Heritage preservation and interdisciplinary approach through Fine Art and Science Education

Robert Potočnik Iztok Devetak Heritage preservation and interdisciplinary approach through Fine Art and Science Education Bratislava, 2020

Heritage preservation and interdisciplinary approach through Fine Art and Science Education Written by: dr. Robert Potočnik, University of Ljubljana Reviewed by: dr. Iztok Devetak, University of Ljubljana dr. Tonka Tacol Translated by: Published by: Prof. Dr. Božena Šupšáková, PhD. Dora Debeljak URL access: Digit, s.r.o., Publishing House, Bratislavská 18, Designed by: Prepress by: 900 21 Svätý Jur, Slovakia http://www.arteducation.sk Eva Sikošek Paško Justinčić CIP Data created by the Slovak National Library. On-line ISBN: 978-80-968441-5-9 All rights reserved. ©2020

Table of contents Foreword .............................................................................................................................5 Cultural heritage preservation education........................................................................... 7 Recommended content in the first educational period ....................................................................8 Recommended content in the second educational period ............................................................ 10 Recommended content in the third educational period ................................................................ 11 Interdisciplinary approach in Fine Art and Science Education in elementary school..... 13 Interdisciplinary approach: Fine Art Education and other school subjects.................................... 14 Interdisciplinary approach: Fine Art and Science Education........................................................... 17 Didactic activities at a conservation and restoration workshop..................................... 21 First workshop.................................................................................................................................. 22 Second workshop............................................................................................................................. 29 Third workshop................................................................................................................................ 37 Teaching and Learning modules........................................................................................ 51 Pigments and dyes............................................................................................................................. 51 Adhesives and binders...................................................................................................................... 67 Paper.................................................................................................................................................. 79 Study presentation ........................................................................................................... 89 Conclusion......................................................................................................................... 97 Bibliography....................................................................................................................... 99 Subject index................................................................................................................... 105



Foreword The scientific monograph presents the results of the study obtained through the Fine Art Materials and Heritage Preservation Education (Project Work with the Private and Public Sectors in a Local and Regional Environment - Creative Path to Knowledge 2017-2020, 2nd opening) project which involved Taja Klemen, Monika Malnarič, Ana Marija Rauch, Eva Sikošek, Teja Sulejmanovič and France Kavčič. Tanja Košir was also involved in drawing up the text. Our primary consideration was to examine the possibilities of addressing Fine Art and Science Education content in relation to cultural heritage and provide options of including an interdisciplinary approach to issues associated with cultural heritage preservation education in Fine Art and Science Education in elementary school. Three didactic activities were carried out at a conservation and restoration workshop per period of education, in which various research methods were used to illustrate the possibility of addressing Fine Art and Science Education content and to provide student feedback. Experts from different disciplines were inquired about their opinions regarding the possibilities of including heritage preservation education content into the elementary school system and presented their views on the aforementioned issues. The scientific monograph includes three teaching and learning modules resulting from the activities whose purpose is to facilitate the application of the interdisciplinary approach to the issues associated with heritage preservation education in curricular and extracurricular activities. Key words: heritage preservation education, fine art education, science education, interdisciplinary approach 5

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Cultural heritage preservation education Teachers should raise awareness of students on the importance of conserving and protecting cultural heritage throughout the entire schooling period and include related content in the performance of fine arts tasks in addition to adapting the content discussed to the age of the students. By integrating such content, teachers guide students to formulate an attitude and develop the skills required to protect everything created by both humans and nature and to raise awareness on the importance of cultural heritage for general and cultural identities. By raising awareness of the students on creation methods and/or materials used in cultural heritage, teachers enforce a respectful and responsible attitude towards various types of man-made heritage, with an emphasis on visual art and architectural heritage, cultural landscape and selected artefacts of folk craft and art (Bogataj, 1993, Potočnik, 2018). By systematically raising awareness in students by means of various teaching methods, teaching aids, fine arts materials, fine arts expression and work methods, teachers promote a positive and responsible attitude of students towards cultural heritage in addition to developing their creativity and ability for critical evaluation and interpretation of cultural heritage, its conservation and protection. Creative and diligent fine arts teachers guide elementary school students to recognise the specific features of cultural heritage and impart a critical attitude towards and responsibility for its conservation and protection. The fine art curriculum already focuses the attention of teachers thereto during the first educational period. According to the curriculum, teachers shall pay attention to the way students experience and express their emotions, how they relate to their peers, which kind of emotions they experience interacting with other students and how they handle various objects. As early as during the first educational period, the teacher should meet the objectives and discuss the required content subject to the curriculum in addition to raising the awareness of students on cultural heritage, its conservation and protection on a basic level. Teachers shall pay special attention to guiding students towards observing various types of heritage in their own environments. They should also accustom their students to identify their state and to find simple solutions for their conservation and protection. During the second educational period, the teacher 7

should meet the objectives and discuss the required content subject to the curriculum in addition to raising the awareness of students on cultural heritage, its conservation and protection on a more complex level. Teachers shall also pay special attention to guiding students towards observing various types of heritage in both their local environments and a wider area. They shall provide students with more in-depth explanations of the differences between tangible and intangible and moveable and immoveable cultural heritage. They shall also ensure that students learn the difference between conservation and protection on one hand and conservation and restoration of cultural heritage on the other. During the third educational period, teachers shall raise awareness and ensure that students learn the basic differences between various conservation and restoration interventions on paintings and sculptures subject to the elements (materials) used in works of art. They shall also teach students on the differences between various materials and the original and unrepeatable nature of material (tangible) cultural heritage. In addition, they shall focus on promoting observation of heritage in both the local environment and the wider area in students, in particular by ensuring that students express their findings and views on the state of the cultural heritage and make proposals for its improvement (critical thinking). Teachers should raise awareness in their students on the deterioration of local architectural and visual art heritage and other associated issues such as vandalism, neglect, theft, etc. thereof. Recommended content in the first educational period In the first educational period, teachers provide information on cultural heritage, present the differences between natural and cultural heritage, natural and cultural landscape and immoveable and moveable heritage. They shall discuss the content in an appropriate manner based on the age of the students and shall apply work methods and types that promote exploration in students. They can shed some light on the origins of man-made fine arts creation and present the first known fine arts materials, preparation and creation methods and various uses. In painting, they can present soil pigments, charcoal, burnt bones and 8

