stars resources gelatin silver print; 14 7/8 x 14 7/8...

Featuring Golden Children: Four Centuries of European Portraits from the Yannick and Ben Jakober Foundation and Illusions of Innocence: The Child in Modern Photography September 24, 2004–January 2, 2005

919 Broadway, Nashville, TN 37203

COVER IMAGE: Keith Carter, Stars (detail), 1995 Gelatin silver print; 14 7/8 x 14 7/8 in. Gift of the artist in memory of Christopher Ushioka, Museum of Contemporary Photography, Columbia College Chicago 1996:237 About the Photographer: Keith Carter Keith Carter's mother operated a photography studio in Beaumont, Texas, photographing children. While looking at his mother's pictures, Carter came to realize the artistic potential of photography. He noticed how back lighting lent mystery and luminosity to otherwise ordinary images. As an adult photographer, Carter discovered that it was not the thing being photographed that interested him, so much as it was the human content that the subject suggested. Stars shows a simple childish act – boys placing starry blocks over their eyes. Temporarily blinded by symbols of hope, the children stand in the shadow of a chain-link fence of the type seen in inner city neighborhoods and school grounds everywhere, which are designed to keep people or property enclosed.

Golden Children was organized by the Frist Center for the Visual Arts from the collection of the Yannick and Ben Jakober Foundation, Majorca, Spain. Illusions of Innocence was organized for Frist Center for the Visual Arts by guest curator Rod Slemmons, director of the Museum of Contemporary Photography at Columbia College Chicago. EXHIBITION SPONSORS:

Resources For teachers and students…

Shelby Lee Adams (www.yossimilogallery.com/shelbyleeadams) Adams, Shelby Lee. Appalachian Lives. Jackson: University Press of Mississippi, 2003. Adams, Shelby Lee. Appalachian Legacy. Jackson: University Press of Mississippi, 1998. Jed Fielding (www.jedfielding.com) Fielding, Jed. City of Secrets: Photographs of Naples. New York: Takarajima Books, 1997. Mary Ellen Mark (www.maryellenmark.com) Mark, Mary Ellen. Twins. New York: Aperture, 2003. Mark, Mary Ellen. Indian Circus. San Francisco: Chronicle Books, 1993. Children’s Costume Sichel, Marion. History of Children's Costume. London: Batsford Academic and Educational Ltd., 1983.

For teachers…

Educational Resource Walker, Sydney R. Teaching Meaning in Artmaking. Worcester: Davis Publications, Inc., 2001. Teacher Workshop Learn more about “Children in Art” at an interdisciplinary teacher workshop. Teachers of all subjects, K–12, are welcome. Space is limited so please register early. $15 for members $20 for non-members Thursday, October 21 OR Saturday, October 23, 8:30 a.m.–3:30 p.m. To register for a teacher workshop or to obtain information about school tours, visit www.fristcenter.org or call (615) 744-3247.


Children in Art

A teacher’s guide to selected works from the exhibitions Golden Children and Illusions of Innocence Featuring sixteenth- through nineteenth-century portraits of young royalty and modern and contemporary photographs of children, Children in Art Discovery Tours and Story Tours encourage students to explore ways in which artists have depicted children throughout time. This guide is designed to help teachers prepare students for their visit.

A handprint marks topics for discussion and activities for students.

What’s in this Teacher’s Guide? Children in Art Introduction & A Word from the Curator, page 1 Visual Clues in Portraits & Curriculum Connections, page 2 Looking at Faces, pages 3-4 Looking at Fashion, pages 5-6 Looking at Life Roles, pages 7-8 Looking at Family, pages 9-10 Reproducible Activity Sheets, pages 11-14 Resources, Back cover

The Frist Center presents

Children in Art

A Word from the Curator

Golden Children and Illusions of Innocence enable visitors to explore dramatic changes in the way that adults have represented childhood. These range from the pre-eighteenth-century notion of the child as a "faulty adult" in need of correction and discipline, through the nineteenth-century ideal of the pure and innocent "natural child," to today's "knowing child," whose level of awareness is shaped by the mass media and new technologies of the information age.

My Place in the Family In many ways, these families may not look like your own family. They might have a different skin color or wear different clothes. However, once you look closely at the individuals, you might find that you relate to them in other ways.

Look closely at each child in these two family portraits. Consider his/her age, gender, facial expressions, body language, and relationship to the group. Think about how and where you fit into your own family.

Circle the child that you identify with the most. Why do you identify with this child the most? Place an “X” by the child that you identify with the least. Why do you identify with this child the least?

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Children in Art With the pairing of the exhibitions Golden Children and Illusions of Innocence, the Frist Center has a unique opportunity to offer school tours based on the theme Children in Art. We hope you will find this guide helpful in preparing students for their tour. The following lessons encourage students to look closely and compare historic and contemporary works of art from the exhibitions. Each lesson opens with a series of questions followed by information about the artwork, which can be incorporated into class discussion or given as reading assignments to older students. Designed to be adaptable to all ages, “Making a Connection” activities encourage students to reflect and relate the art and ideas to their own lives and experiences. Color art reproductions and reproducible sheets accompany each activity.

