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iPostcards From Utah ArtistsArtist List
Lee Udall Bennion Snow Queen: Portrait of AdahC.C.A. Christensen
Handcart Pioneers First View of Salt Lake ValleyJames Christensen
The RhinocerosJeanne Leighton-Lundberg Clarke Entertaining Favorite
Ladies IICyrus E. Dallin Paul Revere Portrait of John Hancock
Dallin w/ Massasoit SacajaweaLouise Farnsworth Capital from North
Salt LakeCalvin Fletcher Wash Day in Brigham CityMabel Frazer
Sunrise, North Rim of the Grand CanyonJ. T. Harward Boy and Cat: My
Little Son, Heber James Richards CampDonald Olsen Chelsea VIGeorge
Ottinger Immigrant TrainEdith Roberson Channel ThreePaul Salisbury
Riders of the RangeSven Birger Sandzen Moonrise in the Canyon Moab,
UtahDennis Smith Keeper of the GateGary Smith Youthful GamesDouglas
Snow Cockscomb, Near TeasdaleTrevor Southey New BloomMahonri Young
Factory Worker
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Postcards From Utah ArtistsContents
i Introduction1 First Grade Visual Arts Lessons11 Second Grade
Visual Arts Lessons15 Third Grade Visual Arts Lessons25 Fourth
Grade Visual Arts Lessons29 Fifth Grade Visual Arts Lessons35 Sixth
Grade Visual Arts Lessons 47 Additional Visual Arts Lessons,
Elementary55 Secondary Visual Arts Lessons63 Dance Lessons67
Appendix App.III Directions for Making Your Own Postcards App. V
Poster Lessons Spreadsheet App. VII Venn Diagram App. VIII
Information from the Back of the Springville Museum of Arts
Elementary Poster Set (24 posters, List on App. I)
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1This packet of lesson material is based on the Springville
Museum of Arts Elementary Postcard Set. These 24 postcards are the
same images as the SMA Elementary Posters (Each set has 24
postcards because the 4 images on the Cyrus Dallin Poster have been
made into separate postcards). Each Elementary School in Utah will
receive 16 sets of the postcards.The postcards were chosen as a
tool for visual art education because they are relatively
inexpensive, children focus longer on objects they can hold in
their hands, and because postcards lend themselves so well to
cooperative learning. In addition, teachers can easily increase
their postcard collections by pur-chasing postcards from museums or
through art supply catalogs or by downloading images and making
color copies of the images. Another free source of postcards is
from galleries with mailing lists.In the field of education,
cooperative learning has been shown to result in substantial and
con-sistent positive effects on achievement. Multiple sets of
postcards lend themselves particularly well to this cooperative
approach because they can be used in small groups in which the
discov-ery and processing of knowledge shifts from an individual
learner to that of a group of learners. Effective cooperative
learning has many benefits for students. Some of these are the
following: (a) students are individually accountable for their own
learning gains, (b) they learn to respect the contributions of
others, (c) previously reluctant or hostile students are drawn into
full participation, (d) students learn both to provide and also
receive encouragement,
(e) they participate at an increased rate in language building,
and (f) they develop leadership skills.The core of the curriculum
using these post-cards is from Robert Nickelsons Masters of Art
Education thesis. The lessons are formulated as integrated lessons
that cover the four areas of art education: Aesthetics, Art
Criticism, Art History, and Art Production. [The Utah State Core
divides elementary visual arts into the areas of Making,
Expressing, Perceiving, and Contextualizing.] Each lesson will take
at least four class periods.The thesis curriculum has lessons only
for grades 1, 3, and 5, but the lessons are adaptable and have been
used successfully for grades 17. In addition, the lessons have been
used in university classes for elementary education
Lee Bennion, Snow Queen
Postcards From Utah ArtistsIntroduction
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2majors and were enjoyed by those students. Other lessons have
been added for grades 2, 4, and 6.The packet contains some other
ways to use the postcards in grades K12, identified by grade level
and topic. Most are for visual arts, but a few other areas of the
curriculum are included.
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3Postcards From Utah ArtistsFirst Grade Visual Arts
Curriculum
C.C.A. ChristensenHandcart Pioneers
First View of Salt Lake Valley
Jeanne Clarke, Entertaining: Favorite Ladies II
Trevor Southey, New Bloom
Theme: Getting to Know an Artwork
Lesson Motivation: Introduce this lesson with the analogy that
looking at artworks for the first time is like meeting someone new.
Explain to the students that best way to get to know an artwork is
to spend time with the artwork and get information about who made
it, how, and why. Introduce the Elementary Posters that have people
in them, as if they were people the students were meeting. The
three images at the top of this page all feature people: Jeanne
Clarke (Entertaining: Favorite Ladies) Trevor Southey (New Bloom)
and C.C.A. Christensen (Handcart Pioneers) After the groups have
had a chance to look at these artworks, ask them if they know
anything about these people. Ask them how they could get to know
more about them. Explain that just like meeting new people, finding
out information about artworks can help the students learn to know
the artworks.
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4Ask for a few responses to the artworks: this is what an art
critic would call an initial reaction. Have the students explore
their reasons for their reactions. ART CRITICISM Art Criticism
Objectives: Students will be able to look, listen, think, and talk
about reasons for their reactions to artworks, look at how an
artist uses the art elements and principles in an artworks , and
explore reasons their reactions to an artwork have or have not
changed from their looking.Teacher Explanation: Although Art
Criticism is sometimes taught as a series of linear, discreet
steps, this lesson uses an inquiry method which begins with the
students initial responses to an artwork, then proceeds to research
to learn more about the artwork, the style, the artist, the artists
intent, and then discussion or presentation that is centered on
meaning and value. Good art criticism gives students ideas and
information they can then apply to other artworks. Criticism also
should be recursivestudents should revisit the artworks, look for
more information, listen to or research oth-ers reactions to the
artworks, and compare and contrast various works.As such, critical
inquiry naturally includes aesthetic theories and art history as
well as production activities that offer students the chance to
gain greater understanding of particular artworks as well as to
explore the students own creative abilities and needs for artistic
experiences that relate to their lives.For young elementary
students, who can neither read nor write effectively, this means
the research material will have to be supplied by the teacher, and
responses will need to be oral or simple state-ments the teacher or
an aide can write out for the child. Older students can do the
research them-selves or be given some information by the teacher
and find other information themselves.Although no right answers can
be arrived at, students do need to justify or explain their
views/statements using references to specific characteristics of
the artwork.A Formalistic Approach to Art Criticism: Even very
young children are comfortable talking about the reality of what is
represented in artworks. They like to identify what it is they are
seeing. In this task, you will need to help your students resist
this tendency and look beyond the reality represented and pay
attention to the formalistic qualities of an artwork. Your students
will need to look at how the artist used specific art elements and
principles to create the work. Have the students get into groups of
four and pro-vide each group with a set of 24 postcards from the
elementary postcard set. Next, show the large poster image of
Chelsea VI by Donald Olsen from the elementary poster set.
Donald Olsen, Chelsea VI
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5Talk to the students about a color in Olsens Chelsea VI that
you like and explain why you like that color. Ask the students to
tell you why they think the artist used that color in that part of
the painting. Ask them to also explain to you how they would go
about choosing colors to use in their own artworks. Then ask the
students to tell the classmate closest to them how they think an
artist might pick a color to use in a painting. Also ask them to
talk about how the artists approach and their approach to picking a
color to use are the same or different.Now, have each group of
students look at the postcard images and select one of the images
that has the color they like the most as a group. Ask the groups to
look at how the artist has used that color. Did the artist use the
color in more than one place in the painting? Is this color
brighter or duller than the other colors in the painting? Ask the
students to think about how the color makes them feel. How do you
think the artist feels about that color? What do you think the
artist wanted you to feel about that color?Next, have the students
look for other postcard images in which a different artist used
that same color or a similar color. Have the students compare the
ways in which the two artists used this color.Use questions to
provoke similar conversations about the other art elements and
principles used in the images of the artworks in the postcard set.
This assignment can also involve the students in the use of
creative dance movements to describe formalistic qualities of an
artwork. For example, have students move in ways that are inspired
by the colors or lines in an artwork. In addition, the students can
respond to the formalistic qualities of an artwork using sounds.
Ask the students to think about how a line used by an artist would
sound to them. Have them choose words to describe the elements.
Then, students can find ways to produce appropriate sounds using
rhythm instruments or objects in the classroom. You may want to
introduce other connections by asking questions such as How would
this artwork feel if you could touch it? Which artwork would you
most like to touch and why? You can also ask the students to
respond to and describe where they would find the elements and
principles you have discussed in their own homes.Teaching
strategies like the ones described will help the students focus on
a formalistic approach to artworks. It is important not just to
have the students analyze the lines, shapes, and colors of an
art-work but to help the students to relate to these art elements
from their own perspectives using their own life experiences. Now,
give each group a postcard of Jasmine Sidewinder #91 by Gene Davis
which is part of the University of Utahs Museum of Fine Arts
collection. Ask them if they think this is a formalistic art-work.
Why? Have the students take turns sharing their responses to it.
