DOCUMENT RESUME

ED 391 770 SO 026 094

TITLE Memorials: Art for Remembering.INSTITUTION Smithsonian Institution, Washington, DC. Office of

Elementary and Secondary Education.PUB DATE 95

NOTE 17p.

AVAILABLE FROM Smithsonian Office of Elementary and SecondaryEducation, Arts and Industries Building 1163, MRC402, Washington, DC 20560.

PUB TYPE Collected Works Serials (022) Guides Classroom

Use Teaching Guides (For Teacher) (052)

JOURNAL CIT Art to Zoo: Teaching With the Power of Objects;Jan-Feb 1995

EDRS PRICE MFOI/PC01 Plus Postage.DESCRIPTORS *Art; Art Activities; *Art Education; Art History;

Elementary Secondary Education; Foreign Countries;Sculpture; World War I

IDENTIFIERS Benin; Chinese Art; Grave Markers; *Memorials

ABSTRACTThroughout history, in all parts of the world, people

have struggled with the problem of loss. Moving words have beenwritten and beautiful objects created to preserve the memory ofpeople and their achievements. This theme issue explores thedifferent ways that people have been praised and remembered in worksof art. An introduction suggests a variety of memorial types anddiscusses aspects of durability and selectivity. Four memorials arepresented: (1) "A Memorial to a King: Head of an Oba"; (2) "AMemorial to a Soldier: 'Pain,ing No 47, Berlin'" (Marsden Hartley);

(3) "A Memorial t,..) an Athlete: 'Ritual Road Serving Vessel'" (JingGui); and (4) "A Memorial to a Family Member: 'Adams Memorial'"(Augustus Saint-Gaudens). A lesson plan section gives suggestedactivities that correlate with the memorials described. A studentworksheet and take home page in English and Spanish are given. Theissue concludes with a list of resources. (MM)

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Reproductions supplied by EDRS are the best that can be madefrom the original document.

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1 /

TEACHING WITH THE POWER OF OBJECTS

e'r

Lesson Plan7,

Take-Home Pagein English/Spanish

Art

Language Arts

Social Studies

4-8

Publication of Art toZoo is made possiblethrough the generoussupport of the PacificMutual Foundation.

"4.

d'44

:,14A441:liar.alt)

f;

Smithsonian Institution

January/February 1995

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

t.e'La ..Yrticr"A.

rtr TO THE EDUCATIONAL RESOURCES*1 INFORMATION CENTER (ERIC)."

U S DEPARTMENT OF EDUCATIONOffice el Edocatwal Research and Improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)

X.,This document has been reproduced asreceived from the person or organizationoriginating it.

0 Minor changes have been made to.. improve reproduction quality

Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or pohcy

2mirials: Art for Renleulthel

BEST COPY AVAILABLE

Introduction 3

A Memorial ro a King 5

A Memorial to a Soldier 6

A Memorial to an Athlete 7

A Mernorial to a Family Member 8

Take'-Horne Page in Spanish 14

'Resources 15

tOZoo's purpose-is:to help teachers bringlintotheir Classrooms the educational poNier of puseumsand...other comMunityirespuyces:

. .

.4rt. to Zoc draV on' the'Smithsonian's hundreds.:..orCxhibitions and programsfrom art, history; and

. .sele»ce to aviation and fOlklifeto.create classivom- .s ready. mater ials. for geades four through eight.

Each of the:four anrMal issues c&plores a 'Single

topic thi ough an interdisciplfnary, multicUltural

app`roach.,

The.Smithsonian invites:teachers to duplicateArt lo ZoO. materials for educational use,

,

Losing something like a bike or a watch is hard, especiallyif we never get it back again. Losing a friend or a grand-parent or a pet is even harder. Sometimes we lose peoplebecause we have to move far away from them. We fearthey will forget us or that we will never see them again.Sometimes a friend or a pet or a family member dies, andthat is the hardest loss of all.

When people slip out of our lives, we try as hard as wecan to remember everything about them. We listen to theirfavorite songs or eat special foods that they liked to cook.We revisit a place where we had once been together or carryon a ritual that we had both enjoyed. As long as we keeppeople in our memory, we have not lost them completely. Astime passes, however, we know that even the most precious

memories fade.Throughout history, in all parts of the world, people have

struggled with the problem of loss. Many moving wordshave been written and many beautiful objects have beencreated to preserve the memory of people who are goneand to keep a record of their achievements. As one ofShakespeare's characters pointed out, "Praising what is lost

makes the remembrance dear."* This issue of Art to Zoo

explores the different ways that people have been praisedand remembered in works of art.

