Did you notice anything special about the entrance to NGV International? Perhaps you were surprised to see water gently cascading down the six-meter-tall glass window at the entrance. You might have even brushed your hand across the cool flowing water! Many visitors have been doing the same thing since this building, designed by architect Sir Roy Grounds (1908 – 1987), opened in 1968.

Known as the ‘Waterwall’, this striking entrance feature has helped make NGV International one of Melbourne’s most iconic buildings.

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Did you know?

When it rains, water from the roof is collected and directed into the building’s gutters. The rainwater is fed into underground water tanks, treated and pumped into the moat system and the Waterwall, recycling almost 7.5 million litres of water annually.

Sir Roy Grounds was inspired to include the moat-like water pools in front of the building by the moat around the Castello Sforzesco in Milan, Italy, a fourteenth century castle that today houses an important collection of art and historical treasures.

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Discussion questions

What other kinds of water features do you see around the building?

The large pools of water around the building are often compared to the moats that surround and protect some castles. Why do you think Sir Roy Grounds incorporated a moat and water in the design of this building?

Many people believe the Waterwall creates a sense of intrigue. Why do you think they believe this?

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Want to learn more?

Discover how the iconic Waterwall has been incorporated into works of art:
NGV Waterwall – Exhibition Archive
Keith Haring, the NGV Waterwall and art in the public space

Federation Court is a large open space just inside the main entrance of NGV International. It often displays large scale sculptures. Before a major renovation of the building in 1999-2003, this space was an external courtyard called the Sculpture Court. Can you imagine what that would have looked like as an open space with no ceiling?

The artwork currently on display in Federation Court is a large sculpture called Dancing pumpkin by Japanese artist Yayoi Kusama (1929-2026). Kusama is recognised as one of the most influential artists of her time, with an international career spanning more than eight decades! She grew up in central Japan, where her family ran a large plant and seed nursery. Surrounded by fields of flowers and vegetable crops, Kusama began making drawings at the age of ten, followed by paintings in her teenage years, that would inspire the flower, pumpkin and polka dots motifs and forms that have appeared in her work throughout her career.

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Discussion questions

Take some time to walk around and underneath Dancing pumpkin. In what ways does it look like a pumpkin? What else does it remind you of?

How has Kusama made the pumpkin look like it’s dancing?

What kind of music do you think the pumpkin might be dancing to and why?

Did you know that you can also view Dancing pumpkin from the balcony above? Take a moment to pause here on your way up the escalators to the Galleries on Levels 1-3. How does viewing the artwork from this vantage point change the way you see and respond to the artwork?

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Want to learn more?

Read more about the early career of Yayoi Kusama:
Matsumoto, plants and the origins of avant-garde artist Yayoi Kusama

Gandel Hall is a great space to relax and hang out – especially on rainy days! You might even notice people lying on the carpet looking at the ceiling. Gandel Hall is famous for having one of the largest stained-glass ceilings in the world, designed by Australian artist Leonard French (1928 – 2017). Lying on the floor is one of the best ways to view this amazing ceiling and its kaleidoscopic colours and shapes.

The ceiling is over thirteen metres high, sixty metres long and fifteen metres wide. French spent around five years constructing it from thousands of hand-cut pieces of coloured glass.

The tapestries on the wall of Gandel Hall were designed by Australian artist Roger Kemp (1908 – 1987), one of the pioneers of abstract painting in Australia. He created the designs in response to Gandel Hall, including the Leonard French ceiling. The tapestries are made from wool and cotton and were woven by the Australian Tapestry Workshop.

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Did you know?

There are 224 intersecting triangles in Gandel Hall ceiling, each weighing around 300 kilograms. Can you work out how much the whole ceiling weighs?

Each individual piece of glass was hand cut by the artist using a chisel, hammer and anvil.

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Discussion questions

Notice the colours in the ceiling. How many different colours can you find?

What shapes do you see? Can you see smaller shapes coming together to create bigger shapes, or patterns? Some people see bird shapes, crosses and even a giant turtle or sun in the ceiling! Look closely and use your imagination to see what you can see. Share what you notice with other people in your class.

What do you notice about the structure of the ceiling and how the panels with the glass are made and supported?

Compare the shapes, colours and patterns in the ceiling to the tapestries in Gandel Hall. How are they similar and/or different?

