About Face: Copley’s Portrait of a Colonial Silversmith

About Face: Copley’s Portrait of a Colonial Silversmith explores the lives and work of two artists within Introduction colonial Boston prior to the outbreak of the American Revolution. John Singleton Copley was the most popular portrait painter in colonial America. In addition to painting some of the leading patriots of the time, such as Samuel Adams, John Hancock, and Paul Revere, Copley also painted the portrait of a Getting Started silversmith named Nathaniel Hurd. In fact, Copley appears to have painted Nathaniel Hurd three times. The MAG’s mysteriously unfinished portrait of Hurd, the centerpiece of this exhibit, is contrasted with the completed portrait owned by the Cleveland Museum of Art. (The third version, a miniature, is in a private Lesson Plans collection.) Nathaniel Hurd was a talented engraver whose skill and craftsmanship made him one of the most sought after silversmiths in Boston. Curriculum Connections In addition to focusing upon paintings by Copley and silver pieces by Hurd, this exhibit aims to contextualize these works and other objects within the daily life of colonial Boston. This interactive exhibit Images and accompanying teaching packet will:

Websites for further study ❍ make primary source documents (art works, objects, and written texts) central to providing students with a view of the experiences of men and women who were alive around the time of the American Revolution. Bibliography ❍ develop students' critical looking and thinking skills as they gain experience in interpreting historical documents. ❍ analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre. ❍ explore important social issues through portraiture. ❍ evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.

The About Face exhibit includes two computer kiosks with an interactive CD-ROM experience that allows students to navigate their own exploration. In this CD-ROM, the biographies of John Singleton Copley and Nathaniel Hurd are directly tied to the people and events that led up the American Revolution. Students can explore simulations of a house and silversmith workshop in colonial Boston . Students will be exposed to the issues of identity and social status that are addressed through the manipulation of Nathaniel Hurd’s portrait. About Face is made possible Visiting the exhibit: with support from Dorothy and Dan Gill and by the Museum Loan Network, a program About Face was designed to encourage a self-guided experience of the exhibit. The exhibit contains a great administered by MIT's Office deal of activities for students to engage in while visiting the Memorial Art Gallery. The label texts use of the Arts, funded by the John interactive formats, there are two computer kiosks containing the About Face CD-ROM, and there are a S. and James L. Knight number of books available for reference on life in colonial America. In addition to other activities present Foundation and The Pew in the exhibit room, there are a number of lesson plans in this interactive exhibit and in the accompanying Charitable Trusts. Additional teaching packet that require student participation while at the Gallery. support is provided by the National Endowment for the Arts, the New York State Council on the Arts and the Vanden Brul Conservation Fund.

Text by Jessica Marten and Education Department staff Web design by Lu Harper

About Face: Copley’s Portrait of a Colonial Silversmith

About Face: Copley’s Portrait of a Colonial Silversmith explores the lives and work of two artists within colonial Boston prior to the outbreak of the American Revolution. John Singleton Copley was the most popular portrait painter in colonial America. In addition to painting some of the leading patriots of the time, such as Samuel Adams, John Hancock, and Paul Revere, Copley also Introduction painted the portrait of a silversmith named Nathaniel Hurd. In fact, Copley appears to have painted Nathaniel Hurd three times. The MAG’s mysteriously unfinished portrait of Hurd, the centerpiece Getting Started of this exhibit, is contrasted with the completed portrait owned by the Cleveland Museum of Art. (The third version, a miniature, is in a private collection.) Nathaniel Hurd was a talented engraver whose skill and craftsmanship made him one of the most sought after silversmiths in Boston. Lesson Plans In addition to focusing upon paintings by Copley and silver pieces by Hurd, this exhibit aims to Curriculum Connections contextualize these works and other objects within the daily life of colonial Boston. This interactive exhibit and accompanying teaching packet will: Images ❍ make primary source documents (art works, objects, and written texts) central to providing students with a view of the experiences of men and women who were Websites for further study alive around the time of the American Revolution.

Bibliography ❍ develop students' critical looking and thinking skills as they gain experience in interpreting historical documents.

❍ analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre.

❍ explore important social issues through portraiture.

❍ evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.

The About Face exhibit includes two computer kiosks with an interactive CD-ROM experience that allows students to navigate their own exploration. In this CD-ROM, the biographies of John Singleton Copley and Nathaniel Hurd are directly tied to the people and events that led up the About Face is made possible American Revolution. Students can explore simulations of a house and silversmith workshop in with support from Dorothy and Dan Gill and by the Museum colonial Boston . Students will be exposed to the issues of identity and social status that are Loan Network, a program addressed through the manipulation of Nathaniel Hurd’s portrait. administered by MIT's Office of the Arts, funded by the John Visiting the exhibit: S. and James L. Knight Foundation and The Pew Charitable Trusts. Additional About Face was designed to encourage a self-guided experience of the exhibit. The exhibit support is provided by the contains a great deal of activities for students to engage in while visiting the Memorial Art Gallery. National Endowment for the Arts, the New York State The label texts use interactive formats, there are two computer kiosks containing the About Face Council on the Arts and the CD-ROM, and there are a number of books available for reference on life in colonial America. In Vanden Brul Conservation addition to other activities present in the exhibit room, there are a number of lesson plans in this Fund. interactive exhibit and in the accompanying teaching packet that require student participation while at the Gallery. Text by Jessica Marten and Education Department staff Web design by Lu Harper

Getting Started: Teaching Materials for the Memorial Art Gallery exhibit

About Face: Copley’s Portrait of a Colonial Silversmith 1. This online slide set and teaching materials duplicate actual slide sets and teaching Introduction material packets that are intended to prepare you and your students for the About Face exhibit at the Memorial Art Gallery. Slide Sets and packets are available for loan from the Gallery's Teacher Resource Center. Getting Started 2. There is a great deal of information in this teaching packet organized to make Lesson Plans choosing lessons as easy as possible for teachers. This teaching packet is divided by topic. Within each topic there are images, information, and lessons that will help make your visit to the About Face exhibit as rewarding as possible. Curriculum Connections 3. Familiarize yourself with the slides and materials in this teaching packet prior to Images sharing them with your students. 4. Each slide is numbered and labeled to correspond to the background information. Websites for further study 5. Each lesson has a Curriculum Connection label to identify the lesson's educational Bibliography focus. 6. The Information section for each slide is intended to provide you, the teacher, with some background on each object and does not necessarily need to be made available to the students. You will find that most of the pre-visit materials and activities expect that the students will have little or no prior knowledge of the objects before examining them. 7. Each group of slides and their Information sections are accompanied by a number of suggested lesson plans and questions. The lesson plans are available to be used or altered as each teacher sees fit in designing a gallery visit around her/his class's needs and interests. 8. The Think about it suggestions provide questions meant to facilitate further discussion and/or research. 9. Relevant websites and other works in the Memorial Art Gallery are included in an effort to expand the students' learning experience beyond the About Face exhibit. These options will provide students with an opportunity to apply the analytical looking skills developed in this exhibit to new materials. 10. Included in this teaching packet is a CD-ROM that is also found on the two computer kiosks in the exhibit room of the About Face exhibit. The CD-ROM copy provided in the teaching packet is intended for post-visit classroom use.

