The Birkenhead Dock System
 Seacombe Ferry and the Volclay Factory
 Tower Quay and the Four Bridges
 Egerton Bridge
 Project 1 Water
Key Stage 1 (Textiles)
 Project 2 Man and Machine
Key Stage 2 (Collage and Photocollage)
 Project 3 Good and Bad Government
Key Stage 3 (Painting/Printing)
 Project 4 Structures
Key Stage 4 (Painting, printing, willow,
mixed media)
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ART & ARCHITECTURE
THE BIRKENHEAD DOCK SYSTEM
Seacombe Ferry
There is a record that Edward II sailed across the Mersey from Wallasey
(Seacombe) in 1323 and paid four shillings for his passage. At Seacombe the
passengers would be landed in shallow water, from where they would wade ashore.
By 1876 passengers had increased to over 1½ million per annum. It was necessary
to improve the terminal. A new approach and tower with a clock, turnstiles and
floating stage for two vessels opened in 1880. The present tower rises to 90 feet,
there is a covered access for passengers for the buses. The clock was erected in
1932 and the whole complex was opened in 1933. This is a functional building
which features a combination of classical columns and architrave with an Art Deco
skyscraper style tower. The streamlined or Art Deco style was essentially an urban
style of instant communication for commercial offices, banks, hotels and apartment
blocks.
Maritime trade linking the Mersey with America would have given the passenger and
mariner a view of such buildings as the Woolworth, American Radiator and Chrysler
Buildings, emblems of prosperity and wealth in New York City.
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Volclay
A factory in Seacombe manufacturing cat litter highlights the development of small
industry on the banks of the River Mersey. The architecture of this urban factory unit
symbolises the ‘machine age’. Le Corbusier (1887 - 1965), who called the house ‘a
machine for living’, believed that if buildings worked well and showed off how they
worked they would also, automatically, be beautiful. This factory of concrete, steel
and glass has its own ‘reflective beauty’, a high tech facade contrasting with Jesse
Hartley’s Victorian Classicism in the Birkenhead Dock system.
This modestly scaled factory unit may be compared with Richard Rogers’ (1933 - )
exciting design in 1971 - 76 of the Centre National d’Art et de Culture Georges
Pompidou Paris, known as the Beaubourg. Richard Rogers and Renzo Piano put
structure and service pipes on the outside of the building that not only looks
spectacular but leaves the interior free of obstructions. Underpinning the design was
a passionate belief that the traditional museum was no longer appropriate as a
building type. Architecture has become a subject of vigorous public debate open to
reassessments and renewed interest as different solutions are explored.
In the Birkenhead Dock system complex an urban renewal programme is conserving
the architectural heritage with small scale development sensitive to residents and
commercial needs.
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Tower Quay and the ‘Four Bridges’
Between 1844 - 54 there were engineering and financial difficulties in developing the
Birkenhead dock system under the auspices of the Birkenhead Dock Company and
by 1858 it had become incorporated in the new Mersey Docks and Harbour Board.
Jesse Hartley was to succeed where others had failed and complete a useful dock
system, no longer a competitor to Liverpool but a subsidiary.
A fine example of Jesse Hartley’s engineering and architectural skills can be seen in
his splendid Central Hydraulic Tower. Hartley combined meticulous attention to
detail with superb craftsmanship. Sea gates and bridges had to be opened and
closed by hydraulic power and a number of towers were built along the Mersey wall,
East Tower Quay is a fine example of these with its ‘campanile’ tower no longer
complete but reminiscent of Siena’s Torre del Mangia, the Palazzo Pubblico’s huge
bell tower. The graceful Gothic town hall was completed in 1342. At 102 metres the
bell tower Torre del Mangia is the second highest medieval tower ever built in Italy
and dominated Siena’s sky line as Jesse Hartley’s hydraulic tower is a prominent
feature of the dock skyline. The Torre del Mangia was built by Muccio and
Francesco di Rinaldo between 1138 and 1148, and was named after the first bell
ringer whose idleness led to the nickname ‘Mangiaginadagni’ (literally “eat the
profits”). There are 505 steps to the top of the tower with wonderful views of the
Tuscan hillside.
