1. Comenius Project 2012-2014
Planto Preservethis PrettyPlanet

2. Art and landscape
Co-ordination Ist. Comp. C. Carminati
Lonate Pozzolo (Va) Italy
s.y. 2012-2013
2

3. Index
3
Introduction p. 4
Section A - The world could be a better place p. 7
Section B - The world could be even worse p. 36
Lesson plan p. 68
Artists’ biographies p. 72

4. The “Art and Landscape” activity was meant to
enhance the children’s consciousness about the
importance of protecting and promoting the local
heritage and landscape on the basis of the firm belief
that the world we live in is designed both by nature
and men and that we all share responsibility for the
quality of the environment that surrounds us.
The didactic work especially wanted to:
• Help children grasp the main aspects of their local
and national landscape
• Promote the knowledge of the local and national
artistic representation of the environment
• Promote the knowledge of partners’ landscape,
nature and art
• Appreciate the benefits of a well preserved
environment .
“Art and Landscape” E-Book4

5. 5“Art and Landscape” E-Book
In the first phase of the project children were guided towards
analysing the main features of their national territory and landscape.
They subsequently searched and selected relevant paintings
representing a typical landscape of their home town or country.
Finally they modified the original paintings using their imagination.
Their first creative task was to improve squalid views and redesign
the landscape in order to make it more pleasant for the people living
in it. At a later stage children were asked to spoil beautiful
landscapes imagining the effect of disrespect for nature, art or
historical buildings. While processing the original paintings, children
were free to express their personal taste and use any style or graphic
technique. They were also asked to supply basic information about
the original paintings, including the artists and the represented sites.
Children finally commented on and explained their work in their
mother tongue and in English. This joint final e-book presents the
most significant children’s artworks selected by each partner school.
The book is divided in two sections:
In Section A unpleasant or squalid landscapes are improved by
children’s imagination. In Section B uncontaminated landscapes or
historical buildings and monuments are shown under the effect of
human misbehaviour or abuse.

6. 6
“Art and Landscape” E-Book
The result is an amazing collection of artworks where children are
absolute protagonists of the creative process that redesigns the
environment in which they live.
It is also a significant collection of the landscape art of each partner
country. Like visitors in a museum, page by page we discover the
most relevant features of our partners’ territory seen through the
eyes and the sensitivity of their best artists.
Let’s take our seat by the train window and start out on our
neighbours’ homeland, eyes wide open, to perceive the beauty - and
the ugliness - around us.

7. The world could be
a better place …
Can you imagine?
7
Section A
Unpleasant or squalid landscapes
improved by children’s imagination

8. “Wind in the City”
Oil on canvas
8
Finland – Nivala
Saara Tikka
Helsinki.
A naïve art style painted
city view.
Helsinki.
Naivistinen
kaupunkinäkymä.
Saara Tikka
“Kaupungissa tuulee” - 1997

9. 9
Lasten kommentteja:
Alkuperäinen maalaus: “Se on pimeä.” ”Aurinko ei paista.””Ei ole puita.” Miten parantaisimme: ”Enemmän
ihmisiä.” ”Suomen lippu.” ”Tarvitaan puita.” ”Otetaan tehtaat pois”.
Lopputulos: ”Se näyttää iloisemmalta.” ”Ihan niin kuin aurinko paistaisi vaikka sitä ei näy.”
Children’s comments
The original painting: “It’s
dark.” “The sun is not
shining.” “No trees.”
How to improve the
picture: “More people.”
“A Finnish flag.” “Plants.”
“Let’s take the factories
away.”
The final result:
“It looks happier.”
“It looks like the sun is
shining although you
can’t see it.”
Class 3th – age 10
Collage and crayons
Finland – Nivala

10. “Painting 4” - Oil on canvas
10
France – Vigy
Isabelle Mora
The painting shows a
tree without leaves and
a dark grey sky. It looks
as if the landscape was
burnt. It conveys an
impression of sadness.
Le tableau représente un
arbre sans feuille, un ciel
gris et sombre. On dirait
que le paysage est brûlé.
Il dégage une sensation
de tristesse.
Isabelle Mora
“Tableau 4” - 2011

11. 11
Coloriage du ciel en bleu,
ajout d'un soleil,
d'oiseaux et de feuilles à
l'arbre. Découpage et
collage du parterre de
fleurs. Enfin le paysage
est gai, coloré, il en
ressort une impression de
joie.
We coloured the sky in
blue, added a sun, birds,
and leaves on the tree.
We cut and pasted the
flowerbed.
Now the landscape is
pleasant colorful and it
conveys an impression of
happiness.
5ème, Atelier Comenius
age 13
Collage and crayons
France – Vigy

12. Gouache acrilique sur papier – Acrylic gouache on paper
12
France – Vigy
Jérémy Moncheaux
The painting
represents a miner
going out of a mine.
It is dark and grey,
like the job itself,
which is tough. The
look in his eyes
conveys sadness.
Le tableau
représente un
mineur sortant d'une
mine. Le tableau est
gris, sombre. Il est à
l'image de la dureté
du métier de mineur.
L'homme a le regard
triste.
Jérémy Moncheaux
“Etude Mineure n°7” - 2003
“Lesser Study n°7”

13. 13
On a l'impression
que l'homme sort
d'un dessin animé
pour enfants, le
paysage et l'homme
ont l'air joyeux,
grâce
essentiellement aux
couleurs.
The man seems to be
out of a children’s
cartoon. The
landscape and the
man look happy
because of the vivid
colours.
5ème, Atelier Comenius
age 13
Collage and crayons
France – Vigy

14. Paul Henry
“The old lady”- 1920
Oil on canvas
14
Ireland – Ovens, Cork
Paul Henry
(1877 – 1958)
Connemara, Co. Galway.
The painting shows an old
woman walking alone on an
open road. The image is
bleak and the landscape is
barren. However we get the
impression of the woman’s
determination an ability to
survive in a hostile
environment.

15. 15
The aim of our activity is to
change the bleakness and
barren landscape depicted in
the painting. We wish to create
a more colorful and hospitable
environment with the use of
vibrant colors flowers, trees
and furniture.
We decided as a class to find
images of flowers, trees, birds
and fountains from the internet
and to attach these to the
existing image of the open road
thereby creating a more
attractive environment
We believe we have created a
more attractive environment
for the old lady to walk in. The
once bleak environment has
now been transformed to a
colorful and vibrant location
with beauty and life.
Ireland – Ovens, Cork
2nd and 3rd Class
Age 8-10

16. 16
Ireland – Ovens, Cork
A park in Co. Limerick.
www.picturescolourlibrary.co.uk
Co. Limerick

17. 17
Our intention was to make the park cleaner. We drew the park, we coloured it in, we put in trees and
flowers, we put people having a picnic, we coloured all the flowers and trees.
We think the park has improved because it is cleaner, more colourful and the people are happy in it.
Ireland – Ovens, Cork
5th Class – age 11

18. “Paesaggio urbano con taxi rosso”- 1931
“Urban landscape with a red taxi”
Olio su tela - Oil on canvas
18
Italy – Frosinone
Aligi Sassu
(1912-2000)
The painting represents the suburbs of an
anonymous city. The buildings seem deserted.
There is no one in the street, only a red taxi,
symbol of change and modernity.
The colors are bright and dynamic.
Il quadro rappresenta la periferia di una anonima
città.
I palazzi sembrano disabitati. Non c’è nessuno in
strada: solo un taxi rosso, simbolo di
cambiamento e modernità.
I colori sono vivaci e dinamici.

