Figuratively Speaking

Transcription

1 Art and Writing Initiative The 1,000 Words Experiment School & Figuratively Speaking GRADE You Say Tomato, I Say Tomahto Program Overview Using the aesthetic and expressive qualities of figurative artworks from the museum s permanent collection, Figuratively Speaking: You Say Tomato, I Say Tomahto develops fifth-grade students expository writing skills while promoting state and national curriculum standards in the language and visual arts. Artworks viewed throughout the program serve as students texts to be carefully observed, critically analyzed, and thoughtfully interpreted and subsequently act as inspiration for their own expository compositions based on comparing and contrasting. (860)

2 Program Structure and Logistics School & This program consists of four independent components: 1. Pre-Museum Visit Writing Lesson Taught by Classroom 2. Art and Writing Tour at the Museum Taught by Museum Docents 3. Post-Museum Visit Art-Making Activity Taught by Art 4. Post-Museum Visit Writing Lesson Taught by Classroom The requires a minimum of three weeks advanced booking for school tours. It is advised that teachers book and confirm their visit before administering the program s lesson plans to students. Call our Group Visit Associate at (860) to reserve your Figuratively Speaking Art and Writing tour today. Be sure to mention that you are utilizing these pre- and post-museum visit curriculum materials when making your call. State and National Curriculum Standards Addressed The objectives addressed in Figuratively Speaking: You Say Tomato, I Say Tomahto link to Common Core State Standards, the national curriculum guidelines adopted by the State of Connecticut, as well as the visual arts standards outlined in the Connecticut State Department of Education s Arts Curriculum Framework from March Common Core State Standards for English Language Arts and Literacy 1. Writing: Research to Build and Present Knowledge #9: Draw evidence from literary or informational texts to support analysis, reflection, and research. 9A: Apply grade 5 Reading standards to literature (e.g., Compare and contrast two or more characters, settings, or events in a story or a drama, drawing on specific details in the text [e.g., how characters interact] ). 2. Speaking and Listening Standards: Comprehension and Collaboration #1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others ideas and expressing their own clearly. 1C: Pose and respond to specific questions by making comments that contribute to the discussion and elaborate on the remarks of others. Visual Arts Standards 3. Content Standard #2B and 2C: Elements and Principles: Recognize and reflect on the effects of arranging visual characteristics in their own and others work and select and use the elements of art and principles of design to improve communication of their ideas. 4. Content Standard #4A: History and Cultures: Know and compare the characteristics and purposes of works of art representing various cultures historical periods and artists. 5. Content Standard #5B and 5D: Analysis, Interpretation, and Evaluation: Describe and analyze visual characteristics of works of art using visual art terminology and describe their own responses to, and interpretations of, specific works of art. This classroom curriculum was designed and written by Emily Pacini Ide, School and Specialist at the, in partnership with Hartford Public School teachers Susan Goldberg and Paul Wallen at Noah Webster MicroSociety Magnet School and Marguerite Sequin at E. B. Kennelly School. 2

3 Pre-Museum Visit Writing Lesson School & The Way You Wear Your Hat Writing Activity Lesson length: 45 minutes. s may opt to split this lesson into two 45-minute units to explore the concepts presented more deeply. Materials Needed Chalk/Dry Erase markers or standard markers Chalk/White board or chart paper Compare and Contrast Graphic Organizer+* Images of the following artworks: Image 1: Michael Sweerts s Boy with a Hat, c * Image 2: Benny Andrews s Shades, 1977+* Notebook paper Pens/pencils Two broad-brimmed hats** Venn Diagram Worksheet** +Make copies for classroom distribution. *These resource materials can be found in the Appendix. **Optional Procedures Anticipatory Set Time allotment: 5 minutes Artists have always made depictions of people from realistic portrayals of an individual s physical appearance to abstract compositions that convey the essence of a person s identity by evoking an emotional response. Art historians call such paintings or sculpture figurative art. Painted portraits two-dimensional visual representations of a person can be categorized under this artistic genre. Using such elements as body language, facial expression, costume, props, gesture, and setting, portraits throughout history have communicated a sitter s likeness, personality, and/or societal role whether real or fabricated depending on the intent of the work s patron. Before the invention of photography in the nineteenth century, portraits were the only method of capturing the likeness of an individual and were frequently commissioned by the social elite. 3