ABOVE: Portrait of a Lady with Two Sons and a Daughter, 1646 Monogrammist C.V.D., Dutch School Oil on canvas, 45 1/8 x 33 1/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 610 LEFT: Shelby Lee Adams, Leddie and Children, 1990 Gelatin silver print; 15 x 19 in., Museum purchase, Museum of Contemporary Photography, Columbia College Chicago, 1996:4, Image courtesy the artist and Yossi Milo Gallery, New York, NY

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Reproducible Activity Sheet

Illusions of Innocence: The Child in Modern Photography features approximately forty photographs on the subject of childhood, created by some of the world’s most renowned modern and contemporary photographers of the past four decades. Illusions of Innocence focuses on the complex nature of childhood in various stages and settings, as seen through the eyes of adult artists whose interpretations of children's lives range from the documentary to the symbolic. LEFT: Brad Temkin, Helena Kelly, Achill Island, Co. Mayo, Ireland 2002 Gelatin silver print; 13 ½ x 17 ¼ in. Courtesy of the artist © Brad Temkin 2002

Golden Children: Four Centuries of European Portraits includes 60 works drawn from the Yannick and Ben Jakober Foundation’s extensive collection of children’s portraiture. From elegant court portraits of young royalty to charming examples of naïve provincial portraiture, Golden Children shows the evolution of the image of childhood in Europe from the sixteenth- through the nineteenth-centuries. This compilation of child-kings, little aristocrats, and dressed-up commoners on the threshold of their adult lives is an extraordinary reflection of artists’ and their patrons’ roles in shaping the image of destiny. RIGHT: Portrait of the Princess Anne of Austria (1601-66), ca. 1614 Studio of Juan Pantoja de la Cruz (1551–1608) Spanish School, Oil on canvas, 27 ½ x 19 7/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 58

My Life Roles • What different roles do you currently

play in life? List every role that comes to mind.

• Which of these roles have you

chosen and which roles have been chosen for you? Circle the roles above you have chosen.

• How much are each of these roles a part of your identity? If you were to rate them by importance, which roles would rate the highest? Which would rate the lowest?

• Which roles are most important to your identity? From your list above, select one of the roles you feel is most important. In the space provided, write about this role and explain why it is an important part of you. I am a…

This role involves…

It is important to me because…

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Curriculum Connections Children in Art Discovery Tours and Story Tours support the Tennessee Curriculum Frameworks by introducing themes that are relevant to visual arts, language arts, and social studies curricula. Specific standards are addressed at age-appropriate levels. An example is shown below. You may view connections for all grade levels (K-12) at www.fristcenter.org.

Language Arts 1.0 Reading. (6.1.tpi.8.) The student will make creative responses to texts. 1.0 Reading. (6.1.tpi.10.) The student will express personal reactions to texts. 1.0 Reading. (6.1.tpi.27.) The student will use content specific vocabulary. 2.0 Writing. (6.2.tpi.14.) The student will compare and respond to questions from all content areas. 2.0 Writing. (6.2.tpi.16.) The student will write personal reflections on experiences and events. 2.0 Writing. (6.2.tpi.24.) The student will write frequently across the content areas.

Social Studies 1.0 Culture (6.1.tpi.6.) The student will compare various forms of jewelry, art, music, and literature among historical periods. 1.0 Culture (6.1.tpi. 13.) The student will create a piece of artwork based on a historical example. 6.0 Individuals, Groups, and Interactions (6.6.tpi.4.) The student will compare an average person's life with that of a historically significant person throughout historical time periods. 6.0 Individuals, Groups, and Interactions (6.6.tpi.7.) The student will analyze differing communities' perception of beauty.

Mary Ellen Mark, Acrobats rehearsing their act at Great Golden Circus, Ahmedabad, 1989, Platinum print; 19 x 19 in. Museum Purchase, Museum of Contemporary Photography Columbia College Chicago, 1998:6

Portraits generally contain visual clues that reveal a subject’s identity. When viewing a portrait, look closely at:

• Costume: What do the clothes say about the child’s position in society and the time when the portrait was created? Who do you think chose the clothing—the artist, the child, or parent?

• Facial Expression and Body Language: What do

the facial expressions and body language suggest about the child’s emotions or personality?

• Pose: Is the portrait posed? Who do you think

chose the pose – the child or the artist?

• Activity: What are the children doing? What do we learn from their activities?

• Background: What is the setting for the portrait?

Do the people appear to be in a studio, in their home, or outdoors? What does the setting of the portrait suggest about the child?

• Props: What do the objects and accessories in the

portrait reveal about the child’s hobbies, interests, or roles in life? Do the items have symbolic meaning?

Example: Sixth Grade Visual Arts 4.0 Historical/Cultural Relationships. The student will speculate on how factors of time and place give meaning or function to a work of art from a variety of cultures, times, and places. 5.0 Reflection and Assessment. The student will understand and apply visual arts vocabulary when observing, describing, analyzing, and interpreting works of art 5.0 Reflection and Assessment. The student will describe and interpret different ways that human experience is reflected in contemporary and historic works of art.

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Learning to Look. Looking to Learn.Finding Visual Clues in Portraits


Think about…

• Who chooses the clothes you wear? • What factors influence your clothing decisions? • How do your clothing choices and expectations

of dress change in different settings? • When you dress exactly how you want, what

words best describe your personal style?

Portrait of Two Children with Hats, late seventeenth century

As is evident in this portrait by an unknown Venetian artist, “kids will be kids” regardless of the time and place in which they live.

Portrait of Two Children with Hats, late seventeenth century Unknown Venetian artist, Oil on canvas, 28 ¾ x 26 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 239

Choosing a casual pose over a formal one, the artist shows these children in conversation. The child on the right, whose short hairstyle indicates that he is a boy, has his arm around the girl and leans in as if to speak to her. The girl’s disapproving expression and slight hand gesture may be in response to his comments or actions. Looking away from the boy, she appears to be trying to ignore him. Her direct gaze acknowledges the artist’s presence. The boy, on the other hand, pays little attention to the artist.

My Own Style

Find fashions in catalogues and magazines that best represent your personal style. Collect clippings or create drawings of your favorites. Compare your clothing to eighteenth-century clothing.

My Own Style…

In portraits, facial expressions can reveal an individual’s emotions and inner identity. Look closely and compare. • What might have

prompted these children’s reactions?

• What do you learn about these children from their interactions with one another?

• What does their body language suggest?

• What would you guess is their relationship with one another? Why?

• What does each child’s facial expression suggest about the emotions he/she is feeling toward the other child? Toward the artist?

• Who do you think chose the pose? The artist or the children?

Looking at Faces

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Draw or attach clippings here.