* All's We II 'That Ends VeIl. V. di. 19

Tt 1, ', 1'111;1'

A memorial can be asfleeting as a concert insomeone's honor, or as long-lasting as a bronze plaqueattached to a strong wall. Amemorial can be as private asa tree planted in a garden oras public as a donation offine drawings given to amuseum in memory of afriend.

The most common way tohold someone in our memo-ry, however, is to try to pre-serve some aspect of theactual, physical person. Wetake photos find preserve theperson on paper. We recordthe voice on tape. We make avideo so that we can alwayssee the person moving abouton film. We write poems oressays or books to try toreconstruct the person inwords. We make paintingsand drawings and sculpturesto try to give the body formagain.

If a memorial is createdto keep a memory alive, thememorial itself must bedurable. For that reason,bronze has always been afavorite medium. Bronze canbe battered without breaking.It can survive strong sun-light, rain, snow, heat, andcold. It cannot be ripped orcut. It is hard to scratch ordent. Three of the four

memorials discussed in thisArt to Zoo, representing threedifferent continents andstretching across thirty cen-turies. are made of bronze.

A memorial cannot evokeeverything about a person. Atbest, its maker has narrowedits focus to the most tellingaspect of the person, inhopes that he or she willsomehow live on in thebronze or stone, in the painton a canvas, the words on apaper. or the musical tonesissuing from an orchestra.The artists who made theworks of art in this Art toZoo have created images offour very different people.The details the artists choseto emphasize determine howthese tbur people will beremembered:

A memorial to a King.emphasizing symbols ofmyalty and power

A memorial to a Soldier,emphasizing the splendor

of the uniform

A memorial that anAthlete has had made tocommemorate his own

achievement in archery

A nwmorial to a FamilyMember emplutsizingthe mystety of death andthe Am-row of lass

Art to Zoo Memorialv Art tor Remembering Januory/tebmarr 1995

A MEMORIAL TO A KIK:eff Oba

"Oba" means "king" tothe people of Benin, akingdom in the part

ot Africa we nowcall Nigeria.

Since the year1300, thirty-

eight obashaveruled the

kingdomof Benin.

When an obadied, his sonbecame the newoba and imme-diately commis-sioned a bronzehead cast inhonor of hisdeceased father.This bronze"commemora-tive head" wasplaced on analtar in theroyal palace,ensuring thatthe god-likeauthority of theold oba wouldbe transmittedto the new obaand that hisspirit wouldbring goodhealth and

prosperity tothe people ofBenin.Otitis look like

human

6BEST COPY AVAILABLE

beings, but they do not showindividual details. Physicallikeness was not important.The crucial idea was to dis-play the proper symbols ofroyalty.

Coral beads were the mostimportant sign of royalty inthe kingdom of Beninbecause the people of Beninbelieved that anyone whowore coral spoke with divineauthority. In Head of an Ma,coral beads are representedin the high collar around theoba's neck, the netted cap,and the strands of beads oneach side of his face. Coral,which was brought intoBenin by foreign traders,was an exceedingly preciouscommodity. The Om had amonopoly on all coral anddisplayed more coral beadsin his attire than anyone elsein his kingdom. Other mem-bers of the royal court worecoral only with the oba'spermission.

Like coral, copper alloysreflect a red color that wasconsidered beautiful by theBenin people. These alloys,such as bronze or brass, arestrong and permanenttheideal material for symbolizingthe never-ending authority ofthe long dynasty of obas.Only the obi' and the oba'smother were entitled to havethese metal heads placed ontheir altars after they had died.

Art to Zoo Memorials: Art for kementhering January/February /995

A MEMORIAL TOPainting No. 41 Beff/h-by Marsden Hart;le.!,'

Marsden Hartley was anAmerican painter living inBerlin between 1914 and1915 who befriended ayoung German who servedas a soldier during WorldWar I. After the soldier waskilled in action. Hartleypainted this portrait in hismemory. Hartley was dazfledby the splendor of theGerman military and choseto remember his friend inuniform. In fact, he depictshis friend as a uniform.

