Our cross curricular resources make connections between art and other subjects, encourage new ways of thinking, and inspire art making. Send us feedback or propose a resource.
Explore citizenship and your place in the world using art from our artists and collection.
You can use this resource in class or at the RA. You can use the whole page or incorporate one or two sections into your existing teaching plans.
This resource addresses the following aspects of citizenship:
Discover how artists use their paintings, sculptures, and posters to express what’s fair and unfair and make your own poster.
Understand how artists work, vote, and make decisions together and discuss teamwork and democracy.
Find out about why artists design statues and monuments and discuss commemoration and reward.
Alongside subjects like geography, english, mathematics, and science, art and design underpins all of our resources
• Participate in discussion and take turns talking and listening to what others say
• Articulate and justify answers, arguments, and opinions
• Maintain attention and participate actively in collaborative conversations
• Understand historical concepts and use them to make connections, draw contrasts, analyse trends, frame historically valid questions
• Gain and deploy a historically grounded understanding of abstract terms
• Changes within and events beyond living memory
• Participate in discussions, presentations, performances, role play, improvisations and debates
• Consider and evaluate different viewpoints
Like all schools and institutions, the RA relies on its members to collaborate and work together in groups and teams.
The Royal Academicians (also known as “RAs”) elect a president, who is our formal representative and helps secure funding. There’s also a council of 13 RAs. They help make decisions on how the RA is run.
Many artworks and objects in our collection reflect the need to work together and to collaborate. Group portraits acknowledge and celebrate the collective aspect of governance.
Let’s see how:
• Artists have used group portraits to demonstrate and celebrate collaboration
• How voting can be used to make decisions
• Artists have depicted the act of collaborating
• What is everyone looking at in this picture?
• Imagine you can use your eyes to listen? Do you think this is a noisy painting? What is everyone saying?
• How do you make sure everyone has a chance to speak and share their opinion?
This 19th-century painting by Charles West Cope shows the RA Council selecting pictures for their annual Summer Exhibition.
The Summer Exhibition still takes place every summer. It’s a large group exhibition that aims to promote and make visible contemporary art.
All academicians are able to exhibit their work and any artist—professional or amateur—can submit work. The RA council then looks at the vast number of entries and decides what to include or reject.
• Can you describe this object?
• How do you think it was used?
• How else can you cast votes?
People used this ballot box to cast their votes for new Members of the Royal Academy. The box has two holders on the top of the box for the names of two candidates up for election. To vote confidentially, Academicians would place a ball through the opening and choose whether to place a ball to the left or right. A silver plaque on the front of the box reads ‘Detur Dignori’ which translates from Latin as ‘let it be given to the more worthy’.
Split the class into 4 groups, each making a ballot box collaboratively. Pupils then vote for their favourite design, (using coloured marbles to represent each group).
• Imagine you can use your eyes to listen? Do you think this is a noisy painting?
• How can you tell the children are singing? And what kind of sound are they making?
• Can you think of something you do better as a class than as individuals?
When individuals collaborate as a group, they can achieve more together. This image shows a group of young boys learning to sing or chant.
All the young boys face the central figure of St Gregory, a sixth century Roman from a monastic background. He later became Pope.
Gregory is credited with inventing Gregorian chant, where all singers sing the same simple melody, turning many voices into one.
This is a group portrait which shows the Academicians in a room in Somerset House on the Strand, London where the Academy was originally housed when it was founded in 1769. Artworks by academicians and casts of classical sculptures which were used as teaching tools fill the room.
In the centre, sitting on a throne-like chair is the second RA president Benjamin West. In the background hangs a portrait of King George III who gave royal patronage to the academy. Also at the back are two women: Mary Moser and Angelica Kauffman. Both were founding members of the academy and the only women members until 1936. Despite their extraordinary achievements, they did not have full access to teaching and are nonetheless placed in the background.
This painting was commissioned in order to be made into multiple prints to then be shared and displayed in much the same way school class photographs are used today.
• Which man do you think is the leader of the group? How does this artist make him stand out?
• Who is at the back? Why?
• Why do you think this art school is called the Royal Academy? What is your school named after?
Many of the paintings and sculptures included in this painting are also hung in the RA Collection Gallery. Come and visit for free and see how many you can spot!
This sculpture is on prominent display in the RA’s entrance courtyard. Outside the front doors of Burlington House—the name of the RA’s building—it is the first art object on display. The life-size figure is of Joshua Reynolds, a painter, founding member of the Academy, and the RA’s first president. Standing tall, holding a palette and paintbrush aloft he looks like he is painting the air. This sculpture was erected in 1931 and made by Alfred Drury.