4 School & Discuss these general concepts with your class prior to commencing the lesson s writing exercises. Be sure they understand the highlighted vocabulary and the basic elements of art before proceeding (see Get to Know Art Lingo). Consider posing the following questions to students as an introduction to the program s theme: What is a portrait? Have you ever seen one before in a museum? Why do you think people have their portraits made? Have you ever created a self-portrait? Why might artists choose to paint figures as the subjects of their work as opposed to landscapes? Once completed, tell students that over several days they will investigate figurative paintings from various periods, cultures, and artistic styles in the s permanent collection and follow by introducing the basic premise and objectives of the program as outlined above (see Program Overview). Core ONE OF THESE THINGS IS NOT LIKE THE OTHER: EXPLORING SIMILARITIES AND DIFFERENCES Time allotment: 40 minutes Distribute color copies of Michael Sweerts s Boy with a Hat (c. 1655) to each student, providing them with the artist, title, and date (see Appendix, Image 1). Consider writing this information on a chalk/ white board or chart paper for the class to view collectively. Allow students ample time to look at the painting and make initial observations. They should focus their careful looking on the sitter s clothing and accessories, Art Andrews Humphrey Family Foundation/Licensed by VAGA, New York, NY facial expression, body language and position, age, and gender as well as the setting. Use the suggested questions for guided looking below to spark a classroom dialogue. Begin by asking students questions that elicit objective and descriptive observations. Move toward more abstract and subjective questions that develop students critical thinking skills as they seek to interpret the painting. Be sure that students cite visual evidence for all their responses. Adapt the following questions, as needed, to your students level of comprehension. Conversation Starters Draw students eyes to the figure s face. In what direction is he looking? What might have caught his attention? Will he remain where he is or dash off to inquire about his discovery? Do you think this painting would make you feel differently if the boy were gazing directly at you? Have students conjecture why the artist chose to paint the sitter with his attention turned away from the viewer. Where is the boy? Consider why the artist chose to paint the sitter against a plain, dark background rather than a recognizable location. Does the absence of a clear setting help or hinder your ability to draw conclusions about this boy s identity? Why? 4

5 School & Describe the sitter s clothing and accessories using your five senses. What would it feel like to touch the boy s coat or the brim of his hat? Practice writing similes by asking students to answer the follow statement: His hat and/or coat feels as as a. What might your observations about the boy s clothing tell you about his social status, occupation, and daily life? Based upon his dress, what period in history do you think this figure is from? Could you see boys wearing such outfits today? How old do you think he is based on his appearance? Describe the colors you see. What type of mood do these colors convey? What do they tell you about the boy s personality or feelings at this moment? How are the boy s feelings revealed through his facial expression? What might he be thinking? How does the painting make you feel about the boy? Would you be friends? If you talked to each other, what would your conversation be like? Would it be jolly and playful or serious and sad? Would you find that you have anything in common? Upon completion of the visual analysis of this painting, distribute color copies of Benny Andrews s Shades (1977) to each student, once again providing the artist, title, and date verbally as well as in written form (see Appendix, Image 2). Dedicate a few minutes for students to absorb the work of art, thereby allowing them to make preliminary observations based solely on feelings and what they see; do not set up any unnecessary barriers to looking by providing art-historical information at this time. Students attention should be directed toward the figure s clothing and accessories, facial expression, body language, age, and gender as well as setting. Special focus should also be given to the various media employed to construct this work of art. Next ask students the suggested questions for guided looking listed below to engage the class in a dynamic peer-to-peer discussion, in which they will provide visual evidence for all their responses. Adapt the following questions, as needed, to your students level of comprehension. Conversation Starters Using the basic elements of art color, line, shape, and texture describe in detail the figure s clothing. Where might an individual wear this type of outfit? Based on his appearance, what kind of people do you think the figure associates with on a daily basis? What does the figure s clothing indicate about his occupation or social status? Look at the background. Where is the figure? What clues has the artist provided concerning the location of the individual? How does the figure s choice of clothing further reveal his locale? Consider the title of the painting, Shades. Can you find any objects on the canvas that might produce shade for the figure? What does the need for shade tell you about the climate in which the figure is placed? When you are searching for shade in which to rest, what is weather generally like? Gaze at the figure s face, particularly his eyes. Using rich adjectives, describe how you think the figure is feeling based on his facial expression. Does he feel happy or sad? Is he energetic or lazy? Does he seem approachable or intimidating? If he could speak to you, what do you think his opening line of conversation would be? What would you feel inclined to say to him in return? What do you think is the focal point of this painting? Where is the artist trying to direct your eyes and to what effect? Why do you think the artist chose to portray only the upper half of the figure s body? 5

