Loyal dogs, wise owls and sneaky snakes! Sunday studio course with the 6-8 year olds

We are having a great time exploring animals in art with the 6-8 year olds in the Sunday studio courses at the moment. We began by looking at a number of Victorian paintings in the Tales of Love and Enchantment exhibition. The paintings we focused on were Legend of Sir Patrick Spens by James Archer, Blow Blow Thou Winter Wind by John Everett Millais, Married by Water Sadler, and Her First Love Letter by Marcus Stone. In each of these paintings we used the animals as clues to the story in the painting. The children love the idea that the tortoise represents love, and that by painting it lumbering away from the couple in Married, Sadler has used the animal as symbol to show that the couple was no longer close.

Walter Sadler, Married, 1896

Oil on canvas, Mackelvie Trust Collection, Auckland Art Gallery Toi o Tāmaki

In the Degas to Dalí exhibition we discussed the Spider by Alexander Calder. The children really responded to the simple lines of the work and the way it moved with the wind. Drawing on the children's knowledge of animals from stories and movies, we brainstormed animals as symbols as we thought about what animal best represented our personal attributes. The children's simple line drawings of an animal was made into a printing plate using string and glue. We'll have some images of their prints soon!

Check out our next blog to see the VIP who visited the children in the studio during our second class!

Haerewa Tribute to Arnold Maanaki Wilson 1928 - 2012

Dr Arnold Manaaki Wilson, MNZN, QSM, Arts Foundation Icon, PhD (Honorary), DipFA (Hons)

Arnold will be dearly missed as the Kaumatua of the Auckland Art Gallery Toi o Tāmaki and kaumatua of our close Haerewa whanau. He led the way for the Gallery in Māori protocols and made everyone in it culturally safe. He blessed Haerewa and with those blessings made us a strong, cohesive group. He blessed every part of the gallery and touched everyone who entered it and those who worked inside, and he blessed the artworks on the walls and in the stores. He imbued the Gallery with his wairua and we mourn his passing.

Arnold was a cultural hero. He will be remembered in the wider community of Aotearoa New Zealand as an extraordinary sculptor and carver. He was at the forefront of the group who challenged the established norms of traditional Māori art and created a new era of Māori Modernism. He was a change agent and his work reflected the new expressions of Māori art that opened the way for younger artists and contributed to burgeoning of Māori art of the 21st century.

Arnold was a remarkable art educator. He taught in secondary schools and as his students, he made us proud of the art forms, we inherited as Māori. He brought the community and huge groups of students together to make murals that told the stories of hapu and iwi around the country from Ratana Pa to the Far North. He led the way in the establishment of guidelines for The Arts, Nga Toi in the NZ Curriculum for schools. Through his work in education, he touched the lives of thousands of students from diverse backgrounds and therefore altered the cultural profile of Aotearoa New Zealand.

We thank his wife Rangitinia and his whanau for lending him to us.

Moe mai ra Arnold ki roto i nga ringaringa manaaki o te Matua-nui-i-te-rangi.

Elizabeth Ellis for Haerewa, Fred Graham, Mere Lodge, Bernard Makoare, Jonathan Mane-Wheoki and Lisa Reihana.

Arnold Manaaki Wilson 1928 - 2012

Kuramihirangi meeting house, Te Rewarewa Marae, Ruatoki, Date unknown

Reference Number: 1/4-002747-F. Taken by an unidentified photographer. Date unknown. National Library of New Zealand

Arnold Manaaki Wilson was born and died in the Year of the Dragon. He would say he had a good life, and he did, as great taniwha do. He iti na Tūhoe, e kata te po.[1]

Arnold lived outside of his Tūhoe homeland for 65-plus years and built extensive relationships with individuals, whanau, hapu, communities and iwi who loved him. The kōrero and knowledge of Arnold’s achievements reside with the people of these places and with his wife Rangitinia and their whanau. Arnold’s early life, however, is not widely known outside intimate circles. His early childhood gives insights into the type of life training he obtained from his people, and by whanau accounts, many handbooks could be written on how this taniwha was trained.    

