VISION and VERSE
STUDENT BOOKLET 2
Questions & Activities
Image source: http://zahralangaroodi2007.blogspot.com/2007/05/painting-with-words.html
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Page 5: ‘The Box (La Loge)’ by Pierre-Auguste Renoir (1874) /
After doing the questions in the booklet, make notes on the following:
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List what is in the foreground and background
What colour might be symbolic?
Where do you see contrast?
Look at the lighting. What is well lit? Why?
Look at the size of the objects in this painting. Do they suggest anything?
What angle do we view this painting from?
What is the salient image in this painting?
Are there any symbolic images? (red lips and flowers, rose, tight gold bangle, stripes on
dress) What do they suggest?
Look at the composition. What is it composed in such a way, do you think?
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Page 9: ‘Eighteen Songs of a Nomad Flute: The Story of Lady Wenji Episode 4: Longing for
Home’ by an unknown artist, early Ming dynasty (early 15th century) / Lament of HsiChun by Hsi-Chun (circa. 105 B.C.)
NOTE: This painting was done with colour and gold ink on a silk handscroll. This is episode (or
painting) number four in a series of paintings that tell the whole story of Lady Wenji being taken
captive. Here, we see her as a tiny figure in a vast landscape, looking away from her tent and off into
the distance, pining for her home. Note that Chinese texts read from right to left whereas Western
texts read from left to right.
Answer the following questions:
1. Who is in the picture?
2. Where is this?
3. Look at the setting. What can you tell about the environment by the structures surrounding
the people?
4. When is this?
5. What do you imagine could be the relationship between the two figures?
6. What is the mood?
7. What is the overall emotion of the central figure, Lady Wenji, in this image? What do you
see that makes you say that?
8. Identify one poetic / language technique in the poem.
9. STRUCTURED / CORE – whose voice is the poem written in? Why is this effective (or not
effective)?
EXTENDED – Does the poem add to your understanding / appreciation of the painting?
Explain.
Make notes on the following:
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List what is in the foreground and background
What colour might be symbolic?
Where do you see contrast?
Look at the size of the objects in this painting. Do they suggest anything?
What angle do we view this painting from?
What is the salient image in this painting?
Are there any symbolic images? (orange poplars, turning colour, autumn)What do they
suggest?
Look at the composition. What is it composed in such a way, do you think?
EXTENDED:
Research the story of Lady Wenji. What happened to her and why? Report back to the class.
ALL:
Write your own poem in response to this painting.
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Page 10: ‘The breaking wave of Kanagawa’ by Katsushika Kokasai (1823-29) / The Great
Wave: Hokusai by Donald Finkel (1991)
Look closely at the painting.
This is Hokusai's most famous picture. The waves form a frame through which we see Mt. Fuji in the
distance. Hokusai loved to depict water in motion: the foam of the wave is breaking into claws which
grasp for the fishermen. The large wave forms a massive yin to the yang of empty space under it.
The impending crash of the wave brings tension into the painting. In the foreground, a small peaked
wave forms a miniature Mt. Fuji, which is repeated hundreds of miles away in the enormous Mt. Fuji
which shrinks through perspective; the wavelet is larger than the mountain. Instead of shoguns and
nobility, we see tiny fishermen huddled into their sleek crafts as they slide down a wave and dive
straight into the next wave to get to the other side. The yin violence of Nature is counterbalanced by
the yang relaxed confidence of expert fishermen. Although it's a sea storm, the sun is shining.
(Source of notes: http://www.ee.umanitoba.ca/~kinsner/about/gwave.html)
Now read the poem.
This poem implies that there is a fragile balance between man and nature and that man is only a
part of the bigger picture of life. It suggests that nature is a force that should be respected. By using
two stanzas, Finkel allows the reader to understand how powerful yet beautiful nature can be and
how man, with respect for nature, can coexist with her. The use of omniscient third person point of
view in the second stanza helps the reader understand that man must know their role.
Here is an example of the omniscient point of view:
“All fisherman are safe, But the innocent bystander, he merely walks around the corner, thinking
nothing”
Answer the following questions:
1. Write down two similes from the poem.
2. Write down a metaphor from the poem.
3. Write down an example of personification from the poem.
Read the following notes:
How does the poet Richard Finkel, as an outsider, view such a uniquely Japanese painting? He
balances the two worlds by infusing his tribute with Western allusions. At first, there is no denying
that he, too, perfectly captures the notion of harmony when he writes, “And the blue men lean on
the sea like snow, and the wave like a mountain leans against the sky.” Not only is the observation
made of nature’s inherent dependence on everything else, he uses nature as metaphors for nature.
As the sea resembles snow and waves resemble mountains, it is beautifully implied that no one
thing, living or not, is any more important than anything else. In fact, the line, “because the wave is
still that nothing will harm these frail strangers,” demonstrates an affinity with Hokusai in the way
that he, too, shows no fear for the fishermen. And because Finkel reminds the reader that Fuji, the
sea, the wave, and the men are all blue “with white faces,” the camaraderie between man and
nature is forever solidified.