6 School & How old do you think this figure is? Be sure to consider such elements as his facial features and clothing. The creator of this work of art used mixed media, including paint, cloth, and paper, to produce a texturally diverse canvas. How does this artistic technique help to convey the identity and emotional state of the figure? After concluding this second oral analysis, each student will receive a copy of the Compare and Contrast Graphic Organizer (see Appendix). They will now articulate the paintings similarities and differences in written form, focusing first on the sitters clothing, facial expressions, and body language. Students will then move from basic description to the more advanced skill of inference, as they suppose what the parallels and variances are between each figure s suggested location as well as his personality or mood. Remind students that artists often use the elements of art, and at times various media, to communicate these ideas. All student responses should be drawn from their oral and visual investigations of these artworks. Allot time for volunteers to share their findings with the class. Modified Activity Pair students to complete the Compare and Contrast Graphic Organizer. One student will focus on the similarities between the two paintings, while his or her partner will discover the differences between them. Once both students have completed their assignments, they will discuss their responses with each other as they seek to look at the artworks from different points of view. After a class discussion of students findings, ask the following questions: Having looked at what these images do and do not have in common, did you notice anything in either of the paintings that you did not see when we first discussed them individually? If so, what have you learned about looking at works of art? Have you ever heard the saying, Do not judge a book by its cover? How does that relate to the process of comparing and contrasting artworks? Extension Activities 1. Select two volunteers to act out the personas of the male figures in the paintings under discussion. One student will take on the role of the boy in Michael Sweerts s composition, while the other will seek inspiration from the man in Benny Andrews s Shades. Drawing from the visual evidence provided in these images, both volunteers will introduce his or her character to the class, addressing topics such as who he is, where he is located, what he is doing there, what activities make up his daily life, and what type of people he interacts with on a consistent basis. Be sure students dramatic interpretations of these figures emphasize their personalities or feelings as suggested by the clues in the paintings. Once both character introductions have been performed, ask the class the following questions: How are these individuals similar? How are they different? How would they get along if they were to meet? Offer students the opportunity to act out that interaction. For added effect, provide each student with a broad-brimmed hat to wear while making his or her presentation. 2. Turn your classroom into a television studio! Select three students to portray the following characters: Michael Sweerts s boy, Benny Andrews s male figure, and a television host. The host will interview these individuals for a show that airs during primetime on a major network, asking questions about their personalities and private lives as prompted by visual evidence in the paintings. Just as in the previous extension activity, students playing the part of the sitters should craft their dramatic representations of these figures based on what 6

7 School & they see or infer from the canvases. After students have concluded their performances, complete a Venn diagram on a chalk/white board or chart paper as a class to seek a deeper understanding of these characters commonalities and differences. A Venn Diagram Worksheet for the collection of student responses has also been provided (see Appendix). Art Facts Michael Sweerts ( ) Highly successful in Rome but largely forgotten after his death, the Flemish artist Michael Sweerts [svārts] is best known today for his genre paintings and introspective portraits of the wealthy and the poverty-stricken. As demonstrated in Boy with a Hat, he had a particular affinity for depicting the faces of young boys. This painting, called a tronie, portrays a freshfaced lad with the quiet dignity and somberness often reserved for more elevated subjects such as religious or historical scenes. Inspired by concurrent artistic trends across Europe, Sweerts s dramatic use of light infuses the canvas with unexpected yet subtle emotion, offset by the figure s seemingly isolated and detached physical and mental state. Benny Andrews ( ) Considered one of America s great figurative artists, Benny Andrews drew inspiration from his vivid memories of a childhood spent in the segregated South to create narrative-based compositions with social and political undertones. Reflecting upon his experience as a son of cotton sharecroppers in rural Georgia, he created collages that tell the story of the African American experience, addressing topics such as race, class distinctions, and war with delicate sensitivity. In Shades, Andrews s choice of media visually and texturally communicates the layered complexities of the human soul, which appear to escape from the behind the masklike face staring out at the viewer. The zipper placed on the figure s lips further emphasizes the distance the artist has created between subject and observer, as he alludes to the act of selfrepression spawned by his own struggles with racial identity. Closure Conclude the lesson by briefly mentioning to students that they will soon take an expedition to the, where they will meet a docent who will give them a tour of figurative art in the museum s vast collection. 7