Jesse Hartley’s dockland scene is formed of a vast area of granite, sandstone, brick
and iron. His architecture is uncompromising, working for strength and durability
combined with careful planning and quality of workmanship. The tower is mostly
rock faced, castellated and machicolated.
Hartley was born in Pontefract, Yorkshire in 1780 and was appointed Dock Engineer
in 1824 and it was he who established a tradition of fine building in the Liverpool
docks with thorough consideration of every detail. Work on the docks is as good as
when he laid it down and in this sense can be compared favourably with Siena.
Siena is still unspoilt and endowed with the grandeur of the age in which it was at its
peak (1260 -1348). Art and Design projects developed from this building may well
embrace the Siennese example of medieval and early renaissance art and
architecture.
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Egerton Bridge
Egerton Bridge is a “Bascule” bridge - from the French word meaning see-saw. It
operates on the counterweight principle just like a see-saw. The bridge is balanced
at its pivot and the activating arms are curved to keep the axis and pivot on the
same plane. The balance is obtained by placing weightings of pig iron or concrete in
the ballast tanks or by adding weight to the nose of the bridge as necessary. Thus
the 400 ton bridge can be lifted with the minimum of power - presently this is done
with 26 Horse Power electric motors. At one time the whole dock system used
hydraulic (water) power which was generated at the Hydraulic Tower mentioned
overleaf.
Egerton Bridge is one of 15 such bridges in the Merseyside dock systems - more
than in any other port in Europe. It was built between 1928 - 1931 by shipbuilders
and replaced earlier methods of dock access which used simpler swing bridges and
dock gates, sometimes operated by capstans. One of these stands on the far side
of the bridge and bears the inscription “Birkenhead Dock Commissioners 1844”.
The bridge and the machine house were completely restored in 1993 and opened as
an interpretative centre in 1995.
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PROJECT 1
WATER PROJECT
Developed from David Hockney’s paintings
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Key Stage 1
(Textiles)
UNIT / LESSON:
ART PLANNING SHEET
PATTERN, TEXTURE, COLOUR, LINE, TONE, SHAPE, FORM AND SPACE
DRAWING, PAINTING, PRINTING, COLLAGE, TEXTILES, 3-D
PUPILS SHOULD BE
GIVEN OPPORTUNITIES TO:
PUPILS
SHOULD
BE
TAUGHT
TO:
record responses, including
observations of the natural and
made environment;
8a
7b gather resources and materials
8b
8c
using them to stimulate and
develop ideas;
explore and use two and three
dimensional media, working on
a variety of scales;
8d
8e
7d review and modify their work as
it progresses;
8f
LEARNING OBJECTIVE(S): (INTENDED LEARNING OUTCOMES) By manipulating wire construct Iron Man/wire
portraits. Develop drawing skills in pencil and wire, understand some of the ideas behind Giacometti, Frink and
Gormley sculptures. Key words for 3D and Iron Man - Ted Hughes.
SEQUENCE OF ACTIVITIES
1. Select key ideas from Iron Man to construct an Iron Man out of chicken wire,
pupils may bring old metal materials to thread through spoons, nails etc.
2. Draw in a variety of drawing materials, ink, pencil, charcoal etc. iron man.
3. With mirror or photograph draw self-portrait.
4. Translate drawings into wire portraits.
5. Mount on corrugated card.
6. Discuss the effectiveness of ‘drawings’ of ‘Iron Man’.
7. Using ‘Keywords’ discuss sculptures by Anthony Gormley, Elizabeth Frink and
Giacometti sculptures.