chalk as the first paint materials available to humans that they applied with their fingertips, with the help of lichen or moss, animal fur, by blowing paint through hollow bones, etc. In sculpture, the teacher can present the materials used in the first known sculptures: soil (clay, argil), bones, ivory, stones, various metals that humans found nearby and intervened into by means of simple aids, by adding – modelling or by removing – carving. In architecture, teachers can teach students about the first homes (caves) as the first original type of natural shelter, first buildings and construction materials: soil (clay), wood, stone, straw, baked clay (bricks) (Juvanec, 2006, Potočnik 2018). During the first educational period, teachers should guide students to observe their local area and to find local examples of visual art heritage (e.g. in churches, chapels, squares, homes) and to describe differences between paintings and sculptures, between murals and paintings on canvas, between wooden painted sculptures and metal sculptures, etc. In particular, teachers should focus the attention of students to observing deteriorating architectural heritage and recognising the importance of a responsible attitude of both the owner and society as a whole towards it and finding simple solutions for the re-use of a particular architectural heritage unit, in addition to comparing traditional and contemporary materials used in paintings, sculptures, architecture and folk craft and the basic differences that both groups of materials allow for. In order to promote a more sensible perception of the importance of conserving cultural heritage and to enhance a responsible and respectful attitude towards it, students can also create fine arts works from materials they create themselves, such as by becoming aware of paint as a set of pigments (small grains of various natural substances) and binder medium created from substances/materials they are familiar with (milk, eggs, wax) by creating their own simple paint. By introducing students to the origins of various materials and to various simple application methods, teachers raise awareness in their students on the various materials used in cultural heritage. By teaching them about their transience, students are taught about the importance of their conservation and protection. During the first educational period, students should visit various institutions in charge of conserving and protecting cultural heritage and learn the basics of heritage concern through various didactic aids. 9

Recommended content in the second educational period During the second educational period, teachers can shed light on man-made fine arts creations and provide an in-depth insight into fine arts materials, preparation, creation methods and types of uses. In painting, they can make in-depth presentations of parts of a painting: the mat created from the painting medium (such as paper, wood, canvas) and basis composed of a filler (such as plaster or chalk) and binder medium (such as glue or oil) on which paint (a set of pigment and binder medium) is applied. Teachers can also present the development of painting media: painted walls on cliffs, wall surfaces, wood, paper, canvas and various contemporary materials. Students can also be introduced to paint ingredients in early paintings: mixtures of pigments found in the local area (mineral dust, charcoal, burnt bones, limestone) and binder media (water, liquids from various plants, animal fat, protein and blood). Students are taught to understand the development of painting from wall paintings in the pre-historic era, paintings in lime plaster (frescoes), paintings created with a mixture of pigments, wax and resin (encaustic paintings), to egg tempera, oil paint and canvas as a painting medium and various types of synthetic paint (such as acrylic paint). In sculpture, students can be introduced to sculptures made from various materials: traditional (clay, plaster, stone, wood, metals) and contemporary materials. Students are taught to distinguish between immoveable sculptures that form part of a building and moveable sculptures. Sculptures are: stone sculptures, wooden painted sculptures, wooden sculptures, stone painted sculptures, architectural sculptures (including advanced moulding), metal sculptures, ceramic sculptures, sculptures from other materials (Makuc Semion, Dolenc Kambič, 2004, Potočnik 2018). In architecture, the teacher can teach students to learn about the development of space in a house (homestead), in a rural and urban environment (Juvanec, 2006, Potočnik, 2018). In the second educational period, teachers encourage students to make in-depth comparisons between traditional and contemporary painting, sculpture, architectural and folk craft materials, identify opportunities and basic differences both groups of materials allow for. 10

Students should visit institutions in charge of conserving and protecting cultural heritage and become familiar with the following professions: conservator-restorer, conservator-architect, conservator-landscape architect, etc. By creating a fine arts work from traditional materials, they become familiar therewith and enhance the creation technology with a sense of responsibility towards visual art heritage, its conservation and protection. Recommended content in the third educational period In the third educational period, teachers can shed light on conservation practices both locally and abroad (Dvořák, 1916, Jokilehto, 1999, Potočnik 2018). By applying contemporary fine art practices (performances, textual art, landscape art, installations, etc.), students can learn about conservation and protection of visual art, architectural heritage, cultural landscape and selected artefacts of folk art and craft. In architecture, students are taught to distinguish between secular (rural, town/ city and market-town buildings) and sacred (churches, chapels, plague columns) and secular-sacred (monasteries, presbyteries) heritage; they can distinguish between various types of use: residential or non-residential, changes to the intended use of a facility, describe roofs, builders’ joinery, materials, details, etc. used in architectural heritage and compare them to contemporary architecture. Students can also become familiar with various cultural landscapes and their distinct architectural heritage, important differences and specific origin (such as the Bovec House, the Carinthian House, etc.). They use photographs to identify new buildings that match the identity of a specific cultural landscape and to describe its characteristics. Teachers can also encourage students to observe appropriate and inappropriate interventions onto architectural heritage and cultural heritage both locally and elsewhere (materials used in restoration procedures, stylistic configuration of details, increasing apertures, replacing builders’ joinery, colours of the façades, additions to facilities, size of facilities, impact of architecture on the environment subject to existing architecture or distinct cultural landscape, etc.). Illustrations of architectural heritage allow students to identify man-adapted measures and ratios (symmetry, rhythm, the Golden Ratio). 11