19. Ilenia Minotti – age 13
Collage
19
The picture has been improved with a stream,
flowers and a bench. A tree (always red) replaced
the taxi. Adding natural elements such as flowers,
trees and a stream, an anonymous urban
landscape has been turned into a pleasant,
relaxing and enjoyable place.
Even the bench, on the bank of the river, now
invites to enjoy the landscape!
Il quadro è stato migliorato con l’aggiunta di un
ruscello, di fiori e di una panchina.
Un albero, sempre rosso, ha sostituito il taxi.
Aggiungere elementi naturali come fiori, alberi e
un ruscello, ha reso possibile la trasformazione di
uno scenario urbano anonimo in un luogo ameno
e rilassante.
Anche la panchina, sulla riva del fiume, ora invita
a godersi il paesaggio!
Italy – Frosinone

20. Alberto Bragaglia
“Città”- “Town” 1921
Olio su carta - Oil on paper
20
Italy – Frosinone
Alberto Bragaglia
(1896-1985)
The picture represents a
glimpse of the city with
tall buildings of various
geometric shape. The
buildings have a cubic
shape and are placed
against each other. The air
we breathe is suffocating,
the landscape is surreal,
no human element is
present. The predominant
color is red.
Il quadro rappresenta uno scorcio di città con alti palazzi di
forma rigorosamente geometrica . I palazzi hanno una forma
cubica e sono addossati l’uno all’altro. L’ aria che si respira è
soffocante, il paesaggio è surreale, nessun elemento umano è
presente. Il colore predominante è il rosso.

21. Francesca Romana Teatini – age 13
Collage and crayons
21
The painting has been
improved with the
addition of flowers, a
lawn, plants and a bench
in the foreground that
restores a kind of
humanity that did not
exist before. The sky is
now blue and conveys
some serenity.
The presence of natural
elements , such as
flowers, trees and lawn,
has allowed the
transformation of a urban
landscape, originally
surreal and suffocating, in
a pleasant and relaxing
place.
The bench suggests a city
now inhabited and
livable, where you can sit
and chat.
Il quadro è stato migliorato con l’aggiunta di fiori, prato, piante e con una panchina in primo piano che ridona al dipinto una sorta
di umanità prima inesistente. Anche il cielo adesso è blu e infonde una certa serenità. La presenza di elementi naturali come
fiori, alberi e prato, ha reso possibile la trasformazione di uno scenario urbano surreale e soffocante in un luogo piacevole e
rilassante. La panchina fa pensare ad una città adesso abitata e vivibile, dove è possibile sedersi e scambiare quattro chiacchiere.
Italy – Frosinone

22. “Paesaggio urbano”- 1922
“Urban landscape”
Olio su tela - Oil on canvas
22
Italy – Lonate Pozzolo
Mario Sironi (1885-1961)
The painting represents the squalid
outskirts of a town. The place is not
identifiable. This urban environment
can be any industrial town in the North
of Italy in the 20’s.
A man is alone in the street probably
waiting for a tram. The sky and the
houses are dark and oppressing.
Il quadro rappresenta la periferia
degradata di una città. Il luogo non è
identificabile e può essere qualsiasi città
industriale del nord Italia negli anni ’20.
Un uomo è solo nella strada,
probabilmente in attesa del tram. Il
cielo e le case sono scuri e opprimenti.

23. Alessia Sanguin – age 12
Collage and pastel 23
I imagined a better place thanks to the work of the people
living in the area. I used lively colours to brighten the
scene up and I imagined some flowerbeds in the streets.
Animals bring affection and joy into the man’s life.
Working on the project I realized that by changing colours
and adding some natural elements, the environment
would become more pleasant and the people living there
would feel better. The result proves it quite well because
looking at the scene now I don’t feel as oppressed and sad
as I felt looking at the original painting .
Ho immaginato un posto migliore grazie agli interventi
degli abitanti del quartiere quindi ho colorato la scena con
colori vivaci e ho aggiunto fiori. Gli animali portano un po’
di affetto nella vita dell’uomo solo.
Nel lavorare al progetto ho capito che se avessi modificato
e aggiunto alcuni elementi naturali, l’ambiente sarebbe
stato più piacevole e gli abitanti si sarebbero sentiti
meglio. Il risultato credo lo dimostri perché il quadro
modificato mi fa sentire meno oppressa e triste rispetto al
quadro originale.
Italy – Lonate Pozzolo

24. 24
Italy – Lonate Pozzolo
Mario Sironi (1885-1961)
The painting depicts a
factory with a smoking
chimney, a railway and a
daring overpass that
hides the view of the
horizon.
Il dipinto raffigura una
fabbrica con la ciminiera
fumante, una ferrovia e
un ardito cavalcavia che
nasconde la vista
dell’orizzonte.
“Paesaggio urbano con fabbrica e cavalcavia” - 1926
“Urban landscape with a factory and an overpass”
Olio su tela - Oil on canvas

25. Class VB – age 10
Crayons 25
Children imagined
how this area might
have been before
human
intervention.
Nature is the
protagonist in this
landscape: the
mountains are
covered with
vegetation, the
fields are cultivated,
sunlight shines all
over.
I bambini hanno
immaginato come
potesse essere stato
questo luogo prima
dell’intervento
dell’uomo.
In questo paesaggio è
la natura ad essere
protagonista: le
montagne sono
ricoperte di
vegetazione, i campi
sono coltivati, la luce
del sole si diffonde
tutt’intorno..
Italy – Lonate Pozzolo

26. 26
Malta – Sliema
Richard Saliba
The painting represents
a valley in Gozo.
The landscape is arid and
almost burnt by the sun.
It seems that life has
deserted this desolate
valley.
Richard Saliba
“Gozo in spring”
Oil on canvas

27. Age 5-6
Crayons and collage
27
By planting trees and
flowers the area was
changed into a lovely
and colourful one.
Malta – Sliema

28. 28
Malta – Sliema
The painting shows a
quiet and lonely road to
a place in Malta called
Mgiebah. The valley is
green but deserted.
Richard Saliba
“Way to Mgiebah”
Acrylics on canvas
Richard Saliba

29. Age 5-6
Crayons and collage
29
Children were shown
the painting and
together came up with
ideas of what could be
added to the scene to
make the place look
better.
They draw animals
flowers and trees, then
they cut out their
simple drawings and
stuck them to the copy
of the original painting
to bring life and joy to
the landscape.
The children enjoyed
this activity as they
managed to make the
lonely valley a livelier
place.
Malta – Sliema

