TITLE of Gr 2 Project: Parts Make a Whole Spend quality time asking the questions and allowing the students to respond. This will MEDIUM: Marker inspire their own vision when they are ready to BIG IDEA: Small Parts Make Big Things make their marker drawing. OBJECTIVES: The student Will Be Able To (TSWBAT): ESSENTIAL QUESTION: Can lots of little things 1. recognize that many small parts work together work together to make a big thing? to make something big MATERIALS: 90 lb white cardstock 8.5X11” 2. identify complex machines around them paper; markers (water based); pencils 3. understand and use color in small sections to make the whole image look good 3. understand that art has significance RELATED HISTORIC ARTWORK: Maurice de 4. understand and use art vocabulary & concepts Vlaminck PPt STUDIO PROCEDURES: 1. Look at the PPt about Maurice de Vlaminck. 2. Have the discussion Tugboat on using the key questions. 3. Show students your the Seine by created sample and go over the vocabulary, Maurice de particularly the value of small things making a Vlaminck, better large thing. 4. Students will lightly write 1906, Oil their names on the back of the cardstock. 5. paint on From their memory of outside scenes from the Canvas Cezanne project, have students draw a landscape TEKS: Grade 2. 1. a. b. (info from environment; and small patterns or designs that will fill up the use element of line, color and shape; use larger spaces. If they would like, have them principle of balance) outline all of these spaces with a black Sharpie. 2. a. b. c. (create art using shape; arrange objects 6. Students will fill in the shape/pattern areas intuitively; practice art skills) with marker – making sure the marker color is 3. a. b. c. d. (interpret meaning; historical & solid and bright (not white paper showing cultural art; art in life; art in other disciplines) through). Encourage them to pay attention to 4. a. b. c. (support art preferences; express ideas in other artwork; compile work in portfolio) color so they use pleasing colors together and they are balanced across the paper. Explain this SAMPLE OF ARTWORK: using information about analogous and complementary colors. Sample 7. Allow creativity in color usage and drawing. Artwork by RELATES TO OTHER CONTENT AREAS: Andrew Math: measuring & geometric shapes Reyes, East Science: light & color, biology of machines Terrell Hills VOCABULARY: Elem, Gr 3 Pattern: a repeated decorative design. Mark: a visible impression on something; as a line, cut, dent, stain, etc. DISCUSSION: Is Vlaminck’s painting smooth? Balance: an even distribution of elements Can lots of little things – like Vlaminck’s Analogous Colors: 3 colors side by side on the color brushstrokes – work together to make a big wheel – mimicking the color schemes found in nature thing? How do machines work – do they have Complementary Colors: colors on opposite sides of lots of little parts? How does the human body the color wheel and when combined make a work – does it have a lot of parts that work brownish gray (like green and red) together? Landscape: all the visible features of an area of countryside or land

ART HISTORY Maurice de Vlaminck 1876-1958 Fauvism Tugboat on the Seine, Chatou

By Maurice de Vlaminck (French), Fauvism 1906 Oil on Canvas National Gallery of Art, Washington, DC

This is a painting of water and boats. Can it be considered a Landscape? This painting has lots of small marks. Can lots of small marks work together to make a great artwork? Maurice de Vlaminck was a French painter who was one of the creators of the painting style known as Fauvism. He was at various times a musician, actor, racing cyclist, and novelist. He was also a self- taught artist who proudly shunned academic training, aside from drawing lessons. In 1900 Vlaminck met the painter André Derain during a train accident, and the two shared a studio from 1900 to 1901. In 1901 Vlaminck saw an exhibition of the paintings of Vincent van Gogh and he was struck by van Gogh’s powerful brushwork and use of intense, nonnaturalistic colors. That same year, Derain introduced Vlaminck to Henri Matisse. Vlaminck was soon experimenting with pure, intense color drawn straight from the tube and applied in thick daubs. He exhibited with Matisse and Derain in 1905 and it was at one of these exhibitions that a critic called these artists fauves (“wild beasts”). He considered their canvases of bold color, applied in a spontaneous and impulsive manner, too unrefined. Vlaminck usually preferred a palette of primary colors. Impressed by an exhibition of Paul Cezanne’s paintings in 1907, Vlaminck began to emulate the Post-Impressionist artist’s work. He adopted a more subdued palette and turned to painting landscapes with solid compositions. After World War I he left Paris and moved to the countryside, where he painted rural scenes in a dramatic yet mannered style. Vlaminck also continued to write poetry, fiction, and memoirs, and he illustrated a number of books. Maurice de Vlaminck (from Art Smart Study Guide) (This info is directly from the 2019-21 UIL Art Smart Study Guide – share this in a simple way for Grade 2) Before he became a professional painter, Vlaminck had already been a boxer, a champion bicycle racer, a musician, and a writer. He had a spirited, restless, rebellious personality. He was mostly self-taught as an artist. He bragged that he never entered museums, which he thought were filled with old, worn-out ideas of art. He said he wanted to paint with his heart and feelings. He became known as the wildest of the "wild beasts" called Fauves. For Fauvist artists, color and pattern were important in themselves and not just as ways to recreate reality. They painted real objects and places, but distorted shapes and used vivid colors in non-natural ways. Color became a tool to express emotion and to structure their compositions. They left out details and used simplified, flattened forms. Rough, broken brushstrokes helped emphasize color and pattern and keep viewers' attention focused on the surface of the painting. Vlaminck has given us a picture of the river near the town where he lived, but we certainly couldn't see it this way if we were standing on the riverbank where he worked. In some places, like the water, he chose colors we might expect but made them unnaturally bright. In others, like smoke from the tugboat, painted colors are completely unrealistic. Maurice de Vlaminck The intense complementary colors the artist used throughout the image create a feeling of lively energy. Using the same colors in many different places created the patterns and balanced composition he wanted. Flattened forms remind us we are looking at a painting and not a real landscape. Vlaminck's rough, visible brushwork adds to our sense of activity and movement. Look carefully at the ways he applied paints in the water. Quick, short strokes suggest its rippling surface. Long pulls of his brush behind the tugboat show its wake as it travels along the river. In front of the boat just coming into view, curved brushstrokes vividly picture its forward motion. Barges on the Seine White Sailboat at Chatou

“Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.” Maurice de Vlaminck The River Seine at Chatou Barge on the Seine Laundry Boats