Arnold’s final return home to Te Rewarewa Marae in Ruatoki was greeted with the elders recounting that Arnold left home aged 11 years under sad circumstances to rise above the difficulties and the realities of the time. They paid tribute to a son who became a vital and important figure in the arts and arts education in Aotearoa New Zealand. As he lay in state between the twin meeting houses Kuramihirangi and Te Rangimoaho (as depicted in the accompanying photo) I was warmed by the accuracy of elders and stunned but not surprised by the length of time Arnold had spent living away from his turangawaewae. It too quickly brought home to me, the years I have spent away from the same valley and what that says about contemporary times.

This is a summary of the early part of Arnold’s story to give some indication of the extraordinary life he lived. Arnold was born 11 December 1928 and raised by an exceptional cast of whanau members. He was the youngest member in a family of five children. His mother was Taiha Ngakewhi Te Wakaunua and his father Fredrick George Wilson. His siblings were Te Waiarangi, Hoki, Fredrick and Thomas.

Arnold’s mother's father, Heteraka Te Wakaunua, was a charismatic political visionary leader for Te Mahurehure and Ngāti Rongo hapu – indeed for all Tūhoe. Like other tribal leaders, Te Wakaunua placed a high value on whanaungatanga (kinship), manaakitanga (respect & kindness), aroha ki te tangata (care for people), matemateāone (yearning) and the social and political wellbeing of his people. Arnold maintained these values throughout his life as we can see this in the way he titled some of his sculptures.[2] A carved pou of his grandfather Te Wakaunua holds a prominent position on the poho (porch) of Te Rangimoaho wharenui.  

Arnold’s childhood patterns changed with the death of his mother during the great flu epidemic of the 1930s, when he was aged five. His paternal grandmother took charge of his care and life. To keep the memory of his mother alive and the legacy of his grandfather as a touchstone in his life, Arnold would be addressed as Te Wakaunua, as if he were his grandfather. His grandmother Mariana Creek-Wilson passed away when he was 11 years old and from then Arnold became a whāngai, whereby the wider Wilson whānau assumed responsibility for him. Mariana Creek-Wilson was from the Tokopa whānau of Ngāti Tarawhai. Arnold’s paternal grandmother was Tuihi Tokapa. 

Arnold’s early schooling at Ruatoki Native School focused on the three R’s – reading, writing and arithmetic – and spoken Māori was forbidden in the classroom and playground. All year round school uniforms for boys were gumboots and long pant dungarees or what Arnold and his schoolmates called ‘kumfoot and tungaree’ Spinning potaka[3] with flax and playing marbles were favourite playground activities for boys as was eeling in the river. The schoolmaster and senior boys were the local barbers for students in the community. The students grew most of the eucalyptus, pine and lawsonianas planted in the community, which they tended from seedlings. Childhood playmates were whanau and became life-long friends.

Arnold’s childhood was similar to many whānau in rural communities in the 1930s. When a major project needed attending to the whārua (entire community) rallied. Planting willow trees on the banks of the Ohinemataroa was one of those community efforts to keep the river from taking the land.  Arnold played his part planting the banks with willow nearby Te Rewarewa with his father. This planting also protected the favourite swimming hole of the children located under the Ruatoki Bridge.

Arnold’s whānau were hard working and community-minded people. The Wilsons owned and operated the local bakery-come-grocery store, the bowling green, billiard hall and the Ruatoki tennis courts. These amenities became important meeting places in the community and served to familiarise the population to the world beyond Ruatoki. Opposite the Wilsons shop was a larger trading post, named for the family who owned and operated the business. It was called the Middlemas shop and it housed the Post Office. Another smaller, no less important trading concern was owned and operated by my great grandfather, Wiremu Tereina from Ruatahuna, who married my great grandmother Pihitahi Wharetuna. His store was a favourite place for children for the range of boiled lollies he would stock.  Wiremu went on to start the first a bus service for the Ruatoki community and his bus was named Te Kauru.

Arnold was a star student at Ruatoki Native School and his artistic abilities were recognised by head teacher Mr Hans Hauesler. During the tangi, Aunty Anituatua Black recalled how she and younger cousins admired Arnold’s drawing abilities. He would draw using pencil or chalk and copy images sourced from postcards and visual material supplied by Mr Hauesler. Often these images were of things he had not yet seen in real life including images of English garden flowers such as hollyhocks in snow scenes. Another mentor from Ruatoki School was Mr Arthur Boswell who was very gentlemanly and a stickler for getting things right. When Arnold was not drawing, he would could be found working in the family garden, milking cows or attending the orchard. His personhood and worldview was shaped by many relationships inside Ruatoki and by individuals, extended family and the wider Tūhoe community.

