USING IMAGES IN A UNITED STATES GOVERNMENT CURRICULUM
By Mary Quinlan History Teacher Oakcrest School, McLean, Virginia My Goals for this unit: 1. Use NEH Picturing America images
http://picturingamerica.neh.gov/
2. Enhance a discussion-based class with the use of art.
***Discussion questions can always be adapted into writing assignments or online discussions if time is limited!
This course is… …delivered to 12TH graders with prior knowledge in United States history and basic art history
…a Socratic Seminar – class time is 100% discussion
…a year long government course HOW I GRADE DISCUSSIONS discussion participation counts as 1/3 of quarter grade a daily goal is determined for how many contributions each students is expected to contribute – USUALLY 3 no contributions = 0 1 contribution = 50 2 contributions = 70 3 contributions = 85 (met the goal) 4 contributions = 100 (exceeded the goal)
Outstanding contributions count as 2 (I am the judge) we call it “DEEP THOUGHTS”
Repeating what someone else has said without adding value does not count. we call it “WHAT SHE SAID”
Outlandish comments with no supporting evidence do not count. we call it “TRY AGAIN” Adaptations for a larger class:
Combination of verbal and written contributions
Online discussion boards or blogs inner and outer circle strategy (inner circle only talks in class/outer circle responds later in online discussion) PART I: PRESIDENTIAL IMAGE AND CHARACTER Intro Activity: Self-Portrait Design Intro Activity: Self-Portrait Design
• Students turn in homework on Day 1 of this lesson • Spend the first day discussing student portraits (depending on time, discuss some or all) • Focus discussion on what the portrait says about each student • What symbolism in portraiture could convey to the viewer • Who is creating the portrait and for what purpose • What kinds of things do we leave out of the portrait and why *Make a permanent display of student work in the classroom! Introduce Presidential Portraiture
USE JIM OR MIKE’S PORTAIT OVERVIEWS IF YOUR STUDENTS NEED AN INTRO TO THIS INTERPRETATION!
Essential Questions – image v. reality: – What do we expect to see portrayed in a presidential portrait?
– What kind of people do we expect our presidents to be?
– Is the president’s “image” important? Why or why not? Day 2: Paintings of George Washington
• Make a list on the board of ideas and evidence demonstrating George Washington’s character and image – WHO DO WE THINK HE WAS?
• Distribute student handout: “Reading” Portraiture at a Glance” (Smithsonian/National Portrait Gallery) Gilbert Stuart George Washington (The Landsdowne Portrait) 1796 Neo-Classical Pose
Statue of Roman Emperor Tiberius
Questions to address with students:
What is Neo-Classicism?
Are there other elements of Neo-Classicism in the Portrait?
Why did Americans connect with ancient Rome in art?
How is George Washington like a Roman emperor?? What do portraits of other world leaders look like at this time? Comparison: Portrait of Napoleon, Emperor of France Ruled France 1799-1814, 1815
Jean-Auguste-Dominique Ingres Napoleon on his Imperial Throne, 1806 Jacques-Louis David The Emperor Napoleon in his Study at the Tuileries, 1812 Comparison: Jiaqing Emporer of China Reigned 1735-1796 Comparison: King George III of England Reigned 1760-1820
Allan Ramsay, George III, 1762 Comparison: King George III of England Reigned 1760-1820
Thomas Gainesborough, King George III, 1780 Think, Write, Share:
• How is the portrait of Washington similar and/ or different to portraits of other leaders in the late 1700’s? • What kind American “image” is being cultivated? • How does the Landsdowne portrait “paint” Washington? What kind of person will the viewer think he is? Homework: Consider the source!
Homework: students research who commissioned the “Landsdowne” Gilbert Stuart painting and why. Students submit their research with a short paragraph explaining how this information might change their interpretation of George Washington’s character. Day 3 – WARM UP
Collect homework
Briefly discuss student results and reactions
Would we think differently if the portrait was commissioned by Washington himself? By a critic of Washington?
TRY THIS – fun for review! http:// www.georgewashington.si.edu/kids/ portrait.html Day 3: Statues of George Washington
Ask students to pull out Day 2’s handout on “Reading” Portraiture for reference. Horatio Greenough George Washington 1841 Short reading on the story of Cincinnatus http://people.westminstercollege.edu/faculty/ mmarkowski/h112/Cincinnatus.htm How does this image connect Washington to Cincinnatus?