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Want to learn more?

Find out more about the tapestries:
The Great Hall Tapestry
Evolving Forms – Australian Tapestry Workshop

MASTER OF THE STORIES OF HELEN
Antonio VIVARINI (studio of)
The Garden of Love (c. 1465-1470)
oil, tempera and gold on spruce panel
152.5 x 239.0 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1948
1827-4

View in Collection Online

There is a lot of intrigue surrounding The Garden of Love, c. 1465-1470, including many questions about who these people are, and what they are doing.

The title provides some clues – historically a ‘Garden of Love’ was a place where people would meet to dance, sing and pursue romance. In the painting we see some well-dressed people enjoying themselves in a beautiful, enclosed rose garden, complete with a marble fountain. Perhaps they are playing a game – you might notice one of the people is about to put a blindfold on another.

Although the scene might appear to be about fun and games, artists at this time often included symbolic objects in their work to hint at deeper meaning. In this painting, many of the objects in the painting have symbolic meaning linked to love, marriage and family. For example dogs were often seen as a symbol of loyalty and roses are often associated with love and beauty.

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Did you know?

Experts in the NGV have carefully studied the painting to learn more about its history. They took an x-ray of it and found hidden details under the paint layers, including evidence that there was originally a sixth figure in the painting, on the right-hand corner! It is a mystery why this sixth figure was removed, and what they originally looked like.

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Discussion questions

What do you notice about what the clothing and hairstyles of the people in the painting? What do these details tell us about these people? Do you think the people knew each other? What makes you think this? What other clues about their lives can you find?

What questions do you have about this painting? Share your questions with the group and see what other people think.

Based on careful looking at the painting, can you find any clues that suggest there might have originally been an additional person in the scene?

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Want to learn more?

Read about the restoration of this painting and the fascinating discoveries the process uncovered:
Exploring a fifteenth-century garden: a restoration uncovers the past

Watch a short video to explore the hidden symbols and restoration discoveries:
Renaissance Italy – Garden of Love

CHINESE
Guardian spirit 700 CE-750 CE
earthenware (Sancai ware)
74.4 x 23.4 x 19.5 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1926
2784-D3

View in Collection Online

This Guardian Spirit was made almost 1,300 years ago in China. It is made from earthenware clay. This Guardian Spirit is an example of a special object that people placed inside or near a person’s grave or tomb when they died.

Looking after the spirits of those who passed away played an important role in traditional Chinese culture. The ancient Chinese believed in an afterlife, a life in which people who had died would continue to live in a place parallel with the world of the living. When a person passed away during these ancient times, objects were often placed in or near a person’s tomb to ensure a safe journey to the afterlife and protect them after they arrived. Sometimes, the objects were actual items, while other times they were clay models of things like buildings, cooking utensils, pets, dancers or musicians that would be useful or provide comfort in the afterlife. Can you imagine why a Guardian Spirit would be helpful in the afterlife?

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Did you know?

The glaze on this work of art is called a Sancai glaze. The term literally means “three colours” and refers to the vibrant green, amber and cream glazes popular during China’s Tang dynasty (618-907 BE). Because of its mottled green and yellow appearance, Sancai ware was also sometimes nicknamed in Western countries as the “egg and spinach” glaze.

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Discussion questions

The body of the Guardian Spirit is made up of features from many different animals. As a group, see how many animal features you can find.

Why might these different features be important for a guardian spirit? For example, big ears to hear oncoming threats.

Have a look around the Chinese Gallery. What other special objects you can spot? How might these objects have helped the ancient Chinese people in the afterlife? I.e. Warriors were needed to protect the important deceased person; food utensils were needed to eat with…

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Want to learn more?

Watch an animated clip about the Guardian spirit:
School resource: Composite Creatures

Chinese language worksheet resource: Chinese ceramics throughout history:
School resource: Chinese ceramics throughout history

Lee UFAN
Dialogue 2017
oil on canvas
227.0 x 181.9 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Andrew and Judy Rogers and Professor AGL Shaw AO Bequest, 2020
2020.9
© Lee Ufan, courtesy The Pace Gallery, New York

View in Collection Online

This painting by contemporary South Korean artist, Lee Ufan (b. 1936), appears to be a wide, singular vertical brush stroke created in one sweeping motion. It seems simple, right? Look closer… what do you notice? There are, in fact, many thin brush marks, all meticulously aligned to create an illusion of one continuous brushstroke.