Mary Ellen Mark Tabatha & Tiffany Good, 9 years old, Tabatha older by 4 minutes, 2001 Polaroid print; 68 x 48 in. Courtesy of the artist and Marianne Boesky Gallery, New York, New York

Portrait of Twins, early eighteenth century Unknown central European artist Oil on canvas, 37 x 44 7/8 in., Collection of the Yannick and Ben Jakober Foundation, Inv. No. 16


Reading Faces People’s emotions can be revealed through their facial expressions. A huge smile and bright eyes suggests happiness. A frown and glaring eyes, on the other hand, suggests frustration or anger. Artists capture these expressions and emotions in their works. “Read” the children’s faces in these works. Describe each child’s facial expression. What does each facial expression suggest about his or her emotions? Beside each face, write one or two descriptive “emotion” words.

Naples, #364, 1994 Jed Fielding’s photograph of two young brothers was taken on the streets of Naples, Italy. Fielding stood relatively close to the boys to shoot the picture. Confronted with the camera, the younger boy shows little concern for the stranger. In a playful gesture, he wraps his arm around his brother and looks up at him with a wide smile and an adoring expression. The older boy seems more suspicious, as his stare suggests. Even at a young age, he may realize the dangers of the streets. He appears cautious and protective.

Making a Connection “Reading Faces”

People’s emotions can be revealed through their facial expressions. A huge smile and bright eyes suggests happiness. A frown and glaring eyes, on the other hand, suggests frustration or anger. Artists capture these expressions and emotions in their works. “Read” the children’s faces in the photograph and painting on the activity sheet. • Describe each child’s facial expression.

What are they doing - smiling, frowning, singing, yelling, yawning, staring, squinting, glaring?

• What does each facial expression suggest about his or her emotions? Beside each face, write a descriptive “emotion” word.

Think of several “emotion” words, and write them on a separate sheet of paper. Next to each word, draw a facial expression that shows that emotion. Think about the shape of the mouth and eyes when drawing.

Refer to Activity Sheet on page 11.

About the Photographer: Jed Fielding Perhaps more than most types of artists, photographers often travel the world in search of their subjects. Fielding has taken photographs in Mexico, Peru, Greece, and the United States. One of his most significant bodies of work was produced in Naples, Italy, and was published in his monographic book, City of Secrets. Fielding captured the stories of the meanest streets and the most impoverished people in the city with a deep sense of compassion.

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Jed Fielding Naples, #364, 1994 Gelatin silver print 13 x 19 in. Collection of the artist

Think of several “emotion” words.Write them on a separate sheet of paper. Next to each word, draw a facial expression that shows that emotion. Think about the shape of the mouth and eyes when drawing.

LEFT: Jed Fielding Naples, #364, 1994 Gelatin silver print 13 x 19 in. Collection of the artist

ABOVE: Portrait of Two Children with Hats late seventeenth century Unknown Venetian artist Oil on canvas, 28 ¾ x 26 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 239

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Portrait of Twins, early eighteenth century In the eighteenth century, children’s clothes were simply modified versions of adult styles. This portrait by an unknown European artist shows twin boys dressed identically in feathered caps and long coats trimmed with gold lace. Their full skirts are gathered in pleats at the sides, with decorative vertical pockets across the front. The many layers of fabric made these garments heavy and stiff, restricting movement and making play uncomfortable. Expensive elegant designs showed wealth and revealed a child’s place in society. The special style of dress worn by these twins indicates that they were probably young servants or pages for an aristocratic family. The cut, material, color, and decoration of their clothing suggest an allegiance to a specific family.

Portrait of Twins, early eighteenth century Unknown central European artist, Oil on canvas, 37 x 44 7/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 16

In the late part of the eighteenth century, children’s clothes began looking less like replicas of adult styles. They gradually became more practical and comfortable, evolving over time to result in the styles of today.

Leddie and Children, 1990 Shelby Lee Adams took this photograph of Leddie and her family at their Kentucky home. Leddie is sitting on the porch surrounded by her nine children. With the exception of the baby on Leddie’s lap, they all appear to be very close in age. Their clothing is simple and practical, consisting of jeans and plain cotton shirts (or no shirts at all). Leddie’s expression is reflective and somewhat distant compared to her children, whose gazes are fixed on the camera. Their expressions reveal a sense of curiosity. A couple of the children even seem slightly suspicious of the photographer taking their picture.

Making a Connection “My Place in the Family”

In many ways, these families may not look like your own family. They might have a different skin color or wear different clothes. However, once you look closely at the individuals, you might find that you relate to them in other ways. Look closely at each child in the family portraits. Consider his/her age, gender, facial expressions, body language, and relationship to the group. Think about how and where you fit into your own family. • Which child do you identify with the most? Why? • Which child do you identify with the least? Why? Create a Group or Family Portrait. Think about… • Who will be included in your family portrait? • What will be the setting for the portrait – a portrait studio, home, etc?

What will the setting reveal about your family? • What objects will you include? Why are those objects significant? • How will you show individual personalities through facial expression

and body language? Refer to Activity Sheet on page 14.

In portraits, children’s fashion can provide clues about historic and contemporary views of childhood. Look closely and compare. • Why are these

children dressed identically?

• Who do you think chose their clothing - the children, the artist, or other adults?

• What does their clothing suggest about the time in which they lived?

• What does their clothing suggest about the way children were viewed and treated at the time?

• Who do you think chose their poses - the children or the artist? Why do you think the pose was chosen or what might have influenced the decision to pose in such a way?

Looking at Fashion

About the Photographer: Shelby Lee Adams Shelby Lee Adams was born in the poverty-stricken Appalachian Mountains of eastern Kentucky. His photographs were inspired in part by his desire to counter negative stereotypes about the people of his native region as being malnourished and backward. Seeking to convey their lives with deep understanding, he photographed Leddie and her family over the course of five years. He says about this complex and carefully composed image, "I wanted to convey both the intimacy of a child's curiosity within a vast family landscape and to capture the beauty of an Appalachian mountain's evening light."