Hartley made the insignia

Pr-,)

AP/

on the t niform into an epi-taph fo the soldier. The"K.v.F on the pocket tells usthat the soldier's name wasKarl von Freyburg. The "24-on the vertical band tells usthat he was twenty-four yearsold when he was killed inaction. The "4- reminds usthat he was a member of the4th Regiment, and the blackcross tells us that he wasgiven the Iron Cross awardon the day before his death.The black and white checker-board pattern in the back-

f; Art to Zoo Memoriak. Alt lot Reinemberiny January/1Tb, uan 19g

ground tells us that he lovedto play chess.

During the time whenHartley met Karl vonFreyhurg, his imagination wasstirred by daily parades ofsoldiers and horsemen, outfit-ted in elaborate uniforms. "Iam seeing eight-pointed starshere by the thousands,- hesaid, "on the helnwts of thethousands of soldiers.- Hewas especially impressed bythe feathered helinet of theKaiser's Royal Guards.

Hartley's use of brilliant

7

reds, yellows, blues, andgreens in this memorial por-trait tells LIF as much abouthis own delight with thepageantry of the military asabout the life of his fallenfriend. While he was stunnedby his friend's death anddeeply mourned his loss, hecontinued to be moved bythe spectacle of war. Thesplashy colors of the uniformare superimposed on theblackest of backgrounds thatevokes a somber mood ofremembrance.

A MEMORIAL TO AN ATHLETE:Ritual Food Serving Vessel(Mg Gui)

Victors in athletic competi-tion are often awarded silverbowls inscribed with words ofpraise lo keep their momentof glory alive. The Jing gui(pronounced "gway") is abronze bowl made about threethousand years ago in Chinafor the same purpose. It hon-ors the achievement of ayoung man who excelled atarchery. The inscription insidethe bowl tells us about a royalofficer named Jing whotaught archery to the nobility.the officials, and the atten-

dants of the King. After anarchery' contest in which hewas victorious, the King sawfit to honor Jing for his suc-cess by presenting him withan archer's armguard. Jingwas so prOud to be honoredby the King that he orderedthe casting of a bronze bowlto preserve his moment ofglory forever. He dedicatedthe memorial bowl to hismother. The inscription statesthat he hoped that "sons andarandsons (would) use it fort.ten thousand years." The gui

641

g

was found at a burial site.Thirty centuries later,

Jing's gui still speaks for him.The fact that it is made ofbronze tells us that Jing hadconsiderable wealth, becausein China bronze was availableonly to the ruling classes andwas considered more preciousthan gold. The gui also tellsus that Jing was a man ofgood taste. He had the bowldecorated with stylizedimages of birds with longtails, as was the fashion, andinscribed with the story of his

,

exceptional accomplishments.The inscription, which

appears on the cover of thisArt to Zoo, consists of ninetyancient Chinese "characters."These characters are unlikethe letters that produceEnglish words. Each charac-ter represents an entireobject or idea. It is possihleto identify the character for"archery" (a bow and arrow)three times in 'he inscription(hint: the character appearson the fifth, sixth, and eighthrows from the top).

Art tO Zoo Memorials: Art for Remembering January/t.ebruary /Y95

ro ific; (Ili A 'AMILY MEM n

When a person's lifecomes to an end, a gravemarker in a cemetery is acommon form of memorial.Some grave markers are sim-ple and some are elaborate,but most do not linger inone's memory very long. TheAdams Metnorial is different.

The Adams Memorial inthe National Museum ofAmerican Art is a casting of abronze sculpture that stands in

Rock Creek Church Cemeteryin Washington, D.C. It is animage of a mysterious figure,seated on a rock, wearing acloak that falls in heavy folds.The face, in deep shadowunder a hood, seems beyondour reach. This is a solid, tan-gible presence, but not entire-ly of this world.

The othcr memorialsdescribed in this issue of Artto Zoo focus on the regalia,the uniform. and the athleticskills tt.at distinguished the

Att to Zoo Memorials: Art for Remembering January/February 1995

person in this life. TheAdams Memorial, however,presents a figure who hasalready passed into a worldof silence. The figure has noname, nor dates of birth ordeath. No message isinscribed, and the figurebetrays no emotion.