7e develop understanding of the
7f
DATE
PRACTICAL SKILLS:
STIMULUS:
7c
YEAR 5/6
VISUAL ELEMENTS:
TIME SCALE
7a
KEY STAGE 2
work of artists, craftspeople
and designers, applying
knowledge to their own work;
9a
9b
9c
respond to and evaluate art,
craft and design, including their
own and other’s work
9d
9e
DEVELOPMENT / EVALUATION:
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RESOURCES
Iron Man - Ted
Hughes
Reproductions of
sculptures of
Gormley,
Giacometti and
Elizabeth Frink.
Drawing materials
Soft wire / wire
cutters.
Corrugated card
Key words.
Year 2
David Hockney materials
Portraits .. his life (biography)
Action Words
Theatre
Music (water)
Literature relating to water
(mermaids/myth etc)
Science
Humanities
Visual Elements
Pattern, texture, colour, line & shape
Theme Water & David Hockney
The children will explore the theme
of water through looking at Hockney’s
paintings to create a large frieze employing a
variety of media (print, collage, drawing in a
variety of media)
1. Learning Outcomes
/objectives stated
8. Evaluate against intentions
Experiment with colour
to create a wide range
of blue shades.
Experiment with lines into
polystyrene to see the most
effective print. Mix glue and
paint to experiment with brushes,
combs etc. to create surface pattern.
2. Experiment
Explore
7. Represent
3. Record
Create a sketch pad of
ideas, or a sampler to remind
pupil of the variety of
materials
possible.
6. Evaluate work in progress
4. Develop
5. Develop ideas
Discuss other methods to
develop individual ‘hangings’
on polythene
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Did all children contribute to the
frieze and see individual
contributions work towards the
whole image.
Encourage the children to
represent the water patterns in.
print, torn paper, and various
mark making tools.
Discuss how effective
torn paper is to create
‘swimming pool’ patterns/compare
and contrast cellophane
collages.
Does print create clear patterns.
What was the most effective
‘splash’ material, inks, pencils,
pastels etc.
Does the large frieze create
an image of water
ARTIST FOR WATER PROJECT
DAVID HOCKNEY
“I do believe that Art should be a deep pleasure and a
part of everyone’s life. I do not think we can live without
Art of some form. I think I would be quite mad without it.”
David Hockney
David was born in Bradford, Yorkshire in 1937. He attended Bradford College of Art
1959-62. He has worked in a variety of media, his work embraces line drawings and
etchings, theatre design, photographic collage, portraits, landscapes and most
recently, Fax art. Hockney’s work owes greater allegiance to his adopted California
than to his Bradford background i.e. swimming pools and photographic collages of
friends and landmarks in America for example, Brooklyn Bridge.
In 1997, in England visiting his mother, Hockney drove daily from Bridlington along
the B1253 to Wetherby, through the Yorkshire Wolds, down into the Vale of York,
through a landscape that, after Southern California, was both familiar and, after so
many years in a hedgeless land, quite revitalising. The results of these drives can
be seen in a series of Landscape paintings depicting the gaudiness of England in
high summer, strong greens, golden wheatfields and the shocking red of poppies.
At the Walker Art Gallery the painting ‘Peter Getting Out of Nick’s Pool’ displays
David Hockney’s graphic interpretation of a swimming pool with languorous patterns
looping round a trim male figure. From the start he has treated ‘landscape as
outdoors flattening itself against the windows as he passes’.
Like Picasso, his mentor, he has continually experimented with materials and style
and although Hockney talks about Chinese influences - ’the strolling eye passing
through unfolding landscape’ - his opera set designs are indicative of his need for
‘theatrical’ statements in paint and words.
“I was constantly aware that on one side was nature in its
awe-inspiring grandeur, its infinity, looking out at the sea,
with its living edge, endlessly moving even when I sleep,
endlessly moving for thousand and thousand of years.”