What to do when visiting the exhibition: About Face was designed to encourage a self-guided experience of the exhibit. This packet suggests additional activities to enhance student learning in the exhibit. The installation of the About Face exhibit contains a great deal of activities for students to engage in while visiting the Memorial Art Gallery. The label texts use interactive formats, there are two computer kiosks containing the About Face CD-ROM, and there are a number of books available for reference on life in colonial America. In addition to other activities present in the exhibit room, there are a number of lesson plans in this teaching packet that require student participation while at the Gallery.

Learning to Look Did you know that many people will spend less than 30 seconds looking at paintings? These are the same people that spend six or more hours reading a book, two hours watching a movie or play, and more than an hour listening to a CD. Why are people so quick to look away from art? If you spent less than 30 seconds listening to a symphony, would you truly understand the way the composer uses instruments and rhythm to create a mood or express an emotion? Many people not only listen to symphonies in their entirety, but also will happily listen to them again and again. By taking the time to truly listen to and experience music, you open yourself up to a rich and engaging experience with the style and content of the music. The same goes for a work of art. The amount of time people spend looking at and experiencing a work of art generally does not do justice to the amount of time artists spend creating art. Some artists can spend months and years working and reworking their art! It is our job as viewers to explore the relationships between the painting's formal qualities (ex. line, color, shape, etc.), its content, and our personal reaction to the work. Many viewers don't take the time to ask questions or develop their personal aesthetic reaction to a painting. Why are some paintings or sculptures more visually appealing to you than others? What can you do to encourage basic looking and thinking skills in yourself and your students? Begin by taking the time to look and cultivate an aesthetic response to a work of art. You'll be amazed what happens when you look at a painting or sculpture for an extended period of time, about two to four minutes. Begin asking questions addressing the visual nature of the art in front of you:

● What are the most prominent elements of this work? Line? Color? Light? Shape? ● How do these elements affect your reaction to the work of art? ● How does the artist's use of these elements relate to the subject matter of the work? ● Can you identify what it is that does or does not attract you to the work of art?

These questions can be difficult to answer. An aesthetic reaction is a personal, subjective experience. You may find a painting attractive or engaging for entirely different reasons than the person standing next to you. The key is to take your time, look at the painting, and allow your immediate reaction to be expressed. Then capture that reaction, and reflect upon it. Ask yourself what is it about the painting that caused you to react the way you did? After you have reflected on your reaction, look at the painting again. There is a very good chance you will see something new that you had not noticed before.

It might help to provide you with some vocabulary to explain your responses to a work of art.

Formal Elements of Painting: Line - Line is technically a mark made by a moving point. Lines can function in many ways in art to define space, or create the illusion of forms in space. Lines can also be very expressive formal elements. When you see a line that is thick, dark, and steady, it appears stable and strong. If a painting has an outline of a man in a thick, dark, steady line, then the figure of the man appears stable and strong. Sometimes artists will use a thin, winding, erratic line to express something about what they are drawing. For example, if an artist drew the outline of a man with a thin, winding, erratic line, then the figure of the man might appear unstable, or nervous. Color - Color has been used in many ways throughout the history of art. Some artists use descriptive color, meaning they depict color in the way it appears in the actual world. If the sky is blue, then they will paint it blue. Other artists use color in a subjective way to express something they are trying to convey. For example, an artist may paint his/her sky red to express something about themselves, the sky, or the meaning of the painting.

Space - In painting, space is created by the artist's manipulation of the paint on the canvas. The artist can create an illusion of a three-dimensional environment on a two- dimensional surface. For example, a three-dimensional space is created when an artist paints a convincing depiction of a room with objects that appear to exist within that space. Some artists prefer to create paintings that retain a two-dimensional, flat surface.

Light - Light can act to define space in a painting. This is visible when we see an artist using light to cause an object to cast a shadow, or reflect off an object to make it appear as a solid form. Light is also sometimes used for expression, or to create a mood. Painting a figure in a dark room may express something ominous or frightening to the viewer. A figure drenched in sunlight expresses something quite different.

Composition - Composition is generally understood as the way in which the artist organizes the formal elements (ex. line, color, and light) in his painting. Composition too can be expressive or descriptive. A composition that consists of 12 figures of people all squeezed into a corner of the canvas will express something different than a composition that is symmetrical, with six figures evenly distributed on each side of the canvas. Lesson Plans Unit Introduction Lesson Plan

Portraits as Keys to History

Introduction Nathaniel Hurd: portraiture & identity Life as a colonial silversmith. A lesson in point Getting Started of view Self-portraits and fashioning your own identity Lesson Plans Identity of Women in Portraiture Signs, symbols, identities and women in the Curriculum Connections American Revolution Paul Revere and Point of View Images Images and accounts of the Boston Massacre The figure of Paul Revere. Romanticizing Websites for further study colonial American history Document Based Question Bibliography Firefighting and Community in Colonial America

What can objects tell us? Document Based Question Colonial Trades and Apprenticeships Silversmiths Artists in Colonial America John Singleton Copley Colonial Silver and Tea Items of social significance, yesterday and today Colonial American Trade, Currency, and Economy The instability of a colonial economy What can money tell us? Document Based Question John Singleton Copley and British Portraiture Picturing history Make it Yourself! The Spoon Game

CD-ROM Activities Tea Party Activities Curriculum Connections

The curriculum connection is indicated in the upper right-hand corner of each Unit Introduction and Lesson Plan. For a list of all Units and Lesson Plans by curricular area, follow the links below. Introduction ART ENGLISH LANGUAGE ARTS Getting Started SOCIAL STUDIES

Lesson Plans

Curriculum Connections

Images

Websites for further study

Bibliography

Images Click on the thumbnail or link to see a full-size image. Portrait of Nathaniel Hurd from the Cleveland Museum of Art

Introduction

Getting Started

Lesson Plans Image #1 Image #2 Image #3

Curriculum Connections John Singleton Copley John Singleton Copley John Singleton Copley American, 1737-1815 American, 1737-1815 American, 1737-1815 Nathaniel Hurd, ca. 1765 Nathaniel Hurd, ca. 1765 Mr. and Mrs. Thomas Mifflin Images Oil on canvas, 29 3/8 x 24 5/8" Oil on canvas, 30 3/8 x 25 3/8" (Sarah Morris), 1773 Oil on ticking, 60 ½ x 48"

Memorial Art Gallery Cleveland Museum of Art Websites for further study Marion Stratton Gould Fund, 44.2 Gift of John Huntington Art and Polytechnic Philadelphia Museum of Art Trust

Bibliography

Text by Jessica Marten Web design by Lu Harper

Image #4 Image #5 Image #6

Kees van Dongen Ralph Earl Jefferson Gauntt Dutch, 1877-1968 American, 1751-1801 American Portrait of a Woman, ca. 1903 Mary Smith Booth, 1790 Josephine Dixon Oil on canvas, 39 3/8 x 27 ¾" Oil on canvas, 38 x 31" Memorial Art Gallery Memorial Art Gallery Memorial Art Gallery Gift of Mrs. George Barlow Gift of Mr. and Mrs. Irving S. Marion Stratton Gould Fund, 57.13 Penny, 42.45 Norry, 66.27