Photographs of the landscape can serve to compare new buildings that match the existing identity of the cultural landscape and establish inappropriate characteristics of new buildings (such as oversized dimensions, imbalanced aperture ratio, inappropriate façade paint, decorative memorials, materials, etc.). They should also become familiar with the work of conservators-restorers and their interventions onto visual art heritage. They shall also be introduced to the types of architectural heritage conservation and protection procedures: restoration (maintenance, rehabilitation in compliance with the required conditions and subject to prior consent of the conservation service if the building is deemed cultural heritage or monument and has been entered into the Immoveable Heritage Registry). In terms of fine arts tasks, they can plan changes to the existing local architecture: reconstructing existing single-family houses (“cubes”) into buildings that match the identity of the local cultural landscape or urban environment (Ivanič, 2012), renovating architectural heritage in compliance with contemporary needs, exploring changes to the landscape and architecture by utilising past resources and by documenting the current state. Students shall create a fine arts work according to the traditional technology of creating a painting on canvas: tightening the canvas on a wooden frame, preparing the canvas (creating a semi-oil or oil medium), paint (creating one’s own oil or other type of paint); a fine arts work according to the traditional technology of creating a wooden painting (creating a glue-clay medium) and an egg tempera. During regular classes, elective subjects, on cultural and technical days, in a fine arts afternoon class, etc., students should visit institutions in charge of conserving and protecting cultural heritage. They shall also become familiar with secondary and tertiary study programmes for professions engaged in the conservation and protection of cultural heritage. 12

Interdisciplinary approach to Fine Art and Science Education content in elementary school An interdisciplinary or cross-curricular approach is a method of achieving new educational objectives of elementary school which stretch into the future of economic life. Students are introduced to the life of modern-day society which requires the following skills: a broad outlook on life, personal sophistication, independent and original problem-solving skills, teamwork of various experts in the occupational field, self-confidence and mental health and continuous self-study and training ability of the individual (Bergant, 1990). An interdisciplinary or cross-curricular approach as a concept refers to the interlacing of learning content of various school subjects (Štemberger, 2007). Before lessons are planned, inquiries need to be made regarding the school subjects for which the interdisciplinary approach shall be applied, additional sources of information and ways to create a supportive learning environment (Purcell Cone, Werner, Cone, 2009). Optimum efficiency and quality of such an interdisciplinary approach requires thorough preparation. Ad hoc random interdisciplinary approaches do not lead to very high results. Proper conditions for an interdisciplinary approach need to be provided for in advance (flexible timetable and school-work organisation, appropriate facilities, if applicable, collaboration of the teaching staff, etc.). Relevant professional and didactic competencies of teachers are of key significance. If optimum conditions cannot be provided for, existing circumstances and work conditions shall be taken into consideration (Štemberger, 2007). Proposed steps which can facilitate the planning, implementation and evaluation of an interdisciplinary approach are as follows: review of the curriculum, selection of the content and objectives to be addressed in an interdisciplinary manner, a study of the selected topic (provision of additional information appropriate for the age and developmental phase of the children involved), selection of an appropriate interdisciplinary model, drawing up of a lesson plan and making other required logistic arrangements (specification of work forms, provision of individualisation and differentiation, provision of active participation of all students, drawing up of materials, etc.) and, in the end, planning the evaluation (grading method) is subject to the objectives, processes and activities carried out by students (Purcell Cone, Werner and Cone, 2009). An interdisciplinary (cross- 13

curricular) approach must be pursued with the understanding of both advantages and disadvantages of such a teaching method. The interdisciplinary approach shall be planned on the following grounds: promoting comprehensive activities of students (who shall gain independent and active learning experiences) and taking into consideration their cognitive, emotional and physical functions, networked learning in addition to several types of intelligence which enhances their learning capacities. However, this approach shall be pursued with caution in order to ensure that such a work method does not result in overly simplified didactic solutions, unclear learning objectives, a sole focus on substantial connections, negligence of the properties of any individual school subject and issues associated with organisation and implementation (Sicherl-Kafol, 2007, Štemberger, 2007). Interdisciplinary approach: Fine Art Education and other school subjects The interdisciplinary approach usually involves previously acquired concepts which are placed into a new context which can, subsequently, also be expanding to an understanding of concepts themselves. In the interest of visual learning it shall be clear that fine art activities of all types play an essential role in the educational process (Hickmann, Kiss, 2010, Duh, Herzog, Zupančič, 2016). Since fine arts consist of several layers in their own right and fine art creation encompasses a wide variety of activities, an interdisciplinary approach can be used for Fine Art Education and almost any other school subject. As a rule, the comprehensive nature of aesthetic fields is highlighted. Nevertheless, the way Fine Art Education is connected to science school subjects is also of relevance. An interdisciplinary approach, however, requires different planning of lessons, a different course thereof and taking into consideration of specific features of all content. Therefore, it is challenging to generate a proper and organic interconnection between learning content (Karlavaris, Berce-Golob, 1991). An interdisciplinary approach that connects Fine Art Education with other school subjects cannot be of high quality if Fine Art Education is subordinated to another school subject, its objectives are not fully taken into account, if it is only used for the purpose of illustrating a specific topic or if the teacher requires only 14

one ‘correct’ definition of aesthetics. The same also applies to excessive focus on Fine Art Education, if work methods are pre-selected solely subject to the Fine Art Education aspect of the interdisciplinary approach and if this approach is overly concentrated on the attitude of students towards fine arts (Wenner, Berg, Mesler, 1970). An interdisciplinary approach can be pursued in Fine Art Education lessons in the following ways: (1) by creating connections between concepts based on a verbal interpretation: through teaching aids and explanations, the teacher refreshes the memory of students regarding relevant concepts found in other school subjects. These concepts then serve as a starting point for learning and understanding a fine art concept. The interdisciplinary approach is pursued by students on a primarily verbal level; (2) by creating connections between concepts based on a verbal and fine art interpretation: a fine art problem includes concepts of other school subjects which are integrated by learning about the fine art concept at hand. Students express themselves through fine arts, not only through words. Concepts are thus included in the fine art task and are interpreted through a fine art lens. These interdisciplinary approach methods are: (1) A fine art motif serves as the starting point for designing the fine art problem: the fine art motif is drawn from content of another school subject. It should be noted that students shall not strive to imitate reality since that is contrary to the development of creativity. Copying a flower that was once addressed when learning science content from the textbook into the notebook thus cannot be presented as an interdisciplinary approach example; (2) The starting point for the design of a fine art problem is a fine art technique: the teacher shall plan the lesson by focusing on the technique used to design the fine art task. If the teacher can connect concepts associated with the fine art technique (such as wood, clay, etc.) to concepts learnt about during lessons of another school subject (for example, when learning about the environment), these shall be used for fine art creations and repeated in that manner, and (3) The starting point for the design of the fine art problem is a fine art concept: fine art concepts are learnt about or drawn from concepts addressed in other school subjects (based on Tacol, 2003, Tacol, Šupšáková, 2018). 15