Ufan practices Zen Buddhist meditation. Meditation is a practice of bringing intentional awareness to the present moment to feel calm and peaceful. Ufan used meditative breathing practices when making this painting; with every breath, a single narrow brush stroke was added, slowly and thoughtfully creating what appears to be one single large brush stroke. This represents complete awareness and enlightenment.

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Discussion questions

Look closely at the colours in this painting. Describe the colours and the visual effects the artist has created with colour? What do you these colours or visual effects remind you of, or what feelings do you associate with them?

Can you think of an enjoyable activity or hobby that also makes time feel slow and meditative?

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Want to learn more?

Explore how mindfulness and taekwondo go hand in hand:
Mindfulness in Taekwondo: Asia Society X NGV

‘The Salon’ is one of the most visited gallery spaces at NGV International. Can you see why? In this gallery, lots of paintings are hung tightly together, almost from floor to ceiling, and sculptures are displayed on plinths across the gallery. This gallery is inspired by the way works of art were presented in two famous historical group exhibitions; the Paris Salon and the Royal Academy in London. The Paris Salon, which began in 1667, was an important art exhibition run by France’s Fine Arts Academy. For a long time, it was the most important place artists could show their work, to try and gain attention or sell their paintings. By the mid-1800s, the Salon displayed thousands of artworks packed closely together, often reaching up to the ceiling. Visitors sometimes used spyglasses to view the highest pieces! The Royal Academy in London launched a similar annual show in 1769. These exhibitions grew larger every year and attracted huge crowds.

The works of art that are in the NGV Salon were all made in the nineteenth century and were either displayed at the Paris Salon or the Royal Academy London, or are by an artist who regularly exhibited at one of these exhibitions.

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Discussion questions

Take a few minutes to walk around the space.

There are many themes represented throughout this gallery.
You might notice landscapes and historical scenes just to name a few. What other themes do you notice?

Looking around at the works on display in the NGV Salon, what clues can you find about the painting styles and subjects that were popular in the Paris Salon and the Royal Academy exhibitions in London in the nineteenth century.

Choose one work of art that stands out in this gallery to you. What makes you notice this work of art? Look closely, what do you think it might be about?

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Want to learn more?

Explore The Salon at NGV when you return to school through a virtual tour: 
Virtual Tour of The Salon

Watch a short video about showing the installation of works of art in The Salon:
Hanging the NGV Salon

Giambattista TIEPOLO
The Banquet of Cleopatra (1743-1744)
oil on canvas
250.3 x 357.0 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1933
103-4

View in Collection Online

The Banquet of Cleopatra, 1743–44, is one of the most treasured and famous works of art in the NGV Collection. The Banquet of Cleopatra is based on a famous story first told by the Roman writer Pliny in 77 CE. In the tale, Cleopatra, Queen of Egypt, and Mark Antony, Roman consul general, are caught in a kind of luxury contest, trying to prove who can host the most impressive feast.

In this painting, Tiepolo depicts Queen Cleopatra sitting at the table in a voluminous gown. Marc Antony, sitting opposite Cleopatra, is wearing a red cape and a shining helmet. The other figure at the table is Lucius Munatius Plancus. He was present to judge the contest. According to the legend, Marc Antony was reputed as hosting the most lavish banquets, but Tiepolo’s painting shows the dramatic moment when Cleopatra, determined to prove herself as the ultimate hostess, removes one of her rare, priceless pearl earrings and dissolves it in a glass of vinegar before drinking it! It’s safe to say that this made her feast far more lavish and expensive than Mark Antony’s. She won the contest with a single and unforgettable action.

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Did you know?

The painting, formerly in the Hermitage Museum in Leningrad, was acquired by the NGV in 1933 and cost a total of £31,250. The payment was delivered by a representative of the NGV to a representative of the Russian government in a suitcase containing small bank notes in Trafalgar Square, London.

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Discussion questions

How can we tell who the main characters are in this story? How has Tiepolo made them stand out in the painting?

Why do you think Tiepolo chose to capture the moment right before Cleopatra drops the priceless pearl into her drink?

Look closely at the facial expressions and body language of Cleopatra and Mark Antony. Based on your observations, how do you think they might be feeling at this moment?