The grave over which thefigure sits is the grave ofClover Adams, the wife ofHenry Adams, a prominenthistorian, philosopher, anddirect descendant of twoU.S. presidents. It is saidthat Adams never spoke hiswife's name after her death.which was a suicide. He did,however, commission thesculptor Augustus Saint-Gaudens to create a figurefor her grave. Mrs. Adamswas a photographer, writer,and socialite, a woman whowas "small and sharp andfunny and by no means agoddess."' This figure bearsno outward resemblanceto her.

The hooded figure does,however, reveal somethingabout the sculptor and hisown views of life and death.Once when Saint-Gaudenswas a boy he climbed a hillin front of the house wherehe had been staying. He latersaid, Going to that hill wasa thing looked forward to for

9

days, and its climbing oneafternoon, to find that therewere hills still farther away,was my first feeling of theever-mysterious beyond."'It is this sense of mysterythat emanates from theAdams Memorial.

The Adams Memorial hashad an impact on countlesspeople. Eleanor Rooseveltfound that a visit to thismonument strengthened andrenewed her spirit. MarkTwain thought, "All humangrief is shown in this sadfigure." English novelistJohn Galsworthy describedits strength in The ForsyteSaga. His character, SoamesForsyte, speaks of a trip toAmerica and a visit to thecemetery. He feels at homewith the memorial and likesit better than "all the waterhe had seen at Niagara, andthose skyscrapers in NewYork." '

Quotations noted on thispage are from UncommonClay, (1) p. 228, (2) p. 10,(3) p. 240.

BEST COPY AVAILABLE

LESSON PLAN

Identify a person or a petwho is no longer part of yourlife.

Visualize the person or petand draw a picture.

Make notes about theperson or pet.

Copies of "Whom Do YouRemember?" worksheet.page 12.

Language arts, art

I. Ask each student tothink of a relative, friend, orpet who used to be a signifi-cant part of their life. As aclass, make a list of the rea-sons these people or zts areno longer nearby (e.g. mov-ing away, going to a differentschool, getting new owners,or dying). Discuss why welike to have some way ofremembering the people andpets from our past.

2. Give each student acopy of the "Whom Do YouRemember?" worksheet. Askeach student to write downthe name of the person or petthey would most like toremember and then to visual-

10

ize him or her as clearly aspossible in their mind.

3. As students fill out theirworksheets, prod their mem-ories by asking questionssuch as. How long was yourperson's hair'? What colorwas it? Did your personstand up straight or bendover? Did the person like toget dressed up or did he/sheprefer to wear everydayclothes'? Did he/she like toplay games. cook, work inthe garden. play an instru-ment, watch TV, read thenewspaper, play a sport.polish a car, clean the house.exercise, go fishing. sit onthe porch, take a nap, playvideo games. go shopping.eat ice cream? Encouragethe students to remember asmany specifics about theirperson as possible.

Students who are remem-bering a pet could also thinkabout the pet's appearance.favorite foods, games, sleep-ing places. and tricks.

4. Ask students to draw apicture of the people or petsthey like to remember, just asthey see them in their minds.

'1

F t I I N mi

[1 Establish that memorialscan take a voriely of forms.f-fil Identify memorials of dif-ferent types in your schooland community.

Identify which of thememorials are permanent.

MaterialsPaper and pencils or

markers.Cameras and film

(optional).

SubiectsL2 Social studies

ProcedureI. Search your school for

memorials. If your school isnamed after a person. findout what he/she did todeserve the honor. If thereare paintings or sculptures ofpeople in the front hall, findout whom they represent.Ask your school librarian ifany books were given insomeone's memory.(Bookplates inside the frontcover should tell you.) Askyour principal if any trees orflower beds around yourschool were planted as amemorial to a former studentor teacher.

2. Encourage students tovisit important town build-ings such as the library, thecourt house, and the city hall.either by themselves or witha parent. Ask whether any ofthe buildings or meetingrooms are dedicated to thememory of a local citizen.Visit the hospital and askwhether any pieces ofsophisticated equipment weredonated in memory of a

Art to Zoo Ntemoi i,iI; .\tI or Renteinhoing Janua/Oebrmin /gV5 !I

beloved doctor or patient.Visit public parks and look tosee if any of the trees, flowerbeds, or playgrounds werededicated to the memory of acity benefactor. Look forstatues in honor of war veter-ans. Visit a museum and askwhether any works of artwere given by a local collec-tor in memory of a friend orfamily member.

3. Look at the signsthat identify the highways,bridges, and st .diums in yourcommunity. Which of thembear the names of people?Find out who these peoplewere and why enormous'structures were built in theirhonor.