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Shelby Lee Adams Leddie and Children, 1990 Gelatin silver print; 15 x 19 in. Museum purchase, Museum of Contemporary Photography, Columbia College Chicago, 1996:4 Image courtesy the artist and Yossi Milo Gallery, New York, NY Stereotype: an oversimplified standardized image or idea of individuals or groups

Portrait of a Lady with Two Sons and a Daughter, 1646 In this family portrait, a young Dutch mother poses with her three children against a dark background. The daughter is standing on a wooden step to her mother’s left. She is wearing a coral necklace and a fine batiste apron. She has plucked a carnation from her wicker basket and hands it to her brother, who sits on the mother’s lap. As was common for boys at the time, the two sons wear gowns with beads draped diagonally across the chest and secured with a bow on the shoulder. The older boy is holding a whip, which he will undoubtedly use to tame either his toy wooden horse or a real one. The mother, who is thought to be a widow, is dressed more soberly and unfashionably than her children. She does not look the viewer in the eye. The children, by contrast, all gaze directly at the viewer with unconcerned, innocent expressions. Portrait of a Lady with Two Sons and a Daughter, 1646 Monogrammist C.V.D. Dutch School Oil on canvas 45 1/8 x 33 1/8 in. Collection of the Yannick and Ben Jakober Foundation Inv. No. 610

Tabatha and Tiffany Good, 2001 Mary Ellen Mark’s photograph of Tabitha and Tiffany Good shows the twin girls dressed identically. They’re wearing fashionable open-toed sandals and patterned dresses. The simple lines of their garments allow for movement and comfort, which is true of most current styles for children. Mimicking fashion models, the girls strike a pose for the camera. Each girl props one hand on her hip and the other hand behind her head. Expressionless, they stare straight ahead.

Interview from Twins:

Mary Ellen Mark: “You fight about clothes? But, how can you fight about clothes if you have the same clothes?”

Tabatha Good: “Because, what she likes, I don’t like, and I have to wear it anyway.”

Making a Connection “My Own Style”

• Who chooses the clothes you wear? (You, an adult in your family, your school, etc.)

• What factors influence your clothing decisions? (Culture, society, dress codes, parental opinions, etc.)

• How do your clothing choices and expectations of dress change in different settings? (At school, at home, at traditional ceremonies, etc.)

• When you dress exactly how you want, what words best describe your personal style? (Fun, comfortable, casual, rebellious, etc.)

Find fashions in catalogues and magazines that best represent your personal style. Collect clippings or create drawings of your favorites. Attach them to the activity sheet. Compare your clothing to eighteenth-century clothing for children and teens. Refer to Activity Sheet on page 12.

Family portraits can reveal group identity as well as individual personalities. Look closely and compare. • Who is included in

each family portrait? • What visual clues help

you determine the times and places in which the portraits were created?

• What does the clothing reveal about each family’s social status?

• Boys and girls in the seventeenth century were dressed alike. What items in the Dutch portrait help you tell the children apart?

• How do the mothers’ expressions differ from their children’s? What do the expressions reveal about their individual personalities?

• What does the setting of Leddie and Children tell us about the family? How might our interpretation of the Dutch family change if they were pictured in their home environment?

Looking at Family

Coral necklace: In the past, coral necklaces were thought to protect their wearers from evil and sickness Batiste: a fine, soft, plain-woven fabric made of cotton or linen, used especially for clothing

About the Photographer: Mary Ellen Mark Photographer Mary Ellen Mark is fascinated with twins, particularly the way two people can appear to be so much alike and yet have their own identity. The purpose of Mark's work is not to represent her subjects' similarities or differences. Rather, she finds in twins an intense humanity, reinforced by the many hours she has spent interviewing them, and relays this with her camera. She writes that in these interviews, "people described the wonderful, as well as the painful things about being twins. The crazy moments, the embarrassing moments, and the fights, as well as the great love they share with each other."

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Portrait of the Infantes Don Carlos (1607–32) and Don Fernando (1609–41), 1610 This double portrait by Spanish artist Andrés López Polanco shows the Infantes Don Carlos and Don Fernando of the Habsburg Family. Not even three years old yet, the brothers are portrayed in roles that have been pre-determined and will be assumed during their childhood. Shown on the left, Don Carlos wears a Dominican habit. A Cross of the Inquisition hangs on a black cord around his neck. He holds beads with his right hand, and in his left he is holding that of Don Fernando, in a gesture symbolizing harmony and loyalty. Don Fernando, seated in a chair fitted with wheels, also wears a Cross of the Inquisition on a red cord around his neck. Don Fernando, known as the Cardinal Infante, attained that post at age ten. He became governor of Flanders in 1634, at which date he left Spain for good. He died a natural death in Brussels in 1641 at the age of thirty-two. His brother, Don Carlos, died prematurely in 1632.

Acrobats rehearsing their act at Great Golden Circus, Ahmedabad, 1989 While following circuses throughout India, photographer Mary Ellen Mark found these child acrobats in a dusty aisle between tents. Dressed in performance costume, they are rehearsing their balancing act. Still very young, these girls have stepped into a work environment earlier than most. Traveling with the circus, their days are spent practicing for hours on end and performing up to three times a day.

Making a Connection “My Life Roles”

• What different roles do you currently play in life? (Brother, sister, student, artist, musician, athlete, etc.)

• Which of these roles have you chosen? (Probably roles involving hobbies, leisure activities, etc.)

• Which of these roles have been chosen for you? (Roles you are born into and roles you are required to do)

• How much are each of these roles a part of your identity? Rate each role’s importance to your identity.

• Which roles are most important to your identity? Select the roles that are most important.

• Why are these roles most important to your identity? Choose one of your top three roles. Write about the role and why it is an important part of you. Refer to writing prompt on page 13.