These are among my favourite memories and conversations I shared with Arnold. He was a great storyteller, supporter and beloved uncle who always saw the positive in all things and all people.   As an auspicious full moon watched over the tangi proceedings and followed the bereaved whanau back to Auckland I felt I was witness to ancestral wisdom through the saying, Kua tae koe ki Paerau te huinga o te kahurangi’ – You have arrived at the great meeting place of the ancestors.

---

[1] He iti na Tūhoe e kata te po - A few Tūhoe and the underworld laughs. This means a few Tūhoe are the equal of many from another tribe. 

[2] He Tangata He Tangata, Tane Mahuta, Te Tu a Te Wahine etc

[3] A potaka is a spinning top either carved from totara or kauri, or fashioned from pinecones.

‘Spiders, dancers and drama!' - the April school holiday workshops with the 9-12 year olds

In each holiday workshop for the 9-12 year olds we visited a work of art in the Degas to Dalí exhibition. We had a discussion in front of each work of art to gather inspiration and ideas to take back studio. In the studio we experimented with materials to create our own works of art in response to what we saw and discussed, as well as our own ideas.

On Tuesday’s workshop we focused on Alexander Calder’s hanging mobile. Looking carefully we all saw the spider in this abstract work of art. We loved the way the sculpture moved with the breeze caused by people entering the gallery space, and thought that the artist might be interested in nature, wind and balance. Back in the studio, the children worked with wire to create their own sculptures. It was a challenging material to work with but we all thought it I was worth the hard work! Take at look at these!

Henri De Toulouse-Lautrec, Jane Avril, 1899
Lithograph in coloured inks on paper
Scottish National Gallery, © Trustees of the National Galleries of Scotland
www.nationalgalleries.org

 On Wednesday we sat in front of Toulouse-Lautrec’s painting Jane Avril and used her costume, body language and facial expression to explore the work of art. We compared Toulouse-Lautrec’s work to Japanese prints to focus our attention on the flatness of the paint, and took the main ideas about posture, expression and flat colour back to the studio to create some dramatic figurative paintings.

Our final workshop focused on the popular and oversized Roy Lichtenstein painting In the Car. The children immediately identified that it reminded them of a comic and enjouyed the idea that something normally small and ‘everyday’ had been made so large. The idea that the scene was a moment in a larger story sparked some great discussion as we imagined what had happened before this scene – why was the man scowling? why was the woman annoyed? Armed with an understanding of how lines were used to indicate movement, and how facial expression and extreme close-up were used to heighten drama, the children painted their own large and dramatic moments to great effect!

The Gallery Educators and I had a fantastic time with the 9-12 year olds. The knowledge and enthusiasm that they brought to each workshop created a real feeling of excitement. Observers commented that the atmosphere in the Studio reminded them of their days at art school! The way they shared ideas, suggestions and positive feedback with each other created a communal learning environment that we were very excited to see!

‘Sand and sgraffito, bottles and blues’: 6-8 year olds Holiday Programme

The April school holiday workshops were a great success. The mornings were filled with energetic 6-8 year olds eager to look at and make art. In each workshop we visited a work of art in the Degas to Dalí exhibition and had a discussion together to gather inspiration and ideas from the work of art. We then returned to the studio to experiment with materials and create our own works of art in response to what we saw, what we talked about, and our own ideas.

The children on the Sgraffito and Sand workshop really enjoyed looking at Jean Dubuffet’s painting Villa sur la route [Villa by the road]. Armed with ideas about the physical quality of the paint, the children were excited to get in to the studio to experiment with applying thick paint and the technique of scratching a drawing into the wet paint with a stick. The children loved the scratching sound the sand and paint mixture made when they brushed it over their pastel under-painting.

Pablo Picasso’s Mère et enfant [Mother and Child] was the focus work for our exploration into colour mixing and the way artists use colour to express emotion. Sitting in front of the painting from Picasso’s Blue Period, children discussed how the colour blue made them feel. They named emotions like sad, frustrated, lonely, as well as feelings like relaxed, still and calm. We were able to use these words in our brainstorm in the Studio to give us ideas for the subject matter in our own blue painting.