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Finkel develops his own rapport with Hokusai by alluding to him directly in the poem as the
“Painter.” He recognizes his power as a creator, able to “bend anger under his unity.” He compares
the safety of the artist with the safety of the fishermen spared the wave under his stroke. But the
poem takes on a darker, somewhat less Zen-like tone, in its contrast with the casual observer of the
work. Finkel refers to the innocent bystander as “not safe.” This sets up an interesting duality in the
relationship between art and artist. It is an ephemeral relationship in that the observer must
become all aspects of the painting in order to attain salvation. Finkel writes: “he is the men…he is
the wave.” This arbitrary personification takes on an ominous tone, complete with a defining Biblical
allusion in the end: Ararat. Just as Noah crashed at Ararat, and tens of thousands of martyrs have
been crucified near its summit, the observers of Hokusai, too, are challenged to find the artist’s
resigned sense of peace and balance; this is a vivid juxtaposition of the tranquility of a long-dormant
Fuji with the unrest of Ararat. It is a powerful thesis that challenges an observer of art, stating that it
is not enough to merely “hide behind a screen,” when taking in the work. To do so is to live in a
world that is “flat,” and therefore unlike Hokusai’s quietly noble fishermen, who are resigned to “fish
a sea full of serpents,” yet another Biblical reference. These Judeo-Christian references further
illustrate the assimilation of not only nature and human beings, but also the universality of the
soul—a common spirit of sorts.
Finkel’s attempt to culminate the experience of admiration into words ultimately becomes an
exercise in the beauty of the struggle. It is a struggle to “see below Fuji,” as it were. Perhaps this is
most apparent in the aesthetic construct in the etching itself of a massive wave crashing down on
the fishermen/ observer. In other words, without bearing the brunt of the wave and facing the pain
associated with it, there will be no reward, the reward being, of course, transcendental insight. It is
as much a struggle in trying to understand the artist’s soul as it is trying to understand the work
itself. Finkel accomplishes his task by finding common ground between two worlds, identifying the
artist and observer as this link.
(Notes from http://www1.umassd.edu/corridors/secondessay25809.html )
Complete the following questions:
Structured:
Imagine you are one of the fishermen in the painting. Write a paragraph of descriptive writing
recounting what it was like fishing this day.
Core:
Write your own poem about this painting.
Extended:
Write your own poem, using your poetic ‘voice’ to speak to the painter.
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Page 13: Death of Constable Scanlon by Sidney Nolan (1946) / Ned Kelly (A Sad Tale) by
Paul Buttigieg (2006)
Look closely at the painting.
Answer the following questions:
1. Who is in the picture?
2. Where is this?
3. Why do you think Ned Kelly is painted in solid black, like a two dimensional object cut out of
paper? What does it suggest about Ned Kelly? (Think about truth and legend)
4. Note that the horse and constable are mid-air but Ned Kelly is standing firm. What is
significant about this?
5. Which figure is at the front? (Look at the rifles)
6. Why do you think the figures are out of proportion?
7. What is the mood of this painting?
Make notes on the following:
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




List what is in the foreground and background
What colour might be symbolic?
Where do you see contrast?
Look at the lighting. What is well lit? Why?
Look at the size of the objects in this painting. Do they suggest anything?
What angle do we view this painting from?
What is the salient image in this painting?
Are there any symbolic images? What do they suggest?
Look at the composition. What is it composed in such a way, do you think?
Complete the following activities:
Structured
Imagine you are Ned Kelly. Write a poem about this incident.
Core
Imagine you are a silent, unseen witness. Write a poem about this incident.
Extended
Research the circumstances surrounding this picture and find out what exactly happened between
Ned Kelly and Constable Scanlon. When did this happen? Report back to the class.
Write a poem about this incident commenting on the blurred lines between truth and legend.
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Page 14: Dreamtime Machinetime by Trevor Nickolls (1981) / Then and Now by Oodgeroo
Noonuccal (1960s?)
Look closely at the painting.
The differences between cityscape and landscape underpin the sense of grief Nickolls feels about the
loss of traditional Aboriginal society to an industrialised urban culture. Two perspectives, one from
above and one from the ground, represent these two worlds. Nickolls uses traditional Aboriginal
patterning and divided composition to portray the crowded living conditions of many urban
Aboriginal people. Nickolls’ artwork speaks predominantly about the juxtaposition of Indigenous
cosmology (Dreaming) and Western machinery and technology, and the co-existence of both in the
land now known as Australia.
The title itself hints at the split, or two aspects, of an urban Aboriginal's life; on the one hand, the
pull between the Dreamtime of a tribal lifestyle and the close relationship to the land, and on the
other the machinetime of the white urban society.
Go to http://aso.gov.au/titles/documentaries/dreamtime-machinetime/clip2/?nojs and watch a
video of Trevor Nickolls speaking about his paintings.
Now read the poem.
This poem communicates a clear message about the changes in Australia as observed by Noonuccal
and her people. She observes the loss of Aboriginal place, culture and traditions as Europeans have
built a modern, industrialised landscape and disregarded the importance of Aboriginal sacred places.
The tone of this poem creates a sense of loss and sadness.