David Hockney
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PROJECT 2 MAN AND MACHINE Key Stage 2 (Collage & Photographic Collage)
The aim of this project is to explore the ‘industrial world’ and its ‘manufactured’
image. There may be an opportunity to make an implicit social comment on the
recycling of material waste.
Key works which explore this ‘Machine Age’ Car door, Ironing Board and Twin-Tub with North American Head-dress 1981
- Bill Woodrow. Modern British Art Tate Gallery, Liverpool.
What Could Make Me Feel This Way (A) 1993 Richard Deacon Part of the
New World Order Exhibition Tate Gallery May 1999.
The Machine Minders 1956 Ghisha Koenig Modern British Art Tate Gallery,
Liverpool.
Workshop Percy Wyndham Lewis 1914-15. Modern British Art. Tate Gallery,
Liverpool.
The City Fernand Léger 1919 Philadelphia Museum of Art.
Learning Outcomes
The children may develop a ‘collage’ of ‘factory’ studies employing a variety of
materials to convey the world of the machine, including photo collage images. This
class ‘mural’ may also explore the theme of materials used in the built environment,
brick, steel, iron, concrete, glass, stone, wood, aluminium and neoprene.
Experiment and Explore
From a collection of ‘machine’ pieces, i.e. engine parts, cogs, wheels, wires, old
computer parts and bicycles etc. create drawings using a variety of pens, pencils,
chalk and charcoal.
Record
Miniature ‘collaged’ structures from a variety of materials such as plastic, corrugated
card, straws, tin foil covered shapes etc. to create a ‘contemporary’ factory.
Photograph pipes, machines, factory buildings and industrial waste.
Develop
Small paintings from a detail of the photographs or collage exploring a colour theme
to match the factory process for example blues/purples for a ‘jeans’ factory.
Evaluate work in progress
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What developments, drawings, collages, photographs, paintings will combine most
effectively to create the ‘mural’? Can computer images develop further ideas?
Re-present
By pressing ‘machine’ pieces into wet sand pour in plaster and create ‘Paolozzi’ style
structures.
‘I want them to be works which will inspire an architect when he looks up from the
drawing board’ Eduardo Paolozzi
Evaluate
By discussing the effectiveness of the mural and the ‘recycling’ of the materials used
pupils will be able to discuss the merits of a ‘plastic’, ‘steel’, ‘wooden or stone’
building form and perhaps align this with ‘environmental’ geography Key Stage 2
projects. The social issues of ‘man and machine’ may lead to a discussion of the
alienation of man and technology.
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ARTIST FOR MAN AND MACHINE PROJECT
FERNAND LEGER
Léger was born in Argentan France and served a two-year architecture apprentice in
Caen.
Beginning in 1910 he was a prominent exhibitor and member of the Salon des
Independents. With a few artists from La Ruche (the beehive), such as Archipenko,
he adopted Cubism. However, Léger’s experiments, particularly a series ‘Contrasts
in Forms’ seemed to be nearer to Marcel Duchamp’s Nude Descending a Staircase
than to orthodox Cubism as exemplified in Braque and Picasso.
He produced stage sets for the Ballets Suédois and worked with Le Corbusier in
1925 on a pavilion for L’Esprit nouveau (Exposition Internationale des Arts
Decoratifs et Modernes Industriels).
By the late 1930’s he had rejected abstract art, Surrealism and Socialist Realism
which was just becoming established, Léger aimed to make direct contact between
the visual arts and the general public through a new kind of mural. He used many
symbols from the industrial world and attempted to depict his objects and people in
machine like form. He was also highly successful as a sculptor creating mosaics,
ceramics and tapestries. The modern commercial posters were influenced by his
original designs.
In his late paintings, Léger separated colour from his figures, which, while they
retained their robot-like shapes, were painted in black lines. The colour was then
boldly laid over areas of the canvas to form a separate composition that tied the
entire painting together.
“Fernand Léger demonstrates the belief of the artist and
other members of the cubist movement that geometric
shapes such as the cube, the sphere and the cone
underlie everything found in nature.”