• What is the figure holding in his hands?
• Why do you think he’s holding these items?
• How has the sculptor managed to tell us that this figure is important?
• Are there public monuments or plaques near your school or home?
• Can you find out more about the people or events they depict?
• If you could make a statue of a person, group of people or event, what would it look like?
Artists often design monuments, plaques, trophies and medals as a form of public recognition and reward. These are a common feature of most towns and cities. Some are commissioned by the government, while others are more community-led.
These objects celebrate or commemorate a person or a group of people and can also include statues, war memorials, historic buildings, and sites of cultural or archeological significance.
War memorials usually celebrate a victory or commemorate those who died as a result of war while statues typically represent historical or living statespeople, religious or cultural figures, or royalty.
For different reasons all throughout history, during revolutions, regime changes, protests, and even natural disasters, statues have been erected, altered, damaged, removed, and replaced.
Because values change over time, statues that were put up in the past might represent people or events that we might not want to celebrate today.
Along with designing and producing visible rewards, artists have also had to question how we recognise and value success and achievements.
Let’s see how:
• Public sculptures and monuments commemorate people and events
• Medals are awarded
• People are rewarded
Using readily available materials like cardboard, paper, tape, and glue, make statues of people who are important to you. Get other people to guess who they are.
• Can you name the objects represented in this print?
• Why do you think all these items have been placed together?
• Are there any memorials near your school or home?
This print depicts a booty, the valuable stolen goods seized in war. These were originally displayed in Emperor Trajan’s Forum in Rome. The emperor Trajan was a hero celebrated for his military victory over Dacia in present day Romania.
In ancient Rome, successful military campaigns were celebrated by the building of a public space called a forum. Monuments commemorating victory were erected to commemorate the victory.
Today Trajan’s Forum is mostly ruined but the enormous Trajan’s Column has survived. Along with this image of booty, the column has been reproduced in many prints such as this one.
• What kind do you think this person did for work?
• Do you think they were successful?
• How are prizes awarded in your school or clubs?
This is a portrait of Sergeant Bert Bowers. He is wearing a bright red uniform with black collar and cuffs and gold braiding. This is the uniform of Chelsea Pensioners, retired soldiers who and live in the Royal Hospital Chelsea.
While he is proudly displaying the medals he was awarded in combat, the hardship and experience of a soldier’s life is evident on his face and hands.
Painted in 1991 by Leonard McComb it challenges the historical portraits of soldiers in heroic and active poses. Instead Bert Bowers is shown sitting down facing the viewer with an intense gaze.
Ask students to get into pairs and sketch one another’s portraits. Students can incorporate a medal for something they believe their partner deserves.
• What kind of an object is this and how do you think it was made?
• Why do you think this teddy was awarded a medal?
• Do you have an object that you prize above all else?
This is a ceramic sculpture of Alan Measles, the childhood teddy bear of the sculptor Grayson Perry. Perry writes:
‘My teddy bear presided over my imagination like a God. He’s as old as I am and incredibly significant. Alan was the benign dictator of my imaginary world from about the age of four up to 14.’
We associate the giving of prizes and medals with fame and public figures, but this work of art encourages us to remember to praise the significance of personal and private items and individuals.
From cave paintings in Lascaux to figurines in Berekhat Ram, people all over the world have been making art since prehistoric times.
Looking at art can tell you a lot! Sometimes you can learn about who the artist was, where they lived, what they were interested in, which materials were easy to find, and what their day-to-day life looked like.
But institutions, including museums and galleries, don’t always represent human diversity. In the past, if you visited the RA, you might think most artists were men because the art that the RA displayed and collected was mostly by men!
For that reason, art is also often a way for people to protest their exclusion. Art can act as a demand to be seen and it can be a visual way to say ‘I am here’.
Let’s look at how art
• Can be a positive force for inclusion and representation
• Support a cause or campaign
• Expresses its message in different ways
• Is this a painting, a sculpture, or something else?
• Is all art made to hang on a wall?
• Whose feet could these be?
Sometimes it takes a simple, quiet gesture to leave a lasting impression. These cast iron footprints represent feet planted to the ground. Can you think of examples of peaceful protest involving standing (or sitting) still?
This artwork encourages us to consider our own place and space in the world. As a class, discuss what is important to students and what helps them feel grounded.
• What sort of shapes do these letters make? (can you find circles, triangles…)
• Do capital letters sound different to lower case letters?
• How would you read this out? Does it make you want to speak louder or quieter than usual?
This artist, known as Bob and Roberta Smith, uses traditional sign writing skills to get his message across.
His paintings call for equality and promote the importance of art in schools and society.
