TOM: One part of the project, I’m unsure about is where we choose some paintings of birds and say what they mean to us. Like, I chose a painting of a falcon by Landseer. I like it because the bird’s standing there with his head turned to one side, but he seems to be staring straight at you. But I can’t just say it’s a bit scary, can I?
JESS: You could talk about the possible danger suggested by the bird’s look.
TOM: Oh, OK.
JESS: There’s a picture of a fish hawk by Audubon I like. It’s swooping over the water with a fish in its talons, and with great black wings which take up most of the picture.
TOM: So you could discuss it in relation to predators and food chains?
JESS: Well actually I think I’ll concentrate on the impression of rapid motion it gives.
TOM: Right.
JESS: Do you know that picture of a kingfisher by van Gosh – it’s perching on a reed growing near a stream.
TOM: Yes, it’s got these beautiful blue and red and black shades.
JESS: Mm hm. I’ve actually chosen it because I saw a real kingfisher once when I was litter, I was out walking with my grandfather, and I’ve never forgotten it.
TOM: So we can use a personal link?
JESS: Sure.
TOM: OK. There’s a portrait called William Wells. I can’t remember the artist but it’s a middle-aged man who’s just shot a bird. And his expression, and the way he’s holding the bird in his hand suggests he’s not sure about what he’s done. To me it’s about how ambiguous people are in the way they exploit the natural world.
JESS: Interesting. There’s Gauguin’s picture Vairumati. He did it in Tahiti. It’s a woman with a white bird behind her that is eating a lizard, and what I’m interested in is what idea this bird refers to. Apparently, it’s a reference to the never-ending cycle of existence.
TOM: Wow. I chose a portrait of a little boy, Giovanni de Medici. He’s holding a tiny bird in one fist. I like the way he’s holding it carefully so he doesn’t hurt it.
JESS: Ah right.
6/6 thanks
6/6 too easy