James M. Robinson, The Pachomian Monastic Library at the Chester Beatty Library and the
The Chester Beatty Collection as a Teaching and Learning Resource
description
Transcript of The Chester Beatty Collection as a Teaching and Learning Resource
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‘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
Aoife Keogh
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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.
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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)
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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).
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ReflectDo you or your family orfriends collect objects of
any kind? Do you think all humans have the urge to collect useful, valuable,
beautiful or unusualobjects and artefacts?
QuestionDo you consider
Facebook to be a book? Why/Why not?
AnalyseFind Giotto di Bondonein your art history book.
Compare his use of composition, colour, scale, tone, media
and subject matter tothe work of
Jacopo Avanzi in theCollection.
ApplicationConsider how the
collection can influence your
own artwork.
ResearchCount how often
in a day you refer to or rely on writing
or text.
CurateAs a class choose a
selection 10 interesting artefacts from the
collection. Plan and design an exhibition of these
artworks in your school.
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)
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ContentInformation relevant to the Leaving Certificate art curriculum and
examination.
Period
Imagery
Origins
Composition
DecorationFunction
Art ElementsLine
ShapeToneForm
PatternTexture
Subject Matter
Style
Format
ColourMedia
ToolsTechniques
Materials
Skills
Process
Scale
Technical Information
Audience
Theme
Influences
Patronage
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Overview Section I
• Journey through the Chester Beatty Library with Artefacts
• The Life story of a book
Section II
1. Early Religious Iconography2. Medieval Manuscripts3. The Book through the Italian
Renaissance4. Northern European Realism5. Japanese Art and 20th Century Influence6. East Asian Invention
Section III• Student tasks and Reflection• The Development of Books
Kikugawa Eizan1806Japan
Claude Monet1876
France
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Artefacts Design
Keogh, A. & King, F., 2011. In Colour, Fingal County CouncilKeogh, A., 2011. Content and Incentive, NCAD
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Conclusion
• Completion
• Dissemination and Access
• Continuing Professional Development (CPD)
• Workshops, Talks and Tours
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‘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)
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