4. Look in the newspaperfor notices of memorialscholarships, memorial con-certs, memorial lectures,and memorial funds. Findout in whose honor thesememorials were established.

5. Encourage studentswith cameras to take photosof as many memorials as theycan find. Students who preferto sketch could producedrawings instead. Have thestudents note the location ofeach memorial. Set up a bul-letin board in your classroomshowing the different types ofmemorials that have beenfound in your community.

STEP 3

MEMORIALS FROM AROUND

THE WORLD

Objectives

al Introduce students to theHead Qfan Oba: PaintingNo. 47, Berlin; Ritual FoodServing Vessel (Jing gui);and Adams Memorial.

Determine how eachart work, in its own way,succeeds in praising andhonoring its subject.

Subjects

Social studies, art

A. HEAP OF AN OBA

Material:,

Assortment of children'spicture books or illustratedchildren's dictionaries withpictures of kings.10 History books with por-traits of European kings.

News photo of the presi-dent of the United Statesmaking a speech from apodium decorated with thepresidential shield.

Procedure

1. Use the information onpages 4 and 5 to identify thesigns of royalty on the Headof an Oba. Be sure to pointout the beaded high collar,the beaded net cap, thestrands of beads on each sideof the face, and the signifi-cant bead in the middle ofthe forehead.

11 ) Art to Zoo Memorials: Art for Remembering January/February /995

2. Ask the students to lookat illustrations of kings inchildren's picture books orEuropean history books.Make a list of objects such ascrowns, scepters, and robesthat are familiar signs of roy-alty in European countries.Make a list of materials(ermine, gold, preciousjewels, velvet, satin) thatwe associate with Europeankings.

3. Discuss the appearanceof a president of the UnitedStates making a televisionspeech to the people of thecountry. Does he wear anyspecial clothing that identi-fies him as a leader? Is thereanything on the televisionscreen that tells us that he isthe president? Discuss why ademocratic form of govern-ment would not encourage apresident to distinguish him-self with unusual or extrava-gant clothing.

B. PAINTING NO. 47, BERLIN

Materials

Library books showingmilitary uniforms from manycountries.

Procedure

I. Explain that PaintingNo. 47, Berlin was painted inmemory of a young soldier.Ask the students to study thepainting of the soldier's uni-

1 1

form, taking special note ofthe shapes. letters, numbers,and other insignia. Ask stu-dents to draw the designsthat allude to the followingfacts about the soldier:

His name was Karl vonFreyburg.

He was 24 when he waskilled in war.

He was in the 4thRegiment.

He was awarded the IronCross.

He loved to play chess.2. Discuss how this paint-

ing differs from a traditionalportrait. Find out how manystudents think a "bodyless"portrait is still a portrait.

3. Use library books tofind out what military uni-forms from many differentcountries have in common.Do all use stars? Stripes?Crosses? Plumes? Epaulets?What do these militaryuniforms have in commonwith school band uniformsor police uniforms?

4. Look for monuments towar veterans in your commu-nity. If the monument has thefigure of a soldier, notice ifthe soldier's uniform isdescribed in great detail. Dothe details of the uniform tellyou what war the soldierserved in?

C. RITUAL FOOD SERVING

VESSEL (JING GUI)

Copies of the Take-HomePage.

Copies of the interiorinscription on the Jing gui.

I. Ask whether anystudents have purchased asouvenir to commemoratea sporting event or have abowl, platter, or mug at homethat was given as an awardfor a special achievement orvictory. Ask whether it isused at mealtime or kept fordisplay. Does it look impres-sive? How and why? Whatmaterial is it made of? Howis it decorated? Is itinscribed?

2. Use the information onpage 7 to explain that Jinggui was a food containermade about three thousandyears ago in China to honorthe achievement of a youngman who excelled at archery.He ha(' ine inside of the bowlinscribed with the story ofhis success so that hisdescendants would rememberhim. His bowl was made ofbronze so that it would lastfor "ten thousand years."

3. Ask students todescribe a special bowl orplatter they have at home.Make a list of the materialsthey mention (ceramic,wood, glass, plastic, stainless

steel, silver, brass). Discusswhich of these materials isthe niost durable. Which ismost likely to last "for tenthousand years?" Which isthe most likely to break?Which is considered themost precious? Distribute theTake-Home Page and explainhow they and their familiescan fill it out and draw anillustration.

