The other title

cobaltbluecadmiumyellowyellowochrewhite 


firstdoor:1


firstdoor:2


firstdoor:3


yellowochrewhitepayne'sgreyroofabovefirstdoor3 


firstdoor3detail 


moreontheroofabovedoor3 


moreontheroofabovedoor3upclose 


adifferentperspective 

'Titles of exhibits, too, are subject to unforeseen
events and difficulties in surviving. The original title of this
exhibit was "If the eye leaps over the wall." The idea behind
this title was that the eye (the mind, pedagogy, the education
of a child) really begins to see, to reason and to renew itself
only to the extent that it is able to leap over a "wall" - the
wall of the banal and the rhetorical, the wall of conformity and
official inertia and reticence. No doubt we were all presumptuous,
including the children, but the choice was certainly worth the
risk. One day, however, the exhibit traveled to a certain country
in Europe and we discovered that the title simply could not
be decently or coherently translated. So the exhibit was
given a new title, which is the current one:
"The Hundred Languages of Children".
(Loris Malaguzzi, The Hundred Languages of Children)

Layerings

A conversation with E (5 years old)

What else should I put in this painting?
A picture of ballerinas. And dinosaurs, a picture of them.
What else?
Plastecine.
Plastecine?
A picture of plastecine on the wall and a pipe cleaner.
And maybe a picture of a foot. A head and a foot. An animal foot.


yellowochrepayne'sgreybalcony

Those are strange things to put in a painting of a house. What else?
A fox. A window. A blanket. A butterfly. A spider. A lock.
Houses have locks. That's a good idea.


yellowochrepaynesgreybalcony

Is there anything else that you can think of to go on this house?
A mailbox. And a feather. A peacock feather. Beside the animal foot.
A mailbox is a great idea! Every house has a place for mail.
And also lips on the wall. Rainbow lips. Right beside the fox.
This will be a strange looking house.
A funny house. Funny and strange.


whiteyellowochre

Is this house in the city or country?
The country.
That would explain all the animals. Can you think of anything else?
A book on the house. A funny book beside the wolf.
A wolf too?
The wolf goes in between the circle and the square.
On the red?
Yes...on the red.


whiteyellowochrewindows

What should go in the sky?
A broom in the sky.
Why a broom in the sky?
Because witches wear a broom in the sky.
Oh, is it a witch's house?
Yes.
That would explain all the other things you mentioned.


wyowindowsroofbalcony

I want to tell you something else.
What?
Scissors and crowns and worms go on the house.
Big ones or small ones?
Little and big. And coffee on the wall. A big mess of coffee splashed on.
On the flowers...
So there are flowers too?


balconyroofbaywindows

Hey! You put something new on the house.
What do you see that's new?
That.


balconyandroof

You mean the balcony?
Ya.


yellow ochre

What do you think of it?
That's where the fox goes.

Let there be

moments with 


lateafternoonlight 

..."that the measure of the clock is false. It is certainly
false concerning the time of children - for situations in
which true teaching and learning take place, for the
subjective experience of childhood. One has to respect the
time of maturation; of development; of the tools of doing
and understanding; of the full, slow and extravagant, lucid
and ever changing emergence of children's capacitites;
it is a measure of cultural and biological wisdom."
(Loris Malaguzzi)

Lawren Harris ~ Influences

Early Houses 1913 

Following his art training, Harris became fascinated
by an old Toronto district known as the "Ward" which
lay astride University Avenue and south of College St.

From 1910 til 1925, he painted a series of urban portraits
of its houses. The earliest ones were filled with accidental
light and shade and these are the ones I admire most.


Houses on St. Patrick St., 1923 

"Small rundown houses, many of roughcast, some of brick,
with bright touches in their paint and set amid chestnut
tress, board fences and refuse heaps. The facades seem always
to be changing as the harsh summer sunlight is replaced in
winter by days of dazzling brilliance or grey bluster."
(Harper, 1977)

Houses on Richmond St., 19 

But gradually, his paintings took on a monumental simplification.

"For the first time, Post-Impressionist colour, hot
and strident, had found its way into Canadian painting, the
neutral greys of the roughcast enhancing this intensity."
(Harper, 1977)

Red House 1925 

Broad surface planes
bold decisive strokes
simplified shapes
and brilliant colour.