30. Nicolae Grigorescu
“Fete lucrand la poarta” 1887
“Girls working at the gate”
Ulei pe panza – Oil on canvas
30
Nicolae Grigorescu
(1838 – 1907)
The work represents an
image of the Romanian
village of the late
nineteenth century.
The characters in the
picture are two girls from
the country dressed in
holiday clothes, spinning
wool at the gate. The
landscape that surrounds
them is light; dominant
color is green, trees
occupy a large area of the
painting.
Lucrarea reprezinta o imagine a satului romanesc de la sfarsitul secolului XIX.
Personajele din imagine sunt doua fete de la tara imbricate in haine de
sarbatoare, torcand la poarta unei case. Peisajul care le inconjoara este
luminos, predominand verdele copacilor care ocupa o suprafata intinsa din
lucrare.
Romania – Cluj-Napoca

31. Suciu Simona Maria - Gagyi Bianca Erika - age 10 - Collage and acrylic
31
We embellished the
landscape by adding new
elements like animals,
flowers; we used the
technique of collage, cropping
images from magazines
representing various animals
that we stuck to the painting.
We tried to create a friendly,
warm world, where people
and animals live together in
peace and harmony. By,
adding new elements to the
existing ones and changing
colors, we wanted to
embellish painted landscape
to make it more enjoyable for
everyone.
Am infrumusetat peisajul prin adaugarea unor elemente noi; am folosit tehnica colajului, decupand din reviste
diverse imagini reprezentand animale pe care le-am lipit pe reproducerea picturii. originale.
Am incercat sa creem o lume calda, prietenoasa in care oamenii si animalele convietuiesc in pace si armonie.
Prin,adaugarea de elemente noi celor existente , schimband si culorile , am vrut sa infrumusetam peisajul
pictat , sa il facem mai placut pentru toti .
Romania – Cluj-Napoca

32. ‘’Casa Veche’’ - 1939
“Old house”
Ulei pe panza – Oil on canvas
32
Gheorghe Patrascu
(1872 – 1949)
This painting is an old
house in the country,
specific Romanian
architecture.
The main element of the
composition is the old
house; it is located in the
center of the composition.
On the right side of the
painting are a few trees
joining the wall of the
house. Architecture of the
house gives the impression
of solidity, grandeur.
Gamut is severe, profound:
brown, blue, grey..
Lucrarea reprezinta o casa veche de la tara specifica arhitecturii romanesti
Elementul principal al compozitiei il constituie casa veche; aceasta este
situate in zona centrala a compozitiei;in partea dreapta a lucrarii sunt
reprezentati cativa copaci alaturati zidului cladirii.Arhitectura casei creeaza
impresia de soliditate, masivitate.
Gama cromatica este grava, profunda.
Romania – Cluj-Napoca

33. Rogozan Carina - age 15 - Watercolor, acrylic and marker
33
I imagined this space
embellished by applying
decorations on the wall
architecture but also
adding other decorative
elements of space such
as flowers and trees
bloom.
Modifying the original
painting I realised that by
adding decorations that
embellish the space, as
well as other natural
elements, the landscape
would become pleasant.
Bright colour enriches it
with warm, bright tints.
Mi-am imaginat acest spatiu infrumusetat prin aplicarea unor decoruri pe zidul arhitecturii, dar si prin alte
elemente de décor ale spatiului: flori, copaci infloriti.
Modificand pictura originala am realizat ca prin adaugarea unor elemente de decor care infrumuseteaza
spatiul ca si a altor elemente naturale , peisajul a devenit maiplacut , iar gama cromatica s-a imbogatit cu
tente cromatice calde, luminoase.
Romania – Cluj-Napoca

34. 34
United Kingdom – Birmingham
A busy urban scene
depicting St Michael's
Flags and Angel Meadow
Park, Manchester
(Northern England)
L. S. Lowry
“Britain at play” - 1943
Acrylics on canvas
L. S. Lowry

35. Year 6
Age 10-11
Sketching and water colour painting
35
We wanted to improve
the landscape, and ask
children to consider the
title ‘Britain at play’.
With this in mind, get
them to improve this
industrial landscape to
become a place they
would like to visit.
Children created a
realistic, yet beautiful
landscapes, that were
colourful and fun. They
Encapsulated what they
imagined ‘Britain at
Play’ should look like.
They stayed true to the
style of Lowry.
United Kingdom – Birmingham

36. But the world could
even be much worse…
36
Section B
Uncontaminated landscapes or beautiful
monuments are shown under the effect of
human misbehaviour or abuse

37. G. Fattori
“La Rotonda
di Palmieri”
1866
37

38. “Wind in the City”
Oil on canvas
38
Finland – Nivala
Pekka Halonen
This is a typical
wintery view of a
Finnish forest.
The atmosphere of
the painting is
peaceful and joyful.
”Talvipäivä” - 1895
”Winter Day ”
Tekniikka:
öljyvärimaalaus
Maalauksessa on
tyypillinen
metsämaisema
talvella. Kuvan
tunnelma on
rauhallinen ja
iloinen.

39. 39
“Minä aloitin roskaamalla luontoa ja vähentämällä puita sen jälkeen lisäsin teollisuutta.”
“Puu on kaadettu. Taustalle on rakennettu tehdas, jonka savupiipusta tuleva savu sumentaa auringon.”
“Pupun jalka on takertunut piikkilankaan.” “Ilmastonmuutos on sulattanut lunta, vaikka on keskitalvi.”
“I spoiled nature by cutting down the trees and by increasing industry.” “The smoke coming out of the
chimney of the factory blocks out the sunlight.” “The hare has hurt its paw on a barbwire.”
“The climate change has melted the snow although it is mid-winter.”
Class 5th - age 11-12 - Crayons
Finland – Nivala

40. 40
Finland – Nivala
This is a typical
wintery view of a
Finnish lake. The
atmosphere of the
painting is peaceful
and somewhat
lonely.
Tässä maalauksessa
on tyypillinen
suomalainen
järvimaisema
talvella. Kuvan
tunnelma on
rauhallinen ja
jotenkin yksinäinen.
.
Akseli Gallen-Kallela
”Viittatie jäällä” - 1887
”Road on the ice”
Öljyvärimaalaus – Oil on canvas
Akseli Gallen-Kallela
(1865-1931)

41. 41
“Maalaus oli vaikea ja saada siihen oikea
tunnelma.”
“Maisema oli helppo maalata.”
“Joku on kadottanut hanskan, jonka leikkasin
lehdestä.”
“Työssäni joku on heittänyt roskia luontoon.
Niin ei oikeasti saisi tehdä.”
“I found this painting difficult to
do and get the right feel of it.”
“The scene was easy to paint.”
“Somebody has lost the glove. I
took a picture of a glove out of a
newspaper.”
“Somebody has also thrown food
items into nature which is
something you should not do.”
Class 5th - age 11-12
Collage and watercolours
Finland – Nivala

42. 42
France – Vigy
Vincent Rallo
Var region, south of
France.
The painting
represents the wild
Mediterranean
coast, deprived of
any human activity.
Région du Var, sud
de la France.
Le tableau
représente la côte
méditerranéenne,
sauvage, vierge de
toutes activités
humaines.
Vincent Rallo
“Paysages” - 1954
“Landscapes” -

