Art History Internal Assessment Activity

Transcription

1 Achievement Standard: Art History Internal Assessment Activity (2.3) Title: Exploring Techniques in New Zealand Painting Version: 2 Strands Curriculum Achievement Objectives Level 7 CI Students will analyse how meanings are communicated through the construction of art works. UC Students will analyse the influences of contexts on the characteristics and production of art works. The values, principles and key competencies of the New Zealand Curriculum are the foundation of this unit of work, with specific focus on: Values Innovation, inquiry & curiosity Students will think critically about the art works selected and reflect on the ways in which meaning is created with different media and techniques. Key Competencies Thinking Students will critically analyse visual and written information to examine the construction of meaning in art works. Using language, symbols & texts Students will examine the ways in which different media and techniques can be used in visual texts to communicate information and ideas. Managing self Students are expected to work independently and meet assessment deadlines. Principles Treaty of Waitangi & Cultural diversity Students may consider the ways in which the Eurocentric viewpoint affected the ways in which the New Zealand landscape was framed.

2 Art History Internal Assessment Task Exploring Techniques in New Zealand Painting Achievement Standard (2.3) version 2 Examine techniques used in art Teacher Notes While this task is created for the Art in Aotearoa (nineteenth century to the present) area of study, and could follow on from student research for AS90231 (2.5), it could easily be adapted for the Māori Art/Tāonga (traditional and contemporary) area of study. Although Task One would work well with students annotating images, current New Zealand copyright law does not appear to allow students to download and reproduce images created by artists who have died less than 50 years ago without permission. This means that the work of artists from Christopher Perkins on cannot be used in this way. However, Digistore, which is accessible through TKI ( with your school password, does allow images to be downloaded for educational use. If enough appropriate images exist there for your students, Task One could easily be adapted to allow digital annotation of images for power points or blogs. In order to ensure that no infringement of copyright occurs, this activity is written in such a way that students are not required to use images. Resources For information on particular techniques used by artists, students can be directed to: Artist monographs e.g. Beaven, Lisa & Banbury, Grant: Landmarks: The Landscape Paintings of Doris Lusk, Robert McDougall Art Gallery & Hazard Press, Christchurch, 1996, pages Wilson, Rodney: Petrus Van der Velden, Reed Ltd, Wellington, 1976, Pages Gordon, Briar: Charles Heaphy, Pitman Pub. Petone, 1987 Gully, John S: New Zealand s Romantic Landscape: Paintings by John Gully, Millwood, Wellington, 1984, pages Websites (these need to be checked as they are often changed) e.g. and line/room2_watercolour.shtm Books which describe techniques in simple terms and may be available in your school or public library e.g. Balkwill, Ray: Learn to Paint Coastal Landscapes, Collins, London, Hayes, Colin (ed): The Complete Guide to Painting and Drawing Techniques and Materials, Phaidon, Oxford, 1978 Staiger, Kathleen Lochen: The Oil Painting Course You've Always wanted : Guided Lessons for Beginners and Experienced Artists, Watson-Guptill, New York, Tappenden, Curtis, et al: Complete Art Foundation Course, Cassell Illustrated, London, 2006

3 Art History Internal Assessment Task Exploring Techniques in New Zealand Painting Achievement Standard (2.3) version 2 Examine techniques used in art Credits: 4 Student Instructions Introduction You have been asked to write the information for a simple display of New Zealand landscape painting for the educational programme of your local art gallery. The display is intended to show how artists techniques changed over time in response to their need to communicate changing views of the New Zealand landscape. You will need to choose three landscape paintings by different artists who used different techniques and write your information in three stages. Conditions You will have four periods of class time and will complete the activity as homework. Due Date: This task is to be handed in for assessment on or before Achievement Criteria Achievement Achievement with Merit Achievement with Excellence Identify and describe a range of techniques used in art. Describe the effects of a range of techniques. Compare the effects of different techniques. Explain how the techniques create different effects and convey meaning. Achievement Task One: Describing techniques and their effects Choose 3 landscape paintings, each by a different artist, in which different techniques have been used. Fill in as much of the Plan for Task 1 Sheet as you can to describe the techniques each of the artists uses in their painting and the effects of those techniques. Rewrite your information in paragraph form one page for each art work. ( Techniques should only consider the media and process of painting, not the colour, use of perspective and other devices. Remember though that the media and processes/techniques used by the artist may have an effect on the resulting colour, sense of space etc.)

