Resource Pack
MUSA Young Artist Award 2014
On Yours Marks!
An annual art competition for schools in Fife
organised by the Museum of the University of
St Andrews.
Pupils can win art materials or vouchers worth
up to £40 as well as a specially commissioned
medal.
Winning artworks will also be displayed in the
Gateway Galleries in St Andrews.
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Contents
What is the MUSA Young Artist Award
and how do I take part?................................................................................................2
What will happen in a classroom visit?.....................................................................................3
Preparation for a visit……………………………………………………………………………………………………………5
Follow-up and additional activity ideas…………………………………………………………………………………7
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What is the MUSA Young Artist Award and how do I take part?
The MUSA Young Artist Award is an annual art competition for schools in Fife organised by
the Museum of the University of St Andrews. Each year pupils attend workshops at the
museum or receive classroom visits from museum staff allowing them to develop inspiration
and skills which they can draw upon to create artworks on a particular theme. Pupils are
encouraged to submit their work to the competition, giving them the chance to win up to
£40 of vouchers for art materials, a specially commissioned medal and a certificate for their
school. Winning artworks will also be displayed in the Gateway Galleries in St Andrews.
The theme for 2015 is Brilliant Bodies. Workshops aim to investigate the role of observation
and metaphor in creating artworks that help us to understand our bodies and are planned
to incorporate relevant aspects of the Curriculum for Excellence as well as to give pupils
first-hand experiences of objects and artworks which might not be otherwise available to
them.
Sessions can booked to take place at MUSA in the spring term by phoning 01334 461663 or
emailing museumlearning@st-andrews.ac.uk.
The closing date for the competition is Friday 28th March 2014. 2D entries or photographs
of 3D entries should be sent to:
Matt Sheard
Learning & Access Curator
Museum Collections Unit
University of St Andrews
87 North Street
St Andrews
Fife
KY16 9AE
Rules, along with further resources, information and winning entries from previous years,
can be found on the MUSA Young Artist Award website at
http://www.st-andrews.ac.uk/~muscoll/art-competition/
For more information contact Matt Sheard, Learning & Access Curator, on 01334 461699 or
email museumlearning@st-andrews.ac.uk.
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What will happen during a classroom visit?
Museum staff will discuss a preferred approach with schools at the time of booking in order
to tailor sessions to the needs and desires of teachers. The following is a template for a
standardised session and can be adapted in terms of content and length as teachers and
museum staff deem appropriate.
Learning outcomes
S1-S3 sessions will usually have the following learning outcomes (the references in brackets
are the Curriculum for Excellence experiences and outcomes to which these contribute):
- To gain new or develop existing skills in observational drawing, having taken
inspiration from a range of different works, and paying particular attention to
accuracy, correct proportions, perspective and detail (EXA 3-04a, EXA 4-04a, MNU 3-08a,
MNU 4-08a, MTH 3-17c, MTH 4-17b).
-
To consider how the human body has been viewed in a variety of ways by different
individuals at different times by looking at and responding to the works of different
artists (EXA 3-07a, EXA 4-07a, HWB 3-46b, HWB 4-46b, SCN 3-12a, SOC 3-05a, SOC 3-06a) .
To explore how the human body can be understood metaphorically by creating an
original piece of work using a variety of artistic mediums (HWB 3-15a, HWB 4-15a,
EXA 3-03a, EXA 4-03A, EXA 4-05a, SCN 3-12A).
- To engage with, respond to and have the opportunity to be inspired by items from
the University of St Andrews’ historic, scientific and artistic collections (EXA 3-04a,
EXA 4-04a, EXA 4-05a, EXA 3-07a, EXA 4-07a, HWB 3-46b, HWB 4-46b).
Practicalities
Session length can be adapted to the needs of schools. Ideal sessions will last two hours
which can be taken as a double period. Single one hour sessions with museum staff can
focus on the Themes section below, with artwork creation carried out under the direction of
the teacher in separate sessions without the aid of museum staff.
Sessions should take place in an art classroom. The sessions will be delivered by two of the
museum’s specialist learning staff. Museum staff will bring most materials with them.
Schools should provide standard items such as pencils and paintbrushes.
Themes
Drawing what we see
Pupils will consider the importance of first-hand observation when drawing in certain
contexts and how, historically, a failure to do so led to an incorrect understanding of human
anatomy during the Middle Ages. This will then link to a discussion of the importance of
Andreas Vesalius and how, using innovative drawing techniques pioneered during the
Renaissance, he transformed the study of anatomy.
Body as a metaphor
Pupils will consider how the human body can be understood or described in a variety of
different ways. This will be inspired by a consideration of the metaphors used by Vesalius in
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his explanation of the appearance and function of different parts of the body, and also of
Eduardo Paolozzi’s depiction of the human body as a machine or factory in his artworks.
