Drawing for curious minds
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Date
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
- 10:30 / Cancelled 10:30 / Sold out 10:30 – 12:00
Location
Calouste Gulbenkian MuseumMeeting point: Art library Hall
Pricing
- 12,00 €
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Drawing for Curious Minds is a series of workshops devised by the visual artist Catarina Dias for children aged 7 to 12.
With the Museum open once more, we go back to drawing the works of art in the Gulbenkian Collection, discovering the shapes, colours and stories hidden in each of them.
At their heart is the act of drawing. More than a means of expression, drawing is a tool for knowledge, concentration and curiosity, one that can spark the imagination and reinvent the world around us.
Each session stands alone: there is no continuity between them and tickets are sold individually. Participants should bring their own drawing materials.
Programme
Meeting again, with a smile
We return to the workshops inside the Museum to meet a sculpture whose smile is hard to resist: Flora, by Jean-Baptiste Carpeaux. In this session we will notice the different senses our bodies bring into play as we draw. It is precisely those senses that help us explore the world around us and understand more fully what we observe and draw.
The constant transformation of the landscape
This session brings us back to the Impressionist paintings to work on the theme of landscape and, above all, its constant transformation. Like the Impressionists, we will watch how the elements of a landscape reveal themselves differently from one moment to the next. As we discover that our line can shift in response to those changes, we will explore gesture, weight and lightness.
Expression and Movement
How do we draw something that seems to be moving? Taking our cue from the work of William Turner, we will explore different ways of conveying action, energy and emotion. In this session we will experiment with lines, shapes and gestures that bring drawings to life and express a range of sensations.
The Eye that Thinks
The Impressionists changed the act of painting because they paid attention to the act of looking itself! Through paint, they sought to capture what their eyes took in at a particular moment. With Impressionist works as our inspiration, this session turns precisely to the act of observing. Do our eyes think, too?
Portraits with Stories
Portraits help us discover people and stories from other times. Every face has expressions and features that make it unique. In this session we will look at some of the portraits in the Gulbenkian Museum collection and explore what makes each of them singular. Through drawing, we will learn that it is the details that make all the difference!
Another way of living time
Is it possible to live time while we draw? What would that even mean? In this session we will draw a sculpture and explore its forms, proportions and lines. As we take our time over each of those details, we come to see that time itself can change the way we create.
As if we could touch
Silky or rough, smooth or coarse, cold or warm... Have you ever looked at a painting and felt that, simply by looking, you could touch what was painted there? Artists who paint still lifes are masters at recreating textures, colours and details. Looking alone seems enough to touch those objects. In this session we will study a work by Fantin-Latour and discover how the qualities of different textures are rendered.
The dialogue between place and things
In this drawing session we head for the gallery of the Islamic cultures to discover some extraordinary glass lamps, made around 700 years ago. They have come down to us intact despite being made entirely of glass! Today, in the Museum, we will look at them closely and explore the connections they form with everything around them: the light, the view over the garden and the other works of art that share this space.
Directions and Movement
Can a drawing have movement? In this session we explore the idea of movement through a series of exercises in which we experiment with the directions of the lines themselves. Our starting point will be two great Eastern phoenixes embroidered on a Japanese textile more than 200 years old.
The drawing that lives inside objects
Are there drawings living inside objects? Were they painted, moulded or carved? In this session we will look at pieces of Chinese porcelain from the Museum’s collection and discover the shapes, motifs and stories they hold.
The portrait and its context
In this session we will look at a painting crowded with detail – the portrait of a young woman named Elisabeth Lowndes-Stone – by Thomas Gainsborough. With so much going on in the picture, one question arises: what should we draw first? That question will set the theme for a series of drawing exercises.
A boy, a cupid
Looking at a cupid sculpted by Carpeaux, we will discover that drawing can be a little like detective work. It all begins with close observation: every detail prompts new questions and offers clues about what we are looking at. The more curious and attentive we are, the better we understand the work.
Credits
Concept and direction
Catarina Dias