Image #7 Image #8 Image #9

Jacob Jordaens M.M. Manchester Ammi Phillips Flemish, ca. 1640 American, active ca. 1840s American, 1788-1865 Portrait of Elizabeth Jordaens Judge and Mrs. Arthur Yates, 1840 Old Woman with a Bible, ca. 1834 Oil on canvas, 36 x 58 ¾" Oil on linen, 33 ½ x 28" Memorial Art Gallery Gift of Dr. and Mrs. Fred W. Memorial Art Gallery Memorial Art Gallery Gelb, 74.102 Gallery Purchase, 41.30 Beatrice M. Padelford Trust, 84.22

Midnight Ride of Paul Revere from the Metropolitan Museum of Art Image #10 Image #11 Image #12

Paul Revere John Singleton Copley Grant Wood American American, 1737-1815 American, 1891-1942 Engraving of the Boston Paul Revere, 1768 Midnight Ride of Paul Revere, Massacre, 1770 Oil on canvas, 35 x 28 ½" 1931 Oil on composition board, 30 x 40" American Antiquarian Society Museum of Fine Arts, Boston The Metropolitan Museum of Art, Arthur H. Hearn Fund, 1950. (50.117)

Image 13: Image #14 Exterior photo of Paul Revere's home in Boston, MA Possibly Henry Dawkins. J. Fenno American American Courtesy of the Paul Revere Certificate of the Hand-in-Hand Fire Bucket, 1799 Memorial Association Fire Company, 1753 (detail) Leather Engraving Courtesy of the Bostonian Society/Old State I.N. Phelps Stokes Collection House Miriam and Ira D. Wallach Division of Art, Prints and Photographs The New York Public Library, Astor, Lenox and Tilden Foundations Image #16 Image #17 Image #18

Paul Revere after Christian Interior photo of the kitchen in Paul Revere John Neagle Remick House American Landing of the Troops in Boston Pat Lyon at the Forge, 1826-1827 Harbor, 1770 Oil on canvas Courtesy of the Paul Revere Memorial Engraving Association Museum of Fine Arts, Boston Boston Athenæum

Image 19: Image 20: Image 21:

Jacob Hurd Nathaniel Hurd Nathaniel Hurd American, d. 1758 American, 1729/30-1777 American, 1729/30-1777 Teapot, ca. 1740 Cann Teapot Silver with wood handle Silver Silver 97.6.3 54.457 60.1045

Historic Deerfield Inc., Deerfield, Historic Deerfield Inc., Deerfield, Courtesy, Winterthur Museum Massachusetts Massachusetts Gift of Janette F. Weber in memory of her husband, Frederick C. Weber, Jr., M.D.

Image #22 Image #23: Image #24

Nathaniel Hurd Nathaniel Hurd Thomas Gainsborough American, 1729/30-1777 American, 1729/30-1777 British, 1727-1788 Cream Pail Table of Conversions Man with Book Seated in a Silver Engraving Landscape, ca. 1753 Oil on canvas, 24 x 20" Worcester Art Museum, American Antiquarian Society Worcester, Massachusetts Memorial Art Gallery Museum Purchase, 1936.51 Gift of Dr. and Mrs. Fred W. Geib, 75.115

Image #25 : Image #26:

Sir Joshua Reynolds W. Champney; Bufford, lithographer, 1856. English, 1723-1792 Boston Massacre, March 5th 1770 Portrait of Miss Hoare, 1782 Oil on canvas, 36 3/16 x 28" ©Bettmann/CORBIS

Memorial Art Gallery George Eastman Collection of the University of Rochester, 77.1 Websites:

http://www.fordham.edu/halsall/mod/modsbook12.html "Internet Modern History Sourcebook"

Introduction *This site is great for primary source documents.

http://americanhistory.si.edu/hohr/springer/index.htm Getting Started "You be the Historian"

Lesson Plans *Looks at primary source documents (both texts and objects), to try to figure out what a late 18th century colonial family was like. Available for printing is Curriculum Connections 'Questions for Future Historians' worksheet for further analysis and discussion. 'In Conclusion' section has historians giving their opinions on the family based on their study of the primary source documents. Images http://www.archaeology.org/online/features/boston/index.html Websites for further study "Colonial Boston Unearthed"

*Discusses archaeological findings from 'The Big Dig'. The contents of a colonial Bibliography privy are used to make a hypothesis about the occupation of a woman who lived and worked in her house.

http://www.history.org/almanack.htm "Colonial Williamsburg"

*Go to 'Archaeology for Kids' page. There are a lot of interesting activities for students to explore, but most relevant is the 'Artifact Challenge' which provides photographs of artifacts and has multiple choice questions asking the students what they believed these objects were used for. When students guess the correct answer, there is an explanation of what the object is and how it was used. The page 'Experience Colonial Life' is also very interesting. http://www.earlyamerica.com/ "Archiving Early America"

*This site includes newspapers, maps, writings, lives of Early Americans, notable women of Early America, and how to read a 200 year old document. http://www.earlyamerica.com/portraits/index.html "Gallery of Early American Portraits"

*This site provides a menu of portraits of such notable historic figures as John Hancock, John and Samuel Adams, Benjamin Franklin. http://theweboftime.com/ "American History from the Web of Time"

*A magazine of American history, archaeology, and museum exhibits for kids. http://www.bham.wednet.edu/colonial.htm "Colonial American History Resources"

*This is another great resource site including links to sites related to famous historical figures, colonial skills, religion in the colonies, etc. http://www.pbs.org/ktca/liberty/ Liberty: the American Revolution http://www.pbs.org/ktca/liberty/road.html Liberty: the road to Revolution Game http://www.pbs.org/wgbh/aia/part2/2h3147b.html "Engraving showing the death of Crispus Attucks" http://www.coloradocollege.edu/dept/hy/hy243ruiz/research/military.html "African Americans in Early American Military History"

*This site contains a good basic introduction to the participation of African Americans in the military in colonial America. This site also contains a useful bibliography and Internet links to relevant archive sources. http://www.nga.gov/feature/watson/index.html "Watson and the Shark by John Singleton Copley" at the National Gallery of Art

*This website looks at Copley's painting Watson and the Shark, which he painted in London after leaving America. This site focuses upon the story behind the painting, the artist, the formal elements of the painting, and the historical and artistic influences on Copley. Books

For Elementary Students:

Brenner, Barbara. If You Were There in 1776. Simon and Schuster for Young Readers, New Introduction York, 1994.

*This book contains chapters covering such subjects as, The World in 1776, The Getting Started Way they Looked, Farmers, Enslaved People, etc.

Lesson Plans Carlson, Laurie. Colonial Kids: An Activity Guide to Life in the New World. Chicago Review Press, Chicago, 1997. Curriculum Connections *This book is full of explanations of life in colonial America. Most notably, students can gain first-hand knowledge of the daily experiences and Images responsibilities of colonial kids through activities such as making soap, quill pens and rag rugs, churning butter, and playing games like Hide the Thimble. Websites for further study Forbes, Esther. Johnny Tremain. Houghton Mifflin Company, Boston, 1943.