Try and let all of the stu-dents have a chance to explore their
reactions. Remind them to give the reasons for their responses.
Next, show the students the images of Chelsea VI by Donald Olsen
and Jasmine Sidewinder #91 by Gene Davis again and have them look
at them both together. Ask the students to turn to their closest
classmate and talk to one another about what they know about these
two images. Then ask
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6them to talk about how they feel about these artworks. Ask them
to talk about how their feelings might have changed. Now ask them
to share what they have talked about with the class.Assessment:
Each student will use his or her copy of the following formative
self assessment tool throughout each of the first grade lessons. By
pointing to a symbol or by making a check in the appropriate box,
they may indicate to the teacher their progress for each learning
task.During the learning tasks, the teacher will use the students
self-assessment tool on page 9 to help identify students who need
more time to work or need help or who have mastered the task. The
teacher then will use these self-assessment tools to assess mastery
of all of the tasks by each student at the end of the unit of
study. Each of the four components of this lesson will involve the
first four tasks of the assessment tool: looking, listening,
thinking, and talking. The art production components will also
involve these four tasks plus the task of
making.Resources/Materials:Elementary Postcard SetSMAElementary
Poster SetSMAAdditional ArtworksGene Davis, Jasmine Sidewinder #91
from the Springville Museum of Art, Op and Pop Evening for
Educators packet, April 2001. (Available via the Internet
www.smofa.org or at the Springville Museum of Art)
AESTHETICSAesthetics Objectives: Students will be able to look,
listen, think, and talk about their understanding of beliefs
concerning artworks.Aesthetics Lesson: Explain to the students that
different peo-ple have different ideas about what art should be.
This infor-mation can help them get to know artworks.The teacher
should explain the following aesthetic theories to the students and
give each student a set of die-cut symbols to use in this task: 1.
RealismSome people believe art should mimic nature, should look
real. The symbol they will use is a die-cut of a camera . 2.
ExpressivismOther people believe art should express feelings or
ideas. The symbol they will use for this theory is a die-cut of a
heart. 3. FormalismOther people believe art is about lines and
shapes and colors. The symbol they will use for this theory is a
die-cut of a square or triangle.
Gene Davis, Jasmine Sidewinder #91Utah Museum of Fine Arts
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7Allow students to ask questions and make whatever additional
explanations are necessary. One student in the group will deal the
postcards out to the group members. Each student gets a turn to
place one postcard by the symbol that best represents the artwork.
That student must give the reasons for the choice. This continues
until all the postcards are on the table. When all the groups are
finished, have the groups put their postcards under the symbols
which you have attached to the board or a table. Tabulate the
results. Summarize the results for the students.Assessment: During
the learning task, the teacher will use the students
self-assessment tool to help identify students who need more time
to work or need help or who have mastered the task.
Resources/Materials:Elementary Postcard Set and Elementary Poster
setSets of symbols: camera, heart, and a shape such as a triangle
or square (You will need 6-8 sets of the symbols, one set for each
group and one set for yourself.)Additional artworksGene Davis,
Jasmine Sidewinder #91 from Op and Pop Art, Evening for Educators
packet, April 2001. (Available via the Internet www.smofa.org or at
the Springville Museum of Art)ART HISToRyArt History Objective:
Students will be able to look, listen, think, and talk about the
three artists who made the featured artworks, when they lived, what
was important to them in their lives and their art. Students will
also be able to identify artworks that may be similar or different
from those artists art-works.Art History Lesson: Display the
posters. Ask the students to review the aesthetic theories. Then
explain that another way to learn about the artworks is to learn
about the artists who made the art-works, when they lived, what
they cared about, what their lives were like. Present information
about the artists. You can use the information on the backs of the
postcard or the information below. 1. James T. Harwood, Boy and
Cat: My Little Son, Heber James
J.T.HarwoodwasborninLehi,Utah,in1860alongtimeago.
HarwoodwenttoFrancetostudyart. (Show the class where France is on a
map or globe.) Hiswifewasalsoanartist (Show the poster: Richards
Camp. J. T. and Harriet are glancing at each other.)
Harwoodlovedhisfamily.
ThispaintingisofHarwoodsyoungestson,Heber.Ask the students to
choose an artwork from the set that is by an artist who cares about
some of the same things as J. T. Harwood. Students should explain
their responses to the members of their groups and do not have to
agree. 2. Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah
BirgerSandzenwasborninSweden,in1871.
HemovedtoKansasandtaughtatacollege. (Show the students where Kansas
is on a map.)
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8 HecametoUtahtoteachinthesummer.
Sandzenlikedtopaintusingbrightcolors
Healsolikedthebrushstrokesinhispaintingstoshow. (Demonstrate what a
brushstroke is and then have students look at Sandzens painting to
see the brushstrokes.)Ask students to choose one of the artworks
that might have been painted by an artist who studied with Sandzen.
Students should explain why they think that artist may have been
Sandzens student. 3. Donald Olsen, Chelsea VI
DonaldOlsenwasborninProvo,Utah. Heplaystheviolin.
Olsenwasateacher.Hetaughtartandmusic.
Hedidntbelievepaintingsshouldlooklikepeopleorplaces,hethoughttheyshouldjust
have shapes and color and line.
Otherartistswhowerealiveatthesametimealsothoughtartshouldjusthavesimple
shapes and colors. Ask the students to choose an artwork that is
similar to Olsens and say how. Next they should choose an artwork
that is different and tell the group how it is
different.Materials:Elementary Postcard SetSMAElementary Poster
SetSMAART PRoDUCTIoN Production Objectives: Students will be able
to cre-ate two formalist artworks one of which will be
three-dimensional.Production Lesson: Research has shown that very
young children enjoy the bright colors and simple shapes of
abstract, minimalist artworks like Chelsea VI. Provide students
with construction paper in several colors. Students will choose one
color for the background. Then students will cut out simple shapes
from other colors. You may wish to tie this to shapes they are
learning to identify. Students should try several arrangements of
the shapes rather than just using their first idea. When students
have decided on a design, they should glue the shapes down. Then
have students evaluate their designs. Are they satisfied or do the
designs need anything added? (Choosing their favorite design from
among several and later evaluating the design for completeness are
important criticism pro-cesses.)Display the finished artworks and
allow students to comment on and to contrast and compare their
artworks with Olsens and any other similar artworks you have used
in the activity. Make a display that includes professional artworks
as well as the students designs. You may also want to make a
Louise Richards FarnsworthCapitol From North Salt Lake
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99
chart that has a one- or two-word definition of the three
aesthetic theories you discussed and the symbols you used in the
matching activity. This chart can be displayed during future
lessons as a reminder of what the students learned and as a
springboard for future art activities.The unit may be expanded to
include production activities that explore the process of making
art-work that looks real and that expresses feelings. Summarize the
major points, asking for student input: Different artists want
their art to look different. Some artists want their art to look
real, some want their art to express feelings, some want their art
to show shapes and colors. Knowing what an artist was trying to do
helps us understand their artwork. Knowing about the artists lives
can also help us understand their artworks.The students in each
group should discuss and plan how to arrange the shapes into an
interesting design.
Frank Riggs, Sentinel Raymond Jonas Abstract Configuration
Neil Hadlock, Effron
Three-dimensional Formalism Lesson:Have the students bring
three-dimen-sional containers from home, such as wrapping-paper
tubes, shoe boxes, or metal cookie tins. Then have the stu-dents
paint the shapes primary colors using Tempera or Acrylic paint.
Divide the students into groups of four and pass out the shapes to
the groups. Each group should have five to nine shapes.
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Remind the students about the thumbnail sketches they did with
the two-dimensional assignment. They should use a similar approach
with this assignment. Explain to the students that when they work
with three-dimensional shapes, they must think about how the design
looks from all sides. Give the groups sufficient time to try
several possible arrangements. The teacher may have to help the
students avoid just stacking the shapes on top of one another. Help
the students see how they can balance one shape over the edge of
another or turn them different directions. Remind the stu-dents to
check how each new change in the arrangement of the shapes affects
the design from all the sides.When the groups have finished
arranging their shapes, have an adult help the students stabilize
the design using Blue Tack or self-adhesive Velcro. Give each group
an opportunity to share with the class what they think was most
successful about the way their group solved the assignment. Have
the students record a check in the appropriate box of the
self-assessment tool. If possible, display the arrangement of
shapes from each group in the classroom or in the media center.