Expand your view to take in the figures surrounding the table, including those near and far. Choose one figure. How do you think they are reacting to the scene? What clues give their reactions away?

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Want to learn more?

Learn more about this painting and how to lead your students through a deeper analysis of the work:
School resource: Giambattista Tiepolo
School resource: Allegory, parody and appropriation with Tiepolo’s The banquet of Cleopatra

Jacopo AMIGONI
Portrait group: The singer Farinelli and friends (c. 1750-1752)
oil on canvas
172.8 x 245.1 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1950
2226-4

View in Collection Online

This group portrait is a bit like an old-fashioned selfie. This painting shows a group of four famous and talented Italian friends who were all employed the Royal Court in Spain during the mid-eighteenth century. At the centre is Carlo Broschi Farinelli, a celebrated Italian opera singer and one of the greatest performers in the history of the artform. On the left of Farinelli, we see the writer Pietro Metastasio and the soprano opera singer Teresa Castellini. On the right we see the painter of this work of art, Jacopo Amigoni and his pageboy or helper. In the background we see the city of Madrid.

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Did you know?

It is thought that Farinelli was in love with Castellini, who was about to return to Italy when this painting was made. He is holding a song sheet with words that describe the sorrow of parting. Can you find other clues of his affection for her?

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Discussion questions

Amigoni has included many clues about the identity of each of the four friends. Look closely at the details in this work of art. What clues can you find about the identity of the main characters?

Amigoni also included the names or initials of each of the main characters in the painting. Can you find them hidden in the painting?

Who do you think the dog belongs to? Look closely for clues the artist has provided.

Can you think of a time when a friend or family member was departing, and the moment was captured in a photograph? Why do you think people often like to capture these moments?

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Want to learn more?

Explore accessible learning through Jacopo Amigoni:
School resource: Accessible Learning with Jacopo Amigoni

Discover more about the group of friends here:
Portrait group: The singer Farinelli and friends: Jacopo Amigoni

Camille PISSARRO
Boulevard Montmartre, morning, cloudy weather 1897
(Boulevard Montmartre, matin, temps gris)
oil on canvas
73.0 x 92.0 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1905
204-2

View in Collection Online

Let’s take a quick trip to the busy streets of Paris in the late 1800s! This painting was created by the French artist Camille Pissarro (1830-1903), who was part of a group of French artists that became well known in France in the 1870s for their new approach to painting. These artists were interested in painting everyday subjects and the world around them rather than subjects from history or religion. They wanted to capture an impression of their subjects, rather than painting every tiny detail. They often painted outdoors and used quick, visible brushstrokes to capture light, movement, and atmospheric effects in natural and urban landscapes.

In this painting, we’re looking down on Boulevard Montmartre, a busy and lively street in cosmopolitan Paris. From February to April in 1897, Pissarro created fourteen different paintings of this same view. He showed the Boulevard at different times of day and in all kinds of weather—sunny afternoons, nighttime scenes, and even snowy days.

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Did you know?

Like many Impressionists, Pissarro loved painting outdoor scenes. However, in his later life he suffered from an eye condition that made his eyes water in the open air. To keep painting comfortably, he rented a hotel room overlooking the street.

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Discussion questions

How would you describe atmosphere or character of this street scene? How has Pissarro captured this?

What season do you think it might be? What makes you say that?

Look closely at the painting. What can you discover by looking closely about the colours and brushstrokes that Pissarro has used to paint this scene?

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Want to learn more?

Impressions and reflections Great Art Idea
School resource: Explore the art elements

And learn more about French Impressionism:
School resource: French Impressionism

Pablo PICASSO
Weeping woman (1937)
oil on canvas
55.2 x 46.2 cm
National Gallery of Victoria, Melbourne
Purchased by donors of The Art Foundation of Victoria, with the assistance of the Jack and Genia Liberman family, Founder Benefactor, 1986
IC1-1986
© Sucession Picasso/Copyright Agency

View in Collection Online

The Weeping Woman 1937 is one of the most well-known works in the NGV Collection. The artist, Pablo Picasso (1881-1973) showed an early talent for art and made lifelike portraits as a teenager, but you might be surprised by the way he has used colour, line and shape in this painting!