Create a Self-portrait. “My Roles Today” How would you reveal your roles in a self-portrait? Think about the setting, your activities, your clothing and accessories, and other props. Create a Self-portrait. “My Roles Tomorrow” Now that you have determined the roles you play as a child or teen, think about the roles you would like to play as an adult. What do you want to be when you grow up? Do you share similar interests with members of your family? Will you follow in their footsteps or will you pursue interests of your own? Consider how you would reveal those roles in a self-portrait. Refer to Activity Sheet on page 13.

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Portraits can give clues about a person’s roles in life, which may either be pre-determined or a personal choice. Look closely and compare. • What do the children’s

clothing and accessories say about their roles in life? Their social status?

• What symbols or props are included in the portrait? What do those items suggest?

• What do the children’s poses or activities suggest about their roles?

• Do you think the children chose these roles or were they chosen for them?

Looking at Life Roles

About the Photographer: Mary Ellen Mark Mary Ellen Mark has visited India several times since the late 1970s, photographing people in various areas and communities. Mark also photographed a wide array of performers, including acrobats, dwarves, trained bears, elephants, and chimps. In the preface to her book Indian Circus (1993), she writes, "photographing the Indian circus was one of the most beautiful, joyous, and special times of my career. I was allowed to document a magic fantasy that was, at the same time, all so real. It was full of ironies, often humorous and sometimes sad, beautiful and ugly, loving and at times cruel, but always human."

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Infante: a younger son or daughter of a Spanish or Portuguese king Habsburg Family: royal family of Europe, prominent between the 15th- and 20th-century, that included rulers of the Holy Roman Empire, Spain, and Austria-Hungary Habit: clothing of religious order; a long loose gown, usually black, brown, gray, or white, traditionally worn by nuns and monks Inquisition: judicial institution established by the office of the pope, who is the supreme head of the Roman Catholic Church Cardinal: second highest dignitary in the Roman Catholic Church after the pope LEFT: Portrait of the Infantes Don Carlos (1607-32) and Don Fernando (1609-41), 1610; Andrés López Polanco (ca. 1575-1641) Spanish School Oil on canvas 47 ½ x 48 7/8 in. Collection of the Yannick and Ben Jakober Foundation Inv. No. 521 RIGHT: Mary Ellen Mark Acrobats rehearsing their act at Great Golden Circus, Ahmedabad, 1989 Platinum print; 19 x 19 in., Museum Purchase, Museum of Contemporary Photography, Columbia College Chicago, 1998:6

Portrait of a Lady with Two Sons and a Daughter, 1646 In this family portrait, a young Dutch mother poses with her three children against a dark background. The daughter is standing on a wooden step to her mother’s left. She is wearing a coral necklace and a fine batiste apron. She has plucked a carnation from her wicker basket and hands it to her brother, who sits on the mother’s lap. As was common for boys at the time, the two sons wear gowns with beads draped diagonally across the chest and secured with a bow on the shoulder. The older boy is holding a whip, which he will undoubtedly use to tame either his toy wooden horse or a real one. The mother, who is thought to be a widow, is dressed more soberly and unfashionably than her children. She does not look the viewer in the eye. The children, by contrast, all gaze directly at the viewer with unconcerned, innocent expressions. Portrait of a Lady with Two Sons and a Daughter, 1646 Monogrammist C.V.D. Dutch School Oil on canvas 45 1/8 x 33 1/8 in. Collection of the Yannick and Ben Jakober Foundation Inv. No. 610

Tabatha and Tiffany Good, 2001 Mary Ellen Mark’s photograph of Tabitha and Tiffany Good shows the twin girls dressed identically. They’re wearing fashionable open-toed sandals and patterned dresses. The simple lines of their garments allow for movement and comfort, which is true of most current styles for children. Mimicking fashion models, the girls strike a pose for the camera. Each girl props one hand on her hip and the other hand behind her head. Expressionless, they stare straight ahead.

Interview from Twins:

Mary Ellen Mark: “You fight about clothes? But, how can you fight about clothes if you have the same clothes?”

Tabatha Good: “Because, what she likes, I don’t like, and I have to wear it anyway.”

Making a Connection “My Own Style”

• Who chooses the clothes you wear? (You, an adult in your family, your school, etc.)

• What factors influence your clothing decisions? (Culture, society, dress codes, parental opinions, etc.)

• How do your clothing choices and expectations of dress change in different settings? (At school, at home, at traditional ceremonies, etc.)

• When you dress exactly how you want, what words best describe your personal style? (Fun, comfortable, casual, rebellious, etc.)

Find fashions in catalogues and magazines that best represent your personal style. Collect clippings or create drawings of your favorites. Attach them to the activity sheet. Compare your clothing to eighteenth-century clothing for children and teens. Refer to Activity Sheet on page 12.

Family portraits can reveal group identity as well as individual personalities. Look closely and compare. • Who is included in

each family portrait? • What visual clues help

you determine the times and places in which the portraits were created?

• What does the clothing reveal about each family’s social status?

• Boys and girls in the seventeenth century were dressed alike. What items in the Dutch portrait help you tell the children apart?

• How do the mothers’ expressions differ from their children’s? What do the expressions reveal about their individual personalities?

• What does the setting of Leddie and Children tell us about the family? How might our interpretation of the Dutch family change if they were pictured in their home environment?

Looking at Family

Coral necklace: In the past, coral necklaces were thought to protect their wearers from evil and sickness Batiste: a fine, soft, plain-woven fabric made of cotton or linen, used especially for clothing

About the Photographer: Mary Ellen Mark Photographer Mary Ellen Mark is fascinated with twins, particularly the way two people can appear to be so much alike and yet have their own identity. The purpose of Mark's work is not to represent her subjects' similarities or differences. Rather, she finds in twins an intense humanity, reinforced by the many hours she has spent interviewing them, and relays this with her camera. She writes that in these interviews, "people described the wonderful, as well as the painful things about being twins. The crazy moments, the embarrassing moments, and the fights, as well as the great love they share with each other."