Assessment: While the students are creating their artworks, the
teacher will visit with each stu-dent and help him or her to assess
their progress. The student will indicate and record their efforts
in looking, listening, thinking, and talking about the process of
making a formalistic artwork. The teacher will also help the
students to assess their use of the art elements and principles in
the design of their artworks and the overall look of the work. The
students will also look again at the artworks by Frank Riggs, Neil
Hadlock, and Raymond Jonas to help them assess their own
three-dimensional formalistic works.Resources/Materials:
Springville Museum of Art web site images: smofa.org Frank Riggs
Sentinel Neil Hadlock Effron Raymond Jonas Abstract Configuration
Interdisciplinary connections: Language Arts Utah State Core
CurriculumTopic: Speaking and ListeningLearn To Explore Ideas
Through Talk
Participateindiscussionsasaclassandduringgroupinteractions
Initiateconversationwithpeers
Askforclarificationandexplanationofwordsandideas
Followimplicitrulesforconversation(i.e.,takingturnsandstayingontopic)
Tellandretellstoriesandeventsinlogicalorder
Askandrespondtoquestionsinsmallgroupsettings
Exploreideasthatmaylaterbeexpressedinapersonalartwork
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THEME: THERE IS ART IN oUR EvERyDAy LIvES
objectives: 1. Art History: Students will discuss how artists
have used everyday life as the subject of artworks and will be able
to identify those artworks as Genre scenes. 2. Aesthetics: Students
will be able to explain the Realist theory of art and the
Expressivist theory of art and identify the two kinds of artworks.
3. Art Production: Students will choose an everyday scene to
portray in an artwork. They will demonstrate their understanding of
expressivist and realist by choosing one approach and making their
genre scene fit that approach. 4. Art Criticism: Students will be
able to critique their artworks as Realist art or as Expressivist
art, using a 5step criticism model.Materials
2ndGradepostcardsfromtheset: Keeper of the Gate, Wash Day In
Brigham City, Youthful Games. Otherpostcardsfromtheset: Handcart
Pioneers First View of Salt Lake, Riders of the Range, Richards
Camp Other2ndGradeartworksfromthe Masterworks list: Peasant Dance,
I and the Village, The Gleaners, Parade or substitute Dance Around
the Maypole by Pieter Bruegel the Younger, an UMFA Elementary
poster, for Peasant Dance. Postcardsthatarenotgenrescenes: Chelsea
VI, Rhinoceros, Road to the River, Moonrise in the Canyon,
Cockscomb, John Hancock, Paul Revere, Boy and Cat, etc. Sketchpaper
Good-qualitydrawingpaper Pencils
Coloredpencils,paints,orcrayons,andoilorhardpastels(youwillneedonemediumsuchas
paint or pastels, that lends itself to expressive drawing)
Postcards From Utah ArtistsSecond Grade Visual Arts
Curriculum
Gary SmithYouthful Games
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1. Art History: Students will discuss how artists have used
everyday life as the subject of artworks and will be able to
identify those artworks as genre scenes.Show the class the poster
of Washday in Brigham City. Ask what the woman in the painting is
doing. Ask the students if their family ever hangs laundry on the
line. (Even children whose families do not regularly hang out
laundry may do so with particu-lar items or when camping or may
have a neighbor who does.) Ask the students why the artist might
have chosen to make a painting of just everyday life.Tell the
students that art that shows a scene from our everyday lives, like
this one, is called a Genre Scene. (Genre is pronounced zhn-re)
Write the word on the board and pronounce it for the chil-dren:
have them say the word several times.Divide the class into groups
and give each group an assortment of postcards, some of which are
genre scenes and some of which are not. Each child should choose a
postcard and say why it is or isnt a genre scene, and place it in
one of two pilesYes and No. When all the postcards have been
sorted, allow stu-dents time to discuss the division and make
changes if the other members of the group can convince the child
who made the decision to change his mind. Ask the class if some
artworks are hard to classify as genre or not genre. They may not
agree about Keeper of the Gate. Sometimes, information about the
artwork might help you decide how to clas-sify it. For example,
because Keeper of the Gate is about the area the artist was allowed
to wander as a child,and it shows him on a bicycle, some people
might be influenced to say its a genre scene because of the idea
behind the painting. Students do not need to agree. Do help them to
articulate the reasons for their choices.Extension: The students
will learn to identify landscapes, genre scenes, and portraits. Add
to the lesson above by showing the students a poster of a landscape
such as Sunrise North Rim of Grand Canyon. (Landscapes show all or
mostly just the land; any figures are small and not very
important.) Then show the class the poster of Sacajewea and explain
that portraits concentrate on a person or small group of people,
not on an activity.)[There are, of course, artworks that blur or
cross over the lines, but start with simple definitions. As the
students learn more or as they identify the ways artworks cross the
lines, help them explore the complexities of artworks that do not
fit just one category.]2. Aesthetics: Students will be able to
explain the Realist theory of art and the Expressivist theory of
art and identify the two kinds of artworks. Introduce the aesthetic
theories or approaches of Realism and Expressivism. Aesthetic
theories
Calvin FletcherWash Day in Brigham City
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explain different ideas people have about what art should be
like. The Realist approach is that art should look like the person,
place, or thing depicted. How good an artwork is is based on how
real it looks. On the other hand, the Expressivist approach is that
art should express an emotion or feeling. The artwork is judged on
how well it expresses the artists feelings or invokes those
feel-ings in the viewer. Most genre scenes are realistic, but a few
artworks that can be classified as genre scenes are more
expressive, such as Keeper of the Gate, I and the Village, and
Parade. Simplified Variation: Limit the lesson to Realism, which
means you do not need postcards of I and the Village and
Parade.Have students, in their groups, classify the post-cards
according to whether they are Expressivist or Realist. All students
do not have to agree. Have students find words that help explain
the differ-ences between the two approaches to art. Make a list of
the words on the board.3. Art Production: Students will choose an
everyday scene to portray in an artwork. They will dem-onstrate
their understanding of expressivist and realist by choosing one
approach and making their genre scene fit that approach. Have
students choose a scene from everyday life to portray in an
artwork. Students should choose whether to make their artwork
Realistic or Expressivist.Give each student a piece of inexpensive
paper. The students should fold the paper in half one way and then
in half the other way so the folds indicate four thinking spaces.
In each space, the stu-dents should sketch an idea for their
artwork. They should consider the overall design as well as
individual elements and how they can make their artwork expressive
or realistic. Have the students review the genre scenes to see that
artists make choices about how they portray sceneseven realist
artists dont just make exact copies from real life.Each sketch in a
thinking space must have some changes from the previous one. When
all four sketches are complete, students can choose one and make a
light sketch on a large sheet of good drawing paper. Allow students
to choose an appropriate medium and complete their artwork. Mount
the artworks on larger sheets of colored paper, or display them in
mats or frames which you have. Display the artworks after the
critique is finished.4. Art Criticism: Students will be able to
critique their artworks as Realist art or as Expressivist art,
using a 5step criticism model.Have students use the 5step criticism
model below to critique their artworks. Remember, art
Jacob Lawrence, ParadeImage from allposters.com
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14
criticism is talking about art, not just saying how good it is.
1. What is your immediate reaction? (initial reaction) 2. What do
you see? (description) 3. How has the artist put things together?
(analysis) 4. What is the artist telling you? (interpretation) 5.
What is your opinion of the artwork, and why? (informed preference)
How successful were you at making your artwork expressive or
realistic?(evaluation of personal work)Have students write a
sentence about their artwork and display the writing with the work.
For example: I wanted to show how much fun we have when we go
camping.SourcesI and the Village, Parade, and Peasant Dance, can be
found at barewalls.comFor I and the Village, go to the artists
list, click on C, find Chagall, click, go to page 3The other two
artworks can be found through the artist list: Jacob Lawrence and
Pieter BruegalYou can purchase the prints for $15 or less or can
make your own postcards following the directions in the
appendix.You can access an image of Dance Around the Maypole at
utah .edu/umfa and go to Education, then Elementary PostersYou can
access an image of The Gleaners, by Jean-Francois Millet, at
allposters.com.AssessmentUse the chart on page 9 for both formative
and summative assessment of this lesson.
Pieter Brueghel the Younger, Dance Around the MaypoleUMFA
Elementary Poster
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15
Postcards From Utah ArtistsThird Grade Visual Arts
Curriculum
THEME: ALL IN A DAyS WoRK
AESTHETICS
Motivation: The teacher brings into the classroom enough wrapped
presents for each group of four students. As she is doing so, she
explains that she got the presents from the driver of a very long
limo that had pulled up in front of the school. She explains that
the driver got out of the limo and handed her the presents. He told
her that his dying boss had a last request. He wanted her students
to preform a task for him. The task is to find a connection between
the three postcard images in the package. Once the students have
discovered a connection between the images, they should curate an
exhibit in the museum of these images and other images from the
museum based on that connection. If the students complete the task
the man to donate the three artworks to the local museum.Aesthetics
objectives: Each group of students will be able to analyze the
three images by Edith T. Roberson (Channel Three), Paul Salisbury
(Riders of the Range), and Mahonri Macintosh Young (Factory Worker)
and identify and write down ways in which the images relate to one
another according to the aesthetic concept of the artists intent.