43. 43
Nous voulons montrer les
conséquences du
développement excessif du
tourisme dans une nature
sauvage. Nous remarquons
que tout petit changement
peut détruire un paysage
sauvage. Le paysage sur le
ce tableau modifié parait
sale et cela ne donne pas
envie d'aller en vacances.
We want to highlight the
consequences of the
development of mass
tourism on wilderness. We
noticed that any slight
changes can damage the
wilderness. The landscape
on this modified painting
looks dirty and discourages
you from taking your
holiday there.
5ème, Atelier Comenius
age 13 - Collage
France – Vigy

44. 44
France – Vigy
Paul Gauguin
The painting
represents nature in
French Polynesia.
The landscape is
colourful, deprived
of any hint of human
civilization.
Le tableau
représente la nature
en Polynésie
française. Le paysage
est coloré, vierge de
toute trace de
civilisation.
Paul Gauguin
“Les montagnes tahitiennes” - 1893
“Tahiti mountains” - Oil on canvas

45. 45
Nous avons voulu
montrer l'étendue des
villes à la campagne.
Le paysage sur ce
second tableau parait
sale et pollué. Même
les arbres ont l'air
malade.
We want to show the
spread of cities into
the countryside. On
the modified painting,
the landscape seems
dirty and polluted.
Even the trees look
unhealthy.
5ème, Atelier Comenius
age 13 - Collage
France – Vigy

46. Letita Hamilton
“The bog road”- 1927
Oil on canvas
46
Ireland – Ovens, Cork
Letita Hamilton
Connemara, Co. Galway.
The painting depicts a
farmer coming home from a
day on the bog with turf on
his cart.

47. 47
The intention was by
attaching images of rubbish
and waste to destroy the
beautiful bog.
We decided as a class to find
images of waste and rubbish
from the internet and to
attach these to the existing
image of the bog, thereby
creating a littered and ugly
scene.
The result was an ugly and
unattractive scene. The once
pure and natural bog scene
has been destroyed, leaving
a rubbished waste ground.
Ireland – Ovens, Cork
3rd Class - age 8

48. Aidan Timmons
“Renvyle Peninsula, Connemara,
Co. Galway, Ireland.”- 2006
Oil on canvas
48
Ireland – Ovens, Cork
Connemara, Co.
Galway.
A peaceful, natural bay
with a few houses in
the distance.
Aidan Timmons

49. 49
I planned to completely
destroy the picture by
making the sky dark and
cloudy, the land black,
brown and bare, and the
water full of pollution
and oil. I printed off the
pictures and then
coloured the sky black
and put rain on it. I also
cut out pictures from
magazines or in the
newspapers and stuck
them on. I used stickers,
shading and graffiti. I
made the sky cloudy and
put airplanes and
helicopters in.
I put oil spills and
rubbish in the water too.
The picture has changed
and you wouldn’t even
recognise it.
Ireland – Ovens, Cork
5th Class - age 11 - Wax crayon

50. Sandro Botticelli (1445-1510)
“Nascita di Venere” - “Birth of Venus” 1485
Tempera su tela – Tempera on canvas
50
Italy – Frosinone
The painting depicts the
birth of Venus, the
goddess of beauty, born
from the foam of the
sea. Venus is supported
by a shell in the sea, and
is driven by the breath of
the winds to the land. On
the left there is the wind
Zephyrus, on the right
the handmaiden Ora
that gives her an
embroidered mantle.
The goddess is covered
only by her long, thick
hair, partly moved by the
wind.
The figure of Venus
represents the ideal of
beauty. perfection and
harmony.
Il quadro rappresenta la nascita di Venere, dea della bellezza, nata dalla spuma del mare. Venere è sostenuta
da una conchiglia nel mare ed è sospinta dal soffio dei venti verso terra dove una divinità femminile l’accoglie
per rivestirla di un mantello: a sinistra il vento Zefiro al quale è aggrappata Clori, a destra l’ancella Ora che
porge a Venere un mantello ricamato. La dea è coperta solamente dai suoi lunghi e folti capelli, in parte mossi
dal vento. La figura di Venere rispetta l’ideale di bellezza e di perfezione, di equilibrio e di armonia.

51. Ginevra Gatti – age 13
Collage and crayons
51
The clear waters of the
sea are polluted by a
ship on the horizon
and suspended
substances that form a
surface scum. Some
trash bags are at the
feet of Venus.
The nature is
'contaminated' by
various pollutants:
garbage, plastic, iron,
paper, oil….so the poor
Venus is asking for
help!
The image is lively and
ironic .
Le limpide acque del mare vengono inquinate da una nave all’orizzonte e da sostanze in sospensione che
formano una schiuma superficiale. Alcuni sacchetti della spazzatura sono ai piedi di Venere.
La natura è contaminata da vari inquinanti: immondizia, plastica, ferro, carta, petrolio .... e la povera Venere è
costretta a chiedere aiuto! L’immagine è vivace e ironica.
Italy – Frosinone

52. “Apollo e Daphne” 1624-25
Marble sculpture
52
Italy – Frosinone
Cupid, god of love, to
take revenge on Apollo
struck him with a golden
arrow making him fall in
love with the nymph
Daphne. Then he struck
Daphne with a lead
arrow: because of this
the nymph did not want
to hear the word “love”.
Apollo chased the
nymph Daphne, but she
was transformed by her
father Peneus into a
laurel tree.
In this sculpture
Daphne’s hair is turning
in the lush foliage of the
tree growing, fingers in
tender buds, legs in the
cortex, from the feet of
the nymph sprout roots.
Cupido, dio dell’amore, per
vendicarsi di Apollo lo colpì
con una freccia d’oro
facendolo innamorare
della ninfa Dafne. Poi colpì
Dafne con una freccia di
piombo a causa della quale
la ninfa non volle più sentir
pronunciare la parola
amore. Apollo inseguì la
ninfa ma Dafne, venne
trasformata da suo padre
Peneo in un albero di
alloro.
Nella scultura di Bernini i
capelli di Dafne si stanno
trasformando nella
rigogliosa fronda
dell’albero nascente, le
dita in teneri germogli, le
gambe in corteccia, dai
piedi della ninfa spuntano
le radici e si infilano nel
terreno.
Gian Lorenzo Bernini
(1598-1680)

53. Ginevra Gatti – age 13
Collage and crayons
53
The artwork is
'contaminated' by
various pollutants:
garbage, plastic, iron,
paper. The body of
the statue is marred
by writing, bags,
plastic, sheet metal,
bay leaves turn into
shoots plastic and
Daphne's face is
covered by a gas mask
because of the smoke
coming from a
chimney. The image is
lively and ironic .and
brings about the
reflection on the
effects of pollution on
artworks: Apollo
invokes the help of its
creator, Bernini,
begging him to save
them!
L’opera d’arte viene
‘contaminata’ da vari
agenti inquinanti: a terra
immondizia non
differenziata, plastica,
ferro, carta. Il corpo delle
statue è deturpato da
scritte, buste di plastica,
lamiere metalliche; le
foglie di alloro si
trasformano in germogli
di plastica ed il volto di
Dafne è coperto da una
maschera anti-gas a causa
del fumo che fuoriesce da
una ciminiera. L’immagine
è fresca, vivace e ironica.
L’Idea fa riflettere sugli
effetti dell’inquinamento
su un’opera d’arte: Apollo
invoca l’aiuto del suo
ideatore, Bernini,
implorandolo di salvarli!
Italy – Frosinone

54. Ignoto – Unknown
“Campo di fiori” - “Field with flowers”
Olio su tela - Oil on canvas
54
Italy – Lonate Pozzolo
The painting represents a
natural landscape with colorful
and luxurious vegetation.
In the foreground a field of
flowers, in the background the
typical hills of the Italian
landscape.
II dipinto rappresenta un
paesaggio naturale
caratterizzato da vegetali
rigogliosi e colorati.
In primo piano un campo di
fiori, sullo sfondo delle colline
tipiche del paesaggio italiano.