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Portrait of Twins, early eighteenth century In the eighteenth century, children’s clothes were simply modified versions of adult styles. This portrait by an unknown European artist shows twin boys dressed identically in feathered caps and long coats trimmed with gold lace. Their full skirts are gathered in pleats at the sides, with decorative vertical pockets across the front. The many layers of fabric made these garments heavy and stiff, restricting movement and making play uncomfortable. Expensive elegant designs showed wealth and revealed a child’s place in society. The special style of dress worn by these twins indicates that they were probably young servants or pages for an aristocratic family. The cut, material, color, and decoration of their clothing suggest an allegiance to a specific family.

Portrait of Twins, early eighteenth century Unknown central European artist, Oil on canvas, 37 x 44 7/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 16

In the late part of the eighteenth century, children’s clothes began looking less like replicas of adult styles. They gradually became more practical and comfortable, evolving over time to result in the styles of today.

Leddie and Children, 1990 Shelby Lee Adams took this photograph of Leddie and her family at their Kentucky home. Leddie is sitting on the porch surrounded by her nine children. With the exception of the baby on Leddie’s lap, they all appear to be very close in age. Their clothing is simple and practical, consisting of jeans and plain cotton shirts (or no shirts at all). Leddie’s expression is reflective and somewhat distant compared to her children, whose gazes are fixed on the camera. Their expressions reveal a sense of curiosity. A couple of the children even seem slightly suspicious of the photographer taking their picture.

Making a Connection “My Place in the Family”

In many ways, these families may not look like your own family. They might have a different skin color or wear different clothes. However, once you look closely at the individuals, you might find that you relate to them in other ways. Look closely at each child in the family portraits. Consider his/her age, gender, facial expressions, body language, and relationship to the group. Think about how and where you fit into your own family. • Which child do you identify with the most? Why? • Which child do you identify with the least? Why? Create a Group or Family Portrait. Think about… • Who will be included in your family portrait? • What will be the setting for the portrait – a portrait studio, home, etc?

What will the setting reveal about your family? • What objects will you include? Why are those objects significant? • How will you show individual personalities through facial expression

and body language? Refer to Activity Sheet on page 14.

In portraits, children’s fashion can provide clues about historic and contemporary views of childhood. Look closely and compare. • Why are these

children dressed identically?

• Who do you think chose their clothing - the children, the artist, or other adults?

• What does their clothing suggest about the time in which they lived?

• What does their clothing suggest about the way children were viewed and treated at the time?

• Who do you think chose their poses - the children or the artist? Why do you think the pose was chosen or what might have influenced the decision to pose in such a way?

Looking at Fashion

About the Photographer: Shelby Lee Adams Shelby Lee Adams was born in the poverty-stricken Appalachian Mountains of eastern Kentucky. His photographs were inspired in part by his desire to counter negative stereotypes about the people of his native region as being malnourished and backward. Seeking to convey their lives with deep understanding, he photographed Leddie and her family over the course of five years. He says about this complex and carefully composed image, "I wanted to convey both the intimacy of a child's curiosity within a vast family landscape and to capture the beauty of an Appalachian mountain's evening light."

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Shelby Lee Adams Leddie and Children, 1990 Gelatin silver print; 15 x 19 in. Museum purchase, Museum of Contemporary Photography, Columbia College Chicago, 1996:4 Image courtesy the artist and Yossi Milo Gallery, New York, NY Stereotype: an oversimplified standardized image or idea of individuals or groups

Reading Faces People’s emotions can be revealed through their facial expressions. A huge smile and bright eyes suggests happiness. A frown and glaring eyes, on the other hand, suggests frustration or anger. Artists capture these expressions and emotions in their works. “Read” the children’s faces in these works. Describe each child’s facial expression. What does each facial expression suggest about his or her emotions? Beside each face, write one or two descriptive “emotion” words.

Naples, #364, 1994 Jed Fielding’s photograph of two young brothers was taken on the streets of Naples, Italy. Fielding stood relatively close to the boys to shoot the picture. Confronted with the camera, the younger boy shows little concern for the stranger. In a playful gesture, he wraps his arm around his brother and looks up at him with a wide smile and an adoring expression. The older boy seems more suspicious, as his stare suggests. Even at a young age, he may realize the dangers of the streets. He appears cautious and protective.

Making a Connection “Reading Faces”

People’s emotions can be revealed through their facial expressions. A huge smile and bright eyes suggests happiness. A frown and glaring eyes, on the other hand, suggests frustration or anger. Artists capture these expressions and emotions in their works. “Read” the children’s faces in the photograph and painting on the activity sheet. • Describe each child’s facial expression.

What are they doing - smiling, frowning, singing, yelling, yawning, staring, squinting, glaring?

• What does each facial expression suggest about his or her emotions? Beside each face, write a descriptive “emotion” word.

Think of several “emotion” words, and write them on a separate sheet of paper. Next to each word, draw a facial expression that shows that emotion. Think about the shape of the mouth and eyes when drawing.

Refer to Activity Sheet on page 11.

About the Photographer: Jed Fielding Perhaps more than most types of artists, photographers often travel the world in search of their subjects. Fielding has taken photographs in Mexico, Peru, Greece, and the United States. One of his most significant bodies of work was produced in Naples, Italy, and was published in his monographic book, City of Secrets. Fielding captured the stories of the meanest streets and the most impoverished people in the city with a deep sense of compassion.

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Jed Fielding Naples, #364, 1994 Gelatin silver print 13 x 19 in. Collection of the artist

Think of several “emotion” words.Write them on a separate sheet of paper. Next to each word, draw a facial expression that shows that emotion. Think about the shape of the mouth and eyes when drawing.

LEFT: Jed Fielding Naples, #364, 1994 Gelatin silver print 13 x 19 in. Collection of the artist

ABOVE: Portrait of Two Children with Hats late seventeenth century Unknown Venetian artist Oil on canvas, 28 ¾ x 26 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 239

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Think about…

• Who chooses the clothes you wear? • What factors influence your clothing decisions? • How do your clothing choices and expectations

of dress change in different settings? • When you dress exactly how you want, what

words best describe your personal style?