Bibliography Howarth, Sarah. Colonial People. The Millbrook Press, Connecticut, 1994.

*This book focuses upon the different categories of people that existed in colonial America. This includes chapters on Native Americans, Puritans, Goodwives, Fur Traders, Servants, etc.

King, Penny and Roundhill Clare. Artist’s Workshop: Portraits. Crabtree Publishing Company.

*This book contains creative suggestions and activities on how kids can make portraits. These activities include a historical element by using portraits by well- known artists as examples.

Moore, Kay. If You Lived at the Time of the American Revolution. Scholastic, New York, 1997.

*This source is rich in discussion of the life experiences of people involved in the American Revolution. Many interesting, pertinent questions are answered, such as, What was life like for the Loyalists during the war? Did children of loyalist and patriot families go to school? How did they dress differently?

Rappaport, Doreen. The Boston Coffee Party. HarperCollins, 1988.

*This book is for Grades 2-4, and tells a short story based in Revolutionary Era America.

For Upper Elementary and Junior High School:

Brandt, Keith, Paul Revere Son of Liberty. Troll Associates, New Jersey, 1982.

Forbes, Esther, Johnny Tremain. Houghton Mifflin Company, Boston, 1943.

*A historical novel based partly on the life of Paul Revere.

King, Penny and Roundhill Clare. Artist’s Workshop: Portraits. Crabtree Publishing Company.

*This book contains creative suggestions and activities on how kids can make portraits. These activities include a historical element by using portraits by well- known artists as examples.

Leehey, Patrick, What Was The Name of Paul Revere's Horse?: Twenty Questions About Paul Revere, Asked and Answered, Boston: Paul Revere Memorial Association, 1997.

Stevenson, Augusta, Paul Revere Boston Patriot. MacMillan Publishing Company, New York, 1986.

Videos: Silversmith of Williamsburg: The Extraordinary Work of a Skilled Craftsman. Colonial Williamsburg Videocassette. 1971 (44 minutes and available in the Teacher Resource Center, MAG).

Selections from the Diary and Autobiography of John Adams

“I…devoted myself to endless labour and Anxiety if not to infamy and death, and that for nothing, except, what indeed was and ought to be all in all, a sense of duty. In the Evening I expressed to Mrs. Adams all my Apprehensions: That excellent Lady, who has always encouraged me, burst into a flood of Tears, but said Introduction she was very sensible of all the Danger to her and to our Children as well as to me, but she thought I had done as I ought, she was very willing to share in all that was to come and place her trust in Providence. Getting Started “Before or after the Tryal, Preston sent me ten Guineas and at the Tryal of the Soldiers afterwards Eight Guineas more, which were…all the pecuniary Reward I ever had for fourteen or fifteen days labour, in the Lesson Plans most exhausting and fatiguing Causes I ever tried: for hazarding a Popularity very general and very hardly earned: and for incurring a Clamour and popular Suspicions and prejudices, which are not yet worn out and never will be forgotten as long as History of this Period is read…It was immediately bruited abroad that I had Curriculum Connections engaged for Preston and the Soldiers, and occasioned a great clamour…

Images “The Part I took in Defense of Cptn. Preston and the Soldiers, procured me Anxiety, and Obloquy enough. It was, however, one of the most gallant, generous, manly and disinterested Actions of my whole Life, and one of the best Pieces of Service I ever rendered my Country. Judgement of Death against those Soldiers would Websites for further study have been as foul a Stain upon this Country as the Executions of the Quakers or Witches, anciently. As the Evidence was, the Verdict of the Jury was exactly right.

Bibliography “This however is no Reason why the Town should not call the Action of that Night a Massacre, nor is it any Argument in favour of the Governor or Minister, who caused them to be sent here. But it is the strongest Proofs of the Danger of Standing Armies.”

The above quotes were taken from Adams, John. Diary and Autobiography of John Adams. L.H. Butterfield, Editor. Cambridge, MA: the Belknap Press of Harvard University Press, 1961. Art Lesson Plans Social Studies Unit Introduction

Artists in Colonial America Introduction

Image 1: Getting Started John Singleton Copley Lesson Plans American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 29 3/8 x 24 5/8" Curriculum Connections Memorial Art Gallery Images Marion Stratton Gould Fund, 44.2

Websites for further study Image 2: Portrait of Nathaniel Hurd Bibliography from the Cleveland Museum of John Singleton Copley Art American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8"

Cleveland Museum of Art Gift of John Huntington Art and Polytechnic Trust Information:

John Singleton Copley was the premier portrait artist in America prior to the American Revolution. He was the favorite of Boston's upper class because of his amazing talent in satisfying his patrons' taste for portraits that were both realistic and flattering. During this time in American history, portrait artists were not valued for their intense creativity and individuality as they are in today's society, but rather for their ability to portray their subjects in a realistic manner. As a matter of fact, artists were considered to be just one other kind of tradesman, like a silversmith or a milliner. Artists learned their skill like any other trade, through an apprenticeship.

Although colonial Boston society did not differentiate artists from other tradesmen, Copley strongly believed in the value of his individuality and creativity as central to his artistic career. He Text by Jessica Marten said, regarding his patrons in America, "the people generally regard [painting] no more than any Web design by Lu Harper other useful trade, as they sometimes term it, like that of a Carpenter tailor or shew maker [sic], not as one of the most noble Arts in the World (Staiti, p35)." In this statement, Copley expresses his belief that the skill of painting is superior to those skills of other trades.

Yet, just like the Boston silversmiths, Nathaniel Hurd and Paul Revere, Copley also learned his trade through an apprenticeship. Colonial America had no significant artistic history to draw influence from or schools for artists-in-training like those in Europe. This left Copley no choice but to learn his skill through the traditional apprenticeship and his subsequent self-training.

Copley was introduced to the art world through his apprenticeship with his stepfather, Peter Pelham, a well-known engraver from England. Copley gained a great deal of guidance and artistic knowledge about European art from his stepfather, who died when Copley was only thirteen years old. After his stepfather passed away, Copley continued to look to the art of Europe for his influence and education. Many of Copley's portraits show his American patrons with clothes, objects, and settings modeled after prints of European portraits (Stebbins, p 79). Without a teacher to guide him in his style and subject matter, Copley trained himself to be a better artist based upon European sources. He copied anatomy drawings from European books because the nude model was still considered taboo in American culture. He also read many European theoretical treatises on art and kept correspondence with two of the major artists in England at the time, Joshua Reynolds and the American ex-Patriot, Benjamin West. Vocabulary: portrait - a work of art that represents a specific person. patron - a wealthy person who financially supports an artist, or pays them to create art for them. milliner - a person who designs or makes women's hats. trade - another name for the occupations people had during the colonial era. Usually it required some prior training through an apprenticeship during which time the necessary skills would be learned. apprenticeship - a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master. silversmith - one whose occupation is making and repairing articles of silver. engraver - a tradesman who cuts letters and designs into a surface from which prints are made.

Sources:

King, Penny and Roundhill, Clare. Artist's Workshop: Portraits. Crabtree Publishing Company

*This book contains creative suggestions and activities on how kids can make portraits. These activities include a historical element by using portraits by well- known artists as examples.