The poem is written in present continuous tense, emphasising that Noonuccal’s people are still being
marginalised today. The repetition of “no more” accentuates the sense of loss and establishes a
melancholy mood. Use of exclusive language separates the white community and her people. It
conveys the white people’s disrespect and disregard for her culture. The use of onomatopoeia in
"shattered by rushing car, by grinding tram and hissing train” and alliteration in “traffic and trade of
the busy town” convey the harshness of the modern, invasive environment.
Complete the following questions:
1. Discuss how the painting and the poem make you feel. List as many words as you can to
describe the emotions / responses
2. Write an empathetic response to the artwork and poem
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Page 15: The Lady of Shalott by John William Waterhouse (1888) / The Lady of Shalott
(Part IV) by Alfred Lord Tennyson (1842)
1. Look closely at the painting. Annotate / take notes on any visual techniques you can identify
+ any interesting details. Share your notes with a partner or small group.
2. Write one sentence describing the overall feeling / mood created in the painting.
3. STRUCTURED – What do you think is happening in the poem? Write one sentence.
CORE – Who is the woman? What is she doing? What do you think has happened / is
happening in the poem. Write 1-2 sentences.
EXTENDED – Write a 2-4 sentence description of the ‘story’ being told in the painting.
4. Listen to the poem (extract – Part IV) read aloud. How similar / different is the story in the
poem to your answer for q.3?
5. a) Identify examples of these poetic techniques in the poem: visual imagery, rhyme,
repetition, assonance, alliteration (+ any others?).
b) For three of the examples identified, explain the effectiveness of the technique.
6. STRUCTURED – Identify two details from the painting that are mentioned / described in the
poem.
CORE – Note that this poem / painting pairing is unique in this collection because the poem
was written first and inspired the painting (instead of the other way around). How
effectively do you think the painting captures the detail and mood of the poem? Explain
EXTENDED – Read the whole poem by Tennyson. Evaluate how successful you think
Waterhouse’s painting is in telling the story of the poem and capturing the poem’s tone.
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Page 17: Nighthawks by Edward Hopper (1942) / Nighthawks by Julie O’Callaghan
This is a famous 20th Century American painting.
1. a) Describe the tone / mood / ‘feel’ of the painting in one word.
b) Form a small group (3-4). Compare your words. Discuss the similarities / differences.
c) As a whole class discuss the one-word responses; create a ‘word bank’ of the class’
responses.
d) Read O’Callaghan’s poem. How similar / different is the tone of the painting to the class’
one-word responses?
2. Annotate the painting – identify its distinctive visual features and techniques.
3. a) Annotate the poem – in particular identify the poem’s use of collective pronouns / voice,
simile, visual imagery, onomatopoeia and accumulation
b) Comment on the effectiveness and appropriateness of these techniques
4. Responding creatively to the poem:
STRUCTURED – Write a free-verse poem using visual imagery to describe what is going on in
the painting
CORE – Write a free-verse poem in the voice of one of the people in the poem, describing
the setting and how you feel
EXTENDED – Write a free-verse poem that explores the cityscape and ‘narrative’ of the
painting, possibly using multiple voices
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Page 18: Big Woman’s Talk by Sonia Boyce / Big Woman’s Talk by Beverley Naidoo
1. Carefully annotate both the poem and painting. Note particularly colour, size and body
language in the painting, and tone, alliteration and cliché in the poem.
2. What is the effect of the techniques you identified?
3. Is there a clear message or theme in the lines of ‘advice’ in the poem? Are these ideas
relevant to people in different cultures? Explain.
4. STRUCTURED: What is similar about the painting and the poem? (what is going on?)
CORE: Explain how the painting and the poem are similar / different.
EXTENDED: Does the poem invent or add to ideas (themes, attitudes etc) that aren’t in the
painting? Discuss / explain. Does the painting suggest any ideas (attitudes, relationships etc)
that the poem doesn’t address?
5. How do the poem and the painting enhance each other & the audience’s response, when
read / viewed together?
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Page 19: The Starry Night by Vincent Van Gogh (1889)
Look closely at the painting.
Take notes on the following:
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
List what is in the foreground and background
What colour might be symbolic?
Where do you see contrast?
Look at the lighting. What is well lit? Why?
Look at the size of the objects in this painting. Do they suggest anything?
What angle do we view this painting from?
What is the salient image in this painting?
Are there any symbolic images? What do they suggest?
Look at the composition. What is it composed in such a way, do you think?
Now read the poem.
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Make your own annotations on both the painting and the poem – note visual / language
features, and any thoughts you have on meaning, ideas etc.
Describe the mood of the painting in a few words.
STRUCTURED / CORE: Does the poem capture something of your response to the painting?
Explain.
EXTENDED: What are some different ways people could ‘read’ or respond to (or write about)
this painting?
Write a list of words in response to the painting. Try to use interesting and unusual words
(eg. ‘inky’ instead of ‘black’).
Use some / all of your words in a short piece of descriptive writing.
Look up the lyrics of Don McLean’s song “Vincent” (Starry Starry Night).
How do the poem and song differ?
Which do you prefer? Why?
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