Eyes From the Past Developed By Suggested Length Suggested Grade Level(s) Subject Areas Victoria Baldwin - Thomas 2 3 class periods 11, 12 Social Studies, Visual Arts, Language Arts Overview This unit provides opportunity for students to view the Classical Victorian style of portraiture, and reflect upon its relevance during that time period. Students will evaluate through visuals how the individual was portrayed during the Victorian era by gathering, questioning, and commenting on information given by the most expressive features of the works. Links to Curriculum Outcomes Students will (be expected to) apply concepts associated with time, continuity, and change (social studies) demonstrate an understanding that historians are selective in the questions they seek to answer and the evidence they use and that this influences their interpretation of history (social studies) engage in artistic inquiry, exploration, and discovery in collaboration with others (visual arts) reflect critically on and evaluate their own and others' uses of language in a range of contexts, recognizing elements of verbal and nonverbal messages that produce powerful communication (language arts) Links to Telling Stories: Themes / Key Words Portrait Art Works Bessie in Wedding Gown, Robert Harris, CAG H-256 Mrs. Waylett, CAG H-2331 Anna Leon Owens, Robert Harris, CAG H-8889 William Chritchlow Harris Sr., Robert Harris, CAG H-2166 Self Portrait, Robert Harris, CAG H-2120 Mrs. Birkett and Winifred, Robert Harris, CAG H-502 Bessie Sketch, Robert Harris, CAC H-348 W.H Howland Sketch, Robert Harris, CAC H-288 Self Portrait Sketch 1868, Robert Harris, CAG H-198 A, B Sarah Sketch 1871, Robert Harris, CAG H-198 A, B
Violet Sargent, John Singer Sargent Vernon Lee, John Singer Sargent Dr. Fitzwilliam Sargent, John Singer Sargent Self Portrait 1907, John Singer Sargent Mrs. Fiske Warren and Her Daughter Rachel, John Singer Sargent Lady Agnew, John Singer Sargent Elenora Duse, John Singer Sargent Mrs. Ellen Terry as Lady MacBeth, John Singer Sargent Singer Sargent images may be found on John Singer Sargent Virtual Gallery at www.jssgallery.org Context This is a comprehensive unit that works best when students have considered Canadian lifestyle during the Victorian era, focusing on what was considered middle and upper class. Preparation should also be done regarding realism as a style of art and the role of composition, color, and facial expression in portrait interpretation. Lesson #1: Who's Smiling? Students will individually and collectively interpret what the artist is telling them about the subjects of the portraits from the Victorian era in Canada. computer color printer pen and paper Activities 1. With students, view six portraits as in a gallery setting (CAG H-256, CAG H-2331, CAG H-8889, CAG H-2166, CAG H-2120, CAG H- 502). Encourage students to converse and exchange impressions freely as they view the works. 2. Organize students in small groups and give each group a copy of three different paintings. Now each group discusses the pieces and their initial observations. 3. Also, give each group three copies (1 per painting) of assessment questions to spark conversation. The questions on the sheet might include the following:
How did the artist use color, light and composition to evoke your interpretation of the subject's personality, career, and aspects of his / her community? What do the pictures collectively tell you about the Victorian era? Is there a relationship to Victorian England, or do you see them as distinctly Canadian? If the subjects could speak what would they have to say about their lifestyle and daily activities? Are they happy with life? 4. Students choose a group member to take notes on the question sheets while they discuss each painting. The notes provide a record of group consensus on the questions and individual disagreements. This information will be backed up by a brief explanation of how common views were negotiated, and record non- negotiable conflicting views that came up during the discussion. Students defend their views by referencing aspects of the painting. 5. Group speakers present one of the pieces to the class and act as informed assessors, imparting the views of the group and stimulating further discussion with the class and teacher. Computer Option Key words: Canadian and British Relationships during the Victorian era Assess as a silent party throughout the process, noting critical thinking that goes on during the discussions. Lesson #2: Behind the Mask Students will individually assess 12 portraits and relate their impressions to aspects of themselves, friends, family, and members of their community. computer color printer pen and paper
Activities 1. Have students circulate, view, and discuss all 12 Robert Harris portraits listed in this unit. 2. They now choose three works one that has affected them negatively or positively, one that they are drawn to because it reminds them of someone they know, and one that they feel a kinship with (somehow emotionally this person's essence reminds them of themselves, or an emotion they have dealt with or are currently experiencing). Have them record their choices, one page per portrait. 3. Give students a copy of the pictures they have chosen. Guide them to examine where the emphasis is placed, how the eye is led around the piece, and why the artist intended the viewer to follow this path. 4. Have them search within each portrait for visual clues describing the subject's life. Then concentrate on the eyes and facial expressions while questioning the subject's thoughts. Is the subject wearing a mask for the world to see? 5. Guide students to make connections with the way people were portrayed during the Victorian era and present day photos. 6. Students present their findings from one of the pieces to a small group to promote interaction and questions. 7. Have a class discussion comparing contemporary photos of people to the 12 works. Do masks play a role? Computer Option Internet search using key words: Advertising in the Victorian era Did the students defend their interpretations? Did the students demonstrate verbally or in writing an understanding of the connections between people of the past and present? Possible Extension Students initiate class discussions on the portrayal of people in Victorian advertising and present day advertising by comparing visuals from both eras.