Artwork creation
During the workshop students will create a ‘pop-up’ artwork which shall consist of two
different pieces which will then be combined. The first will be a detailed sketch of part of
the human skeletal system using Renaissance drawing techniques inspired by the
anatomical images of Andreas Vesalius. The second piece will involve the use of both
coloured pastels and collage to produce a metaphorical depiction of the organs and
structures protected by the skeletal system as a machine or factory, with reference to the
works of Eduardo Paolozzi.
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Preparation for a visit
Preparation for a MUSA Young Artist workshop is not necessary. However, it can be helpful
for teachers to prepare their groups for a workshop. The following optional activities can be
used to help in this preparation.
Images of all the artworks and objects referred to are available on the Gallery page of the
MUSA Young Artist Award website.
Artist Apprenticeship
This activity is intended to prepare the class for the part of the workshop which focuses on
drawing a Vesalian sketch. During the Renaissance the way that artists drew was
revolutionised. Artists began to draw human figures using live models. Today, this is called
‘figure drawing’ and is seen as the best way of learning how to draw the human body and
mastering its details. This practice influenced the work of Vesalius, used the bodies he had
personally dissected to make accurate and detailed representations of the human anatomy.
Show the class the two skeleton pictures produced by Vesalius, numbers 1 and 2 on the
Gallery Page. Do they think that they look realistic? Why? Answers could make reference to
the detail of the image and how each part of the body is correctly proportioned.
Ask the class to sit back to back with a friend and sketch their face. Are their sketches
accurate? Are individual elements such as the nose and eyes correctly proportioned? Are
they detailed? Now they should sit facing their partner and draw their face again. Has it
become easier?
You could also show the class the pictures of the three-dimensional anatomical models or
the exploded skull and heart at numbers 11-20 of the Gallery Page. Can they make accurate
and detailed drawings of them?
Making Metaphors
In De Humani Corporis Fabrica Vesalius wrote descriptions of the different parts of the
human anatomy. In order to aid his readers’ understanding, he used metaphors to describe
both the appearance and function of different bones and organs. For example he likens
many bones in the human body to parts of a castle:
‘Others [bones], like ramparts, protective palisades and walls, such as the skull, the spines of
vertebrae and their transverse processes, the breastbone and the ribs, were constructed by
nature for their protection of other parts’.
‘…nature, the parent of everything, fashioned man’s back in the form of a keel and
foundation…’
Show the class pictures of the three-dimensional anatomical models (numbers 11-17 on the
Gallery Page), the anatomical charts (numbers 4-10), the human heart (number 18) and the
exploded skull (numbers 19-20). Can the class pick either one organ, organ-system or bone
structure and write down a metaphor to describe its function? For example, the stomach
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could be thought of as a blender. Pupils could then swap their metaphors with a partner and
see if they can identify which part of the body they are describing. Students could also look
at images 23-31 on the Gallery Page and discuss which part of the body they could be used
to represent.
A further activity would be for the class to brainstorm how different parts of the body are
used as metaphors in contemporary society. For example, it could be considered how the
human heart is regarded as a metaphor for love.
Magnificent Machines
Eduardo Paolozzi was interested in science-fiction. In particular he was fascinated by robots
and machines and frequently incorporated them into his artwork. For example, his bronze
statue of Vulcan (numbers 21-22 on the Gallery Page) depicts the Roman god of fire as halfman and half-machine.
Show the class the image of Paolozzi’s sculpture. Which parts of the body have been
replaced by mechanical pieces? Using the statue and images of the three-dimensional
models (numbers 11-17), human heart (number 18) and the anatomical charts (numbers 110), can the students make their own mechanical body parts? They could draw out their
ideas or make their own three-dimensional sculptures out of clay or recycled materials.
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Follow-up or additional activity ideas
The following ideas can be used to build on what students have learnt during a workshop.
All images referred to can be found on the Gallery Page of the MUSA Young Artist Award
website.
Vesalian Prints
The images in Vesalius’ De Humani Corporis Fabrica were woodblock prints, which is a form
of relief printing. The printing press was a key innovation of the Renaissance, as it allowed
books and images, like those of Vesalius, to be quickly produced and widely distributed.
Images from this work can be found at numbers 1-3 on the Gallery Page.
In this activity your class creates their own Vesalian print. This could be based on the
detailed anatomical sketch each pupil will have drawn as part of the workshop.
Alternatively, students could create a new correctly proportioned and detailed sketch,
taking inspiration from the images of the three-dimensional anatomical models (numbers
11-17), the human heart (number 18) or the anatomical diagrams (numbers 4-10).
