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use this to help ID your flint fossils

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions.

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4. Minoan Head

Minoan Head

Description of this object or artwork

Hepworth was born in Wakefield, Yorkshire in 1903. In the early 1920s, she studied at Leeds School of Art alongside fellow Yorkshire-born artist Henry Moore. Both artists continued their studies together at the Royal College of Art in London, becoming leading artists in the avant-garde method of direct carving (working directly into a material without making models first).

In 1931, Hepworth met the artist Ben Nicholson, who later became her second husband. At the outbreak of World War II, Hepworth and Nicholson moved to live in St Ives, Cornwall. St Ives had long been a haven for artists, and here they co-founded the Penwith Society of Arts. Hepworth remained in St Ives until her death, which was sadly caused by a fire in her studio.

Minoan Head was made late in her career, but stylistically it has much in common with the sculptures Hepworth produced in the 1930s, when she was moving away from representations of the human body and more towards purely abstract forms.

The Minoan head is inspired by the culture that flourished around the Aegean island of Crete, between roughly 3000 - 1050 BC called the Minoans, after legendary King Minos. Minoan art was discovered at the end of the 19th century by archaeologist Sir Arthur Evans.

Our response to the work depends upon the angle which we view it from. Viewed straight on the sculpture looks like a stylized human head with one wide, all-seeing eye. Seen from the side, the eye socket is more sunken and the curve on the upper right recalls a forehead. As soon as you move around the object your impression changes, making us question what we are looking at.

Barbara Hepworth's name is still intertwined with the history and culture of St Ives, where you can visit her studio and sculpture Garden. In 2011 the Hepworth Wakefield opened in the town where she was born. It houses a collection of earlier 20th-century art by artists including Hepworth, as well as being a platform for contemporary artists. You can also see examples of her work locally in our friend Kettle's Yard collection.

This video shot in the 1950s from the BFI archives, shows Hepworth's working in her studio in St Ives, inspired by the nature and materials around her.

Collections database information

Minoan Head. White marble, carved with on one side by two grooves running from top to bottom, and one shorter groove, and pierced by a circular slanting hole; on wooden base.

Trustees of the Estate of Barbara Hepworth; lent to the Fitzwilliam Museum in 1978; allocated to the Museum following acceptance in lieu by the Department for Culture, Media and Sport, from the Estate of Barbara Hepworth

Legal notes

Allocated to the Museum following acceptance in lieu by the Department for Culture, Media and Sport, from the Estate of Barbara Hepworth

Acquisition and important dates

Method of acquisition: Allocated

Dates: 2000

Dating

Maker(s)

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Techniques used in production

Carving : White marble on wooden base

Associated department: Applied Arts

Identification numbers

Accession number: M.11-2000

Priref: 28448

External ID: CAM_CCF_M_11_2000

Stable URI

Audit data

Created: 06-08-2011

Updated: 06-02-2020

Last processed: 22-12-2020

Data source: adlib

Associated institutions

Look at the work

Look carefully at this sculpture. The title gives us a clue of what it is supposed to be: a head.

What else does it remind you of?

Think about this work

This artwork is known as an abstract form.

In 1946 Barbara Hepworth wrote, 'I spend whole periods of time drawing when I search for forms and rhythms and curvatures for my own satisfaction.'

Can you abstract the view from your window following these tips?

Do something in response

Carve your own soap sculpture inspired by the shapes, forms and lines you see around you with the help of this video.

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Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do Minoan Head Description of this object or artwork Hepworth was born in Wakefield, Yorkshire in 1903. In the early 1920s, she studied at Leeds School of Art alongside fellow Yorkshire-born artist Henry Moore.

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions.

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4. Ramesses Iii

Rameses III

Description of this object or artwork

According to Helen Strudwick Associate Curator (Ancient Egypt), this granite sarcophagus lid was found in the tomb of Ramesses III in the Valley of the Kings, which is fairly close to the tomb of Tutankhamun. It is not clear when the object was damaged, but it may have been caused by tomb robbers trying to reach the king's treasure. The Pharoah's mummified body would have lain inside several other wooden and gold coffins within this sarcophagus.

