Toddler playtime

Sian Lile-Pastore, 14 Hydref 2010

Yesterday we had our second toddler session in the gallery. We will be holding the sessions once a month and each month will look at a different theme - this month the theme was Autumn, and the one before looked at farm animals. The sessions are quite informal giving the little ones a chance to play and experience our different activities and to socialise with the other children. Another important part of the session is that it is bilingual, so the staff who are working (Ffion,Iola and myself this month) can speak in Welsh or English to the children, and the songs that Ffion led at the end were also in Welsh. It's a nice way for English speaking parents to begin to learn Welsh with their children.

So, what do we do? yesterday we had an art and craft table where the children could decorate pumpkin shapes or leaves, make leaf rubbings (although I find this is often a bit difficult for the under 3's!) or do some drawing. We also had a sensory tray filled with leaves, plastic bugs, fircones and dried lemon slices; coloured and scented playdough (yellow playdough was vanilla and the orange one cinammon and spices) with different cookie cutter shapes to play with; a sandpit and fircones (the sandpit was going to be our sensory tray and we were going to change it each month, but the children seemed to enjoy playing with the sand so much we didn't have the heart to change it! What I might do though is dye the sand at some point so it will be a little bit more exciting!); soft toys to play with and a quiet area with picture books. The picture books we had yesterday were 'Cwymp y dail' by Sian Lewis which is a Sali Mali book about Autumn, 'Cawl Pwmpen' by Helen Cooper - a nice autumnal book about pumpkin soup, 'Hibernation Station' by Michelle Meadows and Kurt Cyrus - an unbelievably cute story about animals hibernating, although perhaps a little too 'american' for some tastes (not mine!), 'The Tiny Seed' by Eric Carle - i love the illustrations in this, 'I am a Bunny' by Ole Risom and Richard Scarry - an adorable simple book about the seasons, and my find of the month, 'Autumn' by Gerda Muller - this was perfect for a bilingual session as it doesn't have any words (I didn't realise this when I ordered it) and consists of illustrations of the type of things that happen in the autumn - leaves falling off the trees, rainy weather, making leaf rubbings, making jam and hibernating animals. It's a lovely book to look through with a child as it lets them make up the story themselves.

We ended the session with a song about Autumn, and sent them all off with a leaf bag and a leaf spotting sheet in case they wanted to have a walk around the museum.

Next month our theme is buildings

Wales for Africa, now we're communicating

Mari Gordon, 14 Hydref 2010

Just met a journalist, who wants to do something with our story about the Government leaving housing out of the National Development Plan (which I still think must be an oversight?!).

He's taken our press release and he loved the open letter, and he's coming back on Saturday to do interviews. Result.

Wales for Africa - touchdown

Mari Gordon, 13 Hydref 2010

First impressions:

Zambia is very flat, so the horizon all around is low. Even at 6am it’s about 17°C and we’re warm and sticky. Driving from the airport towards Lusaka, it could pass for a southern European hot dry country - blue sky, yellow earth, palm trees. Except there's a burnt, nutty smell hanging on the air, making my nose tickle. The roads are pretty good, straight and smooth. It’s early and there’s not so much traffic, but we pass loads of cyclists, making a laboured journey towards town with their bikes laden with parcels wrapped in various materials, mostly straw, built up in a well-balanced if precarious heap up the back of the bike.

When I got in the back of the car I automatically went to put on my seatbelt and, struggling a bit, asked where the buckle was only to be told with a smile that it was ok. I wondered what was ok, then realised that he was telling me it was ok not to wear a seat belt. Then I noticed that both men in the front weren’t wearing seatbelts either.

I later learnt that the smoky smell is charcoal burning, and many of those brave cyclists we passed were carrying bundles of it to sell by the roadsides in Lusaka.

Wales for Africa - to work

Mari Gordon, 13 Hydref 2010

Spent a packed day meeting, greeting, listening to some pretty amazing people. I’ve already got a much better picture of who does what, who funds what and why. The NGO sector is huge in Africa, and for the most part it deals directly with civic and community organizations, but at some points, for example the Civic Forum on Housing & Habitat, where I am, it has to deal with the government in a lobbying and advocacy role. Interesting, as the Forum is funded by the Swedish Cooperative Centre, which is itself funded by the Swedish Government.

Some things are surprisingly familiar - there are issues that the Zambian Government wants organizations to mainstream: sustainability is a familiar one; gender, perhaps; but HIV/Aids is a well established agenda here, and anti-fraud and corruption is actively being promoted now (I should know, I had to sit through the meeting!)

Dod yn artist yn y ddeunawfed ganrif

8 Hydref 2010

Joshua Reynolds (1723 - 1792), <em>Charlotte (Grenville), Y Foneddiges Williams-Wynn (1754-1830) a'i Phlant</em>

Joshua Reynolds (1723 - 1792), Charlotte (Grenville), Y Foneddiges Williams-Wynn (1754-1830) a'i Phlant. Olew ar gynfas, prynwyd 1998 gyda chefnogaeth Cronfa Genedlaethol y Casgliadau Celfyddyd / Cronfa Dreftadaeth y Loteri Genedlaethol. NMW A 12964

William Hogarth (1697 - 1764), <em>Llun Sgwrs y Teulu Jones</em>

William Hogarth (1697 - 1764), Llun Sgwrs y Teulu Jones, 1730. Olew ar gynfas. Prynwyd 1996 Cronfa Goffa'r Dreftadaeth Genedlaethol / Cronfa Genedlaethol y Casgliadau Celfyddyd. NMW A 3978

Richard Wilson (1714 - 1782), <em>Castell Dolbadarn</em>

Richard Wilson (1714 - 1782), Castell Dolbadarn. Olew ar banel, prynwyd 1937. NMW A 72

Yn draddodiadol, bu statws cymdeithasol artistiaid yn isel. I ennill parch darpar gleientiaid, roedd ar artist angen addysg gyffredinol dda, yn cynnwys peth gwybodaeth ynglŷn â geometreg, hanes clasurol a llenyddiaeth. Roedd nifer ohonynt felly'n feibion i bobl broffesiynol neu fasnachwyr dosbarth-canol.