8 School & Post-Museum Visit Art-Making Activity Express Yourself: Creating Your Own Self-Portrait Art Activity Lesson length: 45 minutes. s may conduct two 45-minute sessions to engage students in the process of creative expression and analysis more deeply. Materials Needed Additional images of portraiture, including those representing various time periods, cultures, and styles** Art supplies of your choice Frame Worksheet+* Me + You Worksheet** Pencils Sketch paper Small, portable mirrors** +Make copies for classroom distribution. *These resource materials can be found in the Appendix. **Optional Procedures Careful and thoughtful looking at works of art allows students to hone their observation skills, a foundational principle for any great writer. Writers, in turn, take their observations of the world around them and transform them into engaging prose. Artists do the same as they create compositions that convey the essence of their perceptions of various subjects. This art-making activity will focus on developing students creative expression and analytical skills as they produce their own self-portraits and compare them with a classmate s. Begin by asking students to describe several portraits they have seen in their classroom lesson and during their visit to the museum in terms of content, style, and mood. Distribute the Frame Worksheet (see Appendix), sketch paper, and pencils to each student. Being inspired by what artistic techniques and stylistic choices they have been drawn to throughout this program, ask students to create their own self-portraits. They should consider the following questions before producing their artwork: 8

9 School & What message(s) do you want to convey about yourself, including your identity, physical appearance, and personality? Will your self-portrait be an accurate representation of you or an image based upon how you would like to be perceived by others? What will your self-portrait look like based on your answers to the first two questions? Will your self-portrait be realistic or abstract? Will it be a full-length portrait or one that focuses primarily on a specific portion of your body? How will you position your body, and what will your posture be? Where will you set your gaze straight at the viewer, to the side, looking up? What feelings will your facial expression convey? What clothing might you wear, and what accessories or props will you include to identify yourself to the viewer? In what setting will you place yourself? How will that location help the viewer understand who you are or who you would like to be? What colors, lines, shapes, and textures will you use to convey your intended message(s) about yourself? How will you employ them to achieve your goal(s)? How subtle or bold will your presence be? How will you convey your mood? s will be responsible for selecting and supplying the additional art materials needed to complete this project. Consider choosing supplies that will allow students to create self-portraits in the style of one of the paintings they have seen during the program. With supplies in hand, students will complete their self-portraits, keeping in mind that the image they create should represent their likeness, identity, and personality either as it exists in real life or as they wish it to be perceived by others. Supply students with mirrors to spark their creative juices. If teachers have access to other portraits, they should consider displaying them before the commencement of this lesson as inspiration. If time allows, students may make preparatory sketches before transferring their final image to the provided worksheet. Once students projects have been completed, ask them to choose a partner in the class. While looking at both works as a pair, students will compare and contrast their self-portraits orally. How are their representations similar? How have they used the elements of art differently to visually communicate specific message(s) about themselves? If time permits, have students complete the Me + You Worksheet (see Appendix). 9

10 School & Post-Museum Visit Writing Lesson Entering the Royal Court Lesson length: 45 minutes Writing Activity Materials Needed Chalk/Dry Erase markers or standard markers Chalk/White board or chart paper Images of the following artworks: Image 3: Elizabeth-Louise Vigée Le Brun s The Duchesse de Polignac Wearing a Straw Hat, 1782+* Image 4: Romare Bearden s She-Ba, 1970+* Notebook paper Pens/pencils +Make copies for classroom distribution. *These resource materials can be found in the Appendix. Procedures Anticipatory Set Time allotment: 5 minutes Begin by reviewing with students the activities they have completed as part of Figuratively Speaking: You Say Tomato, I Say Tomahto. Reiterate the main objective of this program: exploring figurative artworks from the s permanent collection to develop their expository writing skills. Discuss how carefully looking and critically analyzing works of art have inspired them to complete various charts comparing and contrasting elements from diverse paintings and collages. In this final lesson, students will draw upon all the literacy skills they have cultivated throughout this program observation, description, creative expression, finding similarities and differences, and analysis to compose a final expository piece based on two works from the museum s galleries. 10