55. Sebastiano Piantanida - age 12 - Collage
55
My intention was to show
how the landscape could be
if unscrupulously “attacked”
by human interference.
I have imagined which
changes this environment
would undergo by means of
the decisions of institutions
that plan facilities without
any balance between men
and nature.
I think my work clearly
depicts the effects of
human decisions that don’t
respect nature and I also
think it forces people to
consider what kind of
environment we want to
leave to the ones who will
come after us.
.
Ho mostrato come potrebbe essere il paesaggio se venisse “aggredito” senza scrupoli dall’intervento dell’uomo.
Ho pensato a quali modifiche tale ambiente avrebbe potuto subire con un pesante intervento dell’uomo che
crea infrastrutture senza cercare un minimo di armonia. Mi sembra che il lavoro esprima chiaramente gli effetti
di interventi poco rispettosi sulla natura e faccia riflettere su quale ambiente vogliamo lasciare a chi viene dopo
di noi.
Italy – Lonate Pozzolo

56. Giuliano Belmonte
“Lago Maggiore: Agra”
Acquerello - Watercolour
56
Italy – Lonate Pozzolo
The painting represents
Lombard Prealps gently
sloping towards the lake
Contemplating this
landscape, people are
fascinated by its natural
beauty. The waters of Lake
Maggiore are lazily flowing
at dawn and the shapes of
the Prealps are reflected in
the lake.
Il quadro rappresenta le
Prealpi Lombarde che
scendono dolcemente verso
il Lago Maggiore.
Chi contempla questo
paesaggio, rimane
affascinato dalle sue bellezze
naturali. Le acque del Lago
scorrono pigramente alle
prime luci dell’alba e le linee
delle Prealpi si riflettono
nello specchio d’acqua dolce.

57. La verdeggiante collina è stata cementata per costruire una fabbrica, con le ciminiere da cui fuoriescono nuvole
nerastre di fumo dall’odore nauseante. Un’altra collina è stata traforata per lasciare il posto a una galleria
ferroviaria, percorsa dal “ Freccia rossa” da cui, viaggiatori irresponsabili, gettano bottigliette, lattine e involucri
di ogni genere nelle acque preziose del lago; un ponte freddo e grigiastro blocca la vista delle bellezze del
paesaggio. Nel lavorare al progetto abbiamo capito che l’uomo ha il potere di modificare l’ambiente per
soddisfare i propri bisogni fondamentali, ma spesso non pensa alle conseguenze.
Class VC - age 10 - Oil pastel and collage
57
The verdant hill was cemented to
build a factory with smokestacks
with choking clouds of blackish
foul-smelling smoke. Another hill
was perforated to make way for a
railway tunnel for the "Freccia
Rossa" train, from which
irresponsible travelers throw
away bottles, cans and wrappers
of every kind in the precious
waters of the lake; a bridge, cold
and gray, blocks the sight of the
beauty of the landscape.
While working on the project we
realized that the man has the
power to change the environment
to meet his basic needs, but he
rarely considers the
consequences.
.
Italy – Lonate Pozzolo

58. 58
Malta – Sliema
John Dimech
“Malta Grand harbour” - 1950
Oil on a board
The painting shows the beautiful old city of Valletta and the beautiful
Mediterrean Sea in the Grand Harbour.

59. Age 9 - Collage
98
I modified the painting by placing very high buildings and high cranes.
I also added rubbish and cans that were thrown in to the sea and so
polluting it. The result is a picture that shows how we can spoil our
lovely picturesque sites.
Malta – Sliema

60. 60
Malta – Sliema
The painting
represents a small
narrow road in a very
quiet village in Gozo,
sister island of Malta.
Mgiebah valley
Oil on canvas
J. Avellino
“Gozo” 2008
Acrylics on canvas

61. Age 10
Felt tips, coloured markers,
pencil colours and crayons
61
I added some
graffiti to ruin the
beautiful
architecture and I
also added some
rubbish such as
bottles and papers.
The lovely street
was turned into an
ugly and dirty
place.
Malta – Sliema

62. Gheorghe Patrascu
‘’Casa Veche’’ - 1939
“Old house”
Ulei pe panza – Oil on canvas
62
Gheorghe Patrascu
(1872 – 1949)
An old house in the
country, specific Romanian
architecture.
We have decided to use
the same painting both for
Section A (Scene to be
improved) and Section B
(Scene to be worsen) to
prove that human
intervention and behaviour
can have either a positive
or a negative effect on the
landscape.
Lucrarea reprezinta o casa veche de la tara specifica arhitecturii romanesti ..
Romania – Cluj-Napoca

63. Rogozan Carina - age 15 - Acrylic and watercolour
63
I imagined the space under
the effect of inappropriate
human behaviour and abuse,
I turned the house into an
uninhabited ruin with
cracked walls and covered
doors. In addition I
represented a furnace that
pollutes nature through its
black smoke. I used dark,
gloomy colours. I realized
that by adding new elements
to the original painting and
changing the colours I was
able to suggest a polluted
area. The feeling we have is
anger against a landscape
destroyed by bad behaviour
and carelessness.
Mi-am imaginat acest spatiu sub efectul comportamentului uman neadecvat si al abuzului;am transformat
casa intr-o ruina; este nelocuita, are pereti crapati iar ferestrele si usile sunt acoperite; alaturi am reprezentat
un furnal care polueaza natura prin fumul sau negru; am folosit culori inchise, sumbre. Mi-am dat seama ca
prin adaugarea unor elemente noi la pictura originala, prin schimbarea culorilor am reusit sa sugerez un spatiu
poluat de catre oameni. Sentimentul pe care il avem este unul apasator in fata unui peisaj distrus de
comportamentul neadecvat al celor din jur.
Romania – Cluj-Napoca

64. 64
United Kingdom – Birmingham
East Yorkshire
“The Arrival of Spring” - 2011
David Hockney

65. Year 4 - age 8-9
Tempera and collage
65
The intention was by attaching images of rubbish and waste to destroy the beautiful scene. We decided as a
class to find images of waste and rubbish from newspapers and magazines and to attach these to our
beautiful painted image, thereby creating a littered and ugly scene. The result was an ugly and unattractive
scene. The once bright beautiful forest scene has been destroyed, leaving a rubbished waste ground.
United Kingdom – Birmingham

66. 66

67. Will the beauty save
the world?
F. Dostoevskij “The idiot”
A lot depends on us!
67

68. 68
School subjects involved: Art, Geography, Human studies, ITC, English,
Work steps
Step 1
Children/students analyze the characteristics of their territory and landscape (both natural
and urban sites). They take pictures, look for information and pictures on the internet, at
the library…
Step 2
Children look for paintings representing both local and national typical landscape. They
select the most relevant paintings.
Art and landscape
Lesson plan