Recent excavations in the burial chamber of this tomb have uncovered several more fragments of granite. Their shape suggests they belong to this sarcophagus lid, but they do not fit. This makes us think that Ramesses III may have had a second granite sarcophagus. This is possible because one of his predecessors, King Merenptah, who was also buried in the Valley of the Kings, had at least three granite sarcophagi. This raises the fascinating question of whether all the coffins and sarcophagi were fitted together before they were put into the burial chamber, which would have been a monumental undertaking. Or they might have been assembled inside the burial chamber, which would also have been extremely difficult. What do you think?

You can find out more about Ramesses III Sarcophagus Lid in our Fact Sheet.

Collections database information

Red granite sarcophagus lid of Ramesses III in the shape of a cartouche. In the centre of the lid is the king depicted as the god Osiris in mummy form. On his head he wears the Atef crown composed of ostrich feathers, a sun disk and a pair of ram's horns. Emerging from his forehead is a uraeus, the royal symbol of protection. The king also wears a long plaited beard, another divine symbol associated with the god Osiris, and a long wig with lappets. The king's arms are crossed over his chest and in his hands he holds the crook and flail. On either side are the standing figures of the goddesses Isis (Proper Left - PL) and Nephthys (Proper Right - PR). Much of Isis's figure is missing owing to a large break in the lid which extends from the back part of her head to the base (the break was probably caused by tomb robbers in antiquity). Nephthys stands on the hieroglyphic sign for gold 'nbw'. In between the depiction of Ramesses III and Isis and Nephthys are probably four snakes, two of which have female bodies and heads. These snake-women, who probably represent the goddesses Nekhbet and Wadjet, raise their hands in adoration of the dead king. Hieroglyphic text is inscribed around the lid's outer edge.

Sarcophagus lid of Ramesses III

July 1816 - Bernardino Drovetti meets Giovanni Belzoni and gives him the granite sarcophagus lid 12 August 1816 - Belzoni attempts to remove it March or April 1817 - Belzoni successfully removes it c. November 1817 - finds are shipped to Cairo 20 April 1818 - Henry Salt concedes a sarcophagus lid from the Valley of the Kings to Belzoni 27 January 1819 - Another shipment of finds from Luxor to Cairo and then Rosetta, including a sarcophagus lid May 1821 - shipped from Alexandria on the 'Dispatch' (Seti I's alabaster coffin also on this ship) August 1821 - 'Dispatch' arrived in London Autumn 1821 - all objects moved into the courtyard of the British Museum March 1823 - Ramesses III's sarcophagus lid sent to Cambridge 31 March 1823 - lid arrives in Cambridge The link between Giovanni Belzoni and Cambridge is most probably The Reverend George Adam Browne who was associated with Trinity College. He was also a Freemason, like Belzoni.

Acquisition and important dates

Method of acquisition: Given

Dates: 1823

Dating

Maker(s)

Place(s) associated

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Materials used in production

Associated department: Antiquities

Identification numbers

Accession number: E.1.1823

Priref: 49037

Oldadmincategory: SS

Stable URI

Audit data

Created: 06-08-2011

Updated: 18-02-2021

Last processed: 19-02-2021

Data source: adlib

Associated institutions

Look at the work

Do you think this might be someone important?

How can you tell?

Think about this work

This is the lid of an Egyptian Pharoah's sarcophagus (stone coffin) made over 3000 years ago. It weighs about 7 tonnes.

How do you think the Ancient Egyptians carved this sculpture?

How do you think they moved it down the river 150 miles and then dragged it over 8 miles of desert to the Valley of the Kings?

Do something in response

Can you make a raft to float Ramesses' sarcophagus up the Nile? Use what you can find at home and experiment with different shapes and sizes of boat.

What floats and what sinks?

Play our interactive Pharoah's Quest game to find out the answers to these challenges and more about extraordinary ancient Egyptians.

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3d model

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

Useful links

About the University

License

© 2020 The University of Cambridge

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do Ramesses Iii Description of this object or artwork According to Helen Strudwick Associate Curator (Ancient Egypt), this granite sarcophagus lid was found in the tomb of Ramesses III in the Valley of the Kings, which is fairly close to the tomb of Tutankhamun.

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions.

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4. Roman Mosaic Niche

Roman mosaic niche

Description of this object or artwork

Mosiac floors and decorations were a statement of the wealth and importance of the owner, as many materials such as coloured stones or glass were rare and often expensive. The mosaic consists of a plaster background that has been covered with coloured squares, or tesserae, of glass and other materials including Egyptian blue, marble and other types of stone, bordered with shells. The niche may have held a small statue and the mosaic would have provided an idyllic garden background with three birds coming to land and a colourful peacock already resting at the bottom. The presence of the peacock, an expensive bird and status symbol, indicates that the person who commissioned the mosaic was making a statement about his wealth and position.