Portrait of Two Children with Hats, late seventeenth century

As is evident in this portrait by an unknown Venetian artist, “kids will be kids” regardless of the time and place in which they live.

Portrait of Two Children with Hats, late seventeenth century Unknown Venetian artist, Oil on canvas, 28 ¾ x 26 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 239

Choosing a casual pose over a formal one, the artist shows these children in conversation. The child on the right, whose short hairstyle indicates that he is a boy, has his arm around the girl and leans in as if to speak to her. The girl’s disapproving expression and slight hand gesture may be in response to his comments or actions. Looking away from the boy, she appears to be trying to ignore him. Her direct gaze acknowledges the artist’s presence. The boy, on the other hand, pays little attention to the artist.

My Own Style

Find fashions in catalogues and magazines that best represent your personal style. Collect clippings or create drawings of your favorites. Compare your clothing to eighteenth-century clothing.

My Own Style…

In portraits, facial expressions can reveal an individual’s emotions and inner identity. Look closely and compare. • What might have

prompted these children’s reactions?

• What do you learn about these children from their interactions with one another?

• What does their body language suggest?

• What would you guess is their relationship with one another? Why?

• What does each child’s facial expression suggest about the emotions he/she is feeling toward the other child? Toward the artist?

• Who do you think chose the pose? The artist or the children?

Looking at Faces

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Draw or attach clippings here.


Portrait of Twins, early eighteenth century Unknown central European artist Oil on canvas, 37 x 44 7/8 in., Collection of the Yannick and Ben Jakober Foundation, Inv. No. 16


My Life Roles • What different roles do you currently

play in life? List every role that comes to mind.

• Which of these roles have you

chosen and which roles have been chosen for you? Circle the roles above you have chosen.

• How much are each of these roles a part of your identity? If you were to rate them by importance, which roles would rate the highest? Which would rate the lowest?

• Which roles are most important to your identity? From your list above, select one of the roles you feel is most important. In the space provided, write about this role and explain why it is an important part of you. I am a…

This role involves…

It is important to me because…

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Curriculum Connections Children in Art Discovery Tours and Story Tours support the Tennessee Curriculum Frameworks by introducing themes that are relevant to visual arts, language arts, and social studies curricula. Specific standards are addressed at age-appropriate levels. An example is shown below. You may view connections for all grade levels (K-12) at www.fristcenter.org.

Language Arts 1.0 Reading. (6.1.tpi.8.) The student will make creative responses to texts. 1.0 Reading. (6.1.tpi.10.) The student will express personal reactions to texts. 1.0 Reading. (6.1.tpi.27.) The student will use content specific vocabulary. 2.0 Writing. (6.2.tpi.14.) The student will compare and respond to questions from all content areas. 2.0 Writing. (6.2.tpi.16.) The student will write personal reflections on experiences and events. 2.0 Writing. (6.2.tpi.24.) The student will write frequently across the content areas.

Social Studies 1.0 Culture (6.1.tpi.6.) The student will compare various forms of jewelry, art, music, and literature among historical periods. 1.0 Culture (6.1.tpi. 13.) The student will create a piece of artwork based on a historical example. 6.0 Individuals, Groups, and Interactions (6.6.tpi.4.) The student will compare an average person's life with that of a historically significant person throughout historical time periods. 6.0 Individuals, Groups, and Interactions (6.6.tpi.7.) The student will analyze differing communities' perception of beauty.

Mary Ellen Mark, Acrobats rehearsing their act at Great Golden Circus, Ahmedabad, 1989, Platinum print; 19 x 19 in. Museum Purchase, Museum of Contemporary Photography Columbia College Chicago, 1998:6

Portraits generally contain visual clues that reveal a subject’s identity. When viewing a portrait, look closely at:

• Costume: What do the clothes say about the child’s position in society and the time when the portrait was created? Who do you think chose the clothing—the artist, the child, or parent?

• Facial Expression and Body Language: What do

the facial expressions and body language suggest about the child’s emotions or personality?

• Pose: Is the portrait posed? Who do you think

chose the pose – the child or the artist?

• Activity: What are the children doing? What do we learn from their activities?

• Background: What is the setting for the portrait?

Do the people appear to be in a studio, in their home, or outdoors? What does the setting of the portrait suggest about the child?

• Props: What do the objects and accessories in the

portrait reveal about the child’s hobbies, interests, or roles in life? Do the items have symbolic meaning?

Example: Sixth Grade Visual Arts 4.0 Historical/Cultural Relationships. The student will speculate on how factors of time and place give meaning or function to a work of art from a variety of cultures, times, and places. 5.0 Reflection and Assessment. The student will understand and apply visual arts vocabulary when observing, describing, analyzing, and interpreting works of art 5.0 Reflection and Assessment. The student will describe and interpret different ways that human experience is reflected in contemporary and historic works of art.

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Learning to Look. Looking to Learn.Finding Visual Clues in Portraits


A Word from the Curator

Golden Children and Illusions of Innocence enable visitors to explore dramatic changes in the way that adults have represented childhood. These range from the pre-eighteenth-century notion of the child as a "faulty adult" in need of correction and discipline, through the nineteenth-century ideal of the pure and innocent "natural child," to today's "knowing child," whose level of awareness is shaped by the mass media and new technologies of the information age.

My Place in the Family In many ways, these families may not look like your own family. They might have a different skin color or wear different clothes. However, once you look closely at the individuals, you might find that you relate to them in other ways.

Look closely at each child in these two family portraits. Consider his/her age, gender, facial expressions, body language, and relationship to the group. Think about how and where you fit into your own family.

Circle the child that you identify with the most. Why do you identify with this child the most? Place an “X” by the child that you identify with the least. Why do you identify with this child the least?