We enjoyed energetic discussions in front of Giorgio Morandi’s Natura Morta [Still Life], particularly when we focused the discussion on comparing his work to a reproduction of highly detailed and realistic Dutch still life painting. After discussing the soft tones and shadows and the simplistic shapes and forms of the Morandi work, the children worked on experiments mixing tones using paint. 

It was such a successful fortnight of workshops. The uncomplicated way the children responded to the challenges and opportunities of each workshop was truly inspiring! The Gallery Educators and I really enjoyed working with the 6-8 year olds that attended the workshops and are eagerly awaiting the July School Holiday programme!

Leo Bensemann (1912-1986)

Ron Brownson invited Professor Peter Simpson to mark the 100th anniversary of Leo Bensemann's birth.

Leo Bensemann (who died in 1986) was born exactly 100 years ago on May 1, 1912, sharing his birth year with poet and printer, Denis Glover (1912-80), with whom he forged a creative relationship as co-partners of the Caxton Press –  the Christchurch firm which published most of the important New Zealand writers of the middle decades of last century, including Ursula Bethell, Allen Curnow, ARD Fairburn, RAK Mason, Frank Sargeson, Charles Brasch, Robin Hyde, James K. Baxter, Janet Frame, Maurice Duggan, Ruth Dallas, E. Mervyn Taylor, Kendrick Smithyman and many others.

Glover and Bensemann joined forces in 1938, shortly after Caxton published Bensemann’s remarkable book Fantastica: Thirteen Drawings (1937), a weird and wonderful collection of ink drawings illustrating texts that ranged from Marlowe’s Dr Faustus and Grimm’s stories to the Arabian Nights and Chinese and Japanese folk tales – a collection that is unique in New Zealand art. For, as well as being a notable typographer, printer and publisher, the versatile Bensemann was also a visual artist of rare distinction.

Bensemann was born to a German father and an Irish/English mother (all New Zealand born) in Takaka, a remote valley in north-west Nelson that opens into Golden Bay, a sheltered and beautiful marine area at the top of the South Island. Leo’s father was the local blacksmith, and he was close to his German grandparents who farmed in the area and from whom he learned to read and speak German, an interest he maintained throughout his life. In 1925 he went to Nelson College, forming a lifelong friendship with fellow-student, Lawrence Baigent. When Lawrence moved to Christchurch with his widowed mother in 1931 to attend university Leo was invited to live with them, benefitting enormously from access to the books, art and music of the cultivated Baigent household which contrasted with his own culturally meagre working-class home.

In 1938, after Mrs Baigent died,  Leo and Lawrence shared lodgings with Rita Angus at 97 Cambridge Terrace in Christchurch, a dwelling which became the epicentre of advanced art, music and literature in the city, initiating a period of mutual stimulus between the two artists that resulted in many strong portraits and self-portraits. Rita and Leo drew and painted each other on several occasions, portraits which shared the characteristics of bold colour, sharp clean lines, well-integrated landscape backgrounds, and a love of visual theatre and role-play.

Rita introduced Leo to The Group, a small independent gathering of artists which became the most important outlet for progressive art in the middle decades of last century, and which included Toss Woollaston, Colin McCahon, Doris Lusk, Louise Henderson, Olivia Spencer Bower, William Sutton and others. From 1940 Bensemann designed and printed at Caxton all The Group’s annual catalogues, thus forging important links between the worlds of the visual arts, literature and publishing.

Unlike most Group artists, Bensemann at first largely avoided landscape in favour of portraits and graphic work. A change came in the 1960s, however, when he belatedly turned to landscape painting which dominated the last decades of his career, especially after 1965 when he rediscovered as subject matter the Takaka/Golden Bay region of his childhood.

 Leo Bensemann, Huntsman, 1938

oil on board, Auckland Art Gallery Toi o Tāmaki, purchased 2012

Auckland Art Gallery has recently acquired two fine examples of Bensemann’s painting – an early portrait and a late landscape. Huntsman (1938), a small, vivid and challengingly transgressive work, shows Bensemann adapting the ‘fantastical’ manner of his graphic work to oil painting. The bizarre-looking huntsman of the title seems to have stepped directly out of German folk-lore into a setting coloured by 1930s surrealism. He also excelled at more conventional portraiture of friends and family members, including among his subjects Glover, Baigent, Angus, Lusk, Douglas Lilburn, Caroline Oliver, Albion Wright, Trevor Moffitt and his (Leo’s) wife Mary, whom he married in 1943.