I raddau helaeth roedd hyfforddiant artist yn dal i fod yn seiliedig ar y system prentisiaeth draddodiadol. Âi'n ddisgybl i artist profiadol, gan dalu ffi iddo. Yn gyfnewid am hyn dysgwyd sgiliau technegol paratoi paent a chynfasau iddo, a dysgai drwy esiampl a thrwy gyflawni tasgau cyffredin.

Sylweddolwyd bod angen hyfforddiant mwy ffurfiol a strwythuredig hefyd, ac roedd nifer o ysgolion darlunio yn Llundain. Mynychodd yr arlunydd Cymreig Thomas Jones ddwy o'r rhain am ddeunaw mis cyn treulio dwy flynedd yn astudio dan adain Richard Wilson.

Wedi iddo ennill sgiliau o safon dderbyniol, gallai artist ganfod gwaith fel cynorthwy-ydd cyflogedig, ond byddai'n rhaid iddo sefydlu ei stiwdio ei hun yn y pen draw. Pe bai'n gallu fforddio hynny, roedd cyfnod o astudiaeth dramor yn gam hanfodol yn natblygiad ei yrfa. Aeth bron i ddau gant o artistiaid o Brydain ac Iwerddon i deithio yn yr Eidal yn ystod y ddeunawfed ganrif.

Arbenigo

Roedd yn rhaid i artistiaid Prydeinig o'r ddeunawfed ganrif ddatblygu sgil arbennig i ddenu cwsmeriaid drwy arbenigo mewn un o blith nifer o 'ganghennau' peintio. Ystyriai damcaniaethwyr mai lluniau hanes, gweithiau â negeseuon moesol, yn aml yn seiliedig ar hen hanes, oedd ffurf 'uchaf' celfyddyd. Mewn gwirionedd bodlonwyd y galw am luniau hanes gan yr Hen Feistri Ewropeaidd a gasglwyd gan gyfoethogion.

Portreadwyr oedd y mwyafrif o'r arlunwyr Prydeinig, gan fod bron pawb a fedrai fforddio hynny'n comisiynu portread — mewn miniatur neu mewn sialc neu bensil, os oedd peintiad olew yn rhy ddrud. Yn gyfrwys, sebonai Reynolds ei gleientiaid cyfoethog â chyffyrddiadau yn arddull yr Hen Feistri yn ei bortreadau mawr ohonynt. Datblygodd rhai artistiaid, Hogarth yn arbennig, y darlun ymddiddan o ffigyrau'n rhyngweithio mewn lleoliad domestig neu beintiadau 'ffansi' neu genre o fywyd modern. Enillodd eraill eu lle drwy beintio anifeiliaid, llongau neu flodau.

Tyfodd poblogrwydd peintio tirluniau wrth i agweddau pobl at natur newid. O fod yn ddelweddau o lefydd, daeth yn ffordd o fynegi delfrydau ac emosiynau. Roedd Richard Wilson yn arbenigo mewn tirluniau oedd yn cyfleu tawelwch y byd clasurol. Ceisiodd eraill gyfleu prydferthwch a mawredd byd natur.

Geni proffesiwn

I ennill statws ac arian, bu'n rhaid i artistiaid gefnu ar eu gwreiddiau fel crefftwyr a sefydlu gyrfa broffesiynol. Gwnaethant hyn drwy ddod yn fwy medrus, ond yn arbennig drwy sefydlu clybiau a chymdeithasau. Roedd y rhain yn hyrwyddo buddiannau'r aelodau, yn enwedig trwy arddangosiadau, gan gau allan y rhai nad oedd yn ddigon da.

Ym 1768 sefydlwyd yr Academi Gelf Frenhinol gan nifer o artistiaid blaenllaw oedd yn anfodlon â'r Gymdeithas Artistiaid oedd yn fwy o lawer. Roedd aelodaeth yn gyfyngedig a thrwy etholiad yn unig. Eu Llywydd cyntaf oedd Syr Joshua Reynolds (1723-1792), peintiwr portreadau a damcaniaethwr, a gymdeithasai'n rhwydd ag elît y cyfnod. Roedd yr Academi'n hyrwyddo statws proffesiynol artistiaid ac yn darparu hyfforddiant. Gallai llwyddiant yn ei harddangosfa flynyddol sicrhau enw da artist.

Cynhaliwyd arddangosfeydd yr Academi Frenhinol yn 'Ystafell Fawr' Somerset House o 1780 ymlaen. Câi'r lluniau eu hongian o'r llawr i'r nenfwd, a'r artistiaid yn cynllwynio i gael eu gwaith 'ar y llinell' - sef lefel llygaid y darpar-brynwyr.

Roedd ar artist angen adeilad addas mewn ardal ffasiynol hefyd, er mwyn derbyn cleientiaid ac arddangos ei waith. Roedd y rhain yn ddrud ac yn codi prisiau artist llwyddiannus. Yn ei anterth gallai Reynolds godi £200 am bortread maint llawn, swm oedd bryd hynny'n gyflog blynyddol i berson dosbarth-canol.