11 Core WHO IS THE KINDEST OF THEM ALL? Time allotment: 35 minutes School & Distribute color copies of Elizabeth- Louise Vigée Le Brun s The Duchesse de Polignac Wearing a Straw Hat (1782) and Romare Bearden s She-Ba (1970) to each student, providing them with the artist, title, and date of both works (see Appendix, Images 3 and 4). Explain that both artworks depict a female figure of royalty. Allow the class to quietly view the images and make preliminary observations. Students should pay close attention to the elements of portraiture previous outlined during the program: setting, body position and language, facial expression, clothing, accessories and props, gesture, and mood. They Art Romare Bearden Foundation/Licensed by VAGA, New York, NY should also consider how the artists have used color, line, shape, and texture to convey specific messages about the women portrayed. Use the three conversation starters listed below to begin a classroom conversation about the artworks, which should ultimately lead to students creating their own interpretation of each woman s personality as a royal figure. Craft additional guided looking questions with this final goal in mind, referencing those used throughout this curriculum. Be sure that students cite visual evidence for each response. Adapt the following questions, as needed, to your students level of comprehension and to the aesthetics of each artwork. Conversation Starters Color: What colors do you see? Are they cool or warm? What do the artists selection of specific colors and their placement in the compositions tell you about these women? What might they indicate about the sitter s personality or mood? Body Language: Describe the posture of each figure. Are their forms rigid or relaxed? How have the artists positioned their bodies? Do they look toward or away from the viewer? Mimic each figure s gestures and ponder what they might say about how they view their royal status. With all these elements combined, what does body language tell the viewer about the sitters personalities? Setting: How are these figures presented in space? Are they accompanied by other figures? What does that tell you about the queen and the duchesse and the manner in which they perceive their noble status? Hand out notebook paper to each class member. Drawing upon the knowledge gained through carefully looking at and discussing these images, students will compose a response to the following writing prompt: 11

12 School & After many, many years of faithfully governing the village of Compare, Mayor Contrast has resigned from his position and has nominated you as the village s new leader. Accepted by the people with open arms, you quickly take office, and after several weeks you have written a set of laws with the help of your counselors and in response to the voice of the people. Before these laws can take effect, however, you must present them before the queen of the Kingdom of Similarities. Select one of the regal figures from the presented artworks and write why she would be the most accepting of your legal proposal and would grant your request. Be sure to provide supporting evidence for your claim based on what the artists have told us about these women s personalities and moods. You must use at least three transitional phrases or signal words in your response to compare and contrast these royal figures. Consider writing the information below on a chalk/white board or chart paper to support students writing. As time permits, select several students to read their compositions to the class. Signal Words and Transitional Phrases for Comparing and Contrasting Compare Contrast Alike But Also Different Both Even though Each However In the same way In contrast Like On the other hand Likewise Otherwise Same Yet Similar Too Alternative Writing Prompt Ask students to write an expository composition in response to the following question: Under whose royal authority would you rather be a subject of? In concert with this prompt, students should draw evidence for their claims from their selected artwork. Use of the signal words and transitional phrases provided will assist students in comparing and contrasting the visual features of the regal women as they seek to validate their responses with supporting details. Extension Activities 1. Students will practice their oral presentation skills as they participate in a classroom debate, defending the stances they took in their responses to the lesson s writing prompt based on at least three pieces of visual evidence. 2. Select two students from the class to portray each royal woman. Given the information presented in the works of art regarding the figures personalities and moods, they will transform into the queen of the Kingdom of Similarities and act out the scene, as several students (the new mayors of the village of Contrast) present their proposed set of laws. Applicable to prompt 1. 12