  Leo Bensemann, Burning Hills, Takaka, 1973

oil on Swedish hardboard, Auckland Art Gallery Toi o Tāmaki, purchased with the assistance of Peter Jarvis, in memory of Adrienne Jarvis, 2011

Burning Hills, Takaka (1974), was painted for an exhibition held during the Commonwealth Games in Christchurch in 1974. He wrote in a letter: ‘I am working on a very large (for me) landscape of the Takaka Valley with a hill on fire – all very dramatic and symbolic’; a frieze of dead and living trees in the foreground adds to the rich connotations of the burning hillsides, a sight that would have been very familiar to Bensemann from his childhood in Takaka. In this painting he breathes life into a motif (bush fires and dead trees) that had flourished in earlier decades but which had largely disappeared by the 1970s.

It was wholly characteristic of Bensemann to be always somewhat out of step with his times, a trait that reflects his conscious adoption of an ‘outsider’ perspective, a perspective that has tended to delay recognition of his singular talent. Increasingly, though, Leo Bensemann has come to be recognised as joining as an equal his distinguished friends and contemporaries – Angus, Brasch, Curnow, Glover, Lilburn, Lusk, McCahon, Sutton – as one of a foundational generation of Modernists within New Zealand’s cultural history.

Peter Simpson is the author of Fantastica: The World of Leo Bensemann (Auckland University Press, 2011)

Have you seen Degas to Dalí yet?

Degas to Dalí has been getting a great response from our visitors - we're loving hearing the comments made to our Gallery guides, volunteer guides and other front of house staff. In addition to this feedback, everyone who visits the show gets handed an entry form to win a trip to Melbourne, on which we ask them:

‘What would you tell someone, who hasn’t yet been to the exhibition, about Degas to Dalí?’

It seems the artworks on display have our visitors’ creative juices flowing, as some of the answers we’ve seen are downright poetic.

So here, in our visitors’ own words, are 10 great reasons to come and see Degas to Dalí: 

10. It’s here, now, right in front of your eyes

• ‘This is a once in a lifetime chance to see the works of the best modern artists in the world.’
• ‘Go and see it! You rarely see a touring show of this calibre in Auckland.’
• ‘A wonderful collection of art rarely seen down under!’
• ‘It's an amazing experience to see the masters' work in real life and to see the scale and textural detail of the work.’
• ‘The best exhibition to hit town in ages: Broad in scope, informative, intelligently presented. Some truly iconic works!’
• ‘It is a must-see, and how lucky we are to have an exhibition of this calibre here at a reasonable cost.’
• ‘Please go - you will see the best of the best and be home in time for tea.’
• ‘Go! I am so privileged to have seen, first hand, masters' works here in New Zealand. A rare and precious opportunity.’
• ‘Unprecedented close access to major artists of the period in a coherent precise and relevant order. Must-see show for all.’

9. It’s alive!

• ‘Really special exhibition, so great to see the works leap out of their frames with aliveness.’
• ‘You have to see the originals. Even the best copy lacks the "aliveness" of the originals. Amazing!’
• ‘The atmosphere, from the ticket seller to other members of the public, was warm and friendly. Could go again.’
• ‘Vivid liveliness of original paintings. One off chance to see work of famous artists.’
• ‘Just go! The pictures are alive and waiting to enrapture.’

8. There’s art in it. Lots of art.

• ‘An impressive journey through outstanding areas of art.’
• ‘Lots of various styles of art so something for everyone.’
• ‘An amazing walk through time!’
• ‘A sizzling spin through modern art.’
• ‘Grand variety of artists of the period.’

7. You’ll learn something new

• ‘Make a point of seeing this watershed exhibition. It shows you how art changed so much in those crucial years.’
• ‘Go, see, listen and hear. The artists speak to us through their work, of history, of change, challenge the conflicts of emotion of society, theirs and ours. You'll come away excited by new ideas and with a fresh perspective about our life and our place in this place, New Zealand.’
• ‘It vividly illustrates the ideas behind the way art has evolved.’
• ‘Degas to Dalí is not just about artists beginning with D but gives a great presentation and insight into the birth and evolution of modern art.’
• ‘Ever wondered what happened to painting after the invention of photography? Go to Degas to Dalí and see.’
• ‘Do Go! It is an exemplary exhibition-stimulating, thought-provoking, captivating.’
• ‘It’s not only interesting but also very “edumacational”.’