After settling in Paris as a young man Picasso pioneered new approaches to making art and became well known as an innovative and daring artist, always willing to push boundaries and experiment. In Weeping Woman 1937, he has used bold and unusual choices of colour, line and shape to express intense emotions. This is one of a series of paintings that reflects the despair and suffering of civilians during the Spanish Civil War that was raging in his home country.

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Did you know?

Picasso created more than 20,000 works of art in a variety of media including painting, sculpture, printmaking, drawing and ceramics.

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Discussion questions

Look closely at the Weeping Woman. What clues can we see that tell us about how this woman is feeling? Consider the colours, lines and shapes.

What other features or elements can you identify in the painting that help convey intense emotion?

Why do you think Picasso chose to paint the woman in this style rather than realistically?

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Want to learn more?

Explore the Art Elements through Cubist Constructions:
School resource: Cubist construction

Emotions in Art Great Art Idea:
School resource: Emotions in Art

Mark ROTHKO
Untitled (Red) (1956)
glue, oil, synthetic polymer paint and resin on canvas
209.5 x 125.3 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the Helen M. Schutt Trust, Governor, the Commonwealth Banking Corporation, Fellow and The Signet Group, Fellow, 1982
EA1-1982
© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York/Licensed by Copyright Agency, Australia

View in Collection Online

Mark Rothko (1903–1970) was a painter who wanted people to feel something when they looked at his work. He was part of a group of New York artists in the 1940s and 50s who became interested in abstract, non-representational art. These artists were not interested in creating works of art that looked like or represented real things – instead they used colours, shapes and lines to express emotions and ideas.

Rothko hoped that when someone stood in front of one of his paintings, they would take time to slow down and really feel deep emotions. He used huge, soft rectangles of colour that seem to float on the canvas surface of his paintings. His paintings might look simple at first, but their power comes from how the colours glow, blend, and make you feel inside.

Can you spot the warm blocks of glowing colour that seem to hover on the surface of Untitled (Red) 1957? To create this effect, Rothko mixed his paint with lots of liquid, so it soaked into the canvas like dye. This let layers of reds, oranges, and pinks show through each other. If you look closely, you might even catch tiny hints of unexpected colours hiding underneath.

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Discussion questions

Brainstorm as many words as you can to describe the colours you see in Untitled (Red).

Look closely at the layers and paint marks in Untitled (Red). Imagine you were watching Rothko create this painting in the studio. Describe the stages or process involved in creating this painting.
What qualities of the painting invite you to slow down and look closely at this painting?

Would you like to have this painting in your home? Why or why not?

Andy WARHOL
Self-portrait no. 9 1986
synthetic polymer paint and screenprint on canvas
203.5 x 203.7 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the National Gallery Women's Association, Governor, 1987
IC3-1987
© Andy Warhol/ARS, New York. Licensed by Copyright Agency, Australia

View in Collection Online

American artist Andy Warhol (1928 – 1987) changed the way people thought about art. He became famous for works of art inspired by popular culture including celebrities, cartoons, advertising and even everyday products such as Coca-Cola bottles and Campbell’s soup cans! Many of Warhol’s works were hand-painted, but he also made many works with a technique called screen-printing to repeat images and create multiples of the same work. Warhol’s studio in New York was known as The Factory. It was a lively, energetic place where many other artist visited to experiment with art, music, film and other creative activities.

Even though Warhol was fascinated by fame and became a celebrity himself, he remained a private and mysterious person. Self-portrait no. 9 (1986) is one of a series of self-portraits he made using a photograph of himself wearing a distinctive wig. In this work of art, his brightly lit face stands out strongly against a dark background, but the bright camouflage colours partly hide his features, making his face look almost like a mask. This creates a slightly mysterious and haunting effect, showing how Warhol’s art often explored the idea of being seen while also being hidden.

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Discussion questions

Why do you think artists create self-portraits? How is this self-portrait different to other self-portraits by artists you might know, or even selfies people make with their cameras?

Camouflage is usually used to hide or disguise something. Do you think the camouflage pattern here hides or highlights Warhol’s face. What makes you think this? Why do you think he used camouflage in this way?

If you were to create a self-portrait, how would you use colour and pattern. Explain why.

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Want to learn more?

Create your own portrait inspired by Pop art:
School resource: Pop art portraits

Continue the conversation in your classroom:
School resource: Andy Warhol