13 School & 3. Present the art facts listed below and ask students to revise their compositions based on this information. s should adapt this content to meet students level of knowledge and comprehension. Did their stance change? Why or why not? What visual elements from the artworks support each figure s personal attributes and narratives as presented in these facts? Art Facts Elizabeth-Louise Vigée Le Brun s The Duchesse de Polignac Wearing a Straw Hat, 1782 n Madame Vigée Le Brun [vē-zhā-l -br ] was one of the most famous portrait painters of eighteenth-century France. Specializing in flattering depictions of the aristocracy, she found her greatest support from the queen, Marie Antoinette. In this portrait of the duchesse de Polignac, Vigée Le Brun attempts to capture the essence of a woman who was considered the most beautiful, sweetest, and most charming woman imaginable. As the governess of the children of Marie Antoinette and her close friend and confidante, the duchesse achieved the highest rank a woman not of the royal family could hold at court. Much like the queen, she was known for her extravagance, which was tempered by her serene and gentle demeanor. As in many of the artist s portraits, the duchesse s costume, facial expression, and pose have an air of cultivated casualness as achieved by such elements as her loose fitting garments, shepherdess-inspired straw hat, slightly parted lips, and relaxed position against a piece of furniture. e e Romare Bearden s She-Ba, 1970 One of the most admired African American artists of the twentieth century, Romare Bearden [rō-mār bēr-d n] created a body of work that heavily referenced the contributions of black people to world culture and often asserted the rights of African Americans during the era of the Civil Rights Movement. His inventive use of the collage technique allowed him to interconnect diverse visual elements while adding both textural and coloristic dimensions to his work as he sought, in his own words, to establish a world through art in which the validity of my Negro experience could live and make its own logic. e Executed at the height of his career, She-Ba depicts the legendary queen of an ancient African kingdom, whose population settled in what is today Ethiopia. Known for wisely ruling and guiding one of the greatest civilizations of the past, She-Ba is portrayed here in royal grandeur. Shielded from the burning sun by a priest s parasol, her life-size figure sits enthroned with a scepter and a royal headdress, raising her left arm with regal authority. Enclosed in the cool tones of deep green and vibrant blue, which separate her from the striking yellow and orange at her back, the queen appears to impart to her surroundings a feeling of serenity, peace, and somber majesty. 4. Use any of your previously established expository writing rubrics for general classroom use to assess the growth of students skills as a result of this activity. Closure Time allotment: 5 minutes Conclude the lesson by conveying to students that the Figuratively Speaking: You Say Tomato, I Say Tomahto program is now over. Ask them what they have learned during this experience and what they feel was the most exciting part of the program. Inquire as to whether or not they have enjoyed using art as the inspiration for their writing. 13

14 Get to Know Art Lingo School & Both classroom and art teachers should consider creating a word wall, using the vocabulary listed below, to encourage students to use this terminology in their classroom discussions and written responses. Abstract Art: An artistic style that departs from realistic representation. Abstract art often expresses feelings and ideas through lines, colors, and shapes rather than showing people, places, and things as they look in real life. Background: The part of a painting that appears the farthest away from the viewer. Objects appear smaller than those found in the rest of the artwork. Collage: An artistic technique in which various elements, such as paper or fabric, are assembled and attached to a flat surface to create a composition. Benny Andrews s collages typically employ swatches of fabric that, when placed together, visually reflect his interpretation of the fragmented cultural existence experienced by many African Americans before and during his lifetime. For Romare Bearden, collage provided the ideal technique through which he could apply his interest in the improvisational nature of jazz to his artistic process. Commission: To hire an artist to create a certain work of art or body of artworks (see Patron). Throughout the ages, members of high society, including aristocracy, religious leaders, and wealthy merchants and industrialists, have been known to commission various styles of art to serve their personal agendas. Composition: The arrangement or placement of objects in a work of art. The term can also refer to a work of art. Docent: A volunteer educator who conducts tours at a museum. Elements of Art: The basic building blocks for creating a work of art and expressing ideas, including color, line, shape, and texture; the language of artists. COLOR: The name of a color is a hue. Primary: Colors that are mixed to create all other hues: red, yellow, and blue. Secondary: Colors that are created by equally mixing two primary colors: orange, green, and purple. Together with the primary colors, secondary colors complete the color wheel. Complementary: Colors that are opposites on the color wheel: red and green, orange and blue, yellow and purple. When complementary colors are placed side by side, they accentuate one another. Warm: Colors that remind you of warmth: red, orange, and yellow. These colors often convey excitement and energy or reflect strong emotions. Cool: Colors that remind you of coolness: green, blue, and purple. These colors tend to have a peaceful, calming effect. Monochromatic: Having only one color. LINE: The path of a dot as it moves through space. The outer edge of a shape is a line. Lines can be straight, vertical, horizontal, diagonal, curvy, or jagged. SHAPE: A two-dimensional (flat) area that is made by beginning and ending a line at the same point. Common shapes include circles, triangles, rectangles, squares, and trapezoids. 14