The students will also be able to write a jus-tification of their
opinions about the aesthetic concept of artists intent for each of
these images. Each group of students will be able to organize and
display an exhibit of these postcard images and similar postcard
images that have the same relationship to one another. Finally,
each group of students will also be able to write a statement that
describes the rational behind their exhibit.Aesthetics Lesson: The
students will open the packages and look at the three images by
Edith T. Roberson (Channel Three), Paul Salisbury (Riders of the
Range), and Mahonri Macintosh Young (Factory Worker). Explain to
the students the aesthetic concept of artists intent. The artists
intent is a way of stating what the artist is trying to communicate
in the artwork. One way that they can
Mahonri YoungIndustry:
Factory Worker
Paul SalisburyRiders of the Range
Edith RobersonChannel Three
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16
discover what might be artists intentions for making an artwork
is to asking questions about the relationship between an artwork
and the artist. The following two questions: (What is this artwork
about?) or (What is the artist trying to communicate?) are examples
of the type of questions your students could ask while searching
for the artists intent. To find the answers to such ques-tions the
students should read the information from the back of the
postcards. They can also read additional information found on the
back of the elementary poster for that image. All Utah elementary
schools have copies of these three posters and all of the posters
can also be viewed on the CD-Rom included in this curriculum. Have
the students write down the information they gather from the image
and the other written materi-als they read and place it in a
comparison chart.(page 23) This chart will make it easier to view
what is simi-lar, different, or what maybe a common connection
between the artworks. Next the students will need to write in the
chart their conclusions as to the artists intent for creating this
artwork. Now have the groups review the information that they have
written down about these three artworks and look for common
con-nections between the images, materials, subjects, styles, and
artists intentions. When the students decide what the common
connections between the artworks are, they will need to use those
connections to establish a theme for an exhibit.Now, give the
students the complete elementary set of postcard images and allow
them to select other images that match their theme for the
exhibition. Once they have completed their selections, have them
hang a bulletin board exhibition for the postcards selected. The
groups should also write statements about their exhibits explaining
the connections they have found, justifying their selection of
their themes and images. The students should make simple labels for
each of the artworks that give the name of the artist, the title of
the artwork, the year it was created, the media, and the actual
size. The students may invite another class or parents to view the
exhibits. The students could also act as docents and give tours for
the visitors.Advanced Variation: Allow students to search the
Springville Museums web site for other images to include in their
exhibit.
Donald Beauregard, The Artists Father Clearing Sagebrush
Minerva Teichert, Spinning
William Parkinson, House Wife
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17
ART CRITICISMArt Criticism Motivation: An art critic is a
professional who helps someone to look at an artwork and to go
beyond the initial reaction and look deeper into what the artist
has created. The art critic uses a method for looking called a
critical model. We are going to act like we are art critics and
look at some artworks using a simple model of criticism that has
five basic steps or questions: 1. What is your immediate reaction?
(initial reaction) 2. What do you see? (description) 3. How has the
artist put things together? (analysis) 4. What is the artist
telling you? (interpretation) 5. What is your opinion of the
artwork, and why? (informed preference)Art Criticism Objectives:
The students will be able to use the critical model from above to
gather information about the artwork to share with the class in
group presentations.Art Criticism Lesson: The teacher will
demonstrate how to use this critical model to the class with one of
the images from the state core curriculum for the third grade. The
students will then divide into small groups and use this model of
criticism with one of the artworks to be studied in the art
his-tory lesson. The complete list of these images can be found on
the next page. Each group will fill in its responses to the five
steps of the model and share with the class in a presentation.
ARTWORKS TO BE USED IN THE CRITICISM AND ART HISTORY LESSONS Diego
Velzquez. The Forge of Vulcan 1630 Oil on canvas. Museo del Prado,
Madrid, Spain. Mahonri Young Industry: Factory Worker 1938 Bronze
Springville Museum of Art Vincent van Gogh. Morning, Leaving for
Work 1890 Oil on canvas. Collection of Otto Krebs Hermitage, St.
Petersburg, Russia. Paul Salisbury Riders of the Range 1953 Oil on
canvas Springville Museum of Art
Jan Vermeer. The Lacemaker c.1669-1670. Oil on canvas. Louvre,
Paris, France.Dame Laura Knight Ruby Loftus Screwing a Breech-Ring
1943oil on canvas Imperial War Museum, London, EnglandFernand Lger
The Builders 1950Oil on canvasMuseum National Fernand LgerPietro
Lorenzettidetail, Allegory of Good Government: Effects of Good
Government in the City and the Country 1338-1339
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18
ART HISToRy
Art History objective: Students will be given copies of artworks
and information about them that depict people at work from past
centuries and will be able to analyze, discuss, and write down how
these images are similar and different, and complete a comparison
table. The students will be able to describe how both work and the
depiction of work have changed over the centuries.Art History
Lesson: Each group of students will be given a copy of the images
listed in the com-parisons charts below and the basic information
about each of the artworks. The students are to view images and
look carefully for similarities and differences between the four
pairs of images and record their findings in the chart. Assign a
pair of images to each group of students to use for a pre-sentation
to the class. The presentation must clearly describe how methods of
work (physical labor) and the methods of creating an artwork have
changed over the centuries.Assessment: The information from the
comparison charts may be used by the students in an inte-grated
performance assessment strategy that acts out the differences or
similarities in a pantomime or play. The students then will
complete the creative characteristics questionnaire, which assesses
their integrated performance.
CREATIVE CHARACTERISTICS QUESTIONNAIRE
1. high level of energy ___ ___ ___ ___ ___ ___ ___ ___ low
energy 2. imaginative ___ ___ ___ ___ ___ ___ ___ ___ ordinary 3.
enjoyment ___ ___ ___ ___ ___ ___ ___ ___ disinterested 4.
cooperative ___ ___ ___ ___ ___ ___ ___ ___ resistant
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19
ttp://commons.wikimedia.org/wiki/Image:Diego_Velasquez,_The_Forge_of_Vulcan.jpgArtist
Type of Work
Depicted How the Artwork
Was MadeComparison
Diego Velzquez The Forge of Vulcan
1630 Oil on canvas Museo del Prado, Madrid, Spain.
Mahonri Young Factory Worker 1938 Bronze Springville Museum of
Art, Springville, Utah
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20
http://galeria.klp.pl/p-3859.html
Artist Type of Work Depicted
How the Artwork Was Made
Comparison
Vincent van Gogh Morning, Leaving for
Work 1890 Oil on canvas
Collection of Otto Krebs
Hermitage, St. Petersburg, Russia
Paul Salisbury Riders of the Range
1953 Oil on canvas Springville Museum of Art Springville,
Utah
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21
http://www.ibiblio.org/wm/paint/auth/vermeer/i/lacemaker.jpghttp://www.awm.gov.au/sharedexperience/images/enlarge/ld_2850.jpg
Artist Type of Work Depicted
How the Artwork Was Made
Comparison
Jan VermeerThe Lacemaker c.1669-1670
Oil on canvas Louvre, Paris, France
Dame Laura Knight Ruby Loftus Screwing a
Breech-Ring 1943oil on canvas Imperial War
Museum, London, England
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22
Detail from,
http://commons.wikimedia.org/wiki/Image:Ambrogio_Lorenzetti_Allegory_of_Good_Govt.jpgArtist
Type of Work
DepictedHow the Artwork
Was MadeComparison
Fernand Lger
The Builders 1950 Oil on canvas
Museum National Fernand Lger
Pietro Lorenzetti detail, Allegory of Good
Government: Effects of Good
Government in the City and the
Country 1338-1339
http://www.ac-nice.fr/artsap/Pedagogique/ar-chitecture/chantier_leger.html
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23
ART PRoDUCTIoN
Art Production Motivation: The students will create a story book
about a day at work with a parent or other adult they admire. Oral
interviews are encouraged as a means of gathering data.Art
Production objective: Students will be able to create a small
eight-page story book about a day at work with a parent or some
other adult they admire. The students will also be able to use
principles of design in such a way as to emphasize what it is they
like about the occupation. Art Production Materials: 12 x 18 heavy
weight white drawing paper, markers, crayons, colored pencils, and
scissors. Directions for the book are on page 24Art Production
Lesson: The students will interview his or her parent or other
adult that they admire concerning their occupation. They will need
to gather specific information that will help them illustrate what
his or her daily routine is like at work. The students will need to
ask specific ques-tions about what it is about their job that they
enjoy. The student should write notes from the inter-view that will
highlight five things about their daily routine.The student should
start the illustration of the book by creating small drawings
(thumbnail sketches) that will depict the five different parts of
the daily routine highlighted in the interview. Then the stu-dents
will select the best of the sketches made for each of the five
parts of the day and use them to create a drawing that will fill
the space for that page in the book. The illustrations in the book
might include details like: the type of clothes worn in this
profession, the tools they might use to do their job, the people
they work with each day, and details about the work environment.
There are seven main criteria for the illustrations and the design
of the book: 1. The drawings should be more than stick figures and
figures should be depicted in correct human proportions. 2. The use
of color should be similar to that used in a cartoon. Simple
primary and secondary colors with some shading. 3. The parts of
each of the images which are of most importance should fill the
largest space on each page. 4. The front cover of the book should
have text introducing the type of job. 5. The next five pages
should depict the daily routine; no text can be used on these
pages. 6. The last inside page of the book should list preparation,
training, or education required to accomplish this kind of job;
some text maybe used. 7. The back cover should include credits and
thanks to the individual they interviewed. When the students are
finished creating the books they can exchange their book with
someone else to read or read their book to a student from a younger
class. Assessment: As a method of assessment the students can then
write a book review that critiques the successfulness of their
illustrations or that of another classmates. The students or the
teacher may use the criteria in the check list above for a
self-assessment or to judge the book.