69. 69
Step 3
Children look for information about the selected painting (Title, painter, year of creation,
represented site or place, painting technique and style…). They are guided towards
analysing the represented scene.
Step 4
Children are given a copy of the original painting. They process/modify it according to their
imagination and taste. They can work individually or in groups. Any technique is allowed
depending on the age of children, their skill and personal taste or choice (collage, painting,
drawing, graphics, computer graphics…)
Step 5
Children comment the original painting, express their intention, explain their work.
Art and landscape
Lesson plan

70. Art and landscape
Lesson plan - Form
70
Partner school
Activity Let’s make our landscape
Class – Student group
Age
Original painting: Title
Author
Year
Represented site/place
Description (describe scene, place,
technique used by the author …)
Explain your intention. How are you
going to modify the original painting?
Processing technique
Work steps Step 1
Step 2
Step 3
(add as many steps as you need)
Comment your result

71. 71
Why aren’t there any shadows on the floor? Is it
because of the pollution in the air? Why are the
figures stooped over? Would you have liked to have
lived there then?
Step 3: Ask children to consider how this landscape
could be improved
Step 4: Children sketch improved scene imitating the
style of Lowry.
Step 5: children select paint or pastels to add colour
to their art work.
WORK STEPS
Step 1: All looked at the style and techniques of L.S
Lowry
http://www.bbc.co.uk/learningzone/clips/l-s-
lowry-s-britain-at-play/13815.html
Step 2: Encourage children to consider what it
must have been like to live in this industrial era.
Why is it different to today? Are the people
different too?
The lesson plan can be easily adapted to different class groups, ages or kind of students and
the activity can be carried out individually, in groups or with the whole class group. Here is an
example of how it was led by UK – Birmingham with 10-11 years old children.

72. Artists’ biographies
72
Akseli Gallen-Kallela
http://en.wikipedia.org/wiki/Akseli_Gallen-Kallela
Akseli Gallen-Kallela (26 April 1865 – 7 March 1931) was a Finnish painter who is best
known for his illustrations of the Kalevala, the Finnish national epic (illustration, below).
His work was considered very important for the Finnish national identity. He changed his
name from Gallen to Gallen-Kallela in 1907.
Gallen-Kallela was born Axel Waldemar Gallén in Pori, His father opposed his ambition
to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing
classes at the Finnish Art Society(1881-4) and studied privately. In 1884 he moved to Paris, to study at the Académie Juliann
December 1894, Gallen-Kallela moved to Berlin where he became acquainted with the Symbolists. On his return from Germany,
Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy. For
the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. The Paris Exposition secured Gallen-Kallela's
stature as the leading Finnish artist. In 1918, Gallen-Kallela and his son Jorma took part in the fighting at the front of the Finnish
Civil War. From December 1923 to May 1926, Gallen-Kallela lived in the United Stateswhere he visited the Taos art-colony in
New Mexico to study indigenous American art. In 1925 he began the illustrations for his "Great Kalevala". This was still
unfinished when he died of pneumonia in Stockholm on 7 March 1931.
Finland

73. Artists’ biographies
73
Pekka Halonen (23 September 1865 – 1 December 1933) was a painter of Finnish
landscapes and people. He was born in Lapinlahti. He lived with his family in a home and
studio on Lake Tuusula in Järvenpää, Finland that he, himself, designed and named
Halosenniemi. The beautiful and serene building is now a museum that includes original
furnishings and Halonen’s own art on the walls. There, on the shores of Lake Tuusula
where Pekka Halonen resided, an artists’ community developed and flourished, helping
to develop a sense of Finnish national identity. Halonen studied at the Art Society's drawing
school in Helsinki. In 1890 he moved to Paris where he studied at the Académie Julian and
later under Paul Gauguin.
Saara Tikka
Finland

74. Artists’ biographies
74
Paul Gauguin (1948 – 1903) was born in Paris in 1948. In 1851 his family left Paris
for Peru, motivated by the political climate of the period. Clovis died on the voyage,
leaving three-year old Paul, his mother and his sister to fend for themselves. They lived
for four years in Lima, Peru with Paul's uncle and his family. The imagery of Peru would
later influence Paul in his art. At the age of seven, Paul and his family returned to France.
He soon learned French and excelled in his studies. At seventeen, Gauguin signed on as
a pilot's assistant in the merchant marine to fulfill his required military service. Three
years later, he Joined the navy where he stayed for two years. In 1871, Gauguin returned
to Paris where he secured a job as a stockbroker. In 1873, he married a Danish woman, Mette Sophie Gad. Over the next ten
years, they would have five children. Gauguin had been interested in art since his childhood. In his free time, he began painting.
He also visited galleries frequently and purchased work by emerging artists. Gauguin formed a friendship with artist Camille
Pissarro, who introduced him to various other artists. By 1884 Gauguin had moved with his family to Copenhagen, where he
pursued a business career as a stockbroker. Driven to paint full-time, he returned to Paris in 1885, leaving his family in Denmark.
Without adequate subsistence, his wife (Mette Sophie Gadd) and their five children returned to her family. Gauguin outlived two
of his children. Paul Gauguin experienced bouts of depression and at one time attempted suicide. Disappointed with
Impressionism, he felt that traditional European painting had become too imitative and lacked symbolic depth. In 1891,
Gauguin, frustrated by lack of recognition at home and financially destitute, sailed to the tropics to escape European civilization
and "everything that is artificial and conventional." Living in Mataiea Village in Tahiti, he painted depictions of Tahitian life. His
works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of Polynesia. In 1903, due to
a problem with the church and the government, he was sentenced to three months in prison, and charged a fine. At that time he
was being supported by the art dealer Ambroise Vollard. He died of syphilis before he could start the prison sentence. His body
had been weakened by alcohol and a dissipated life. He was 54 years old..
France

75. Artists’ biographies
75
Jeremy Moncheaux
Jérémy Moncheaux is 25 years old and he lives in Lille, in the north of France.
He is an illustrator, specifically for childern's books.
He is passionate about painting and he often exhibits his paintings in Lille.
Isabelle Mora
Isabelle Mora is a painter who lives in Borbeaux. Her paintings belong to the « Art brut » movement and use with special colors.
Vincent Rallo
Vincent Rallo is a French painter who was born in 1954. He created his first drawing when he was 7 and he sold his first oil
painting to his teachers in college He graduated from the School of Fine Arts.. Today he lives in the south of France.
He was awarded by many first prizes at the beginning of his career. He is a sympathetic and direct man who loves peace and
freedom. For him, it is essential to express themselves. R.Vincent paints with a knife and brush, which gives the impression that
he carves his paintings. The material is generous and colorful. He has an eye for detail and captures the emotion perfectly. He
uses color and material to create an atmosphere The joy of painting does not leave his work. His first inspiration is the Provence
and its bright sun. His works are exhibited in many galleries across France as well as in private collections in Europe, USA and
Japan.
France