John Trumbull
General George Washington Resigning His Commission to Congress As Commander in Chief of the Army at Annapolis, Maryland, December 23d, 1783 Cincinnatus v. Washington
In his time, Washington was one of the wealthiest men in America and was one of the most famous people in the world.
So is the “humble farmer” image a myth? Jean-Antoine Houdon George Washington 1791 STILL Neo-Classical! Life mask of GW Look carefully!
What is missing? Why???
What is the artist trying to tell us about George Washington? Homework: Putting it together
Students should take home an assignment that challenges them to summarize what they have learned about George Washington from the paintings and images studied in class.
It would probably be very helpful to students if you posted the images on your class website or in an online gallery of your creation. Day 4
Who is the “real” George Washington?
Let’s go to his house and find out.
WARM UP: Collect homework from Day 3. Have students share some of their Ideas with the class. Central attribute of Georgian and Federal Architecture (popular in GW’s lifetime):
Symmetry, balance and proportion! Doorway is centered (axial entrance) and windows are arranged symmetrically around the position of the door Chimneys are paired Mount Vernon, 1730’s and 1740’s: “modest farmhouse” in simple colonial style This is what Washington inherits with the plantation! (dotted outline indicates the Mansion House as it is today)
Sketch courtesy of Dennis Pogue, Vice President of Preservation, Mount Vernon Mount Vernon, 1757 Renovation
(dotted outline indicates the Mansion House as it is today)
Sketch courtesy of Dennis Pogue, Vice President of Preservation, Mount Vernon THINK, WRITE, SHARE:
What was added?
What happens to the symmetry of the house?
Pre-1757 Post-1759 Pre-1757 Post-1759 Additions include: Second floor Door Surround with columns Pediment above front door Additions to both sides of house, symmetrical
Which additions are practical and which are “fashionable”? LACK OF SYMMETRY!!
Reason? Location of an interior staircase. Late 1770’s- mid 1780’s – ANOTHER renovation
What does Washington add in the second renovation?
Which choices are practical and which are fashionable? Additions Include:
Large pediment on roof Cupola Two large wings (symmetrical) Elliptical Window Additions Include:
Façade facing Potomac River “piazza” with columns
Palladian Window on side of house
(interior = dining room) Renovations demonstrate that George Washington wanted to live in a fashionable Georgian style mansion instead of a “modest farmhouse”.
Does this match our image of the humble Cincinnatus?
Or is this more fitting of the “richest man in America”? Was Mount Vernon’s Mansion House made symmetrical in the 2nd renovation? SO, the staircase to the right of the front door is still there. Right?
http://www.mountvernon.org/virtual/vrtour.html If he is the “richest man in America” – then, why didn’t Washington make his house perfectly “Georgian” by creating the symmetry? • To William Thornton • Document: Ret03d195 • Author: Washington, George • Recipient: Thornton, William • Date: 1798-12-30 • Mount Vernon 30th Decr 1798 • Dear Sir, • Your favor of the 25th instant, enclosing Messrs Blagden & Lenthals estimate of the cost of adding a Pediment, and Parapet to the 300 roof of my buildings in the Federal City, has been duly received, but the plan, to which it refers, did not accompany it1 • This plan, on other accounts, I ought to be possessed of, and Mr Blagden is under promise to take a copy thereof for his own use, to work by, and to send me the original draught. I pray you to remind him of this promise. • Presuming that it is not necessary for Mr Blagden’s convenience that I should, at this moment, decide upon the above estimate; nor whether I shall adopt the measure at all; I shall, if no disavantage will attend the delay, suspend my determination until I can visit the City, & receive some further explanations respecting the consequent alterations which will be occasioned by this Pediment—not at present well understood by me; owing to my entire ignorance of the technical terms in which they are expressed. At which time also, I will make arrangements for giving him further pecuniary aids. • Rules of Architecture are calculated, I presume, to give symmetry, and just proportion to all the Orders, & parts of buildings, in order to please the eye. Small departures from strict rules are discoverable only by skilful Architects, or by the eye of criticism; while ninety nine in a hundred—deficient of their knowledge—might be pleased with things not quite orthodox. This, more than probable, would be the case relative to a Pediment in the roof over the doors of my houses in the City. • That a Parapet in addition (for the reasons you have assigned) would have a pleasing & useful effect, cannot be doubted. When the roof of a building is to be seen, and when it is designed for Chambers it must be seen, something to relieve the view of a plain and dead Surface, is indispensable: for this reason it was, I thought, and still do think, that Dormars are to be prefered to Sky lights in the front; on the other hand, if the roof is so flat as not to be seen at all, or so low as, in a manner to be hid by a Parapet, I should give a decided preference to Sky lights. • These ideas, as you will readily perceive, proceed from a person who avows his ignorance of Architectural principles, and who has no other guide but his eye, to direct his choice. I never, for a moment, contemplated two Pediments, one over the door of each house: my great object, was to give the two the appearance of one. But as I have observed in the former part of this letter, I will suspend 301 coming to any decision until the consequences of the proposed alterations are better understood by me. • The freedom with which you have expressed your sentiments on this occasion, is highly pleasing to me. Sorry indeed should I have been on this, as I shall be on any future occurrence, when your opinion may be asked, if they are not rendered with the utmost frankness and candour. • The compliments of the season are presented to Mrs Thornton, yourself &ca by all parts of this family, and with great esteem & regard I remain—Dear Sir Your most Obedt Hble Servant • Go: Washington Washington sacrificed Federal symmetry in both renovations for practical reasons
1757 = placement of interior stairway
1780’s = limiting expense of renovation Is Mount Vernon made of brick? http://www.mountvernon.org/visit/plan/index.cfm/pid/541/ As brick homes become fashionable, Washington avoided the expense of rebuilding his house with brick by “faking it” with rusticated wood. Does the idea of a “missing button” on a fine jacket line up with Washington’s architectural “shortcuts” in his private home?
What kind of person does things like this? Conclusion: Think, Write, Share
• What precedents did George Washington set in creating his “presidential image”?
• Do Americans still maintain these expectations today? Conclusion: Think, Write, Share
Do these images create a realistic understanding of Washington?
How does Washington’s image impact other presidents? “My only ambition is to do my duty” -GW
“First in war, first in peace, first in the hearts of his countrymen.” -Congressional tribute to GW Discussion Two: Abraham Lincoln Abraham Lincoln – Day One
• Distribute student handout from Smithsonian/ National Archives entitled “Photo Analysis Worksheet” for use with the Gardner portrait • Share student ideas and responses – list inferences and questions generated on the board. • Follow up by discussing other images of Lincoln Portrait of Abraham Lincoln by Alexander Gardner, 1865 Portrait of Abraham Lincoln, by George Peter Alexander Healy 1877 Thomas Ball Freedman’s Memorial a/k/a Freedom Memorial a/k/a Emancipation Memorial 1876 Think, Write, Share
Based on what you know about Lincoln and based on the images you have just studied, summarize what you think of his “presidential character” so far. Day 2: Who was the REAL “Honest Abe”? Create a student handout with this photo at the top.
The remainder of the page should be divided into 2 columns.
Point out that one side of Lincoln’s face is in the light while the other is in shadow.
Explain to students that you are going to read them a passage about Lincoln (or watch a video –see next slide for details). Portrait of Lincoln, 1846 Students should make a list In the left “light” column of things they hear that match the “Honest Abe/Great Emancipator” image of Lincoln.
In the right “shady” column, students should list things that challenge the “Honest Abe/Great Emancipator” image. “Honest Abe”: “Shady Abe”: Recommended text and video
• Read out loud the brief essay on Lincoln found in the book The American President by Kunhardt, Kunhardt and Kunhardt • OR show students the video clip from the associated PBS series of the same name • BOTH of these offer evidence that challenge the “rail splitter” image of Lincoln Conclusion
• Students share observations made about Lincoln • Discussion Question: Was Lincoln more committed to ending slavery or to saving the union? • End class - each student writes a paragraph explaining who they thing the real Abraham Lincoln was. Ideas for Assessment Assign each student a different president. Use the National Portrait Gallery as a resource of “official” portraiture. http://www.npg.si.edu/collection/presidents.html
Each student uses the portrait of their assigned president to complete an assignment. For example: – ESSAY: Compare what is presented in the portrait to their legacy in history: what has the portrait emphasized and what is left out? – PRESIDENTIAL YEARBOOK – each student makes a “yearbook” page for their assigned president including images, quotes, shout-outs, etc – be creative!! Display student work on a bulletin board. – PRESIDENTIAL SLAMBOOK - Student must find unfavorable images of their assigned president (political cartoons are a great resource!) and create a slambook page with quotes. Students present to the class.