15 TEXTURE: How a surface feels (actual) or looks like it would feel (implied). Common textures include smooth, rough, bumpy, and slimy. School & Figurative Art: Artwork depicting the forms of figures that is, the bodies of humans or animals. Focal Point: The portion of an artwork on which the viewer s interest centers. Artists often use focal points to direct attention to an important part of their work of art. Focal points can be created by the artist s use of such elements as light, color, texture, contrast, size, and location. Genre Paintings: Works of art that depict subjects and scenes of daily life such as ordinary individuals performing common activities. Genre paintings were popular in the Netherlands during the seventeenth century. Landscape: Depictions of nature such as mountains, forests, and fields. May be of actual scenes or derived from the artist s imagination. Medium (pl. media): The material used by an artist to create an artwork. Common media include pen and ink, paint, paper, fabric, stone, wood, and glass. Mood: The overall feeling or emotion an artist creates in a work of art. Artists can create mood in portraits by using specific colors, lines, shapes, textures, and brushstrokes as well as by depicting certain facial expressions and body language. Patron: An individual or an institution that commissions a work of art by a specific artist. For centuries, artists have made their patrons the subjects of their work, creating portraits that represent who they are or how they would like to be seen by society. Permanent Collection: Works of art that are owned by a museum. Portrait: A visual representation of a person in which the face and upper body often play a predominant role. Artists use the elements of body language, facial expression, costume, props, and setting to convey the likeness, identity, and personality of the sitter, whether real or fabricated. Realistic Art: A style of art using recognizable imagery to show things as they appear in real life. Realistic art is also known as representational and is the opposite of abstract art. Self-Portrait: A portrait an artist makes of herself or himself as its subject. Sketch: A preparatory drawing or study that often precedes the creation of a larger, more polished work of art. Sketches can be done quickly to capture the essence of a subject or can be painstakingly detailed. Sketches are also considered by many to be works of art themselves. Tronie: A late sixteenth- and seventeenth-century Dutch and Flemish portrait genre that sought to portray common types with exaggerated facial expressions as opposed to a realistic likeness of an identifiable person. Dutch for face. Two-Dimensional: A space that is flat, having height and width but no depth. Paintings and photographs are examples of two-dimensional artworks. 15

16 Appendix School & 16

17 Compare and Contrast Graphic Organizer School & Benny Andrews, Shades, 1977 Michael Sweerts, Boy with a Hat, c Similarities How are these figures the same? Differences How are these figures different? Clothing Facial Expression Body Language or Position Location Mood or Personality 17

18 School & Character 2 Michael Sweerts, Boy with a Hat, c Venn Diagram Worksheet List the unique qualities about each individual in the outside bubbles. Consider such things as the figures personalities and roles in society. Write what these individuals have in common in the center of the diagram. Character 1 Benny Andrews, Shades,

19 19

20 School & You Start with a signal word or transitional phrase to write about your partner s self-portrait. Use the suggested words to compare and contrast your works of art. Me + You Worksheet Me Now It Is Time To Compare and Contrast! Write about your self-portrait. Compare: alike, also, both, each, in the same way, like, likewise, some, similar, too. Signal Words and Transitional Phrases Contrast: but, different, even though, however, in contrast, on the other hand, otherwise, yet. 20

21 Image 1 From the collection of the, Hartford, CT.

22 Image 2 From the collection of the, Hartford, CT. Art Andrews Humphrey Family Foundation/Licensed by VAGA, New York, NY

23 Image 3 From the collection of the, Hartford, CT.

24 Image 4 From the collection of the, Hartford, CT. Art Romare Bearden Foundation/Licensed by VAGA, New York, NY

25 Image 1 Michael Sweerts Flemish, Boy with a Hat, c Oil on canvas 14 ½" height x 11 ½" width The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund Image 2 Benny Andrews American, Shades, 1977 Oil and collage on canvas 36" height x 35" width Gift of the American Academy and Institute of Arts and Letters, New York Art Andrews Humphrey Family Foundation/Licensed by VAGA, New York, NY Image 3 Elizabeth-Louise Vigée Le Brun French, The Duchesse de Polignac Wearing a Straw Hat, 1782 Oil on canvas 35 ¾" height x 27 ¾" width The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. Acquired in Honor of Kate M. Sellers, eighth Director of the, Image 4 Romare Bearden American, She-Ba, 1970 Collage on paper, cloth and synthetic polymer paint on composition board 48 height x 35 7/8 width The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund Art Romare Bearden Foundation/Licensed by VAGA, New York, NY