives, consciously or unconsciously, with such questions as: What does this mean to me? or What can I use this for?’ (Illeris, K., 2008. Contemporary Theories of Learning. Routledge)

  5. Key Skills and Learning Outcomes‘Develop the intelligence and the creativity of students in the significant and distinctive ways afforded by the arts’(Arts Education Points of Alignment Report 2008) • Vocabulary and Terminology • Technical Knowledge • Critical Visual Observation • Contextual Understanding • Appreciation • Research Skills • Personal Reflection • Synthesis and Application National Council for Curriculum and Assessment (NCCA), The Department of Education and Skills (DES), State examinations Commission (SEC).

  6. Experiential Learning(Dewey 1938, Kolb & Fry 1975)‘Occurs when carefully chosen experiences are supported by reflection, critical analysis and synthesis.’(Association for Experiential Education, 2011) Analyse Find Giotto di Bondone in your art history book. Compare his use of composition, colour, scale, tone, media and subject matter to the work of Jacopo Avanzi in the Collection. Question Do you consider Facebook to be a book? Why/Why not? Application Consider how the collection can influence your own artwork. Reflect Do you or your family or friends collect objects of any kind? Do you think all humans have the urge to collect useful, valuable, beautiful or unusual objects and artefacts? Curate As a class choose a selection 10 interesting artefacts from the collection. Plan and design an exhibition of these artworks in your school. Research Count how often in a day you refer to or rely on writing or text.

  7. ContentInformation relevant to the Leaving Certificate art curriculum and examination. Imagery Audience Technical Information Materials Patronage Period Tools Art Elements Line Shape Tone Form Pattern Texture Subject Matter Techniques Origins Skills Influences Process Scale Composition Media Colour Style Decoration Function Format Theme

  8. Overview Kikugawa Eizan 1806 Japan Section I • Journey through the Chester Beatty Library with Artefacts • The Life story of a book Section II • Early Religious Iconography • Medieval Manuscripts • The Book through the Italian Renaissance • Northern European Realism • Japanese Art and 20th Century Influence • East Asian Invention Section III • Student tasks and Reflection • The Development of Books Claude Monet 1876 France

  9. Artefacts Design Keogh, A. & King, F., 2011. In Colour, Fingal County Council Keogh, A., 2011. Content and Incentive, NCAD

  10. Conclusion • Completion • Dissemination and Access • Continuing Professional Development (CPD) • Workshops, Talks and Tours

  11. ‘Visual interpretation depends on the pleasure, thrills, fascination, wonder, fear or revulsion of the person looking at the images and then writing about them. Successful interpretation depends on passionate engagement with what you see.’ (Rose, D.G., 2006. Visual Methodologies: An Introduction to the Interpretation of Visual Materials: Sage Publications) Contact keogha@ncad.ieorjennys@cbl.ie

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