Rebora, Carrie, "Transforming Colonists into Goddesses and Sultans: John Singleton Copley, His Clients, and Their Studio Collaboration," The American Art Journal, vol. XXVII, numbers 1 & 2, 1995-1996. pp. 4-37

Saunders, Richard H. and Miles, Ellen G. American Colonial Portraits: 1700-1776. Smithsonian Institution Press for the National Portrait Gallery, Washington City, 1987.

Staiti, Paul, "Accounting for Copley," in Rebora, Carrie and Staiti, Paul, et. al. John Singleton Copley in America. The Metropolitan Museum of Art, NY, 1995. pp. 25-51

Stebbins Jr., Theodore E. "An American Despite Himself," in Rebora, Carrie and Staiti, Paul, et. al. John Singleton Copley in America. The Metropolitan Museum of Art, NY, 1995. pp. 79-102

Relevant website: http://www.nga.gov/feature/watson/index.html

"Watson and the Shark by John Singleton Copley" at the National Gallery of Art

*This website looks at Copley's painting Watson and the Shark, which he painted in London after leaving America. This site focuses upon the story behind the painting, the artist, the formal elements of the painting, and the historical and artistic influences on Copley.

Suggested Lesson:

Artists in Colonial America: John Singleton Copley Paul Revere and Point of View Art English Language Arts Social Studies Images and accounts of the Boston Massacre

Introduction Objectives:

Getting Started Students will

Lesson Plans ❍ visually analyze the engraving of the Boston Massacre by Paul Revere. ❍ critically approach textual and visual primary source documents to Curriculum Connections begin asking questions about point-of-view and subjective history. ❍ approach issues surrounding the exclusion of minority groups in Images historical accounts. ❍ conduct independent research on the roles of African-Americans before and during the American Revolution. Websites for further study Lesson times: Bibliography If you attend the About Face exhibit at the Memorial Art Gallery, this lesson consists of suggested visit, and post-visit activities.

Vocabulary:

engraving - image made by taking the impression from an engraved and inked metal or wood block.

Patriot - a colonial who believed that America should not be ruled by England.

point-of-view - the place from which, or way in which, something is viewed or considered; standpoint; the viewpoint from which a story is narrated. silversmith - one whose occupation is making and repairing articles of silver. subjective - determined by and emphasizing the ideas, thoughts, feelings, etc. of the artist or writer, not just rigidly transcribing or reflecting reality.

Townshend Act - (1767) laws passed by Parliament that taxed goods such as glass, paper, silk, lead, and tea.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre-Revolutionary Boston, at least up to and including the Boston Massacre.

Materials:

1. Image

Image #10

Paul Revere American Engraving of the Boston Massacre, 1770

American Antiquarian Society Image #11

John Singleton Copley American, 1737-1815 Paul Revere, 1768 Oil on canvas, 35 x 28 ½"

Museum of Fine Arts, Boston

2. Photocopy of the engraving of Boston Massacre (attached in teacher's packet) 3. What is this visual document? worksheet (HTML) 4. Internet access for follow-up lessons (optional) 5. Captain Thomas Preston's Account of the Boston Massacre 6. Anonymous Account of the Boston Massacre 7. Verse accompanying Paul Revere's engraving of the Boston Massacre (HTML)

Lesson:

1. Divide class into groups of three students each. Give each group of students a photocopy of the Boston Massacre engraving and the What is this visual document? worksheet. 2. Observe the broadside engraving in the "About Face" exhibit or project slides #10 & 11, the engraving of Boston Massacre by Paul Revere and the portrait of Paul Revere by John Singleton Copley. 3. Each group can take about 15-20 minutes to complete their worksheet based on their observation of the slides. The worksheet involves the students visually analyzing the engraving of the Boston Massacre by Paul Revere. It asks:

● What is going on here? What makes you say that? ● Where does this appear to be taking place? What visual clues tell you this? ● When does this appear to be taking place? What visual clues tell you this? ● What does this image tell us about the event that occurred on March 5, 1770? ● How is this image structured? ● How many figures are there on each side of the picture? ● On which side are the American Patriots, and on which side are the British soldiers? How can you tell? ● What colors do you see? Where are they? ● Trace the color red through the image. What visual connections are made here? ● What side is the artist on? What visual details make that evident to you?

4. When that part of the lesson is complete, the class will reconvene and discuss each group's findings. 5. Emphasize the students' abilities to 'read' a visual image. Try to get the students to articulate the way in which they interpreted meaning through combining their 'reading' of visual clues and their own historical knowledge. 6. Encourage students to try a similar exercise with the images they will encounter on their visit to the Memorial Art Gallery.

Follow-up (Option 1):

A discussion of this representation of the Boston Massacre by Paul Revere leads to questions about the role of African Americans in the American Revolution. Although Crispus Attucks (ca. 1723-1770) was commonly known to be the first man to die at the Boston Massacre, Paul Revere has failed to portray him in this engraving. Why might Paul Revere have excluded the role of Crispus Attucks as one of the primary figures of the patriotic cause in the Boston Massacre? After the visit to the Memorial Art Gallery, students can research the experiences of African Americans leading up to the Revolution. Addressing such questions as:

● How could patriotic colonials who were calling for their rights to freedom keep men and women enslaved? ● What were the roles of African American men and women in the Northeast prior to the Revolution? ● Did African-Americans participate in the war against England? If so, for what side did they fight?

Helpful websites for research: http://www.coloradocollege.edu/dept/hy/hy243ruiz/research/military.html "African Americans in Early American Military History"

This site contains a good basic introduction to the participation of African Americans in the military in colonial America. This site also contains a useful bibliography and internet links to relevant archive sources. http://www.rit.edu/~nrcgsh/bx.html "The Black Experience in America"

This is the text of a book written by Norman Coombs called The Black Experience in America written as a part of The Immigrant Heritage of America for Twayne Press, 1972. The most pertinent chapter being Chapter 4, 'All Men are Created Equal'. http://www.pbs.org/wgbh/aia/part2/2h3147b.html "Engraving showing the death of Crispus Attucks"

Follow-up (Option 2):

This exercise is intended to get the students thinking about 'point of view' and the problems inherent in taking historical accounts as fact. Students will read the verse accompanying Paul Revere's engraving of the Boston Massacre (attached). Or, for younger students, extract some of the most powerful words from the Boston Massacre verse for classroom consideration. What kind of messages do these words convey to readers?

Then direct your students to the "Internet Modern History Sourcebook" (these materials are also provided in the teaching packet). This site is great for primary source documents. In the 'American Independence' page, go to the 'American Revolution' list. There are two entirely different first hand accounts of the Boston Massacre. An anonymous colonist wrote one version of the event and the British military leader present at the event, Captain Thomas Preston, wrote the other account. How do we know which version of the event is accurate? After reading both versions (or a segment chosen from both), have the students write a verse about the Boston Massacre from the point of view of a British soldier. Or for more visually minded students, have them draw a version of the Boston Massacre from the point of view of Captain Prescott.

Evaluation:

Students should be evaluated on their participation in the pre-visit looking exercise, their attempt to question the point of view of unfamiliar works they encounter on the Gallery visit, their ability to research and report on the roles of African Americans in the American Revolution, and/or view historical events from the point of view of the 'other side'.