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PROJECT 3
GOOD AND BAD GOVERNMENT
Key Stage 3 (Print)
A project relating to buildings overlaid by ‘symbols’ of good or bad government.
Pupils may explore their locality and photograph or sketch historically significant
buildings as well as local housing, decaying and neglected areas and human
occupation.
Key works which explore the link between people and places are referred to below.
Lucien Freud
Jack Smith
Interior at Paddington 1951
Mother Bathing Child 1953
Hundertwasser
Edward Hopper
Simone Martini
The 30 Day Fax Picture 1994
Night hawks 1942
Guidoriccio da Fogliano 1328
Walker Art Gallery
Modern British Art Tate
Gallery, Liverpool
Vienna
The Art Institute of Chicago
Siena
These five paintings offer the pupil an opportunity to discuss ‘people and places’ and
the ‘good and bad government’ theme across time and place.
Resources
Photographs of buildings and people. Visit to the Tate Gallery of Modern British Art.
A Guide For Teachers. Drawing materials / lino and lino cutting tools and printing
inks. Thames and Hudson Multi media dictionary of Modern Art (CD-ROM).
Renaissance art reference books.
Learning Outcomes
To create a print or series of prints which explore the theme of buildings/people,
Good and Bad Government. This may be influenced by the Italian Renaissance
work of Martini, Giotto and Lorenzetti particularly the architectural detail, the pupils
own locality or Birkenhead docks or a mixture of both. The resulting prints may be
realist or abstract.
Experiment / Explore
Sketch design ideas for a print, experiment with polystyrene / mono printing
techniques and develop colour, schemes to match the theme. Record miniature
details in paint.
Record
In sketch pad record designs and photocopy/scan results to conclude final outcome.
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Develop
Lino prints, single and then overlaid, with two or three layered colours.
Evaluate work in progress
Are the lino prints an effective way of making a visual statement about the project?
For example does the lino printing technique itself express an appropriate mood?
Re-present
By scanning the print and using appropriate ICT graphic applications, a successful
‘graphic design’ may be developed. Print lino on ‘home-made’ paper.
Evaluate
The success of the project in making a political and/or environmental visual
statement. The successful application of the lino print technique.
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ARTIST FOR GOOD AND BAD
GOVERNMENT PROJECT
AMBROGIO LORENZETTI
The first dated work of Ambrogio Lorenzetti is 1309. Both Ambrogio and his brother
were important fresco painters. They were indebted to Giotto, Duccio, and Simone
Martini. By the 1330’s Ambrogio had supplanted Simone Martini as the chief painter
of Siena, for in 1338-40 he undertook to fresco the walls of the Sala del Nove. This
was the council chamber of Siena’s chief magistrates and it is not surprising to find
as the subject an allegory of the theme of Good and Bad Government. Two large
town and landscapes illustrate the effects of the respective types of government.
These frescoes, the first great panoramic views of town and country since classical
times, illustrate dramatically the extraordinary command of structure and the control
of space and distance achieved in Italy during the first half of the century.
The genesis of the idea for these huge panoramic views is not at all clear but it
seems certain that the well-governed town is intended to be Siena. (The ‘Ill
Governed Town’ is almost ruined as a fresco.) This is indicated by the dome and
the campanile of the Cathedral in the top left-hand corner. These indications link
this fresco to the genre of architectural portraiture which emerged in the later
thirteenth century. By this date painters were beginning to specify a particular milieu
by including a handful of recognisable objects. For example artists in Rome soon
developed a sort of shorthand which included such instantly recognisable
monuments as the Pantheon, Trajan’s Column or the Pyramid of Sestus. The fresco
of city and countryside of Siena is an extension of this idea, put to interesting use
and executed with extended means now at the artist’s disposal.