Collections database information

Architectural niche

Acquisition and important dates

Method of acquisition: Given

Dates: 1910

Dating

mosaic

Maker(s)

Note

Mosaic

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Materials used in production

Associated department: Antiquities

Identification numbers

Accession number: GR.159.1910

Priref: 68584

Online 3D model: 8b93dbfc6c7547329c64efb5b37f8a90

Stable URI

Audit data

Created: 06-08-2011

Updated: 18-02-2020

Last processed: 22-12-2020

Data source: adlib

Associated institutions

Look at the work

Set a timer for 1 minute and look really carefully.

When the time is up, look away and make a list of what shapes, colours and details can you remember.

Now have another look and check you anwers!

Think about this work

This beautiful mosaic niche once decorated a Roman villa in Baiae, near Naples in Italy.

It dates back to between AD50-70.

Can you find this date on our timeline?

What was happening in Britain at this time?

Do something in response

Roman mosaics were made of thousands of tiny coloured stones and gems. Each one was individually laid by hand into wet plaster.

Watch our video and make your own mosaic.

Collections record

3d model

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

Useful links

About the University

License

© 2020 The University of Cambridge

Top

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do Roman Mosaic Niche Description of this object or artwork Mosiac floors and decorations were a statement of the wealth and importance of the owner, as many materials such as coloured stones or glass were rare and often expensive.

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Over the past twelve months, thousands of local children and teachers have studied a Renaissance panel painting of Cupid and Psyche by Jacopo del Sellaio. A selection of their work is on display in the Inspire exhibition at the Fitzwilliam Museum from 10 December 2019 - 23 March 2020.

"Going to the Fitzwilliam really inspired me that art isn't just a thing: its emotion- it shows how the painter feels, and that the museums are magical places. It gives people the chance to experience history and to make memories."

- Matilda, aged 9, Cheveley C of E Primary School.

Why?

Inspire was developed in partnership with artist led charity AccessArt, and celebrates young people's creativity at a time when there are widespread concerns over the decline of the arts subjects in schools. The 2016 NSEAD ( National Society of Education in Art and Design) survey, found a significant decline in the number of art specialist teachers in primary schools, with 55% of subject coordinators rarely or never attending subject- specific training. Although 67% of art teachers stated they would like to attend museum training, only 25% were able to do so. Inspire provides this much needed training to develop teacher knowledge of art and design and to improve confidence developing cross-curricular creative projects taking inspiration from museum collections.

Looking at objects is an excellent starting point for creative research and investigation. The Fitzwilliam Museum's long-established schools and teachers programme, encourages students and teachers to look deeply and thoughtfully at objects and images, and to respond imaginatively, though thinking, talking, and making together.

Getting started

We wrote to every headteacher in Cambridgeshire inviting schools to take part in the project. In early 2019, 68 teachers from 40 schools participated in Inspire training sessions led by museum educators, artists from AccessArt and conservation students from the Hamilton Kerr Institute. Feedback from teachers demonstrated that they appreciated the opportunity to learn new approaches to working with pictures, to try out new art materials and techniques. They also enjoyed networking with other, like minded professionals.

'I enjoyed trying out new skills and thinking of ways we could integrate these and link to our classroom setting. I enjoyed the guided tour and explanation of the painting, the close-looking and ideas on how to study paintings.'

'I gained a sense of renewed hope that there are art initiatives taking place for schools. Excitement that this one is linked to our nearby Fitzwilliam Museum."

- Feedback from teachers attending CPD training event

Following the training sessions teachers returned to their schools to plan and deliver their own creative projects, with the support of online resources and the possibility of booking a visit to the museum with their class.

Looking

Teachers were encouraged to begin the project by spending time looking carefully and closely at the painting with their pupils. Only 17 schools visited the museum, and we were initially concerned that many were finding it difficult to fit the project into the busy curriculum. However, upon contacting the schools we realized that many had decided to involve the whole school in the project, or in one case, were working across a multi academy trust which made visiting the museum logistically impossible!