76. Artists’ biographies
76
Letitia Marion Hamilton (30 July 1878 – 11 August 1964)] was
an Irish artist who, with her sister Eva, studied under William Orpen at the
Metropolitan School of Art in Dublin and under Frank Brangwyn. She spent
some time in Italy, but travelled and painted all over the Continent. She was
born in Dunboyne.
Letitia was the great-granddaughter of the artist Caroline Hamilton (1771–1861).
She was a prolific painter of the Irish countryside, exhibiting more than 200 paintings
at the Royal Hibernian Academy of which she became a member in 1943. Together
with Paul Henry, his wife Emily Grace Mitchell/ Grace Henry, Mary Swanzy, Jack Butler Yeats and others, she formed the Society
of Dublin Painters in 1920.
Paul Henry (11 April 1877 – 24 August 1958) was an Irish artist noted for depicting the West of Ireland landscape in a spare
post-impressionist style.
Paul Henry was born in Belfast, Ireland, the son of a Baptist minister. He studied art in Belfast before going to Paris in 1898 to
study at the Académie Julian and at Whistler's studio. He married the painter Grace Henry in 1903 and returned to Ireland in
1910. From then until 1919 he lived on Achill Island, where he learned to capture the peculiar interplay of light and landscape
specific to the West of Ireland. In 1919 he moved to Dublin and in 1920 was one of the founders of the Society of Dublin
Painters. He separated from his wife in 1929. In the 1920s and 1930s Paul Henry was Ireland's best known artist, one who had a
considerable influence on the popular image of the west of Ireland. The National Gallery of Ireland held a major exhibition of his
work in 2004.
Ireland

77. Artists’ biographies
77
Aidan Timmons took to Art like a duck to water. His first indication
that his artistic talent was unique was when he won 1st place in a series of
Art competitions in the 1980's in Dublin. He was strongly influenced and
personally trained by his father - Brendan Timmons, the Irish landscape
painter.
His earliest works were in watercolour but he quickly moved to oils where
his free handling and atmospheric effects helped him to capture, like the
impressionists, the transient effects of light. Being reminiscent of many of the deceased great Irish landscape painters - Paul
Henry, Maurice Wilkes and particularly George Gillespie, he especially likes painting Connemara landscapes. Connemara is in the
West of Ireland and is famous for its unique landscape.
Ireland

78. Artists’ biographies
78
Gian Lorenzo Bernini (7 December 1598 – 28 November 1680)
http://en.wikipedia.org/wiki/Gian_Lorenzo_Bernini
was an Italian artist and a prominent architect who worked principally in Rome. He was
the leading sculptor of his age, credited with creating the Baroque style of sculpture.
In addition, he painted, wrote plays, and designed metalwork and stage sets.
A student of classical sculpture, Bernini possessed the ability to capture, in marble,
the essence of a narrative moment with a dramatic naturalistic realism which was almost
shocking. During the early years of the 17th century ,many sculptors and artists sought to
surpass the late Michelangelo, but Bernini acquired the title of being his ultimate successor with his superior sculpting abilities.
His works of art highlighted the essence of Classical sculpture and religious beliefs, and he managed to do that with his uncanny
ability to mold marble with striking natural realism that does not fail to express its narrative implications. He remains one of the
leading icons in the field of Roman Baroque architecture. His major masterpieces are the Rape of Proserpine and Apollo and
Daphne (1622-1625) that was considered as one of the most dramatic representations in their time due to the equally-dramatic
narrative of this instant in Metamorphoses, work of Ovid. The story traces its roots back to when Apollo, who was the god of
light in Greek mythology, told off Eros for playing with weapons for adults. Eros fought back by striking Apollo with a golden
arrow, causing him to madly fall in love with a water nymph that swore eternal virginity named Daphne, and by striking Daphne
with a lead arrow to counter every attempt by Apollo to woo her. The interpretation by Bernini portrays the transformation and
drama of Daphne as she goes through the different stages of her changes with the incorporation of the chiaroscuro technique to
further give the sculpture a narrative feel and a Hellenistic approach.
Italy

79. Artists’ biographies
79
Sandro Botticelli (1445/46 – 1510) .
http://en.wikipedia.org/wiki/Sandro_Botticelli
Sandro’s career as a painter started at the relatively late age of about eighteen
when he was apprenticed to Fra Filippo Lippi ,a well respected Florentine artist.
In Lippi’s workshop he would learn the techniques of composition and fresco
painting in addition to the grinding and mixing of various paints.
By 1470 Botticelli had his own workshop.
From 1481 to 1482 Botticelli worked on the decoration of the Sistine Chapel, his
contribution was a series of fresco’s on the left wall, “Events of the life of Moses”
“The Temptation of Christ” and “The Punishment of Korah”. He also worked on a printed version of the Inferno by Dante.
After Sandro returned from Rome in 1482 he embarked on a series of mythological works. These paintings form the basis of
Botticelli’s present day fame as an artist and are excellent examples of renaissance art work. They constitute some of the most
discussed and familiar images in renaissance art history and have a linear beauty that typifies this stage in the artist’s career.
“Primavera” is hailed as one of the artist’s greatest works and dates from 1482. Botticelli’s most famous work is the much copied
“Birth of Venus” 1485.This masterpiece was painted for the villa of Lorenzo Medici and is now in the Uffizi in Florence.
In 1504 the artist was appointed to the committee to decide on a site for Michelangelo’s statue of David, he had also served on
the committee to decide the facade for the Cathedral in Florence. Sandro Botticelli died on May 17th 1510 in Florence.
Italy

80. Artists’ biographies
80
Giuliano Belmonte (1945- 2012)
Since childhood he devoted himself to painting, experimenting over the years with paints
and oil, but the technique of choice quickly became watercolours. His work shows the
strong bond with "his" land, to be rediscovered in the landscapes, villages, churches, mills,
in the snow, in the lakes and in the sky of Prealps.
Alberto Bragaglia (1896 Frosinone -1985 Anzio)
Alberto Bragaglia attended the art school of Boccioni and Bocchi. In 1918, along with his
brothers, he opened The House of Bragaglia in Rome, a place where Futuristic artists could
discuss art and display their work. His paintings embodied the Futuristic style as well as the abstract, the research on color, and
the figurative and anatomical movement and intricacy of the body.
Futurism was an avant-garde movement launched in Italy in 1909. It is an artistic movement that rejected traditional forms and
incorporated the energy and the dynamism of modern technology into art. It began in literature but spread to every medium,
including painting, sculpture, industrial design, architecture, cinema and music.
Alberto Bragaglia is the inventor of polychrome abstract space. In 1913, he also proposed an abstract theatre. In short, it largely
inspired the brothers, who appeared much to the fore in the theatre, in film, stage design, the artistic and cultural movements.
Author of “ Panplastica and Polychrome Abstract Space”, worked with painting these theories: the motion of shapes and colors,
a different rhythm from the “eternal, omnipresent speed” and the “overwhelming and incendiary violence” of Futurism of
Marinetti . His work is a vital contribution to the European Futurism, that made him the protagonist of the early twentieth
century Italian avant-garde.
Italy