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24
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25
THEME: UTAH ART CAN TELL US AboUT UTAH HISToRy
objectives: 1. Art HistoryStudents will be able to name two
early Utah artists and explain their contribution to Utah Art. 2.
Art Criticism/AestheticsStudents will explore different ways art is
valuable to us by comparing several Utah artists works. Students
will choose an aesthetic stance and be able to defend that stance.
3. Art ProductionStudents will make pioneer journals containing
four drawings that illustrate events on the journey.Materials
Postcards:Immigrant Train, George Ottinger; Handcart Pioneers,
C.C.A. Christensen; Capital from North Salt Lake, Louise Richards
Farnsworth; Richards Camp, J.T. Harwood; Riders of the Range, Paul
Salisbury OtherUtahartworksthatcanbefoundatsmofa.org: Teepees, John
Hafen; Rocky Mountains, Parishort, William Warner Major; Bishop Sam
Bennion Farm, and Ontario Mill Park City, Danquart Weggeland; Sugar
Refinery Burning, George Ottinger; Dreaming of Zion, Lee Greene
Richards; Curtain Time Pioneer Theater, Cornelius Salisbury;
Frontier Scout, Mahonri Young Language Arts/Social Studies/Art
Production
objective: Students will demonstrate their understanding of the
pioneer trek to Utah by writing and illustrating journals that
could have been written by pioneers. (You may wish to add specific
class objectives for the illustrations and writing.)Materials
ExcerptsfrompioneerjournalssuchasMaryGobelPeays(shewas12) artworks
including Immigrant Train, George Ottinger; Handcart Pioneers First
View of Salt Lake Valley C.C.A. ChristensenPostcard Set.
Additionalusefulartworks:Teepees, John Hafen; Rocky Mountains,
Parishort, William Warner Major; Frontier Scout, Mahonri Youngall
available at smofa.org George Catlins paintings of Native Americans
from BYU MOAs Lure of the West Packet, March 2002available at MOA
bookstore and at http://www.lib.byu.edu/dlib/moa/As part of a unit
on the pioneers, have students become pioneers for a week. They can
make books as shown on page 24. Then the students will write
journal entries, illustrating the events that hap-pen so that
people 150 years later could read and see what their experiences
were like.To introduce the activity: If you have a slide projector,
project a slide of Lee Greene Richards Dreaming of Zion on the
screen or wall while you read excerpts from Mary Gobel Peays
journal.
Postcards From Utah ArtistsFourth Grade Visual Arts
Curriculum
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26
(The slide is available in past SMA packets. You may be able to
borrow a poster from a middle school, or, purchase a poster from
the Springville Museum of Art for $5special price for teachers)Ask
the students how the picture does or does not look like what Mary
Peay describes. Ask why an artist might not be most interested in
being historically accurate. Then tell the students youre going to
look at two artworks that are historically accurate. Divide the
students into groups and have them look at the postcards of
Immigrant Train and Handcart Pioneers First View of Salt Lake
Valley and any other artworks you have. Also, have the students
read another excerpt from a pioneer journal. As groups, have the
students discuss why journals and artworks with accurate historical
data are impor-tant. Then have the groups share their ideas with
the class. Explain to the class members that they are going to
create journal entries that accurately reflect what pioneers might
have gone through. Teach them how to make the books. As you
continue to study the pioneers, have the students make a journal
entry each day, using both written accounts as well as
illustrations, as if they were part of a wagon train or handcart
company. When the journals are finished, students should title them
appropriately. Have the students read each others journals and
discuss them as groups. Display the journals in the media center
and invite other classes to view and read the journals.Addition:
You may want to complete a lesson on gesture drawing and depicting
space in art before you start the journals. If you have already
done this as a class, a brief review may be helpful: do three quick
gesture drawings and review the list of space indicators on page
40. Evaluation: Have students evaluate their journals using a
simple rubric of the criteria you choose. You can also evaluate the
journals using the same rubric.Art HistoryStudents will be able to
name two early Utah artists and explain their contributions to Utah
Art. Students will create a timeline of Utah art and identify ways
the art tells us how life in Utah has changed over the years.
Students will demonstrate their ability to read the labels on
artworks correctly by identifying the year the artworks were
created.As part of, or after finishing, the journals activity, have
students learn about the two artists, George Ottinger and C.C.A.
Christensen. Use information from the biographies included in the
poster backs section. Divide students into groups and give them
copies of the following postcards: Immigrant Train, Handcart
Pioneers, Riders of the Range, Richards Camp, Boy and Cat, Wash Day
in Brigham City,
Lee Greene Richards, Dreaming of Zion
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27
Capitol from North Salt Lake, Road to the River, Youthful Games,
and Keeper of the Gate. Have students speculate about Ottingers and
Christensens possible impact on art in Utah. Have the groups share
their ideas with another group. Each student should write a few
lines in their art journals: Ottingers and Christensens names and
the titles of their artworks, when they painted, and how they might
have influenced the development of Utah art. (Although not the most
important part of the activity, two ways the artists were
influential are that their artworks exposed many of the early
settlers of Utah to art. For example, CCA Christensen toured his
Panorama through many small towns where people might not have
gotten to see any art. Ottinger became a teacher and not only
passed on his skills but also encouraged the next generation of
artists to gain more extensive training by going to Paris..Have the
students organize the art images into a timeline. They should make
the timeline without looking at the backs of the postcards. They
can check the timeline dates after they are finished. Make sure
they know how to read the labels on the back of the postcards. The
year the artwork was created is the date that follows the artworks
title. Ask if they were surprised by any of the dates on the
artwork. Ask them to decide why they had a hard time telling on
some artworks. For example, Riders of the Range depicts cowboys and
cowboys have looked much the same for many years. Art
Criticism/AestheticsStudents will explore different ways art is
valuable to us by comparing several artists works. Students will
choose an aesthetic stance and be able to defend that
stance.Materials Twopostersorlarge-sizereproduc- tions of artworks.
The first should be an artwork most of the students will like. The
second should be Handcart Pioneers First View of Salt Lake Valley,
SMA Elementary poster Postcardsforthe4thgrade:Handcart Pioneers
First View of Salt Lake Valley, Immigrant Train, and Rhinoceros
OtherpostcardssuchasRoad to the River, Sunrise North Rim Grand
Canyon, Boy and Cat, Riders of the Range, Capitol from North Salt
Lake Otherpostcards,particularlyofart works many of the students
will con- sider beautiful, such as Cliffs of the Upper Colorado
River, Wyoming Territory, Thomas Moran; Among the Sierra Nevada,
California, Albert Bierstadt; both from BYU MOAs Lure of the West
packet, March 2002, or the images are available from
www.lib.byu.edu/dlib/moa/
James Christensen, Rhinoceros
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2828
Art is valuable to different people in different ways. It may be
valuable in several ways at once. Art criticism and aesthetics are
ways to explore the ways we value art. In this component of the
lesson, students will compare various artworks and determine the
ways we might value each artwork. Then the students will choose one
way we value art and argue that stance in a debate.Show the class a
poster or large reproduction of an artwork that you think most of
the students will respond to positively. Ask: What is your first
reaction to this artwork? So is it valuable because its beautiful
or makes you feel happy, or __________________ ? (use whatever
responses the students have given) Why else might this work be
valuable to someone? Hold up the poster of Handcart Pioneers First
View of Salt Lake Valley. Ask: If you collected art by Utah
artists, why might this artwork be valuable to you? Help the
students explore the idea that art is valuable is different
ways.Divide the students into groups and pass out the postcards.
Ask the students to figure out as many different ways as they can
that the artworks they have can be considered valuable. Students
should make a list.If students need more direction, ask them
questions such as the following:Which artworks would be most
valuable to an art museum that specializes in Utah artworks?
Why?Which artworks would be most valuable to a museum of Utah
History? Why?Which artworks would be most valuable to you as
something you would want in your home so you could look at it every
day? Why?Each student group will choose one artwork and decide why
it may be valuable. They will choose two students who will debate
two members of another group, using the reasons they determined in
their group to assert that their artwork is the most valuable.
Students will complete a form or write in their journals the title
of the artwork they chose, the artist, and three reasons they
believe the art-work is valuable.
Artist:______________________________ Title:
_________________________________________
This artwork is valuable because 1.
2.
3.
