Create Your Magic Fruit

Pera Kids
Ages 4-6

Do you know how coffee is grown before it is turned into a beverage and enters our homes? Do you have any guesses? Do you think it is a fruit or a vegetable, or some kind of snack? Coffee is a fruit, and like other fruits, it grows on trees! The fruit of the coffee tree is actually red at first, and it turns into the familiar brown seed after it is roasted.

Coffee was first discovered by Ethiopians who live in Africa, who realized that they could brew it into a delightful beverage. They called this plant the Magic Fruit. If you had a magic fruit, what would it look like? Can you draw it? Use color pens to draw a picture of your magic fruit on paper, and share with everyone what its magical properties would be! Don’t forget to use the #PeraLearning hashtag on social media… 

Related Exhibition: Coffee Break

Illustrator: İpek Kay
Game Writer: 
Neray Çeşme

This program is presented especially for the 100th anniversary of the April 23 National Sovereignty and Children’s Day, inspired by Pera Museum's digital exhibitions.

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History of a Khanjar

History of a Khanjar

Henryk Weyssenhoff, author of landscapes, prints, and illustrations, devoted much of his creative energies to realistic vistas of Belorussia, Lithuania, and Samogitia. A descendant of an ancient noble family which moved east to the newly Polonised Inflanty in the 17th century, the young Henryk was raised to cherish Polish national traditions.

The Search for Form

The Search for Form

A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.