There are various methods of relief printing, outside of woodcut printing. Details of these, if
required, can be easily found on the internet.
Curriculum for Excellence: EXA 3-02a, EXA 4-02a, EXA 3-04a, EXA 4-04a, MNU 3-08a,
MNU 4-08a, MTH 3-17c, MTH 4-17b.
Metaphorical Bodies
During the workshop the class will have looked at how artist Eduardo Paolozzi used the
metaphor of the human body as a factory and machine in his artwork. As a development of
this idea, you could challenge students to create their own depiction of the human body, or
part of it, using a metaphor of their own creation. For example, they could liken the body to
a countryside landscape or to a building. Paolozzi’s Vulcan statue (numbers 21-22 on the
Gallery Page), the anatomical charts (numbers 1-10), three-dimensional anatomical models
(numbers 11-17), human heart (number 18) and exploded skull (numbers 19-20) could be
used to provide inspiration for this task.
Students could use some of the techniques which will have been covered in the workshop to
create their artwork or use an entirely different medium altogether. In addition, they could
produce a written piece that describes the appearance and function of the human body, or
part of it, using the metaphor which they have devised.
Curriculum for Excellence: HWB 3-15a, HWB 4-15a,EXA 3-02a, EXA 4-02a, EXA 3-03a,
EXA 4-03a, EXA 4-04a, EXA 4-05a, EXA 3-07a, EXA 4-07a, LIT 3-28a, LIT 4-28a, SCN 3-12a,
SCN 4-12a.
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Contemporary Collage
This activity builds on the idea covered in the workshop that the body can be viewed and
understood in a variety of different ways. During the workshop, we will have looked at the
collages produced by Eduardo Paolozzi in the late 1940s and early 1950s, such as Dr Pepper
and It’s a Psychological Face Pleasure Helps your Disposition. Paolozzi used images cut out
from magazines to present society’s idealised image of the human body and its relationship
with both worldly goods and current fashions and trends. Images of these collages are easily
obtained on the internet.
Can the class make their own collage using images taken from contemporary publications?
They could focus on a variety of different ideas such as:



How the human body is idealised by the media
The fashions and objects which society encourages us to follow or use
The health implications of substances such as alcohol, cigarettes and drugs
Some Paolozzi collages that you could look at are:

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

It’s a Psychological Face Pleasure Helps your Disposition, 1948
Dr Pepper, 1948
Real Gold, 1949
Your Physique, 1950
Curriculum for Excellence: EXA 3-02a, EXA 4-02a, EXA 3-03a, EXA 4-03A, EXA 4-05a,
EXA 3-07a, EXA 4-07a, HWB 3-01a, HWB 4-01a, HWB 3-04a, HWB 4-04a, HWB 3-15a,
HWB 4-15a, HWB 4-37a, HWB 3-38a, HWB 4-38a, HWB 3-39a, HWB 4-39a, HWB 3-46b,
HWB 4-46b, LIT 3-18a, LIT 4-18a, SCN 3-13c, SOC 3-17b.
Renaissance Banksy
This activity builds on the observational drawing aspect of the workshop but adds a modern
twist to enable pupils to consider contemporary threats to our health.
Have pupils create an observational drawing in the style of Andreas Vesalius, focusing on
either the whole, or part of, the human body. Students could take inspiration from the
skeleton images produced by Vesalius (numbers 1-3 on the Gallery Page) or use the threedimensional anatomical models (numbers 11-17), the heart (number 18), exploded skull
(numbers 19-20) or the anatomical diagrams (numbers 4-10) to produce their own unique
sketch.
Now take a look at how graffiti artist Banksy has adapted traditional artworks to give a new
message. These images can be found by searching “Banksy Bristol City Museum” on a search
engine. Images should be pre-selected, as some of the works may be too challenging for
students.
Pupils should consider how they can make modern Banksy-style changes to their drawing to
demonstrate threats to health. For example, where Vesalius often depicted his skeletons
against a classical rural background, the pupils could add a background showing a polluted
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environment of factories and cars with the skeleton coughing. These additions can be made
using a different medium, perhaps paints and stencils to mimic Banksy’s graffiti style.
Curriculum for Excellence: HWB 3-16a, HWB 4-16a, HWB 3-27a, HWB 3-30a, HWB 4-30a,
HWB 3-38a, HWB 4-38a, EXA 3-02a, EXA 4-02a, EXA 3-03a, EXA 4-03a, EXA 4-05a,
SCN 3-12a, SCN 4-12a, SOC 3-04a.
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The MUSA Young Artist Award 2014
On Your Marks!
Secondary 1 – Secondary 3
Resource Pack
All images
© Museum Collections
University of St Andrews
Front cover image by Duncan Stewart
This pack can be reproduced for
educational purposes only.