Smithsonian Video: Picturing the Presidents We go behind the scenes and into the minds of artists as they capture, commemorate, and, at times, condemn our presidents. From Elaine de Kooning's abstract portraits of John F. Kennedy to Tim Oliphant's skewering caricatures of the Bushes, we examine the divisive results that occur when art and politics collide. Part II
SHORT ACTIVITIES AND DISCUSSIONS USING IMAGES IN UNITED STATES GOVERNMENT The Architecture of the American Republic Archtect’s sketch of interior of the Capital Dome shown in Harper's Weekly, March 9, 1861 Interior of dome Pantheon, Rome, Italy
Constructed in 125 AD
U.S Capital Dome Construction completed 1866
Dome of Saint Peter’s Vatican City, Rome Constructed completed in 1626 Pantheon/St. Peters-U.S Capital Questions for Discussion
• If the Pantheon was a temple to all the Gods, what is the U.S. Capital? • If Americans value a separation between church and state, why was the capital dome modeled after the cathedrals of Europe? • How is the American government similar and different from the Roman Republic? • Why the emphasis on Rome and not Athens? Why do state governments use this style of architecture?
State Capital, Columbus, Ohio
Crafting the Constitution Scene at the Signing of the Constitution by Howard Chandler Christie, 1940 http://teachingamericanhistory.org/convention/christy/ U.S. Constitution text as a WORDLE Bill or Rights text as a WORDLE Rockwell’s Four Freedoms Ideas for using the Four Freedoms FIRST – engage in an initial discussion of the four images – Ask students to identify which paintings depict freedoms found in the Constitution – Ask students to conjecture why Rockwell chose these four freedoms to paint – Students can speculate which four freedoms they would chose to paint Ideas for using the Four Freedoms
SECOND Distribute the Franklin Delano Roosevelt speech where he outlines “four freedoms”
Spend a few minutes talking about the context of this speech (World War II era America) In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.
The first is freedom of speech and expression -- everywhere in the world.
The second is freedom of every person to worship God in his own way -- everywhere in the world.
The third is freedom from want -- which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants -- everywhere in the world.
The fourth is freedom from fear -- which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor-- anywhere in the world.
That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb.
To that new order we oppose the greater conception -- the moral order. A good society is able to face schemes of world domination and foreign revolutions alike without fear.
Since the beginning of our American history, we have been engaged in change -- in a perpetual peaceful revolution -- a revolution which goes on steadily, quietly adjusting itself to changing conditions -- without the concentration camp or the quick-lime in the ditch. The world order which we seek is the cooperation of free countries, working together in a friendly, civilized society.
This nation has placed its destiny in the hands and heads and hearts of its millions of free men and women; and its faith in freedom under the guidance of God. Freedom means the supremacy of human rights everywhere. Our support goes to those who struggle to gain those rights or keep them. Our strength is our unity of purpose. To that high concept there can be no end save victory.
President Franklin Delano Roosevelt, from Congressional Record, 1941, Vol. 87, Pt. I. Ideas for using the Four Freedoms
THIRD
Study each of the four paintings individually, connecting to the text of the speech.
For each painting, focus discussion on the many details Rockwell includes and what they symbolize to the viewer “The first is freedom of speech and expression -- everywhere in the world.” “The second is freedom of every person to worship God in his own way -- everywhere in the world.” “The third is freedom from want -- which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants -- everywhere in the world.” “The fourth is freedom from fear -- which, translated into world terms, means a world- wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor-- anywhere in the world.” Ideas for using the Four Freedoms
FOURTH
Show images of the paintings as war bond posters.