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29
Postcards From Utah ArtistsFifth Grade Visual Arts
Curriculum
Theme: Searching for visual Clues
ART CRITICISM
Motivation: The artist as the creator is the first source of
information about an artwork, but another creditable source is the
art critic. He or she, like the artist, can guide the viewers eyes
to see mean-ing in an artwork. It is often the writings of an art
critic that help the viewer move beyond the initial response to an
artwork and develop a clear understanding of an artwork that
results in an informed opinion. In the following lesson, the
students will act as an art critic by recording in writing their
initial response, their description of the artworks, their analyzes
of the visual clues built into the art-work by the artist, provide
their interpretation of the artwork based on their observations,
and come to a judgement of it.Art Criticism objective: Students
will be able to use a critical model to identify visual clues used
by artists to help describe subjects and tell their stories.Art
Criticism Lesson: Divide the students into groups of four. Have
students look at the four Cyrus Dallin postcards from the postcard
set. Ask the students if they recognize any of the famous
individu-als in these sculptures: Paul Revere, John Hancock,
Sacajawea, and Massasoit. Have the students pick one of these four
famous people on which to conduct research so they will know about
them. Now, have each group act as art detectives and write down
visual clues that Dallin used to help a viewer recognize the
individuals he sculpted. You may need to suggest that they look at
things like clothing, the position of the figures, and other
details. Also, ask the students to think about stories they know
about any of these famous people and how these stories helped them
to know who these people are. Encourage the individuals in each
group to contribute to the discussions.
Cyrus Dallin: Paul Revere John Hancock Sacajawea Massasoit
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30
ART HISToRyArt History Objective: Students will be able to
identify different styles of artworks by artists who have portrayed
images of famous people and compare these styles to one another.Art
History Lesson: Chuck Close creates super-sized paintings of famous
artists and friends from photographs he takes. His paintings expose
the faces of his subjects to the viewer on a level of inti-macy
previously only viewed by a mother or spouse. Chuck Close said, I
paint heads because heads matter to everybody. If you paint a face
big enough, its hard to ignore! (Scholastic Art, 1995)To help the
students gain an appreciation of this kind of close- up view, make
a transparency of the black and white portrait image of the famous
modern composer, Phil Glass, by Chuck Close. Most school and
district media center coordinators are a great resource for the
materials and expertise to create transparencies. Show the students
this image on an overhead projector. Ask them to look for the
details in the image like facial hair, pores of the skin, and
wrinkles. To give the students a better understanding of how close
you would need to get to a person to see such details and to help
them understand how a person who is the subject might feel, give
each group of four students two magnifying glasses and ask the
students to take turns looking very close up through the glasses at
one another's faces. Have the students share their feelings as to
how they felt both as the viewer and as the subject. Ask the
stu-dents if they would want a nine-foot Chuck Close painting of
their own face in their house. Explain to the students that many of
Chuck Closes subjects had trouble with their own images and did not
want them hanging in their houses. Now show the students the Martha
Graham Paper Doll Quilt created in 1999 by Rebekka Seigel. Explain
that this quilt is part of a series of twelve quilts that Rebekka
Seigel has created about famous women. Ask the students if they
know who Martha Graham was and what she did for a living. Have the
students look for clues that Rebekka Seigel gave us about Martha
Graham's life in this quilt. All of Rebekka Seigels paper doll
quilts have several
Rebekka Seigel, Martha Graham Paper Doll Quiltimages used by
permission of the artist
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31
removable outfits to dress up the person featured in the quilt.
Just like Cyrus Dallin did, Rebekka researched each outfit and
patterned them after outfits worn by the person. Next, have each
group of students discuss and compare Cyrus Dallins approach to
portraying images of famous people with that of Rebekka Seigel and
Chuck Close. Have the students complete the fol-lowing descriptive
matrix to help them look at the differences and similarities of
each of these artists approaches. Use this list as a tool for
formative assessment of the students processing of this
infor-mation. The matrix is included at the end of the
lesson.Student groups will analyze the different styles of each
artist and decide in what ways and where each artists works would
be most appropriate within a community As assessment, students
should summarize their decisions and the reasons for that choice.
Art Production objective: The students, working in small groups,
will be able to create a mixed-media quilt that tells about a
famous living person. Art Production Lesson: Have groups of
students select a famous person to feature in a mixed-media quilt.
Ask the students to research the life of the person they have
selected. Some things they could look for are quotes, clothing,
gestures, pets, hobbies, careers, family, friends, accomplishments,
cre-ations, or other unique details. Have the groups of students
sort out and select the best of materials and information they have
gathered about the famous person. Now, they should discuss what
kind of images they will need to create to best represent the
selected information. Have the students find and select appropriate
materials to use for these images: cloth, magazine clippings, text,
papers, and textures. The groups may want to create drawings or
paintings to illustrate the information, these can be integrated
with the other materials. Next, have the students arrange the
images and text or other elements to be used in the collage quilt
until the design looks complete. Help the students use bal-ance,
rhythm, contrast, repetition, proportion, and unity in their
designs. Ask them to check the relationship between the size of the
images, the colors, the lines, the values, and their use of
positive and negative space. Depending on the materials available,
the students can glue, sew, or staple the finished design to a
large sheet of oak tag, cardboard, or cloth. Have the students
create a label for the quilt which contains the names of the
students in the group, a title for the quilt, and a statement about
the famous person they selected. Exhibit the finished quilts and
allow the students to create jurors notes for the quilts created by
the other groups. These note should be positive comments that
relate to the different parts of the images that are most
successful in telling about the famous person.Aesthetics objective:
Student will be able to discuss, compare and write about their
conclusions for a selected art story problem.Aesthetics Lesson:
Each group of students must select a famous person they want to
commission an artist to portray. Each group must select one of two
very different artists for the commission: Cyrus Dallin, the
sculptor, and the Pop artist, Andy Warhol. The selection should be
based on the
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32
information they learn about the two artists and the works of
art each has created. Then each student must also write a statement
that justifies the selection they have made concerning the
commission.background Information: Andy Warhol created many images
of Marilyn Monroe. Who was Marilyn Monroe and why did Warhol choose
to create a picture of her? (She was a Hollywood celebrity in the
1950s and 60s. Warhol used her face because almost everyone who saw
the print would recognize her.) What is Warhol saying by displaying
this celebritys face so prominently? Does he think that society
should admire Marilyn Monroe? Why or why not? Cyrus Dallin also
relies on the celebrity status of his subjects to help his viewers
recognize his subjects, like Paul Revere. What does Cyrus Dallin
want society to see about his subjects? How does Dallins approach
differ from Warhols approach? Which of these two approaches best
fits the kind of image your group would like for your famous
person? Cyrus Dallin sculptures sell for $300,000. Andy Warhols
Orange Marilyn, an acrylic and silkscreen ink painting on canvas,
which was created in 1964, sold for a record price of $17,327,500
at Sotheby's auction house in May of 1998. How would the selling
price of an artists artworks influence you if you were on a
committee to choose an artist to create an image to represent a
famous person? Does a higher price tag make an artwork better?
Which artists art-works match the social values of your community?
Which artist creates images that the majority of the people in your
community would see as beautiful? How would your famous person
react to the artist that you have selected to do the commissioned
artwork.? Have the students discuss these topics in their groups
and write down their own responses to help them to decide which
artist will get their vote. Have the class vote as a group on which
artist to choose to do this commissioned artwork. Next, have the
students write a press release for the school newspaper about the
assignment, the two artists, and the reason why they selected that
artist to do the commissioned artwork.
Assessment: Use the sample rubric on the next page to assess the
performance of each student in each of the four disciplines.