4. After the studentsreturn to school with theirTake-Home Page and illus-tration, ask them to write adescriptive caption abouttheir object's appearance,material, durability, decora-tion, and inscription. Mountthe students' illustrations andcaptions on a bulletin board.

5. Teach students to makea rubbing of an inscriptionon a plaque or a gravestone.After obtaining permission tomake the rubbing, cover theinscription with soft paperand then rub a crayon overthe papel. Be careful not tomark the actual stone orplaque with the crayon.

6. Explain that the inscrip-tion on the Jing gui, shownon the cover of this issue, ismade of Chinese "characters"that tell of Jing's success asan archer. (Ask the studentsto find the character on thecover photo of this issue thatlooks like a bow and arrowand means "archery.") Havestudents work in small groupsto write their own storiesabout the good deed of aclassmate using a few wordpictures of their own design.

When the stories are com-pleted, have studentsexchange them for editing.Discuss whether they wereable to understand the wordpictures.

D. ADAMS MEMORIAL

I. Visit a cemetery in yourcommunity. Find out whethermost gravemarkers havefigures. Look for unusualinscriptions. Copy or make arubbing of any inscriptionsthat tug at the emotions.

2. Write an inscription forthe Adams Memorial.

Students will apply theirunderstanding of memorialsby creating an object or plan-ning an event in memory of aperson or pet to whom theyfelt close.

Each student will collectwhatever materials are appro-priate for the memorialhe/she designs. Materialscould include paper, paint,drawing materials, clay,wood, photographs, tapes,video film, notebooks, orscrapbooks.

12

Art. language arts

I. As n class, make a listof the types of memorialsstudents could design andbuild themselves. Thesemight include the following:

A painting, drawing, orsculpture of a person/pet

A photo collageA box of objects that

bring the person/pet to mindA story, poem, or essay

about the person/petA play/skit about the

person/p.A song about the

person/pet or a musicalcomposition in his/her honor

A memorial plaqueA gift in the person's

memory. such as a tree forthe grounds or a book for thelibrary

2. Ask each student tocreate an object, piece ofwriting, or performance inmemory of a person or petto whom he or she felt close.This person or pet could be(but needn't be) the sameperson or pet they thoughtabout in Step I.

3. Ask each student todesign a dedication markerand compose a statementabout the person/pet. Thismarker would be placed onor near the memorial object.If the memorial object is inwritten form (such as a story,play, or piece of music). thededication could he includedin a brochure or program.

Art to Zoo N1-monak An for Remembering Autuarr/hqn uan 1 vV5

WORKSHEETWhom On Yoo eg-116N r!'

Name of person or pet you would like to remember:

Relationship to you (for example, grandmother, friend, dog...):

10 the lei-whet

Duplicate this pagefor students.u Use with Lesson PlanStep I.

Try to picture this person or pet in your mind and write down everything you remember: How did your person

or pet look? How big was he/she? How old was he/she? What color hair? What were his/her favorite clothes?

When you picture your person/pet. what is he/she doing?

In what kind of place do you picture your person/pet?

What was your person/pet's favorite pastime? Food? Sport?

What could your person/pet do better than most other people or pets?

What would you like to do with your person/pet if he/she were still nearby?

What would you like to say to him/her if you could?

Use the back of this page or a separate sheet to draw a picture of the person or pet that you would like to remember.

13

Lo Art to Zoo Memorials: Art lot Rementbering January/February /995

TAKE-HOME PAGEPublication of Art toZoo is made possiblethrough the generoussupport of the PacificMutual Foundation.

People often commemorate important events like weddings, a baby's birth, or winning a competition with

special objects. Look at home for a bowl or platter or mug that reminds you of a person or an important

occasion or time in your family's life. Fill out this chart about the object you find.

Kind of

object

Circle the

material it's

made of.

How durable

is it?

How is it

decorated?

Is it

inscribed?

Value

China Would never Carved Copy Valuable

(ceramic) break

Painted

some of the

lettering if it

Wood is inscribed. Cheap

Might break Imprinted

Glass

Engraved

Plastic Very

breakable Plain

Silver

Other?

Stainless steel

Brass

Other?

Use the back of this page or a separate sheet to make a drawing of your object from home.

/4 Art to Zoo Memorials Art for Remembering January/kebruary 1995 1 t

Esta publicación hasido posible graciasal aporte generosode la Pacific MutualFoundation.