Lesson #3: Sketches, Paintings, Commissions Anyone? Students will reproduce works by Robert Harris in the Classical Victorian Style of portraiture and compare his works to those of John Singer Sargent, while questioning the validity of art as a business and the creative limitations of commissions. computer and color printer sketching pencils and paper chalk pastels and pastel paper or colored construction paper fixative spray or cheap hairspray in a can Activities 1. Have students compare sketches and paintings of John Singer Sargent to the works of Robert Harris (both noted in the beginning of the unit). 2. Students will participate in a class discussion on what it means to be a commission painter today, as compared to in the 1800s, and question the meaning of creativity in relation to commission work. Would it enhance or detract from the skill and originality of their work? Is it a sell out for an artist to desire fame and financial security by using his/her talents? 3. Students then choose one of the Harris works and reproduce a loose shaded sketch which they use as a reference for a finished reproduction in chalk pastel. Remind them to retain the style of Classical Victorian Realism, even if they experiment with different color schemes. Computer Option Reference: www.jssgallery.org Key word search: The American Society of Classical Realism Have students collectively develop and agree on the criteria for assessment. They then compare and assess their own work and the work of their peers, offering each other constructive criticism and encouragement based upon the criteria.
Lesson #4: The Artist and the Sitter Students will draw an original realistic well-proportioned portrait from life, in the style of Robert Harris, and experience what it is like to be the subject of a portrait. charcoal, conte', or soft pencils drawing board paper with a rough surface kneadable eraser and smudging tool (q-tip) Activities 1. Have the students review the following works: CAG H- 256, CAG H-288, CAG H-348, CAG H-2120, CAG H-2166, CAG H-502, CAG H- 2331. 2. With the class, discuss value and shading, composition, and the focal point of these works. Have them note the use of negative space around the figure, and common positions of the sitter. 3. Challenge the class to create a list of criteria of Harris' Classical Victorian style (based upon their observations of the works). Remind students that their criteria will serve as a basis for assessment of their own work 4. Have students work in pairs as sitter and artist. Each student sits for a few loose preliminary sketches, five minutes each. This gives the artist a chance to block in the head, shoulders, partial torso, and hands, while deciding on the most engaging composition and the proper placement of the model. 5. Now have student artists pose the sitter as they wish. During this process students will learn that the standard 3/4 view is most flattering and as the head is turned toward the viewer it becomes more engaging and personal. Have students explain why this happens. 6. And now the student artist starts the final sketch, choosing an imaginary light source if the lighting in the class is too bright. 7. Students switch from artist to sitter and the process repeats. Student partners go over the criteria and give helpful suggestions before the finished product is placed on display.
The class will enjoy looking at the works of their peers, and assessing the pieces according to the criteria in an informal atmosphere. Wrapping up the Learning Teachers may ask students to consider how opinions that were revealed during the discussion process relate to the outcomes listed above, or to other outcomes the teacher deems relevant for the diversity of learners in his / her classroom. Bringing it all Together A culminating event may include class research into local artists working in the Classical Victorian style or another style of portraiture, and inviting these artists, as well as local historians, to the school or other community center for a workshop and round table discussion with the students. Possible Extensions To extend this unit, teachers and students may propose an historical mural for their town or city, depicting respected local figures of the Victorian Era. Language Arts teachers may be interested in having their students assess the students reproductions of Robert Harris' works as a visual literacy component to their classes. Students may be encouraged to take on commissions of community members who lived during the Victorian Era for display in local tourist or community hang- outs. Students may also volunteer to conduct workshops on Classical Victorian art for seniors and youth organizations, or hospitals. Suggested Resources Sargent (Carter Ratcliff, 1982) Portrait Drawing, a step by step art instruction book (Wendon Blake, 1981) The Pastel Book, materials and techniques for today's artist (Bill Creevy, 1991) examples of Classical Victorian art found in local banks, shops, offices local art gallery, library, college or university magazines and ads Local amateur historians may have a collection of prints. If an Art Gallery is not in your vicinity, remember that art can be found in the most unexpected places in your community