6. It’ll stimulate your senses:

• ‘A feast of colour and light.’
• ‘Go, see, listen and hear the artists speak through their work.’
• ‘You will walk into the gallery and approach the first frame. Your eyes will grow wide and you will quietly mouth "wow!"’
• ‘I was blown away by the light, the colour, and the knowledge that I was viewing original paintings!’
• ‘An adventure in colour and time.’
• ‘It was a real P-art-y for my eyes.’
• ‘A stunning range of work in gorgeous galleries- the works really sing!’
• ‘You’ll come away excited by new ideas and with a fresh perspective.’
• ‘The whole exhibition is enchanting and will lead you into visions of European rich culture, colourful and imaginative beyond words.’
• ‘The explanations given were enlightening. I was enthralled to learn details of familiar paintings. It gave me new eyes.’

5. It’s something the whole family will enjoy

• ‘A great introduction to art for my kids aged 9,7 and 5. Beautiful gallery extension.
• ‘Bring a child - it's wonderful to experience art through their eyes.’
• ‘Definitely go! Great for the kids also with fabulous interactive spaces. The exhibition makes art easily digestable even for those not inclined to peruse. Fabulous opportunity to see who has shaped what art is.’
• ‘DON'T MISS IT! A superb exhibition, breathtaking to be in the presence of such masterpieces. Even my teenage son enjoyed it.’
• ‘If you have teenage children (or any children at all) grab them and take them to it. My 16-year-old daughter was reluctant to come but is coming back with her friends.’
• ‘It was great to take my mum to this great exhibition.’

4. The building’s not too shabby, either…

• ‘You must go! What a treat to have such a fabulous collection in Auckland. It's a super excuse to check out the new gallery and all it has to offer.’
• ‘Superb exhibition almost a spiritual experience. After many visits to the gallery of NSW in Sydney our gallery is so south pacific in its outstanding beauty.’

3. It’s a chance to meet old friends (and make new ones)

• ‘Degas' brushwork will mesmerize you and that's just the first room!’
• ‘Outstanding, most of the gang are here!’
• ‘There is a head with a building inside by Dalí and it's beautiful.’
• ‘I was thrilled to see a Lowry, my favourite artist.’
• ‘Enjoy the colours of Van Gogh's Olive Trees.’
• ‘I knew that Degas’ ballet paintings were good but to see them was just fantastic.’
• “No better place to see the Scots get an exotic makeover or to glower at a Lowry.”
• ‘Look for The Lustre Bowl, 1911, by Sir William Nicholson.’
• ‘Stunning to see the masters’ works in person! Loved the Lichtenstein – grand and exhilarating!’
• ‘There were many paintings/sculptures I loved and felt touched by, eg Picasso’s Mother and Child.’
• ‘Really enjoyed the variety and excellence of the exhibition – Warhol’s daschund was worth the price of admission.’

2. It will inspire creative outbursts on your feedback form:

• ‘Degas to Dalí... delightful, daring, delirious, dazzling, delectable, divine... don't delay.’
• ‘Delightful Exhibition Giving Absolute Satisfaction To Dedicated Art Loving Individuals.’
• ‘Green light means GO, red light means STOP and look – treasure this journey into the minds of great artists.’

1. Look, haven’t we convinced you yet? Just go!

• ‘Go, go, go!! Something for everyone, the ambiance, the quality, all awesome.’
• ‘Well, naturally I would impore and beseech them to see it too!’
• ‘Go! Fascinating seeing and reading about the paintings through that era.’
• ‘JUST GO’

And if you’re now sold on coming to see Degas to Dalí, our visitors have even left some handy tips for you:

• ‘Be sure to catch the art bites!’
• ‘Walk through the exhibition twice as by the second time you realise the impact of the art on your mind and soul. Also the gift shop sells great small art replica gifts.’
• ‘Take plenty of time, as there are a lot more artworks than expected. Appreciate the new art gallery as well.’

Degas to Dalí is open until 10 June. Take a look at our website for information on ticket prices, FAQs, the full list of works and exhibition floorplan, useful tips and resources for visiting with children and more. Everyone who visits the exhibition can enter the draw to win a trip for two to Melbourne, including tickets to Napoleon: Revolution to Empire at the National Gallery of Victoria.