Summary:

Students will participate in a looking exercise of Paul Revere's engraving of the Boston Massacre that will introduce issues of point of view and subjective history. The analytical looking skills gained in this pre-visit exercise will be practiced on unfamiliar images while at the Memorial Art Gallery. Post-visit research on the roles of African Americans in the American Revolution will be conducted in response to the frequent exclusion of minorities in historical accounts. Creating an account of the Boston Massacre from the point of view of a British soldier will provide the students with personal insight into subjective history. Document Based Question

Pre-Revolution Politics: Boston Massacre

11th-grade students Introduction Directions:

Getting Started Look at the images and the documents in Part A, and answer the questions after each one. Then read the directions in Part B and write your essay. Lesson Plans Historical Context: Curriculum Connections Boston was a major port in America in the 18th century, shipping goods back to England and British colonies in the Caribbean and India, and receiving goods for sale Images throughout the thirteen colonies. Merchants were Boston's leading citizens. But Boston was also a center of American protests against the Stamp Act and the Websites for further study Townshend Acts; the protesters were led by Sam Adams and included primarily upper and middle class businessmen, artisans, merchants and lawyers.

Bibliography Part A:

There are three sections (I, II, and III) to be examined and questions to answer in this part.

I. Closely examine the two broadsides (newspaper flyers or posters--images below) depicting events in Boston on March 5, 1770. And answer questions a- c. Image #10:

Paul Revere American Engraving of the Boston Massacre, 1770

American Antiquarian Society

Image #26:

W. Champney; Bufford, lithographer, 1856 Boston Massacre, March 5th, 1770

©Bettmann/CORBIS

A. What information can you find in the Paul Revere poster? What details are emphasized? What techniques does Paul Revere use to draw your attention to certain details? What is his point of view, or understanding of hte events in Boston on March 5? 2. What information do you find in the second broadside by W. Champney who completed his Boston massacre lithograph in 1856, 86 years after the event? What information is similar to the first poster? What is different? What information has Champney taken from the Revere view? What might explain the differences? 3. What point of view about the causes of the Boston Massacre is shared by both artists? 2. The British soldiers were put on trial in Boston for the killing of five colonials on March 5, 1770. Read Testimony and Depositions from the Trial of the British Soldiers. A. What were the incidents that led up to the shooting? 2. Was this a calculated event or did the tragedy occur in the heat of the moment? 3. How does the testimony of each eyewitness support or refute the information in the two broadsides?

3. Read the statements by the defense and the comments by the lead defense attorney, John Adams: Selections from the Diary and Autobiography of John Adams. A. Why did Adams agree to defend the British soldiers? 2. What was the outcome of the trial?

Part B:

Using your knowledge of American history and the information you have learned by examining these documents and objects, write an essay in which you:

● Compare the various views of the Boston Massacre as seen by the participants and onlookers. ● Discuss the reasons why different persons saw the Boston Massacre from different perspectives. ● Discuss the importance of the Boston Massacre in shaping the American colonists' attitude toward the British and toward their own cause.

Teacher support information Object analysis questions to use to focus students' looking and direct their thinking:

● What do you see? ● What details are emphasized more than others? ● How is the picture arranged? ● Who are the groups of people in the picture? ● Are the two sides of the picture, and the two groups of people, portrayed in the same way? ● What colors are used and what emotions do the colors evoke? ● What evidence is there that this is an accurate representation of the event? ● What evidence is there that the artist is more interested in presenting a particular point of view than in portraying the facts of the event?

Additional documents:

● Resource material: Verse accompanying Paul Revere’s engraving of the Boston Massacre (HTML or Word)

Resource material: Additional eyewitness accounts of the events on March 5, 1770:

● Captain Thomas Preston's Account of the Boston Massacre

● Anonymous Account of the Boston Massacre

Web sites:

http://www.si.umich.edu/spies/print-bostonmassacre.html

http://www.pbs.org/wgbh/aia/part2/2h3147b.html

Criteria for Rating Student Responses

Name:______

Name:______Date:______

Worksheet: What is this visual document?

Directions: Look in depth at the engraving of the Boston Massacre. As a group, answer the following questions. When you respond to questions about what the image looks like, describe what you are seeing as if you are telling someone about it over the telephone. In other words, take time to look at the image and be detailed in your description.

1. What is going on here? What makes you say that?

2. Where does this appear to be taking place? What visual clues tell you this?

3. When does this appear to be taking place? What visual clues tell you this?

4. What does this image tell us about the event that occurred on March 5, 1770?

5. How is this image structured?

6. How many figures are there on each side of the picture?

7. On which side are the American Patriots, and on which side are the British soldiers? How can you tell?

8. What colors do you see? Where are they?

9. Trace the color red through the image. What visual connections are made here?

10. What side is the artist on? What visual details make that evident to you? Name: ______Date: ______

Verse accompanying Paul Revere’s engraving of the Boston Massacre:

Unhappy Boston! See thy sons deplore, Thy hallowed walks besmeared with guiltless core While faithless Preston and his savage bands – With murderous rancor stretch their bloody hands, Like fierce barbarians grinning over their pray, Approve the carnage and enjoy the day.

If scalding drops rage from Anguish wrung If speechless sorrows laboring for a tongue Or if a weeping world can ought appease The plaintive ghosts of victims such as these; The patriots’ copious tears for each are shed A glorious tribute which embalms the dead.

But know fate summons to that awful goal Where justice stripped the murdered of his soul Should venal C-ts the scandal of the land Snatch the relentless villain from her hand Keen execrations on this plate inscribed. Shall reach a judge who never can be bribed.

Vocabulary: besmeared smeared, dirtied rancor bitter ill will carnage great and bloody slaughter appease to calm or pacify plaintive expressive of suffering copious abundant, plentiful venal open to corrupt influence, especially bribery execrations things that are cursed, detested English Language Arts Lesson Plans Social Studies Unit Introduction

John Singleton Copley and British Portraiture Introduction

Image 24: Getting Started Thomas Gainsborough Lesson Plans British, 1727-1788 Man with Book Seated in a Landscape, ca. 1753 Oil on canvas, 24 x 20" Curriculum Connections Memorial Art Gallery Images Gift of Dr. and Mrs. Fred W. Geib, 75.115

Websites for further study Image 25: Bibliography Joshua Reynolds English, 1723-1792 Portrait of Miss Hoare, 1782 Oil on canvas, 36 3/16 x 28"

Memorial Art Gallery George Eastman Collection of the University of Rochester, 77.1

Information:

John Singleton Copley had a great deal of respect and admiration for British artists. Despite his success as a portrait painter in America, Copley eventually moved to London before the Revolution began. He and his family's emigration allowed him become a part of the European art world. His move was also about his family's safety. It was Copley's father-in-law's tea that was dumped into the harbor at the Boston Tea Party.

Neither of these portraits is directly related to the About Face exhibit. Rather they are included to motivate students to look elsewhere in the museum and ask similar questions as those asked about the Nathaniel Hurd portrait. Both works are portraits of and by British people roughly contemporary with the Hurd portrait. These portraits are intended to show the students a different point of view concerning the British population. These are visual documents that can put faces to, and therefore humanize, the 'other side' in the American Revolution.