81. Artists’ biographies
81
Aligi Sassu ( 1912-2000 ) http://en.wikipedia.org/wiki/Aligi_Sassu
Aligi Sassu was born in Milan into a Sardinian-origin family. Aligi got soon interested
into arts. and joined the Futurist movement with his friend and designer Bruno
Munari. In 1934 he started studying the history paintings of the Louvre in Paris. In this
period he also painted what will be his “logo” in the future, the horse, omnipresent in
his future Production. He joined the anti-fascist cultural movement of Corrente di Vita
in 1938. After the Spanish Civil War, he started studying Vincent van Gogh and moved
back to Sardinia for some time. During this period, several paintings were dedicated
to the Sardinian rural life. In 1986, he completed 113 works inspired by the Divine
Comedy, three of which were purchased by the Pushkin Museum in Moscow. In 1993, he completed “Miti del Mediterraneo”, a
ceramic mural of 150 square meters for the new building of the European Parliament in Brussels.
Mario Sironi (May 12, 1885 – August 13, 1961) http://en.wikipedia.org/wiki/Mario_Sironi
Mario Sironi was an Italian modernist artist who was active as a painter, sculptor, illustrator, and designer. His typically somber
paintings are characterized by massive, immobile forms. He started his career as a Futurist painter. In 1922, Sironi was one of the
founders of the Novecento Italiano movement, which was part of the return to order in European art during the post-war period.
Sironi's works of the late 1920s, many of which feature monumental, archaic figures of families in bare, mountainous
landscapes, are "marked by a sense of humanity burdened with history. A supporter of Mussolini, Sironi contributed a large
number of cartoons—over 1700 in all—to Il Popolo d'Italia and La Rivista Illustrata del Popola d'Italia, the Fascist newspapers
and he also contributed to the Exhibition of the Fascist Revolution in 1932. Although his esthetic of brutal monumentality
represented the dominant style of Italian Fascism, his work was attacked by right-wing critics for its lack of overt ideological
content.
Italy

82. Artists’ biographies
82
John Dimech was born 14th May 1950. His work is mainly landscape,
particularly where the land meets the sea. He captures the light created by
those unique combinations of the elements at different times of the day.
This encourages the viewer to appreciate the beauty around us which would
go unnoticed if it weren’t for the artist’s eye.
Dimech was born in Malta into a family of jewellery makers. His early inspiration came via watching his two cousins paint in oils.
However, he works mainly in Acrylics and Watercolours.
After spending more than 20 years in England as a professional artist, he was given the chance to produce and present his own
art shows on Malta television. His favourite is MALTA ON CANVAS where he goes around Malta and paints 'en plein air' much
like the Impressionists loved doing.
Richard Saliba was born in 1943. Between 1960 and 1965 he frequented the Government School of Art, then under the
direction of Chev. Vincent Apap. Between the years 1975 and 1980 he followed courses in drawing and painting at the
Accademia di Belle Arti in Perugia where he studied under Bruno Orfei and Romeo Mancini and etching and engraving under
Diego Donati. These studies were later to be followed in 1982 by a specialized course in etching and aquatint at the Istituto
Statale d’Arte in Urbino.
Richard Saliba is perhaps best known for his landscape paintings. Although the love for Malta and of its environment will
continue to find expression in his landscape, Saliba’s main concern at the present time is the search for new forms of
abstraction.
Malta

83. Artists’ biographies
83
Nicolae Grigorescu ( 15th May 1838 - 21st July 1907)
Nicolae Grigorescu is the first of the founders of modern Romanian painting ,
followed by the Ion Andreescu and Stefan Luchian heaving become a
symbol for the young generations of artists who, during the first decade of
the 20th century, were striving to identity and bring to light the profoundly
characteristic values of Romanian spirituality. With a training marked by the
vein of mural painting traditions he came Close to during his young years and, equally, by the Impressionist painters
experiments, Grigorescu manifastead himself in various genres with an authority that would extend even after the artist's
disappearence. He painted compositions like the series of Carts Pulled by Oxen and also landscapes painted in the country or
during his journeys abroud ( At Posada , Eathern House in the Forest , City Crossroad at Vitre)
The exercise of outdoor painting brings luminosity to his pallet, as well as an unusual mixture of rigour and spontaneity to the
plastic construction pattern. Nicolae Grigorescu caused a fundamental change in the evolution of painting and artistic taste in
Romania , beeing the first Romanian painter of European circulation.
Gheorghe Petraşcu (1872 – 1949)
Gheorghe Petrascu was a Romanian painter. He won numerous prizes throughout his lifetime and had his paintings exhibited
posthumously at the Paris International Exhibition and the Venice Biennale. He was the brother of N. Petrașcu, a literary critic
and novelist. He painted mainly landscapes, compositions, still-lifes. His color palette is serious: blue, white, gray and brown.
Gheorghe Petrascu uses overlapping layers of color; this gives a sculptural structure to his works.He was one of the greatest
Romanian painters of the first half of the 20th century.
Romania

84. Artists’ biographies
84
David Hockney was important contributor to the Pop art
movement of the 1960s, he is considered one of the most influential
British artists of the 20th century.
Hockney’s work has always been distinctive and versatile, whether
through his realistic and serious portraits or his exotic landscapes.
He has established a clean and flat style of simple compositions in clear
bright colours that emulate his role model, Picasso, in his demonstration
of original thinking and creative freedom.
The Royal Academy of Arts presented the first major exhibition of new
landscape works by David Hockney RA. Featuring amazing vivid paintings
inspired by the East Yorkshire landscape, these large-scale works had been created especially for the galleries at the Royal
Academy of Arts and are shown alongside related drawings and film.
United Kingdom
L.S. Lowry
Lowry was an English artist born in Stratford, Lancashire. Many of his drawings and paintings depict Pendlebury where he lived
and worked for over 40 years, and Salford, Manchester and its surrounding areas.
Lowry is famous for painting scenes of life in the industrial districts of North west englandin the mid-20th century. He
developed a distinctive style of painting and is best known for urban landscapes peopled with human figures often referred to
as "matchstick men“. Lowry only used five different colours of oil paint in his work; ivory black, vermillion, Prussian blue, yellow
ochre and flake white. His application of the colours was more complicated than this palette suggests as he used
the colours either on their own to emphasise features within the composition, or more generally, mixed in blends. He had a
distinctive style of painting capturing people in everyday scenes.

85. 85
Planto Preservethis PrettyPlanet

86. Partner schools
Italy – Lonate Pozzolo (Co-ordinator)
Ist. Comprensivo C. Carminati Via Dante, 4 - 21015 Lonate Pozzolo (Varese)
Finland
Kyösti Kallion koulu Tarhinkuja 4, 85500 NIVALA
France
Collège Charles Péguy Avenue Charlemagne - 57640 VIGY
Ireland
Ovens National School Knockanemore, Ovens, Co. CORK
Italy - Frosinone
Scuola Secondaria di Primo Grado “Luigi Pietrobono” Via G. Puccini, FROSINONE
Malta
St Joseph junior school, Cathedral Street SLM 1526 SLIEMA
Romania
Liceul de arte plastic “Romulus Ladea 56, Dorobantilor street, CLUJ-NAPOCA
United Kingdom
Yarnfield Primary School Yarnfield Road Tyseley BIRMINGHAM B11 3PJ