La gente usualmente conmemora eventos importantes como matrimonios, el nacimiento de un nino, o el

triunfo en una competencia con objetos especiales. En casa, observa y encuentra una vasija, fuente, o una

taza que te recuerde a una persona o evento importante o momento especial en la vida de tu familia. Luego

completa este cuadro con comentarios sobre el objeto que encontraste.

Tipo de

objeto

Traza un circu-

lo indicando el

material de que

está hecho.

ICuin

durable es?

iCómo esth

decorado?

I:Ilene

inscripciones?

Valor.

Porcelana

(cerdmica)

Irrompible Cincelado,

tallado

Copia un trozo

del texto si

forma parte de

Valioso

Madera Podria

quebrarse

Pintado la inscripción. Poco valioso,

de material

Vidrio Impreso barato

Plástico Altamente

quebrable

Grabado,

estampado

Plata

Liso

Acero

inoxidable i3Otro tipo?

Bronce

iPtro?

Utiliia el reverso de esta página o una hoja adicional para dibujar el objeto que encontraste en casa.

15Art to Zoo Memorials: Art for Remembering January/February 1995

A.sian Art in fin! Arth nr

Soc.Aler 77n,

-Thaugural..C]ifill 987. ThOmas

. Law tOn, Shen F.U.

Lowry et uI Smithsonian=Instnution.Press:

:Benin: 1?0ya1 Au OlAfricp..

(.11.titchei packet includes .slides and informati(m Onbrass:...Casting.) Available on

. free loan from-the Baltimore.. Museum of Art Education

DeOarlalelfi44.10) 3%76320...

.. . .

17:ally,C;hhta and Wall.

, 1991, Peter Nancarrow,. .

Cambridge:-Canibridee.niwrsitY Pis. .

&Mrs-den liartleY,. 1980,

Barbant- Haskell. Whitney-:Museum of.Atnerican Art.in-association with New YorktiniversitS ,Press.

Royol Benin Art inCollectign id.the NationalMnspin of African Arl.Washington:D.C. 1987:Bryna.Freyer. Stnithminian

: Institution Press.

Poge 5 .

Head of an.oba, 18th centuryEdo people, :

Benin Kingdvm. NigeriaCoPper alloy

cm (I 21/4.in)...

Gift of JOS.eph H. Hirshhorn .

to the $1 ..thsonialf,Institutionin 197).. 85-J97.16_Ph( otzraplIbyJeffrey PloskonkaNational.,,M01.111) of

African Art ..

Paget.Painting No: 47,-:19-14.75.

--by Marsden. Hartley, ---

American (1877,1943)0.114On-canvas

3971/2 x 3.1.--5/8.incKs

. Hirshhorn Museum and:SculptUre Garden.SmithonianGill of Joseph.FI. Hirshhorn.

.1966HMSG 72..148._Photograph by

Lee Stals-%orth,. .

Cover and page 7

S 1987.329: Ritual Food.-Serving.yessel (Jing Gui).China, Western Zkou

tc.a. 1050-77i.10th Century B.C. Bronze:

23.5 cm:'The coer intime showsdetail

-of the inscription.

Page-8

The. NatiOnal Mseum of

-.AthOca0 Art houses a.Of the ligate from the AdamsMcmOrial, cast.in bronze-in

1966. In this issue. of Art to

. Zoo, a PhOto by Jerry L."rhOnipso/show the originalwork. whieh.was COM pieted.in

. 1891 and is. located in RockCreek Chbreh Cehtetery:

io Zoo is a Publication.of the Office of Eleinentarys'and Secondary Edneation.SunithsOn.Uin Institution:, .

Washington,.D.C. 20560.

WriterLinda Linnard Andre:

Editor

Douglas Case)

Designer ,Karlic Design 'AssociatesBaltintore. Maryland

Publications Direct& .

Nlichelle Smith

ACKNOWLEDGMENTS

For their;assisuince.. this ksueOf Art in ZQo

Woiddlike to thank.our colleagues at .the_Smithspnian.lustitution:.

Teresia Bushillioelon

...ethipture Garden

Rachee:APcicket:.-Aticient13ronzes. 1991.

- Education. Department..Arthur.M1- SaCkler. Gallery.

Smithonian'Instilution.

yeronika Jenkt; .

iVitqettni.ofAfrican APt.

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