Vocabulary: portrait - a work of art that represents a specific person. sitter - the person who is the subject of the portrait.

Lesson:

John Singleton Copley and British Portraiture: Picturing history Curriculum Connections: Art

Unit Introduction Lesson Plan

Introduction Portraits as Keys to History Self-portraits and fashioning your own identity Getting Started Paul Revere and Point of View Lesson Plans Images and accounts of the Boston Massacre Curriculum Connections Document Based Question Images Colonial Trades and Apprenticeships Websites for further study Silversmiths

Bibliography Artists in Colonial America

John Singleton Copley

Colonial American Trade, Currency, and Economy

What can money tell us? Make it Yourself! The Spoon Game

Curriculum Connections: English Language Arts

Unit Introduction Lesson Plan

Introduction Portraits as Keys to History Nathaniel Hurd: portraiture & identity Getting Started Life as a colonial silversmith. A lesson in point of view Lesson Plans Self-portraits and fashioning your own identity Identity of Women in Portraiture Curriculum Connections Signs, symbols, identities, and women in the American Revolution Images Paul Revere and Point of View

Websites for further study Images and accounts of the Boston Massacre

The figure of Paul Revere. Romanticizing Bibliography colonial American history

Document Based Question

Colonial Trades and Apprenticeships

Silversmiths

Artists in Colonial America

John Singleton Copley

John Singleton Copley and British Portraiture Picturing history

Curriculum Connections: Social Studies

Unit Introduction Lesson Plan

Portraits as Keys to History Introduction Nathaniel Hurd: portraiture & identity Getting Started Life as a colonial silversmith. A lesson in point of view Lesson Plans Self-portraits and fashioning your own identity Identity of Women in Portraiture Curriculum Connections Signs, symbols, identities and women in the American Revolution Images Paul Revere and Point of View Images and accounts of the Boston Massacre Websites for further study The figure of Paul Revere. Romanticizing colonial American history Bibliography Document Based Question Firefighting and Community in Colonial America What can objects tell us? Document Based Question Colonial Trades and Apprenticeships Silversmiths Artists in Colonial America John Singleton Copley Colonial Silver and Tea Items of social significance, yesterday and today Colonial American Trade, Currency, and Economy The instability of a colonial economy What can money tell us? Document Based Question John Singleton Copley and British Portraiture Picturing history

Make it Yourself! The Spoon Game CD-ROM Activities/Features

Compare the Portraits:

This activity allows students to compare and contrast the two portraits of Introduction Nathaniel Hurd by John Singleton Copley. As students identify differences between the two portraits, they’re given interesting information about colonial Boston. These explanations also address the way portraits can create an identity, Getting Started as well as tell us about past fashions, trends, and social status. This exercise helps to develop students’ critical looking skills. Lesson Plans Mystery History:

Curriculum Connections In this activity, the biographies of the two historical figures, John Singleton Copley and Nathaniel Hurd are tied to an important turning point in American Images History, the American Revolution.

The Dressing Room: Websites for further study This activity allows students to insert Nathaniel Hurd’s face into other paintings in Bibliography the Memorial Art Gallery collection. This exercise addresses issues of social status and class as embodied in clothing, pose, furnishings, and how these things are used to shape identity in portraiture.

Heraldry:

This activity addresses issues relating to heraldry and social class. Students can create their own coat of arms.

Tea Party:

This game places students inside a computer simulation of John Hancock’s house in colonial Boston. Their job is to find everything on their inventory list in order to help set up for a tea party. Once the items are found, their domestic use and context are explained. Other Tea Party activities for students.

Silversmith Shop:

This game places students inside a silversmith shop in colonial Boston. Their task is to turn silver coins into silver objects.

Lesson Plans Art Unit Introduction Social Studies

Colonial American Trade, Currency, and Economy

Introduction Image 23:

Getting Started Nathaniel Hurd American, 1729/30-1777 Table of Conversions Lesson Plans Engraving

Curriculum Connections American Antiquarian Society

Images Information: Websites for further study Colonial Boston boasted an international harbor. The large amount of trade that went on helped fuel the colonial economy. Because of this high level of international trade, the currencies of many Bibliography different countries were constantly flowing in and out of the city of Boston. The coins from all of the different countries contained different amounts of silver. The weight and value of a coin was determined by the amount of silver in it. It was difficult for colonial Bostonians to keep up with the many different currencies and their fluctuating values. In an effort to help the people of Boston, Nathaniel Hurd engraved a Table of Conversions that provided Bostonians with the knowledge they needed to conduct fair business. This table of conversions contains the different weights and values for the most common coins in use in colonial Boston.

Vocabulary:

currency - the money in circulation in any country.

Suggested Website: www.eh.net/ehresources/howmuch/doelarq.php "Economic History ResourcesHow Much is That?"

Suggested Lesson:

Colonial American Trade, Currency, and Economy: The instability of a colonial economy

Colonial American Trade, Currency, and Economy: What can money tell us? Colonial American Trade, Currency, and Economy Social Studies

The instability of a colonial economy

Objective: Students will Introduction ● study the provided primary source document and ask questions of it in order to better understand the state of the economy in pre-Revolutionary Boston. Getting Started

Lesson Times: Lesson Plans If you attend the About Face exhibit at the Memorial Art Gallery, this lesson is suggested as a Curriculum Connections pre-visit activity.

Vocabulary: Images currency - the money in circulation in any country. Websites for further study Prior Knowledge: Bibliography Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials:

1. Image Image #23:

Nathaniel Hurd American, 1729/30-1777 Table of Conversions Engraving

American Antiquarian Society

2. Nathaniel Hurd's Table of Conversions (photocopy attached in teacher's kits) 3. What is this? worksheet (HTML or Word)

Lesson:

1. The students will break into groups of 4 or 5. Give each student a photocopy of Hurd's Table of Conversions and/or look at image #23. 2. Give each group a worksheet to complete. The worksheet asks questions directed towards clarifying the students' looking:

● What kinds of symbols or signs do you recognize? (letters? numbers? symbols?) ● Is there anything (letter, number, or symbol) on this source that you have never seen before? ● Can you identify what those might mean? Explain your answer. ● Do you have any idea when this was made? · Where do you think this was made? ● Have you ever seen anything like this before? Where? What was it? ● What do you think this was used for?

3. After the worksheet is done, discuss the different parts of the table together while you project Image #23 of the Table of Conversions. As a group try to come up with a few possible functions of this table.

Follow-up (Option #1): After discussing the possible functions of the table, tell your students more about colonial Boston's economy. Tell them that the coins on the chart were the currencies of many countries. Tell them that Boston was an international harbor that traded with many countries in Europe and around the world. Ask them to apply the observations they've already come up with to this new information. Does this help determine the use for such a table?

Follow-up (Option #2):

Boston merchants imported items from many parts of the world. Merchants traded in many foreign currencies. Silver itself was shipped from foreign lands before it was fashioned into silverware and teapots by Boston silver smiths. Where were the silver mines? Who controlled the mining and sale of silver? How would the silver get to the port of Boston? What was the British mercantile policy toward trade with other countries?