Some schools sent small groups of students and teachers to visit the picture at the museum, who then shared the project back at school though, newsletters, assemblies and meetings using reproductions of the painting and our digital learning resources.

Making and trying things out

We were delighted that 32 schools submitted work for the exhibition and we were incredibly impressed by the high quality of the submissions. Teachers and students challenged themselves to test ideas, materials and processes as part of the project to make something new.

Some retold the story through drama or role-play, like these Reception pupils from Thriplow Primary School who re-created Psyche and her sisters in clay and made their own natural landscapes.

An art club from St Peters C of E Junior School in Wisbech were struck by Psyche's resilience over the course of the story and designed and made her a denim dress to reflect this. Children from Wilburton Primary School made short animations on iPads exploring different themes from the painting.

Others, such as Willingham Primary School were fascinated by the materials Sellaio had used and studied Renaissance art. They then mixed their own paints with egg yolk and painted landscapes of their own on wooden panels.

Working together

Teachers explored the painting in many different and creative ways in which in different ways with pupils of all ages, providing opportunities for children to take the lead in their own learning and follow their own lines of enquiry. We had several fantastic collaborative pieces such as the 3D Bower from Kings Hedges Primary School to break Psyche's fall from the hill and pupils from different classes at Heritage School to create wonderful Renaissance bedrooms.

Challenges

Schools needed more time to work on the project in between the CPD sessions and submission dates. Running the training in the Autumn term would allow the project to fit it into curriculum plans more easily. There was also a few teachers who had left schools throughout the year, and so were not able to pass on the training to other colleagues to allow them to take part. Schools that could not manage to take part this year, was that they would love to be part of future projects.

It was incredibly difficult to select work from so many schools and pupils, all of whom had worked so hard on the project. In the future, we would like to have the time and space to work more closely with schools to ensure that we are able to display work from every participating school. We have several artworks 'popping up' in other locations in the museum for the Inspire exhibition which has enabled us to display them, but next time we would like more space to display children's work.

Next steps

We had a wonderful opening celebration in early December where teachers, children and families were proud and excited to see their work on display.

The exhibition marks the launch of the next phase of Inspire. Over the course of the exhibition we will run further training sessions for teachers and invite participants to celebrate and share their work with us. We also had a special trip to the Houses of Parliament to share the project with the All Party Parliamentary Group for Education in Art and Design. The project was presented to the group as an example of how artists, museums and galleries and schools can work together to promote and celebrate young people's creativity. We hope develop our community of dedicated and talented artist teachers further in the future. Together we are committed to ensuring that all children have access to art and culture and much needed time and space to look, think and create.
The Inspire 2020 exhibition runs until 22 March. You can find out more about the project on our Inspire project pages. We have an exciting selection of events planned for children, teens and adults to compliment the Inspire exhibition. Please see the Fitzwilliam Museum's website for details.

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Inspire: a celebration of children's art

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"Going to the Fitzwilliam really inspired me that art isn't just a thing: its emotion- it shows how the painter feels, and that the museums are magical places. It gives people the chance to experience history and to make memories." - Matilda, aged 9, Cheveley C of E Primary School.

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Arbury Primary School, Bottisham Primary School, Cheveley C of E Primary School, Great and Little Shelford C of E Primary School, Great Giddings C of E Primary School, Harston and Newton Community Primary School, Haslingfield Endowed Primary School, Hauxton Primary School, Heritage School, Histon and Impington Junior School, Houghton Primary School, Kings Hedges Primary School, Linton Heights Junior School, Mayfield Primary School, Milton Road Primary School, Morley Memorial Primary School, Peckover Primary School, Robert Arkenstall Primary School, Samuel Pepys School, St Laurence's Catholic Primary School, St Peters, Stamford School, Stapleford Community Primary School, Thorndown Primary School, Thriplow C of E Primary School, Cambridge University Primary School, The Vine Interchurch Primary School, Wheatfields Primary School, Wilburton C of E Primary School, William Westley C of E Primary School, Willingham Primary School

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Inspire: A Celebration of Children's Art in Response to Jacopo del Sellaio's Cupid and Psyche

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Arbury Primary School, Bottisham Primary School, Cheveley C of E Primary School, Great and Little Shelford C of E Primary School, Great Giddings C of E Primary School, Harston and Newton Community Primary School, Haslingfield Endowed Primary School, Hauxton Primary School, Heritage School, Histon and Impington Junior School, Houghton Primary