Interdisciplinary approach: Fine Art Education and other school subjects As far as an interdisciplinary approach to Science Education is concerned, an important role is played by the development of systematic thinking capacities which combine both analytical decomposition of a problem into individual units and the possibility of creating a synthesis of various findings describing a phenomenon (Barton, Haslet, 2007). Interdisciplinary teaching of Science Education creates an appropriate environment for establishing a comprehensive meaning of the taught content. It is important to ensure that a variety of experiences is gained during lessons. These are multi-layered in their own right. The same applies to the interdisciplinary approach. The approach to the problem which impacts the understanding of scientific concepts is key to this work method. Interdisciplinary objectives facilitate critical reflection, an analysis and synthesis of knowledge and use of findings whose effect can be graded and pursued in a longer period of time. An interdisciplinary (cross-curricular) approach can also be pursued as part of project tasks carried out by small groups of students. Thematic units with an extremely widespread substantial design can be specified as content. Knowledge shall be substantially connected in a way that no clear boundaries can be perceived between various disciplines (Urbančič, 2012). There are several types or levels of interdisciplinary teaching. The usual approach to curricular activities in an interdisciplinary way assumes the form of project tasks carried out by small groups of students. Usually, these constitute thematic units with a substantially very wide problem and the content shall thus be addressed from several perspectives. This approach enables a better use of time and a more in-depth view of the wide scope of a school subject (Beane, 1997). Science Education can be connected to various school subjects and provides several types of content that can be addressed in an interdisciplinary manner. In its own right, it relates to a large number of personal and social issues (Caranfa, 2009). Younger students in the first period of education acquire knowledge in a concrete way. Therefore, great emphasis should be paid to experience-based learning (Pristovnik, 2007). Using an interdisciplinary approach for Science Education and other school subjects is meaningful in all periods of education since, generally speaking, students love personal interactions with nature which have proven motivational for their learning process and, as a result, lead to permanent and meaningful learning (Godnič, 2014). 16

Interdisciplinary approach: Fine Art and Science Education “The connection between science and the arts could be defined by using the following words: imagination, critical interpretation, aesthetics” (Kafetzopoulos, Spyrellis, Lymperopoulou-Karaliotas, 2006). Science can be understood from two standpoints. One refers to a practical standpoint which focuses on useful and practical knowledge. The other one refers to an intellectual standpoint. By understanding scientific content and discovering something new, a kind of intellectual gratification is achieved. Science is not an individual experience, but a combination of knowledge shared by a mere understanding of concepts stemming from the physical and social worlds. Science is engaged in the laws of nature that humans seek to comprehend. Contrary to science, the arts are a concept supposedly understood by all, however a different explanation is provided by every single person. The arts are more difficult to define than the laws of nature. The arts impact your senses and stimulate your brain in various ways: visually, auditory, through smell and touch. Therefore, interactions with the arts are an individual experience (Tamir, 2009). Quite a large number of benefits have been demonstrated for the use of an interdisciplinary approach used for Science and Fine Art Education. Students are able to use their understanding of scientific concepts to create fine art creations. Through it, concepts can be presented and both Science and Fine Art Education approaches to lessons can be used. Experience- based learning is also predominant in this interdisciplinary approach: students gain experiences related to a specific concept from two extremely diverse school subjects which facilitate the creation of a more comprehensive image thereof (Bopegedera, 2005). One of the objectives of curriculum planners is thus to bring Science Education lessons as close to as many students as possible and render them more student-friendly. This objective is also more easily achieved by pursuing an interdisciplinary approach for science and arts (Kafetzopoulos, Spyrellis, Lymperopoulou-Karaliotas, 2006). Integrating the arts into Science Education constitutes one of the ways of developing creative thinking in this school subject as well (Liu, Lin, 2014). This interdisciplinary approach also enriches Fine Art Education lessons. By connecting the two, students improve their understanding of fine art concepts, motifs and materials, such as colours, light, simple anatomies of animals, humans, plants and the environment they live in. Without a basic understanding of the above and similar structures no productive 17

observation can take place. If students lack knowledge of, for example, materials used, they will have to rely on unreliable and sometimes also non-motivational trivial work modules (since they have no idea how to approach something) that they may have come across in the past but which had never been explained or soundly justified. The above robs students of fine art development (Wenham, 1998). In spite of advantages of using an interdisciplinary approach for science and fine arts, professionals continue to experience a barrier between science and fine arts. Even though the arts and science offer many interdisciplinary approach opportunities, this connection is frequently repudiated (Taylor, 2001). Separating the arts from science has transformed into a wound in our educational system, in which both Fine Art and Science Education suffer. In order to heal it, ways of upgrading existing good practices that bring together joint interests and objectives shall be proposed. Science and the arts can be connected through problem and research situations (Wenham, 1998). When you decide to use an interdisciplinary approach for Science and Fine Art Education, it shall be carried out in a professionally correct manner from the standpoint of both school subjects. If a motif is regarded through the lens of science, it shall be viewed in an objective, universal and rational manner. If, on the other hand, the same motif is regarded only through the lens of fine arts, it shall be defined on a subjective, individual and even emotional level. If these two disciplines are compared on the example of a violet, it can be established that, as far as science is concerned, a violet is examined as a subject of research. The relationship between the pistil and stamens is analysed, its leaves are observed under a microscope. On the other hand, fine arts regard the same violet as a motif in a subjective way, everyone experiences, for example, its colours and smell in a different way, the general experience of the motif is expanded into a worldview of the life and world in which we live in (Karlavaris, Berce-Golob, 1991). The majority of images used in Science Education thus must comply with scientific criteria, i.e. they must be clear, contain reliable data, organised and transparent in aesthetic terms. These images shall not be confused with fine art works, even if they are created by a teacher or student. By failing to distinguish between an artistic and scientific image, we can create confusion in the understanding of phenomena and cause insecurity in the shaping of judgement criteria for various images (Karlavaris, Berce-Golob, 1991). A work of art is regarded as multi-layered, open and ambiguous. This is what separates an aesthetic work of fine arts from a scientific work. Fine art works consist of the following layers: motif or problem, 18