Andy WarholMarilyn Monroe
Brigham Young University Musuem of Art
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33
Aesthetics
Art Criticism
Art History
Production
Objectives:
Student will b
e able to
discuss, comp
are, and write
about t
heir conclusio
ns for the art
story problem
Students will
be able to
describe visua
l clues, act
as an art critic
, write an
initial respons
e, describe,
analyze, interp
ret, and
judge artwork
s Studen
ts will be able
to view d
ifferent styles
of artwor
ks by artists w
ho have po
rtrayed image
s of famo
us people and
compa
re these styles
to one an
other
The student gr
oups will
be able to crea
te a mixed
media narrati
ve quilt
which tells a s
tory about
a famous livin
g person
Exce
llen
tActivel
y engaged in
class/group d
iscussions,
compares and
contrasts
ideas, Makes va
lid written
conclusions,
provides soun
d reasons
for choice, cho
ice based
on aesthetic co
ncerns
Discovers sev
eral clues,
compile a list
of clues,
and is engage
d in group
discussions, w
rites a comple
te and clear in
itial respon
se, descriptio
n, analyze
, interpret, and
judgme
nt of artworks
Has learned to
recogn
ize the styles
and is actively
engaged
in the compar
ison lesson,
completes th
e descrip
tive matrix, ch
ose an arti
st to portray a
favorit
e celebrity, wr
ites explan
ation for choic
eActively
engaged in all
aspects
of the creatio
n of the qui
lt from individ
ual elemen
ts, overall desi
gn, exhibit
ion of quilt,
created positiv
e/relative
jurors notes
on quilts
created by the
other groups
Sati
sfac
tory
Participates so
me in class, m
akes minimal
attempts to di
scuss, compa
re, and write
conclusions w
ith the group
Mostly identif
ies visual
clues, particip
ates in discu
ssions but
offers few me
aningful
connections
Participates in
compa
rison task on
acceptable leve
l, helps
select artist, m
akes an atte
mpt to write
explanation fo
r choice
but not compl
ete
Creates some e
lements
for the quilt a
nd helps
to complete th
e project,
writes some a
cceptable
jurors notes
Nee
ds
to I
mp
rove
No attempt to
compare
ideas, refused
to make
written conclu
sions or
provide reaso
nsUnable
to discuss clu
es and ref
used to partici
pate in criti
cism tasks
Makes little or
no effort
to recognize s
tyles or
participate in
comparison
or descriptive
matrix
tasksMade n
o effort to
contribute to t
he design
or creation of
the quilt,
did not write j
urors notes
Sample Rubric
for Fifth Grad
e Lesson: Sear
ching for Visu
al Clues
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34
DESCRIPTIVE M
ATRIX
Artist
Materials Used
Artistic Approach Artists Intent
I Like/Dont Like
W
hy
Cyrus Dallin
Rebekka Seigel
Chuck Close
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35
Postcards From Utah ArtistsSixth Grade Visual Arts
Curriculum
THEME: THERE ARE MANy WAyS To DEPICT LANDSCAPE
objectives: 1. Art History: Students will be able to define and
identify landscapes. As members of small groups, the students will
research an artist who paints landscapes and will demonstrate their
knowledge of the artist and his work by making a short presentation
to the class. 2. Aesthetics: Students will be able to discuss and
make appropriate judgements as to what aesthetic theory best fits
particular landscapes. Students will be able to justify their
decisions using evidence from the paintings. 3. Art Production:
Students will create a landscape using color blends, lightening and
darkening colors, creating tints, shades, and tones. 4. Art
Criticism: Students will evaluate their landscapes and find ways in
which they are similar to the artists paintings they used in the
Art History component.Materials Postcards:Road to the River,
Maynard Dixon; Moonrise in the Canyon, Moab Utah, Birger Sandzen;
Cockscomb near Teasdale, Douglas Snow; Sunrise, North Rim Grand
Canyon, Mabel Frazer Sketchpaper Good-qualitypaper
Paint,coloredpencils,or pastelsArt Historyobjective: Students will
be able to give a short presentation on a Utah artist who paints
landscapes. The report will include information about the artists
life and artworks.MaterialsIf you have postcards and biographi-cal
information on artists who have painted landscapes from past
packets, you can use those. You may also have slides from past
packets which can be scanned to make postcards. Or, download
biographical information and images from the Springville Museum of
Arts web page. You will need information
Birger SandzenMoonrise in the Canyon Moab, Utah
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36
on enough artists to allow one per small group. You can use the
4 postcards plus 26 other artists. The students need to have access
to two artworks by each of the artists you use. See the list at the
bottom of the page for artists with images of more than one
landscape. Downloading the images should take less than 30 minutes
plus time to print one copy of each of the landscapes. See
DIRECTIONS FOR MAKING YOUR OWN POSTCARDS, see appendix. You may
want to print one copy of the landscapes as a small poster instead
of just as a postcard, so students can use the artwork in their
presentation. Another possibility is to print several postcard-size
images and have the student pass those around during their
presentation.(An additional source of landscape images is
calendars. If the calendars do not include enough biographical
information, try searching the web or a comprehensive art history
text.)Additional artworks by Mabel Frazer and Douglas Snow can be
found at sma.nebo.edu. Go to Collections, then to Artists. Other
artworks by Birger Sandzen can be found at sandzen.org; go to
America. Additional works by Maynard Dixon can be found at
utah.edu/umfa/utah.html. One is also currently avail-able at
byu.edu/education/LessonPlans/index.htmlThe presentations about the
artists and their works should contain the following information:
1. One other artwork 2. Five facts about the artists life 3. Title,
media, size, year, of artworks 4. StyleAllow time for each group to
make a presentation to the class. Have students use the form on
page 49 to self-evalu-ate their presentations. You may use the
scale for a teacher evaluation. You may also want to have students
complete a quiz to evaluate what they learned from the other groups
presentations. Number the artworks and hold each artwork up so the
students can write down the artists name. They should spell the
name correctly. The quiz is on page 50.ARTIST LIST FoR ART HISToRy
LESSoNAll of the artists on the following list have at least two
artworks on the Springville Museum web page at smofa.org, go to Art
Collection, then to Browse, then to Browse Artists. Donald
Beauregard Henry CulmerValoy Eaton J. B. FairbanksLynn FausettJohn
Hafen
Maynard DixonTrees
image from utah.edu/umfa
Cornelius SalisburyPaul SalisburyLeConte StewartDanquart
WeggelandA. B. WrightSamuel JeppersonHoward KearnsRanch
KimballHenry MoserLee Greene RichardsHowell Rosenbaum
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37
variations: A. Make copies of postcards or postcard-sized images
on cardstock. Each student will write a note to a friend about the
artwork pictured on the card, explaining something the child
learned about the artist, artwork, or style. Evaluate the cards and
then let the students mail them.B. Have students write an
exhibition catalogue for an exhibit of the postcard artworks.C.
Have students curate a show of landscapes from the postcards. (You
will need more than the four postcards from the set, but wont need
two artworks by each artist. There are postcards of land-scapes in
several of the past Evening for Educator packets including Lure of
the West, BYU MOA, March 2002; and Communities and Towns, SMA Sept.
2001.) Students should be given a place and should hang the show
and write a brief explanation of the showwho, why, and what. After
students have viewed the exhibits, allow time for comment about how
the shows differed and how students respond to those differences.
Evaluation: Have students complete a Learner Report similar to the
one for the original Art History component, changing the
information to reflect what the class did for the
lesson.AESTHETICSobjective: Students will be able to discuss and
make appropriate judgements as to what aesthetic theory best fits
particular landscapes. Students will be able to justify their
decisions using evidence from the
paintings.MaterialsPostcardsfromtheset: Road to the River, Moonrise
in the Canyon, Cockscomb near Teasdale, Sunrise, North Rim Grand
Canyon Additionalpostcards from the Art History
componentOptionalThomas Moran and Albert Bierstadt postcards from
BYU MOAs Lure of the West packet (these can be considered
Instrumentalist artworkssee information on Manifest Destiny in the
Landscape lesson, Lure of the West packet) Or, make your own
postcard-size images.Writingpaperandpencils
J. Roman Andrus, Cadmium Crest
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38
Divide students into groups. Give each group a set of the four
postcards from the set and two post-cards from those used in the
Art History component. Have the students decide which aesthetic
theory each artwork best fits. Students must justify their decision
with specifics from the artwork. For example, I think Keeper of the
Gate is an expressive landscape because the colors and shapes are
exaggerated, not natural.
If your class has not worked in a similar way with aesthetics,
do the activity with two of the post-cards as a class. (You may
want to use the posters for this.) Then have the class analyze the
rest of the artworks as small groups.Have the students, as a group,
make lists of words that describe the different qualities of the
paint-ings. They should keep the lists for reference. Have the
groups share their decisions with the class. Discuss differences of
opinion. (Students do not have to agree.)variation for older or
more experienced students: Have students debate the merits of
differing aesthetic theories. Use the British form of debate in
which individuals must change sides after 5 minutes and come up
with new arguments.Art Production
objective: The students will demonstrate their competency by
using color blending, creating tints and shades, toning, and using
indicators of space in a landscape painting.Materials: paint
brushes good-qualitypaper blendingandcolorwheelsheets,pages4547
Background Information on Aesthetics
MIMETIC (REALIST)Looks real, mimics nature
HEDONISTGives pleasure, to the artist or the viewer
INSTRUMENTALISTArt can be an instrument to bring about
change
EXPRESSIVESTExpresses a feeling, emotion, or idea
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39
After completing the other sections of the lesson, students will
create a landscape. If you have not worked with color in paint, you
will need to introduce the lesson by teaching the students these
tech-niques. YOU DO NOT NEED TO BE A GOOD PAINTER TO TEACH THESE
TECHNIQUES TO STUDENTS!Give students paint, water, brushes, and
several sheets of heavy paper. The paper does not need to be as
high quality as that for the landscape, but should accept paint
without deteriorating. Explain to students that with paint, or
pigment, the primary colors are red, yellow and blue. The
sec-ondary colors, which can be mixed from the three primary colors
but are usually provided in paint sets, are orange, green, and
purple. Have students mix equal amounts of the primary and
secondary colors to get the tertiary colors. You will want to try
the mixing beforehand with your class paints because if the hues
are not middle rangeneither cool nor warm variations, they may not
produce good tertiary colors.Have students complete one of the
color wheels from pages 45 and 46. They will place red, yellow, and
blue at the spots for primary colors, green, purple, and orange
where the secondary colors are indicated, and blend the colors to
create the intermediate colors. Have the students keep the color
wheel for reference.Although colors are often lightened with white
to make tints, or darkened with a very small amount of black to
make shades, these color combinations tend to produce dull colors.