Simone Martini, mentioned earlier. an Italian painter, born in Siena produced a
fresco cycle in the Lower Church of San Francesco in Assissi. His work can be
viewed at the Walker Art Gallery Liverpool, ‘Christ Discovered in the Temple’, 1342
is a panel painting produced in Avignon, where the papal court was in exile in Rome.
The use of richly patterned gold, the linear refined contour and the grace of
expression are characteristic of the Gothic art of France, as well as Italy. It is a
dramatic scene conveyed through gesture, pose and facial expression.
Simone Martini and Ambrogio Lorenzetti pay great attention to detail, however
Lorenzetti’s ‘Good Government’ portrays a ‘happy society’ where activities flourish,
young dancers crowding the streets and square. A society which is a political
ambition for governments in the late 20th century as much as the 13th century.
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PROJECT 4
STRUCTURES
Key Stage 4 (Ceramic, 3D,Willow, Mixed media)
This project may be developed in a wide variety of media exploring the theme
‘structures’. By looking at Richard Deacon’s sculptures or by viewing Jesse Hartley’s
tower, Volclay, or Egerton Bridge GCSE and ‘A’ level students may develop 3D
structures, prints or paintings exploring this architectural theme:
 Clay. Ceramic ‘abstract’ tower structures.
 Jewellery based on the theme of bridges incorporating plastics, wire and
wood.
 Willow sculptures incorporating woven materials.
 Masks constructed from ‘paper structures’ based on the theme Man and
Machine.
 Graphic designs using ICT to advertise ‘Egerton Bridge’, Urban Renewal.
 Drawings, paintings and prints based on the title ‘structures’.
Preparation for the above projects would necessitate sketch pad work and drawings,
colour commentaries, photography, maquettes and computer aided designs.
The work of artists below may enhance aspects of the project.
Eduardo Paolozzi
Caroline Broadhead
Michael Brennand-Wood
Alberto Lorenzetti
Filippo Brunelleschi
-
Sculptor and Painter
Jeweller
Weaver
Painter
Architect
An exhibition ‘Living Bridges’ at the Royal Academy explored examples from
Florence, Italy, the Ponte Vecchio, Old London Bridge, London, the Pont Notre
Dame, Paris, and the Four Continents Bridge, Hiroshima, Japan. SITE, an acronym
for Sculpture in the Environment, is the name of the group of American architects
that designed the Four Continents Bridge, a garden bridge made to celebrate the
association between man and nature. Its form is based on the arched bridge that is
a fundamental element in the Japanese tradition of landscaped gardens. SITE
reinterpreted this traditional design, using modern technology. The bridge presents
a contemporary commentary on the building type of the inhabited bridge. It is
divided by a glass wall; on one side are four mini-landscapes containing vegetation
from four continents, on the other side people can study a section of the layers
through the earth. The bridge is dramatically conceived, with a waterfall that
cascades over the glass and divides into a series of streams, which feed into a lake
below.
Habitable bridges offer particular design challenges. Students might begin a design
project by exploring scale, and the relationship of the human figure to the built
environment. What makes a person feel secure? Unsafe? How do people relate to
a living space where there is no ground beneath them? What are the advantages to
living on a bridge. What disadvantages? City bridges are part of the urban
environment. What makes them attractive places? Unattractive? How can a bridge
best be integrated with its banks? Is it better to give people a sense of crossing a
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river or to treat the bridge as another city street? ‘A’ level/Foundation students may
wish to develop this theme.
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ARTIST FOR STRUCTURE PROJECT
RICHARD DEACON
“By posing the question - what do you make of this (this
form that I have made)? - sculpture summons an
awareness of the modes and processes by which we
make meaning.”
Vikki Bell
Richard Deacon was born in Bangor, Wales in 1949. He trained at St Martin’s
School of Art and the Royal College of Art. Deacon occupies a place outside
mainstream modern English sculpture. His sculptures are made of industrial
materials (galvanised steel, laminated wood and linoleum) in the form of bands or
sheets, and rather than concealing his methods of assembly the sculptor tends to
draw attention to them, using rivets, in particular to create characteristic microrhythms.