materials or technique, fine art language and culture, fine art ideas and message, fine art capacities of the artist, individual characteristics of the artist, design methodology, design time, style and direction, environment, national tradition, the social status and attitude towards social issues of the artist (Karlavaris, Berce-Golob, 1991). Using an interdisciplinary approach does not simplify any fine art and scientific theories but instead offers us a way to see them in a different way (Kandel, Mack, 2003). We need to also make sure that, as far as Science Education is concerned, nothing that could be referred to as pseudo-science is taught. Pseudo-science could be described as something that seems scientifically correct at first glance, also sounds scientifically correct subject to the terminology used, however, when an in-depth approach to its content is used, improper scientific justification is identified (Cutting, Kelly, 2015). Listed below are a few examples of how can Science and Fine Art Education be connected to one another and which can be used in practical work: (1) Materials: an interdisciplinary approach is extremely meaningful since it allows children to gain a three-dimensional experience with the materials by touching them, observing their treatment or by participating therein (Clough, 1999). Fine Art and Science Education thus avail of similar activities when it comes to materials, not to mention that similar skills are deemed objectives of both school subjects (Karlavaris, Berce-Golob, 1991); (2) Animals, organisms, plants: significant sources for the child’s visual development and development of creative can be drawn by using these topics (Clough, 1999) and (3) Pigments, binders: an interdisciplinary approach can also provide a historic perspective on the subject. Chemistry and Fine Art Education have been connected in this field for a long time since no dyes can be created without using specific chemical procedures. The topic can be expanded to dyes themselves and a historical aspect can be included (Kafetzopoulos, Spyrellis, Lymperopoulou-Karaliotas, 2006). This topic can also be connected to informal circumstances in life which children like: it is easier for them to imagine how to create something also outside of school and, as such, lessons are seen as more useful (Gaquere-Parker, Does, Parker, 2016). 19

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Didactic activities at a conservation and restoration workshop A Science Education activity was carried out at a conservation and restoration workshop for the first period of education: children made milk-based tempera and designed a motif through learning about specific features of professions in charge of cultural heritage preservation. For the first period of education, another Science Education activity was carried out: students made cellulose clay and created a sculpture form according to their perceptions and imagination subject to recognised special features of vermin in works of art (cultural heritage preservation content). The third activity involved the creation of natural adhesives (learning about specific features of cultural heritage preservation materials) and dying of textiles with natural dyes, all connected to the issues associated with various materials used in cultural heritage preservation and, indirectly, the need for specialisation of experts for various materials (such as restorers-curators for wood, restorers-curators for textiles, etc.), in addition to the fine art teaching and learning concept (Zupančič, 2006), whereby students gave their own views of preservation of the environment (including heritage) and people working in modern-day textile industry through their own fine art work. Workshops included interviews during which students provided feedback on the Fine Art and Science Education activity itself and their attitude towards cultural heritage preservation. 21

First workshop Students of the first period of education in elementary school (aged 6, 7 and 8) Indicative time 3 school hours dedicated to the addressed area: Grades: Grade 1, 2 and 3 Fine art field: painting Fine art task: designing a motif by including primary and secondary (Fine art activity and colours according to one’s perceptions and imagination fine art problem) Fine art technique: milk-based tempera Fine art motif: Look at the master that I am! Teaching methods: explanation, demonstration, discussion Forms of work: individual Instructional materials: reproductions of works of art, photographs of various manuscripts with graphic motifs, works of art from the conservation and restoration workshop Fine art materials: watercolour paper, pigments, binder (milk), brushes, pallets, other materials Teaching aids: LCD projector, computer, programme presentation of photographs 22

Objectives/students: SCIENCE ART EDUCATION OBJECTIVES: students are able to draw associations between properties of materials and their treatment methods and identify differences between the treatment of wood and paper; students are able to list tools that can be used for treating various materials and understand that various tools are required for this purpose; students learn that properties of materials can be changed subject to various phenomena (fading, burning, weathering, etc.); students learn that treated materials can change shape and that useful objects can be made from them. FINE ART EDUCATION OBJECTIVES: students repeat concepts of primary colours and paintings; students learn new concepts: secondary colours, wood-, paper-, canvas-, parchment-based works of art; students develop a sense of responsible attitude towards medieval and Renaissance manuscript heritage preservation; students mix primary colours to create secondary colours and create a painting; students make milk-based tempera; students paint a motif subject to their perceptions and imagination; as part of the evaluation process, they provide feedback on their work with the material and experience with the content associated with cultural heritage preservation education (they answer structured questions). Three school hours were specified for the implementation of the first workshop with students of the first period of education (aged 6, 7 and 8). The activity was focused on a painting depiction of the motif “Look at the master that I am” by using primary and secondary colours according to the perceptions and imagination of the students. After students arrived to the restoration workshop, they were greeted by one of the employees and explained to them what a curator-restorer even is, what they do, where the students have arrived and what a conservation and restoration workshop is. 23