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Children in Art With the pairing of the exhibitions Golden Children and Illusions of Innocence, the Frist Center has a unique opportunity to offer school tours based on the theme Children in Art. We hope you will find this guide helpful in preparing students for their tour. The following lessons encourage students to look closely and compare historic and contemporary works of art from the exhibitions. Each lesson opens with a series of questions followed by information about the artwork, which can be incorporated into class discussion or given as reading assignments to older students. Designed to be adaptable to all ages, “Making a Connection” activities encourage students to reflect and relate the art and ideas to their own lives and experiences. Color art reproductions and reproducible sheets accompany each activity.

ABOVE: Portrait of a Lady with Two Sons and a Daughter, 1646 Monogrammist C.V.D., Dutch School Oil on canvas, 45 1/8 x 33 1/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 610 LEFT: Shelby Lee Adams, Leddie and Children, 1990 Gelatin silver print; 15 x 19 in., Museum purchase, Museum of Contemporary Photography, Columbia College Chicago, 1996:4, Image courtesy the artist and Yossi Milo Gallery, New York, NY

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Illusions of Innocence: The Child in Modern Photography features approximately forty photographs on the subject of childhood, created by some of the world’s most renowned modern and contemporary photographers of the past four decades. Illusions of Innocence focuses on the complex nature of childhood in various stages and settings, as seen through the eyes of adult artists whose interpretations of children's lives range from the documentary to the symbolic. LEFT: Brad Temkin, Helena Kelly, Achill Island, Co. Mayo, Ireland 2002 Gelatin silver print; 13 ½ x 17 ¼ in. Courtesy of the artist © Brad Temkin 2002

Golden Children: Four Centuries of European Portraits includes 60 works drawn from the Yannick and Ben Jakober Foundation’s extensive collection of children’s portraiture. From elegant court portraits of young royalty to charming examples of naïve provincial portraiture, Golden Children shows the evolution of the image of childhood in Europe from the sixteenth- through the nineteenth-centuries. This compilation of child-kings, little aristocrats, and dressed-up commoners on the threshold of their adult lives is an extraordinary reflection of artists’ and their patrons’ roles in shaping the image of destiny. RIGHT: Portrait of the Princess Anne of Austria (1601-66), ca. 1614 Studio of Juan Pantoja de la Cruz (1551–1608) Spanish School, Oil on canvas, 27 ½ x 19 7/8 in. Collection of the Yannick and Ben Jakober Foundation, Inv. No. 58

Featuring Golden Children: Four Centuries of European Portraits from the Yannick and Ben Jakober Foundation and Illusions of Innocence: The Child in Modern Photography September 24, 2004–January 2, 2005


COVER IMAGE: Keith Carter, Stars (detail), 1995 Gelatin silver print; 14 7/8 x 14 7/8 in. Gift of the artist in memory of Christopher Ushioka, Museum of Contemporary Photography, Columbia College Chicago 1996:237 About the Photographer: Keith Carter Keith Carter's mother operated a photography studio in Beaumont, Texas, photographing children. While looking at his mother's pictures, Carter came to realize the artistic potential of photography. He noticed how back lighting lent mystery and luminosity to otherwise ordinary images. As an adult photographer, Carter discovered that it was not the thing being photographed that interested him, so much as it was the human content that the subject suggested. Stars shows a simple childish act – boys placing starry blocks over their eyes. Temporarily blinded by symbols of hope, the children stand in the shadow of a chain-link fence of the type seen in inner city neighborhoods and school grounds everywhere, which are designed to keep people or property enclosed.

Golden Children was organized by the Frist Center for the Visual Arts from the collection of the Yannick and Ben Jakober Foundation, Majorca, Spain. Illusions of Innocence was organized for Frist Center for the Visual Arts by guest curator Rod Slemmons, director of the Museum of Contemporary Photography at Columbia College Chicago. EXHIBITION SPONSORS:

Resources For teachers and students…

Shelby Lee Adams (www.yossimilogallery.com/shelbyleeadams) Adams, Shelby Lee. Appalachian Lives. Jackson: University Press of Mississippi, 2003. Adams, Shelby Lee. Appalachian Legacy. Jackson: University Press of Mississippi, 1998. Jed Fielding (www.jedfielding.com) Fielding, Jed. City of Secrets: Photographs of Naples. New York: Takarajima Books, 1997. Mary Ellen Mark (www.maryellenmark.com) Mark, Mary Ellen. Twins. New York: Aperture, 2003. Mark, Mary Ellen. Indian Circus. San Francisco: Chronicle Books, 1993. Children’s Costume Sichel, Marion. History of Children's Costume. London: Batsford Academic and Educational Ltd., 1983.

For teachers…

Educational Resource Walker, Sydney R. Teaching Meaning in Artmaking. Worcester: Davis Publications, Inc., 2001. Teacher Workshop Learn more about “Children in Art” at an interdisciplinary teacher workshop. Teachers of all subjects, K–12, are welcome. Space is limited so please register early. $15 for members $20 for non-members Thursday, October 21 OR Saturday, October 23, 8:30 a.m.–3:30 p.m. To register for a teacher workshop or to obtain information about school tours, visit www.fristcenter.org or call (615) 744-3247.


Children in Art

A teacher’s guide to selected works from the exhibitions Golden Children and Illusions of Innocence Featuring sixteenth- through nineteenth-century portraits of young royalty and modern and contemporary photographs of children, Children in Art Discovery Tours and Story Tours encourage students to explore ways in which artists have depicted children throughout time. This guide is designed to help teachers prepare students for their visit.

A handprint marks topics for discussion and activities for students.

What’s in this Teacher’s Guide? Children in Art Introduction & A Word from the Curator, page 1 Visual Clues in Portraits & Curriculum Connections, page 2 Looking at Faces, pages 3-4 Looking at Fashion, pages 5-6 Looking at Life Roles, pages 7-8 Looking at Family, pages 9-10 Reproducible Activity Sheets, pages 11-14 Resources, Back cover

The Frist Center presents

Children in Art

stars resources gelatin silver print; 14 7/8 x 14 7/8...

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