The colors are live-lier when you lighten a color with the next
lighter color on the color wheel and darken with the next darker
color on the color wheel. So to lighten a bright red, add a little
orange or yellow. To darken red, add violet. Have students complete
the color blending chart on page 47 by putting the colors where
indicated, making two lightened and two darkened colors and one
tint and one shade per color. To make a shade, add a very small
amount of black. If desired, these two assignments can be completed
using colored pencils or pastels instead of paint. Assessment of
these two assignments is pretty straightforward. You may wish to
assign points or an overall grade, evaluating completeness and
accuracy. You may want to choose a few of the students works to use
as the standard for high quality and compare the rest against
those.Creating a LandscapeDuring the Aesthetics component of the
lesson, students will have made judgements about which aesthetic
theory particular landscapes fit. They should now decide what
approach they will take to create a landscape. They may find it
helpful to look at the list of words their group generated for that
approach.If possible, allow students to choose the medium they want
to use. They should have their color wheels and blending charts out
to help them choose colors and to remind them of the color blending
process. Maynard Dixon, Rememberance of Tusayan, No. 2
1924byu.edu
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40
If necessary, review indicators of space such as
objectsgetsmallerasthey recede into the picture plane
objectsarehigherinthe picture plane as they get farther away
objectsgetbluerorgrayer as they get farther away
objectslosedetailasthey get farther away objectsinfrontoverlap
objects that are behind themEvaluation: Create a simple rubric for
students to use in evaluating their paintings, specifying the
crite-ria you have set. If the students have several art projects
in their portfolios, have the students assess their work for
indicators of progress by noting three improvements in their work,
one thing they want to get better at or learn to do, and by writing
the most important thing they learned about landscape.A fun way to
assess the class learning and to stimulate further discussion and
interest is to give stu-dents a Get out of Class Free card. This is
a 3 x 5 note card. Each student must write a question he or she has
and turn the card in before leaving class. Choose one or two cards
per day and answer them.Advanced Art History Lesson:Objective:
Students will demonstrate their knowledge of art history and
critical dialogue by comparing Hudson River/Rocky Mountain School
land-scapes with early Utah artists land-scapes.Materials
PostcardsoffourHudsonRiver School landscapes
PostcardsoffourUtahlandscapes from the early 1900s See Sources
Edwin Evans, American Fork Canyon
Thomas Cole, Storm King of the Hudsonimage from
bsu.edu/artmuseum
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41
John B. Fairbanks, Harvest in Utah Valley
George L. Brown, View on the Hudsonimage from
dfl.highlands.com
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42
Have students use the information from the Poster Backs and the
Springville Museum of Arts web page to learn about the Utah
artists. The students will also need to do research on the Hudson
River Schoolthe artists from this school who came West, like Thomas
Moran and Albert Bierstadt were sometimes called the Rocky Mountain
Schoolsame ideas, different area of the country. Students can
search the web or you can get a copy of the Lure of the West packet
from BYUs MOA.Students should work as small groups. Students should
identify similarities, differences, and influ-ences, and should
suggest reasons for the differences.Variation: Compare Utah
landscapes fromdifferent time periods.Sources:Springville Museum of
Arts web site:smofa.orgJohn Hafen, Edwin Evans, J.T. Harwood, and
J. B. Fairbanks were all members of the first group of Utah artists
to study in Paris. Find artworks by artists such as Thomas Cole and
George Loring Brown at artcyclopedia.comThe Lure of the West packet
has three postcards of landscapes by Hudson River School artists
Thomas Moran and Albert Bierstadt. One work by each artist can also
be found at byu.edu/moa/exhibits/index.html
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43
Landscape Lessons for Advanced Students
1. As small groups, compare harvest scenes of Utah and European
artists
Speculate about the reasons for the differences. Consider
artistic training, artistic tradition, cultural climate, geography,
time period, social conditions.
Choose one reason and research to see if your speculation is
true. Share your findings with the class.
2. Research the Fauvists. Write a brief summary of their
philosopy. Describe commonalities in their paintings. Create a
fauvist landscape. Moonrise in the Canyon Moab, Utah, Birger
Sandzen SMA Elemntary Poster Set, Postcard Set, and smofa.org
Find examples of Utah art completed after Birger Sandzens
teaching visits in 1929 and 1930 that show evidence of the artists
being influenced by Sandzens use of color and his/or his broad
brushstrokes. Use smofa.org
3. Research the Impressionists. Write a descritpion of their
art-making techniques with examples of the way they used color.
Create an Impressionist landscape. Footsteps in Spring, Liberty
Park, J. T. Harwood
The artwork can be accessed at smofa.org.
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44
BASIC COLOR WHEEL
-
45
Our presentation contained the following information:
Yes No c c One other artwork
c c Five facts about the artists life
c c Title, media, size, and year of artworks
c c Artists style
Overall, our presentation was
Great Okay Weak c c c
My participation in the research and presentation was
Great Okay Weak c c c
The most important thing I learned is
UTAH LANDSCAPESLearner
ReportName_______________________________________________ Period
______________
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46
Artists Name Style of Art One Interesting
Fact1.2.3.4.5.6.7.8.
Utah LandscapesPresentation Quiz
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47
Postcards From Utah ArtistsUsing Postcards in Lower Elementary
Grades
Identifying kinds of artwork
objectives: 1) Students will demonstrate their understanding of
drawings, paintings, sculptures, and prints by accurately choosing
each from a group of images. 2) Students will demonstrate their
ability to draw, paint, make, a sculpture, and a print, by
completing artworks in each medium. 3) Students will demonstrate
their understanding of critical analysis by identifying ways their
artworks are simi-lar to those by professional artists.Many young
children do not know what a painting is or how it differs from a
drawing, sculpture, or a print. The following lesson will help them
identify several kinds of artwork. This lesson may take as many as
five class periods.Materials
postcards:Choose23ofthepaintingsfromtheElementaryPostcardset.
23ofthesculptures 23drawingsmakepostcardsfromdraw ings such as A
Compromise of Freedom and Control, Connie Borup or Eureka, B. F.
Larsen, smofa.org; or choose da Vinci drawings at
artcyclopedia/artists/leonardo_da_ vinci.html
23printssuchasFull Bloom, Trevor Southey (Postcard set), or
Jennis Bookshelf, Royden Card; Blue Magnolias XVIII third state,
Jenni Christensen; Killer Bee, Harry Taylor, smofa.orgDrawingGive
the students sheets of good-quality drawing paper, pencils and
rulers. Have students draw a border around the paper, using the
width of the ruler and erasing the lines that overlap in the
cor-ner. Choose a subject for the students to draw or allow them
the choice. Show the students how to use the side of the pencil
lead to do some shad-ing. Tell the students they have made a
drawing. Show them the postcards you have made of draw-ings and
have the students identify ways their drawings and the ones
pictured on the postcards are similar. Connie Borup,
A Compromise of Freedom and Control
-
48
PaintingGive the class sheets of heavy paper and watercolor or
tempera paints. Have them draw a border around the paper, as in the
drawing component of the lesson. Then have the students draw simple
shapes on the paper such as circles, squares, and rectangles. The
shapes should overlap and fill the space. Then students will paint
the shapes and the background. They may paint the border or leave
it the color of the paper. Explain that they have now created a
painting. (The reason for having students make separate drawings
for the drawing and the painting are so students do not think all
drawings are a prelude to painting.)variation: Instead of shapes,
have the students make a drawing inspired by a story you have read
in class. They can then make a painting, as in the previous
step.Divide the students into groups of 45 and give the students
the postcards of the paintings and drawings. Have them separate the
drawings and the paintings. (If you have enough postcards so each
member of the group gets one an has to decide whether it is a
draw-ing or a painting, you will ensure participation by all the
students. Have the groups compare and see if everyone in the class
agrees. Have students identify ways the draw-ings and paintings are
the same and ways they are different. Then, have students identify
ways their paintings and the postcard paint-ings are similar.
SculptureMaterials oil-basedclayorsaltdough paint(optional)
photographsofanimalsyoucanoftenpurchaseanimalbooksatthriftstoresandcutoutthe
pages postcardsofdrawings,paintings,andsculpturesGive each student
some oil-based clay or salt dough (recipe follows) and let them
choose a photo-graph of an animal. Then the students will make the
animals in clay. If you used oil-based clay, dis-play the animals
for a week or two before using the clay for other activities. If
you used salt dough, allow the animals to dry, and then bake them
at 350 degrees. After baking, the animals may be paint-ed, or make
the clay a neutral color such as a warm brown. Display the
animals.When the students have completed a drawing, a painting, and
a sculpture, divide the class into groups (new ones) and pass out
the postcards. Have students divide the postcards into Drawings,
Paintings, and Sculptures. Discuss as in the previous activity.
B. F. Larsen, Eureka 1937pencil
-
49
Printmaking
Materials styrofoammeattrays,plates,orpiecesof insulation (the
blue kind), cut into 2 x 2 squares pencils
postcardsofdrawings,paintings,sculptures, and printsHave students
divide a sheet of 4 x 4 scratch paper into 4 by folding it in half
and then in half again. In each square students should make a
simple line drawing. Each square needs to have at least one small
change. Students choose which design they like best and go over the
lines. (If you have drawing pencils, a dark pencil such as a 3b is
good. Then the design will be placed face down on the piece of
styrofoam and rubbed to transfer the design. Students will use
their pencils to carve down into the blocks to make the design.
Remind the students that the lines they carve in will be the part
without ink. Having an example to show the students is helpful.
Then have students print their designs. You may want to have them
print the design once on white paper, wipe the printing block, and
print again on a dark colored-paper using a l