After the introductory part of the workshop, pantomime was used to teach students about various types of arts and crafts and professions. Each student shared what they wanted to be when they grew up. A discussion was also held on the arts and crafts they already know or have come across. After that, graphic materials and fine works of art at the conservation and restoration workshop were used to discuss various specific features of materials: sculptures and altars, manuscripts, etc. Students were show a manuscript depicting a master trying to say: Look at the master that I am! Peter Lombard: Interpretations of letters of St. Paul, Ljubljana, National and University Library of Slovenia, Ms 3 (photograph by: http://www.scrnilominzlatom.mladinska. com/). After that, didactic materials (a colour wheel and demonstration of the fine art technique, colour mixing) were used to teach students about primary colours and how their mixing creates secondary colours. During the mixing demonstration, students were encouraged to identify colours obtained when primary colours are mixed. For example: mixing yellow and blue creates green, red and blue creates violet, etc. 24

The colour wheel according to J. Itten (photograph by: Wikipedia). The tempera for their fine art work was created by the students themselves according to the milk-based tempera creation procedure (Hudoklin, 1955). 1 decilitre of milk was mixed with 1 egg. This was the binder for making tempera. The pigment of the desired was selected and spooned onto the palette. The brush was dipped into the binder and mixed with the pigment. Attention was drawn to the quantity of added pigment and binder and the important rule that brushes need to be washed after every change of colours. After that, students independently mixed colours and created shades. The created dyes were used for their fine art task. The motif encouraged students to reflect on professions. They depicted themselves as hairdressers, ice hockey players, police officers, etc., in addition to reflecting on the environments in which specific professions work, which objects they are surrounded by and what kind of materials these are from. During their work, students were encouraged to be as independent as possible, some of them received assistance during the mixing processes and questions were answered. 25

Students while creating their fine art works. Colour mixing - milk-based tempera. After students completed their works, these were displayed on the table and discussed. It was reviewed which professions had been depicted, in which environments they work, which objects they are surrounded by and what kind of materials these are from. Special attention was paid to a presentation of the colours and creation methods thereof. 26

Fine art works of students of the first period of education. 27

After that, students were taught in detail about the tasks and duties of curators and restorers. They received a guided tour of the workshop and observed a few works of art whose restoration was in progress at the time. They learnt why works of art needed to be restored (the most frequent types of damage curators-restorers come across, how restoration is approached, etc.). Students while learning about the specific features of a conservation and restoration workshop. In the end, the story “Ider the Spider at the restoration workshop” was read in order to bring the students even closer to the findings of that day. Using the story and their paintings, tasks of curators-restorers were repeated, the importance of their tasks discussed and, in relation to cultural heritage, it was established why works of art need to be taken care of and conserved. Students while listening to the “Ider the Spider at the restoration workshop” story. 28

Second workshop Students of the second period of education in elementary school (aged 9, 10 and 11) Indicative time 4 school hours dedicated to the addressed area: Grades: 4, 5 and 6 Fine art field: sculpting Fine art task: creating a sculpture from a wire and cellulose pulp subject (Fine art activity and to one’s perceptions and imagination fine art problem) Fine art technique: wrapping, assembling, bending, folding, shaping Fine art motif: Extraordinary beings (under a magnifying glass) Teaching methods: explanation, demonstration, discussion Forms of work: individual Instructional reproductions of works of art, works of art from the materials: conservation and restoration workshop (a sculpture attacked by wood vermin), photographs of wood vermin, other materials (lime, starch) Fine art materials: cellulose pulp, cellulose adhesive, wire, plies Teaching aids: printed graphic material 29

Objectives/students: SCIENCE ART EDUCATION OBJECTIVES: students are able to explain how properties of substances (such as adhesives) are associated with their use (Grade 4); students learn that a magnifying glass and microscope can be used to see things that cannot be seen with the naked eye (Grade 6); students learn about some vermin in wood (fungus and insects - longhorn beetle) and are able to classify them (invertebrates, insects; Grade 4); students learn that treated materials can change shape and that useful objects can be made from them; students are able to explain the importance of decomposers (in the circulation of substances in nature and explain how decomposers contributed to the creation of fertile soil); students create a material (starch adhesive, cellulose pulp). FINE ART EDUCATION OBJECTIVES When observing works of fine art at the conservation and restoration workshop, students are taught about fine art concepts associated with shaping and designing in a three- dimensional space; students repeat the concept of a free-standing sculpture; students learn about new concepts: sculpture surface (materials); students make a sculpture from cellulose pulp and wire; as part of the evaluation process, they provide feedback on their work with the material and experience with the content associated with cultural heritage preservation education. Four school hours were foreseen for the implementation of the second workshop with students of the second period of education. The workshop was focused on presenting wood vermin and combining the presentation with cultural heritage preservation education and the role of curators-restorers in preventing the decay of works of art. This was followed by a sculpting task. In order to incite interest and actively involve students from the beginning, puzzles were prepared. Some of 30

them contained some wood vermin species. Students worked in three groups. When all groups assembled their photographs, they were discussed and named. Students during the introductory part of the workshop (assembling an image of an insect). This activity was followed by a wood vermin quiz. Students were divided into two groups. After each question they were given 15 seconds of time to decide on the answer and write it on a board (or piece of paper). After each question, answers were reviewed and discussed. As such, students were able to repeat several Science Education contents during the quiz which are discussed in Science Education lessons. The workshop included also experts from the conservation and restoration workshop who presented vermin associated issues and measures for fighting them. On concrete wooden works of art, students were able to see the damage caused by some insects. 31

Students while observing vermin in a wooden sculpture. After the Science Education part, students were provided with fine art concept content. Cellulose pulp obtained from waste paper packaging was presented. Students reflected what needed to be added to make it more compact. They discovered that an adhesive was needed. During the practical part, students were given a quick presentation on the types of adhesives known. Natural and synthetic adhesives. They were shown how lime looks like and how it is extracted. This was followed by making starch adhesive. In groups, students prepared starch adhesive that was subsequently added to the pulp. Since the solution had to be left to stand for 20 minutes, that time was spent discussing sculpting and sculptures. Students were guided towards observing a sculpture at the workshop. The colour of the statue, material, surface, why it has been hollowed out in the back and similar matters were discussed. 32