CONCLUSION:
THINK, WRITE, SHARE: What do you think of Rockwell’s motivations now? Has our interpretation of the paintings changed? American Political Identity and Behavior
Crazy Quilts
Amish Quilts Traditional Quilts Gee’s Bend Quilting – Modern American Art! Quilts that tell a story Quilts that tell a story Quilts that memorialize
Quilts that tell a story Quilts that memorialize Is America a “crazy quilt” or a “traditional quilt”? Quilt Activity: Challenge the Text
“Fundamental Values Political culture can be defined as a patterned set of ideas, values, and ways of thinking about government and politics. The process by which such beliefs and values are transmitted to immigrants and our children is called political socialization. The fundamental values of the American political culture can be defined as: liberty, the greatest freedom of individuals that is consistent with the freedom of other individuals in society; equality, all people are of equal worth; and property, the right of individual ownership. While limited government is traditionally embraced by most Americans, events such as Hurricane Katrina demonstrate that many of those same Americans expect government to play an active and involved role in certain circumstances. “
American Government and Politics Today Bardes, Shelly and Schmidt 2008 Quilt Activity: Challenge the Text
Students make "quilt" of four fundamental American values
Students can challenge the text or adhere to the text
Each student creates four squares, one for each value, using drawing or collage
Each square is the student’s visual interpretation of that value.
Use as a discussion piece in class.
Display together as one big bulletin board quilt. American Political Identity and Behavior CONCLUSION
Ask again: are we a “crazy quilt” or a “traditional quilt”? Civil Rights and Civil Liberties
The Freedman Edmonia Lewis Forever Free
Civil War Massachusetts
WWII Tuskegee Airmen
Thank you, Jim, for this brilliant idea. “No man can give anybody his freedom. A man is born free.” -Stokely Carmichael Black Power Speech Berkeley, California, 1966 Watch Clip from Eyes on the Prize
• The Time Has Come (1964-66)
• James Meredith, Martin Luther King, Jr., Malcolm X and Stokely Carmichael • Highlights what these men had in common and where they diverged • ASK STUDENTS TO COMPARE images to what they are hearing in the video – what has changed since the Civil War?
Student primary document reading:
Booker T. Washington;s "Atlanta Compromise Speech" (1895) W.E.B. DuBois's "Niagara Movement Speech" (1905) Booker T. and W.E.B. Booker T. Washington and W.E.B. It seems to me," said Booker T., DuBois "That all you folks have missed the boat By Dudley Randall Who shout about the right to vote, And spend vain days and sleepless nights "It seems to me," said Booker T., In uproar over civil rights. "It shows a mighty lot of cheek Just keep your mouths shut, do not grouse, To study chemistry and Greek But work, and save, and buy a house." When Mister Charlie needs a hand To hoe the cotton on his land, "I don't agree," said W.E.B. And when Miss Ann looks for a cook, "For what can property avail Why stick your nose inside a book?" If dignity and justice fail? Unless you help to make the laws, "I don't agree," said W.E.B. They'll steal your house with trumped-up clause. "If I should have the drive to seek A rope's as tight, a fire as hot, Knowledge of chemistry or Greek, No matter how much cash you've got. I'll do it. Charles and Miss can look Speak soft, and try your little plan, Another place for hand or cook, But as for me, I'll be a man." Some men rejoice in skill of hand, And some in cultivating land, "It seems to me," said Booker T.-- But there are others who maintain The right to cultivate the brain." "I don't agree," Said W.E.B. "
http://www.pbs.org/art21/artists/puryear/clip2.html
ART:21: So what do you think is the connection between what's going on in the work and the title of the piece? PURYEAR: I mentioned about the perspective being really what the work is about. And the idea of Booker T. Washington, the resonance with his life, and his struggle...the whole notion that his idea of progress for the race was a long slow progression of, as he said, "Putting your buckets down where you are and working with what you've got." And the antithesis was W.B. DuBois who was a much more radical thinker and who had a much more pro-active way of thinking about racial struggle for equality. And Booker T. Washington was someone who made enormous contacts with people in power and had enormous influence, but he was what you would call a gradualist. And so, it really is a question of the view from where you start and the end—the goal. This is something I don't really want to elaborate on too much because I think it's in the work. The whole notion of where you start and where you want to get to and how far away it really is. And if it's possible to get there given the circumstances that you're operating within.