4 Techniques could include: Support: canvas, hessian, wooden panel, paper, large, small. Media: oil paint, watercolour, gouache, bitumen, tempera, thinned, straight from the tube, buttery, thick, added wax, collage.. Underpainting: this is what the artist first paints the canvas with. The colour they use has an effect on the final work eg dark underpainting increases dramatic chiaroscuro in oil whereas a light ground increases luminosity. Not all artists underpaint. Some watercolour artists begin with a wash. Brushstrokes: smoothly applied, loose, energetic, flowing, impastoed, short dabs, spontaneous, sketchy, dots, follow the form, palette knife, directional, visible, wet on wet, scumbling, gestural, invisible brushstrokes, flat areas of colour, parallel hatching, washes, dry brush, scratching out, lifting out, glazing, bleeding. Effects could include: Orderly, firmly outlined, random, spontaneous, sketchy, emotional, soft, immediacy, optical mixing dissolve form, flattened form, non-naturalistic, luminosity, fleeting light, passion, movement, three dimensional, realism, polished, depth, leads eye, quick drying, enhances brightness, involves the viewer, dramatic, chiaroscuro, coloured drawing.. Merit Task Two: Compare the effects of the different techniques (a) Write 2 or 3 paragraphs comparing the effects of the different techniques used in the 2 earlier paintings you have chosen. (b) On another page, write 2 or 3 paragraphs comparing the effects of the different techniques used in the 2 later paintings you have chosen. (E.g. Whereas has created a effect in the use of the oil medium, has created effects by using.) Excellence Task Three: Explain how the techniques create different effects and convey meaning On a new page, explain how the techniques used in each painting create different effects and express the artists concerns/themes/ideas/intentions. (Include the aims of the artists and their context. What meaning did they hope to achieve by using those particular kinds of brushstrokes and effects? E.g. why did Topographic artists like Heaphy paint in watercolour? What was it about the effects created by that medium that illustrated the way he saw his new country? Why did van der Velden use oil paint in the way he did?) Concerns/themes/ideas/intentions could include: Order, control, logic, Topographic, Romantic restraint, drama, reality, transience, fragility, modernity, the sublime, turmoil, accuracy, portability, civilisation, progress, nationalism, Modernism, propaganda, industry..

5 AS90229 (2.3) Techniques in New Zealand Painting Plan for Task 1 artist and title Techniques used Effects of those techniques Support: Media: Underpainting: Brushstrokes: Support: Media: Underpainting: Brushstrokes: Support: Media: Underpainting: Brushstrokes:

6 Assessment schedule Art History (2.3) Techniques in New Zealand Painting Name Task No. One Two Evidence towards Achievement Evidence towards Achievement with Merit Evidence towards Achievement with Excellence Each A4 page describes 2 techniques and As for Achievement. As for Achievement. effects for each of the three paintings chosen. E.g. McCahon: Northland Panels. Large unstretched/unframed canvas strips bring the landscape into the viewer s space and create the experience of a journey along the 7 panels as s/he walks along. Evidence from this task may be used to The effects of techniques are compared. As for Merit provide additional evidence for Achievement. E.g. As a Topographical painter, John Kinder created an orderly, crisply detailed view of his new land in his use of watercolour in Keri Keri Falls As a Romantic artist, however, John Gully created dramatic, stormy effects with his wet in wet watercolour technique and resulting dissolved contours in In the Southern Alps Three An explanation is given of how different techniques create different effects and contribute to the meaning of the works and/or intentions of the artist. E.g. As Heaphy was a Topographical painter, working for the New Zealand Company, he was concerned with promoting a positive view of settlement, not with creating dramatic atmospheric effects. Watercolour on paper was his preferred medium because it was portable and dried quickly. Van der Velden wanted to create Romantic, sublime effects of God s might in nature. He

7 needed oil paint, and even bitumen, to do this because it would have been impossible to create large scale, dramatic, dark scenes such as those at Otira with watercolour.