Students while preparing starch adhesive. After our discussion, students mixed the cellulose pulp with the prepared starch adhesive. They were given instructions and their fine art task was presented. In addition to cellulose pulp, wire was also provided as a material. Working with the wire was demonstrated. Then, students were guided towards observing photographs of beings under a magnifying glass. The purpose of this activity was to encourage a reflection on the form, size, surface of the observed and, indirectly, on their own sculpting solutions. Students were guided towards the fine art motif: extraordinary beings (under a magnifying glass). This was followed by a fine art expression. Students were guided, encouraged and assisted in solving fine art problems. 33

A female student forming the wire construction of the statue. A female student applying cellulose pulp to the wire construction of the wire. After work was completed, all creations were displayed and discussed. During the discussion, students presented the task. Special attention was paid to the stability of the statue, an illustration of the specific features of an extraordinary being and to the surface of the statue achieved through cellulose pulp and the fine art technique. Students presented their beings as vermin feeding on various materials (wood, metal, synthetic materials, etc.) and thus made sense of the recognised special features of cultural heritage conservation and materials in fine arts. 34

Fine art works of students of the second period of education. 35

Fine art works of students of the second period of education. 36

Third workshop Students of the third period of education in elementary school (aged 12, 13 and 14) Indicative time 4 school hours dedicated to the addressed area: Grades: 7, 8 and 9 Subject area (Science Education part): organic oxygenates Fine art field: several fields (painting, sculpting) Fine art task: designing an assemblage according to the principles of (Fine art activity and contemporary fine art practices (by using the made starch fine art problem) adhesive and textiles dyed with natural dyes) Fine art technique: assemblage Fine art motif: “The textile I wear?” (attitude towards contemporary production of clothing) Fine art materials: cardboard, textile-associated waste materials, waste textiles, small painted cloths and the natural adhesive made during the Science Education part Student activity dying textile cloths with dyes made from natural materials (Science Education (red cabbage, onion and red pepper dyes) and making an part): adhesive from natural materials (milk and starch) Teaching methods: explanation, demonstration, discussion, work with materials Forms of work: frontal and group Instructional laboratory aids, chemicals, natural materials (corn starch, materials and aids milk, red cabbage, red pepper, onion), printed graphic for the Science material to assist with the explanation Education activity: 37

Objectives/ Science Education part: students: - students distinguish between pure substances and blends, - students learn about solutions as examples of blends and distinguish between solvents and solutes, - students learn about the basic properties and function of protein in organisms. Fine Art Education part: - students repeat concepts: painting, sculpture, relief; - students learn new concepts: fine art variable: size, assemblage, conceptual art; - students develop motor skills and a sense of working with various materials and aids to express themselves in a three- dimensional space; - students learn about works of fine art of various designs which form part of local and international cultural heritage; - students make an assemblage; - students present their attitude towards cultural heritage preservation in relation to textiles, the re-use of clothing and contemporary textile industry. Four school hours were foreseen for the implementation of the second workshop with students of the third period of education. As far as the Science Education part was concerned, the implementation of the workshop was focused on presenting ways of natural dying of textiles, possibilities of gluing dyed textiles with various made adhesives to the provided foundations and creating an assemblage (three- dimensional collage) by using the made Science and Fine Art Education material. The Science Education part was carried out at the beginning. Some theory regarding dyes and pigments was presented: how and why do we see colours, how can you distinguish between shades, lightness and saturation of hue, what are dyes and what are pigments, also optical illusions which can be wrongly perceived by the brain. Then, students were divided into three groups, each of them started with the same task. Students already had at their disposal all the required items for dying two various types of textiles: the first one was a natural material (flax) and the second one contained mostly viscose. Initially, both textiles were treated with mordants by submerging them into a prepared water tine chloride solution and heating the mixture on a hot plate. When the textile was removed from the solution after a while, it was 38

ready to be dyed with natural dyes. Three substances were prepared as natural dyes: red cabbage juice, turmeric dye and ground red pepper. Dyes were prepared in three beakers, into which the mordant-treated cloths were submerged (textile treatment salts prior dying CuSO4 · 5 H2O, SnCl2 · 2 H2O). In the end, it was observed that dyes were more efficiently fixed to the flax textile than to the viscose cloth. The most intense colouring level was achieved with turmeric and the least intense with the red cabbage juice since the level of intensity of the colouring is also subject to the concentration of the dye. To bring some variety to the lesson, the action of red cabbage juice as an indicator was also demonstrated at the end. Red cabbage juice changes its colour subject to an acid or alkaline environment it finds itself in: when vinegar was added, the solution turned red, when sodium bicarbonate was added, which creates an alkaline solution, the solution turned blue. Dyed textile cloths. 39

The second part of the Science Education part of the workshop followed immediately after the cloth dying process. All ingredients and the required chemical equipment were also prepared. The students remained in the same three groups. Only, this time round, each group made their own adhesive which differed from the adhesives made by other groups. At the beginning, students needed to learn theoretical bases on binders and plastics. There was a discussion on what adhesives are, how they function, how lime used at the conservation and restoration workshop is applied. Students then set out to work. The first group of three had to make an adhesive from corn starch, the second group from milk, sodium bicarbonate and vinegar and the third from milk and jelly. Before adhesives were made, students observed created examples of glued textile cloths where it was found that each type of adhesive (out of all made) adheres the beautiful textile to a cardboard foundation well. Students were also able to make effective adhesives that were used to adhere textile cloths to the cardboard foundation as part of the Fine Art Education of the workshop. Making an adhesive from corn starch. Then the students were given an in-depth tour of the entire conservation and restoration workshop. The workshop staff presented the work of a curator-restorer and special features of statue restoration. Special attention was paid to adhesives in conservation-restoration practice and issues associated with various materials. They also presented the need for experts specialised in specific materials. 40