He uses the visual language of protest placards, which protesters carry on marches and demonstrations. Art doesn’t need to be made of special materials, placards are often made of inexpensive, readily available materials.
• What do you think this person wants you to know?
• Can you describe the mood of this picture?
• How do these colours make you feel?
This painting was inspired by Black Lives Matter in 2020. George Floyd’s death triggered global protests and uprisings and the raised fist was a symbol of the movement.
What other decisions has this young artist made about the pose and expression of the protester?
The background is inspired by the bold, vibrant and intricate patterns of African fabric as a reflection of the artist’s heritage. These circles and lines move under and over the figure, creating a network of connection and context.
Mary Moser was one of only two women elected to the Royal Academy before 1936. At the time, women weren’t allowed to study the human body—although male artists could—so many women painted still life subjects such as flowers.
Flower paintings and still life were a less-valued category of art, but artists added depths of meaning to their paintings. Artists included symbols of different emotions, seasonal change or the fragility and cycle of life. They demonstrated skilful use of colour and the depiction of textures and light.
At the RA, you can see this flower painting alongside the group portrait The Royal Academicians in General Assembly. Moser appears in the background of General Assembly, but in real life she was not included in RA meetings because she was a woman.
• How would you describe the shape of this painting, and the flowers in it?
• Which colours attract your attention?
• Can you name any of the flowers?
• What do you think interested the artist most about painting these flowers?
Use a field guide or a horticultural website to identify as many flowers as you can! Discuss what each flower could represent to the artist.
How does making an artwork into a banner allow you to be visible and make your voice heard?
This how-to shows you how to collage, stencil or paint a protest poster to hold high above your head!
Use this step-by-step guide to think about how artists use language and text to make art.
Collaborate, write, discuss, and paint with these classroom activities.
For most of art history, portraits and pictures of people were praised for how realistic they looked. Back then, critics and artists thought the only thing these images lacked to be truly realistic was a voice.
With new technologies like film, television and audio recording, many of the images we use to record our world now do include sound and speech.
Pencil | Scissors | Glue
To imagine what the RA’s are saying:
• print out this image
• look at the people in The Royal Academicians in General Assembly, if they could talk what would they say? Would they be speaking quietly or shouting? What could some of them be thinking?
• use speech, thought and exclamation bubbles to enable them to speak their mind!
How is your classroom different from the one represented in General Assembly? Take a group portrait of your class in your classroom. Think about how you want to present yourself as a group and how this image will be interpreted in the future.
• Who will sit in the middle?
• What is on the classroom walls?
• What objects do you use to learn?
Pencil | Paper
Inspired by the medals in the General Assembly, discuss the following questions:
• Why do we give prizes for doing things well?
• Who decides?
• Do you always agree with the winner list?
• Are awards given out in your school? What do they look like?
• What makes you feel you are doing your best?
• How do we know what ‘good’ work looks like?
To create your own reward system:
• write about your ideas for an alternative reward system and question how awards are decided on
• design your own medal or prize
• campaign for positive change!
Drawing is a simple, direct way to ‘show up’ and claim your space. Whether you’re protesting, participating or observing, it all starts with being present.
Inspired by the Japanese Zen practice of ensō, this action sets the intention to take part fully in each day, with confidence. When practised as a group, it can help ground ourselves while connecting with others in our community.
Brush | Watery paint or ink | Paper
To make a drawing with one breath:
• prepare your table: arrange your items in front of you—you might like to have a tray or plate where you can rest your brush
• prepare your body and mind: feel your feet on the floor, settle into standing upright, notice the movement of your breath in your body, in and out
• load your brush: dip your brush into watery paint or ink, and hold it above your paper, staying poised and still (don’t worry if it drips a bit!)
• visualise your circle: look at your blank paper and imagine where you will draw your circle
• take a deep breath: on your out breath, place your brush onto the paper and draw out a circle in one smooth movement—it may not be a complete circle and that’s fine
• pause, and then lift your brush and return it to rest on the table
• reflect on your drawing: what do you notice? What makes it uniquely yours?
• explore further: a circle can represent togetherness, completeness, continuity… what does it mean for you? Do you sometimes sit in a circle as a class?
Venture outside to hunt for dry leaves, flowers and twigs so you can construct your own brushes and play with mark-making using natural, foraged materials.
Go outside into your playground, garden, or nearest park. Can you find any seed heads, feathers on the ground, or thick grasses?
Try and think about what mark each one could make if it were used as a paintbrush. When you get back, lay out your foraged finds!
Produced by the Royal Academy’s Learning team in collaboration with Aliki Braine, Karly Allen, Leah Golding and CMA