TITLE of Gr 4 Project: Friends Are Wonderful Read the book: The Name Jar by Yangsook Choi to help children understand identity MEDIUM: Watercolor, Marker, Crayon, Fabric Spend quality time asking the questions and BIG IDEA: Friends allowing the students to respond. This will inspire their own vision for their artwork. ESSENTIAL QUESTION: Can artwork tell others OBJECTIVES: The student Will Be Able To (TSWBAT): something about your friend? 1. identify people’s expressions and attributes that communicate personality MATERIALS: 90 lb white cardstock 8.5X11” 2. express with shapes, lines, and color paper; pencils; markers; watercolors; crayons; 3. understand that art has significance bits of objects; decorative tape; scissors; glue 4. understand and use art vocabulary & concepts (stick or white) RELATED HISTORIC STUDIO PROCEDURES: 1. Look at the PPt about ARTWORK: Peter Paul Peter Paul Rubens. 2. Have the discussion using Rubens PPt the key questions. 3. Have students either bring in a picture of a good friend or pose for each Marchesa Brigida Spinola other in the classroom. 4. Students will lightly Doria by Peter Paul Rubens, write their names on the back of their cardstock 1606, Oil paint on Canvas paper. 5. Students will draw the portrait of their friend using a pencil on a vertical piece of cardstock paper – trying to fill most of the page. Remind students that their drawings should have TEKS: Grade 4. 1. a. b. c. (explore ideas for life; facial expressions that express their friend’s elements & principles of art; discuss elements & personality. 6. Students will use potted principles) 2. a. b. c. (create art using life experiences; watercolors, crayons, and/or markers to fill in composition; artwork with different media) their drawings. They can add background images 3. a. b. c. d. (artwork from life; historical & from memories of their friends. 7. Students will cultural art; art careers; art in other disciplines) add objects, strips of decorative tape, etc. to the 4. a. b. c. (evaluate art; artist statements; outside edges of their drawings by gluing or compile work in portfolio) sticking them on. 8. Allow creativity in color

usage and drawing and encourage expression in SAMPLE OF the faces. 9. Have a writing assignment where ARTWORK: students talk about their friend.

RELATES TO OTHER CONTENT AREAS: Sample Artwork by Math: measuring & geometric shapes Barbara Rucci, from Science: light & color ArtBar ELA: writing

VOCABULARY: Vertical: up and down. Shape: areas of enclosed space that are two- dimensional. Shapes are flat. Line: a long, narrow mark or band https://www.artbarblog.com/draw-friend-portraits/ Expression: process of making known one’s thoughts DISCUSSION: If you close your eyes, what colors or feelings come to mind? What lines, shapes, or colors Portrait: a painting, drawing, photograph of a person represent your imagination? What lines, shapes, or colors represent your friend? What would it be like to inside your artwork – what would it feel like?

ART HISTORY

Peter Paul Rubens 1577-1640 Baroque Marchesa Brigida Spinola Doria

By Peter Paul Rubens (Flemish), Baroque 1606 Oil on Canvas National Gallery of Art, Washington, DC

This is a Portrait. Why? Do you think the artist knows something about the person in the portrait? Why? Peter Paul Rubens was a Flemish Baroque artist. He lived and studied in Italy between 1600 and 1609, absorbing the country's cultural riches and artistic heritage. During a stay in Genoa in 1606, he painted the portrait of Marchesa Brigida Spinola Doria. The 22-year-old newlywed was from one of the republic's leading noble families. The imposing setting and the marchesa's aristocratic appearance leave little doubt that she was a person of wealth and status. Rubens integrated light and color, as well as the marchesa's pose and the dynamic diagonals of the architecture, to enliven her stately image. Light flooding into the scene creates boldly expressive folds in her heavy satin dress, while the red of the drape adds dramatic emphasis. The direction of her gaze and the perspective of the architecture indicate that the painting was meant to be hung high on a wall—well above the viewer. The original was larger but at some point the canvas was cut down to its present format. The marchesa's young face, animated by her large, keen brown eyes and gentle smile, is set off by her enormous yet elegant ruff. Her commanding presence is further accentuated by the glowing satin, the lace of her gown, her jewels, and the elaborate hair ornament crowning her carefully curled locks. Behind her, the rich luster of the marble and stone of a palazzo add to the sense of limitless luxury. By the time he made this portrait, Rubens had been in Italy six years. Trained in classical ideals and philosophy, he had travelled from Antwerp to Italy around 1600 to experience firsthand its artistic traditions, not only those coming from antiquity and the Renaissance, including the work of Raphael and Michelangelo, but also those being created by contemporary artists such as Caravaggio. The inspiration he gained from this multifaceted exposure profoundly affected his own style of painting and became the foundation for his future work. Peter Paul Rubens (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) Rubens was considered one of the greatest European painters during his own time and still is now. He created remarkable images of religion and myth and excellent landscapes, as well as portraits. He frequently worked with other artists on individual paintings. Instead of making only preparatory drawings for his images, he often painted oil sketches. This new approach let him plan color and light as well as form and composition. Other artists soon followed his lead. "Marchesa" is an Italian title for a noblewoman. Part of the artist's aim in this portrait was to show his sitter's wealth and high social position. With careful brushstrokes, he pictured exact details of the jeweled ornament in her hair, her elegant ruff, and the decorations on her dress. Textures of rich fabrics contrast strongly with hard surfaces of marble and stone walls behind her. Clothing and setting both emphasize the marchesa's wealth. Other techniques Rubens used to suggest her importance are less obvious. Notice the direction of the marchesa's gaze and the sharp slant of architechtural lines behind her. The portrait was designed to be hung above viewers, forcing them to look up toward the sitter. That view suggests she is more important than other people. But Rubens also wanted to show a real, living woman with a charming personality. Peter Paul Rubens (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) But Rubens also wanted to show a real, living woman with a charming personality. Loose brushwork used in her satin gown and the position of her right hand both add liveliness to the image. Her gentle smile creates a warm and friendly impression. Rubens traveled widely but lived most of his life in the city of Antwerp in the Catholic part of the Netherlands. He worked and studied in Italy, where he painted this portrait. Rubens was a well educated man, who read Latin and spoke five other languages. He served many rulers throughout Europe as a trusted advisor and diplomat as well as a valued painter. The royal families of Spain, France, and England were among his patrons. King Charles l of England knighted him for his art and for negotiating peace between England and Spain. Rubens was both an important public person and a devoted family man who loved spending time at home. Portrait of Helena Fourment Portrait of a Young Girl

“My talent is such that no undertaking, however vast in size…has ever surpassed my courage.” Peter Paul Rubens Portrait of a Dominican Friar Study Head of a Young Woman Rubens en Isabella Brant in de Kamperfoelie Bower (this is a self portrait plus)