Students while learning about the specific features of conservation and restoration work. This was followed by the Fine Art Education part of the workshop. At the beginning, students were asked what they consider fashion as cultural heritage. The students replied national costumes. By using graphic materials, students were presented with various facts: that there are diverse types of national costumes subject to various Slovenian regions and that, in the past, the national costume worn was a reflection of the social status of the wearer. They also learnt that each village used its own distinct national costumes (in terms of colours and type of weaving), that national costumes were regarded festive cloths worn only for special occasions and that they differed from actual everyday clothing worn in the past. National costumes of the Bela Krajina region in Slovenia (photograph by: https:// majaarchitect.wordpress.com/nosa-in-obicaji/). 41

It was then mentioned that there are experts who take care of textiles, such as national costumes, tapestries and other works containing textiles (puppets, sculptures) who are called textile curators-restorers. Graphic materials were used to explain that these experts verify the quality of fibre, clear it of various layers of dirt, reinforce it and combine decayed threads, replace one part of the textile on a statue or other object and similar. Conservation and restoration of 16th century Aubusson carpets, Brussels (photograph by: Wikipedia). This was followed by an explanation that, in the past, clothes were dyed with naturally produced dyes, similarly to the way the textiles had been dyed in the first part of the workshop. Students were asked about the dyes they believe are used for clothes today. Some pieces of fluorescent synthetic clothing were displayed. There was a discussion about where these colours could be found and how do students believe textiles are dyed. Then, graphic materials were used to ask students if synthetic dyeing was harmful for nature and people. Graphic examples of waste discharges of the textile industry into the environment were enclosed and students learnt that about 8000 synthetic chemicals used for dyeing textiles are harmful for people, marine life and our environment as a whole. 42

Consequences of the discharge of synthetic dyes from the textile industry into the river, Zhejiang, China, 2014 (photograph by: Wikipedia). 43

This was followed by a discussion on how to take care of the environment we live in. Students expressed concern for animals in habitats where waste is discharged from the textile industry. Then students were asked about other issues faced by contemporary textile industry. Students tried to guess and discussed issues associated with the textile industry. Various problematic factors were identified, including: cheap labour, child labour, infringements of human rights in the work environment. These are only but a few consequences of globalisation. Students were asked to repeat the definitions of concepts they already know: a statue (a free-standing three-dimensional structure that can be assembled, adhered, modelled, etc. by a sculptor) and a painting (an artistic depiction of a motif applied to a surface by using various aids). Then the concept of assemblage was derived from the existing definitions. Pablo Picasso, Minotaure, 1933, assemblage Nejč Slapar, 2014, assemblage photograph (photograph by: Wikipedia). by: https://www.gorenjski-muzej.si). Assemblage is a three-dimensional version of a collage. A collage is composed of flat materials, such as paper, cardboard, newspaper clippings and thinner surfaces of wood, plastics, tin or textiles, whereas an assemblage consists of items with an explicit spatial and, in many cases, also narrative and symbolic value. It was explained to the 44

students that assemblages usually portray the industrial era, its mass production and accumulation of waste. Fine art variables were presented: size (a fine art variable used to establish a hierarchy in a work of fine art), installation (a set-up or placement of objects, created for a specific exhibition area) and conceptual art (referred to as an art of ideas, proposals, opinions; its idea and concept are just as relevant for works of art as these themselves, without necessarily focusing on aesthetics or a skilful making of a work of art which can appear in public areas, on the street, in the media, and not only in art galleries and museums). Christo & Jeanne-Claude, The German Reichstag, covered in textile, Berlin, 1995 (photograph by: Wikipedia). Through the photograph of a building covered in textile, students were guided towards the size of the facility compared to other parts of the photograph. Students also got to see the photograph of the “Dressed House” by Matej Andraž Vogrinčič and focused their attention on the size of the facility compared to the size of the photograph. 45

Matej Andraž Vogrinčič, “Dressed House”, Ljubljana, 1993 (photograph by: http://www. matejandrazvogrincic.com/exhibitions) Students were asked about their opinions on contemporary artists dressing buildings. Students excitedly observed the photographs. In the meantime, they learnt that contemporary fine arts include content that may seem senseless but usually convey a specific message or idea. Students were asked what the authors of these installations in space wanted to convey. They answered that they considered it senseless to dress a building to prevent it from being cold, that the author only dressed the building since they felt like it and that perhaps the building needed a new facade or something similar. It was explained that the message of the work of art could be sought by ourselves (that there was not one single correct answer) and that our interpretations of such actions are usually at our own discretion. It was highlighted that inquiries regarding their importance needs to be made as well as to establish a connection between the work and our own lives (such as, what about the clothes I wear, the textiles used for constructing houses, how that impacts the environment, how the ‘clothes’ of our house interact with the environment and similar). 46

It was explained to the students that they were going to create an assemblage out of the dyes and adhesive they had prepared. They were guided towards re-observing the photographs associated with issues of the textile industry and the quality of clothing they had brought with them (how are these produced, of what quality are they and similar). Then the fine art motif “The textile I wear?” was introduced. Students were guided towards illustrating their own MESSAGE about how they feel about the contemporary textile industry (clothes, items, their origin, quality, consumption, etc.). Students were also advised to take into account SIZE (the fine art variable used to establish hierarchy in a work of fine art, as such, what they consider more important, should be larger than other parts of their work). Instructions for the task were then repeated: students should create an assemblage from various objects and textiles that they had dyed and adhered with the adhesive they had made and waste materials. Through their fine art expression, students conveyed how they feel about textiles in the past and, most of all, about textiles today, and shall take into account the SIZE of their illustration (important things should be large). Students were guided towards preparing their materials and aids (in pairs or separately) and towards solving the fine art task. 47

Students during the creation of their fine art tasks. After their creation process was completed, their works were collected and displayed. We jointly established evaluation criteria, whether the assemblage had been created from various objects and textiles they had dyed and adhered with the adhesive they had created themselves, whether their work contains a message about textile, issues associated with contemporary textile industry and how the students had used and/or expressed the fine art variable size. 48

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Fine art works of students of the third period of education. 50