His work explores the relationship between object and space.
In the catalogue of New World Order an exhibition of Richard Deacons at the Tate
Gallery, Liverpool, in Spring 1999 it states: ‘Deacon’s manipulation of materials
displaces and transforms, turning the ordinary and everyday into the poetically
significant.’ He has consistently referred to himself as a ‘fabricator’ linking himself to
constructing and making, rather than carving or modelling.
Deacon’s work continually investigates and explores the interaction between scale,
space and materials. Language is also pivotal to Deacon’s work since for him, the
spoken word is ‘manufactured’ rather like objects, including sculpture.
“I work with materials in the most straightforward way. I
do not make plans.”
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Artist & Gallery References
Water
David Hockney
‘Peter Getting Out of Nick’s Pool’ 1966
David Hockney
Le Plongeur 1978
Claude Monet
Break-up of the Ice on the Seine 1890
Georges Seurat
Horses in the River 1883
Walker Art Gallery,
Liverpool
Bradford Art Galleries
and Museums
Walker Art Gallery,
Liverpool
National Gallery,
London
Man and Machine
Richard Deacon
Ghisha Koenig
Fernand Léger
What Could Make Me Feel This
Way 1993
The Machine Minders 1956
The City 1919
Bill Woodrow
Percy Wyndham
Car door, ironing board etc. 1981
Workshop 1914-15
Tate Gallery, Liverpool
Tate Gallery, Liverpool
Philadelphia Museum
of Art
Tate Gallery, Liverpool
Tate Gallery, Liverpool
Good and Bad Government
Ambrogio Lorenzetti Good and Bad Government 1338
Town Hall, Siena, Italy
Simone Martini
Christ Discovered in the Temple 1342 Walker Art Gallery,
Liverpool
Lucien Freud
Interior at Paddington 1951
Walker Art Gallery
Edward Hopper
Nighthawks 1942
Institute of Chicago
Hundertwasser
The 30 Day Fax Picture 1994
Vienna
Jack Smith
Mother Bathing Child 1953
Tate Gallery, Liverpool
Structures
Richard Deacon
New World Order 1999
Reference Books
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Tate Gallery, Liverpool
Water KS1
Hockney
Peter Clothier
David Hockney
You Make the Picture
Painting and Prints 1982 - 1995 Paul Melia
Manchester City Art Galleries
Post Impressionism Royal Academy of Arts 1980
The Walker Art Gallery
ISBN 0-7-892-0036-8
ISBN 0-901673-52-8
ISBN 0297 777130
ISBN 1857 5903-6
Man and Machine KS2
Eduardo Paolozzi
Pop Art Royal Academy of
ISBN 0-297-83112-7
Arts 1991
Thames & Hudson Multi-media Dictionary of
Modern Art (CD ROM)
Working with Modern British Art A Guide for Teachers, Tate Gallery, Liverpool
Eduardo Paolozzi
The Dean Gallery, Edinburgh Referenced in Modern Painters
Volume 12 1999.
Good and Bad Government KS3
Edward Hopper
Hundertwasser
Looking at Pictures
The Art of the
Renaissance
Western Architecture
Taschens Poster Book
Tashcens Poster Book
(National Gallery, London)
Peter and Linda Murray
ISBN
ISBN
ISBN
ISBN
N3-8228-9774-4
N3-8228-8676-9
0-7136-4685-3
0-500-20008-4
David Watkins
ISBN 0-7126-1279-3
Structures
Living Bridges
Royal Academy of Arts 1996
Background Material for Teachers
New World Order / Richard Deacon
The Architecture of Peter Murray
the Italian Renaissance
ISBN 1-85437-298-X
ISBN 0 500 200947
 Italian Renaissance A Scheme of Work for Year 6 Pupils
Metropolitan Borough of Wirral
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