Think about it: Boston had over 40 wharves and was the busiest port in the colonies. The New England merchants who prospered the most off of these trade opportunities were the men who patronized John Singleton Copley. Many of these wealthy merchants were involved in the trade route that fueled slavery in America, known as the triangular trade.

● What are the moral implications of the activities of the New England merchants? ● How did their actions affect the lives of people in other colonies and other countries? ● Does this reflect upon John Singleton Copley at all?

Evaluation: Students should be assessed on their ability to identify and discuss features of Hurd's Table of Conversions and their participation in using information about cultural context in order to better guess its function.

Summary: Students will be given the Table of Conversions engraved by Nathaniel Hurd to observe and discuss. Based on their observations, the class will collaborate in coming up with the possible functions of this table. Information about Boston's international harbor and fluctuating economy will be joined with student observations in order to come to some conclusions about the economy in colonial Boston.

Additional Activity:

a. To see how inflation has changed the value of the dollar, refer to: www.eh.net/ehresources/howmuch/dollarq.php b. To see how inflation has changed the value of English money, refer to: www.eh.net/ehresources/howmuch/poundq.php Document Based Question

Colonial Economy

7th and 8th-grade students Introduction Directions:

Getting Started ● Carefully read the question. Brainstorm about what you already know about this topic. How would you answer this question if you had no documents? Lesson Plans ● Read each document carefully and take notes about each document and object. ● Use your knowledge of social studies and the information in the documents and objects to formulate a thesis that answers the question. Curriculum Connections ● Use examples from the documents to support your thesis. ● Write a well-organized and relevant essay that answers the question. Images Documents or Materials to Use: Websites for further study 1. Where does Silver Come From? map from Discover Silver! The Jerome and Rita Gans Collection of English Silver, Virginia Museum of Fine Arts,©1998 Bibliography (in slide set) 2. Currency Vocabulary 3. Images (below) Image #2: Portrait of Nathaniel Hurd from the Cleveland Museum of Art John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8”

Cleveland Museum of Art, Gift of John Huntington Art and Polytechnic Trust

Image #3:

John Singleton Copley American, 1737-1815 Mr. and Mrs. Thomas Mifflin (Sarah Morris), 1773 Oil on ticking, 60 ½ x 48”

Philadelphia Museum Image #5:

Ralph Earl American, 1751-1801 Mary Smith Booth, 1790 Oil on canvas, 38 x 31”

Memorial Art Gallery Marion Stratton Gould Fund, 57.13

Image #23:

Nathaniel Hurd American, 1729/30-1777 Table of Conversions Engraving

American Antiquarian Society Image #24:

Thomas Gainsborough British, 1727-1788 Man with Book Seated in a Landscape, ca. 1753 Oil on canvas, 24 x 20”

Gift of Dr. and Mrs. Fred W. Geib, 75.115

Image #25:

Sir Joshua Reynolds English, 1723-1792 Portrait of Miss Hoare, 1782 Oil on canvas, 36 3/16 x 28”

George Eastman Collection of the University of Rochester, 77.1 Historical Context:

By the late 18th Century, Boston was an international harbor and merchants traded with many countries in Europe and around the world. The people of Boston were wealthy enough to import and enjoy products from all over the world.

Question:

What evidence can you find to support this view of a global economy in colonial Boston? Name:______Date:______

Worksheet: What is this?

Directions: As a group, look carefully at the printed “mystery” object and answer the following questions.

1. What kinds of symbols or signs do you recognize? (letters? numbers? symbols?)

2. Is there anything (letter, number, or symbol) on this object that you have never seen before?

3. Can you identify what those writings might mean? Explain your answer.

4. When do you think this object was made? What evidence have you used?

5. Do you have any idea where this was made? What evidence have you used?

6. Have you ever seen anything like it before? Where? What was it?

7. What do you think it was used for?

8. Why would this object be included among Nathaniel Hurd’s things?

Portraits as Keys to History English Language Arts Social Studies Life as a colonial silversmith

Objectives: Introduction Students will Getting Started ● write a journal entry as Nathaniel Hurd. ● consider the life experiences of people who lived in colonial Boston prior to Lesson Plans the American Revolution. ● specifically address political issues regarding the conflicts between the Patriots Curriculum Connections and the Loyalists.

Images Lesson Times:

If you attend the About Face exhibit in the Memorial Art Gallery, this lesson depends Websites for further study upon visit to the Gill Center and includes post-visit activities.

Bibliography Vocabulary:

identity the characteristics and qualities of a person, considered collectively and regarded as essential to that person's self-awareness. Loyalist a colonist who believed America should be ruled by England. Patriot a colonist who believed America should not be ruled by England. silversmith one whose occupation is making and repairing articles of silver.

Prior Knowledge:

Students should be familiar with the political, social, and economic conditions of life in Boston prior to the American Revolution. Students should have experienced the About Face exhibit at the Memorial Art Gallery. Materials: 1. A lesson in point of view worksheet #1 (html or Word document) 2. A lesson in point of view worksheet #2 (html or Word document) 3. A lesson in point of view worksheet #3 (html or Word document) Lesson:

1. Give each student a copy of worksheet #1. The students can complete the worksheet while they are in the About Face exhibit. Let them know that this worksheet will be an important part of completing their assignment back in the classroom. Worksheet #1 asks:

● Where did Nathaniel Hurd live? ● When did he live? ● What was going on in American history during this time? ● What did he do for a living? ● What kinds of things did he make? ● What was his social status? ● Who were his customers? ● What do you know about his family? ● What else do we know about him by reading his will? ● When did he die and why is this significant? ● List all the documents you have used to answer these ten questions.

2. After their visit to the Gallery, the students will write a journal entry as Nathaniel Hurd based on the information they compiled about him while at the exhibit. This will necessitate that the students be creative in expressing Nathaniel Hurd's point of view based on the factual, historical information they have from the exhibit. 3. The students need to address issues relating to politics, social issues, and economics in colonial Boston. Give each student a copy of worksheet #2. Let them know that the questions on worksheet #2 are meant to serve as a guide for suggested avenues of exploration in writing their journal entries. Worksheet #2 contains such questions as: ● Would Hurd have preferred the unfinished portrait by Copley, or the finished portrait? Why? ● What was it like to live in a colonial city with an international harbor? ● What was his relationship with his customers? ● What did he think about the turbulent time he was living in? Was he excited, threatened, indifferent? ● If you think he was a Patriot, how did he feel about those who remained loyal to England? ● Would he have felt that America was being mistreated by England? ● If you think he was a Loyalist, what were his thoughts on the uprisings against England by his fellow colonists?

4. This lesson can be completed as a homework assignment. Allow the students 25-30 minutes to write their entry.

Follow-up: After students hand in their journal entries, willing students can read their entries to give the class an idea of the many possibilities available when it comes to point of view.

Evaluation: Students should be evaluated on their success in creatively and accurately incorporating information from their visit to the About Face exhibit in exploring the experiences of a silversmith in pre-Revolutionary Boston.

Summary: Writing a journal entry for a historical figure will allow students to bring history to life and gain a personal connection to the life experiences of a historical figure. Students will include consideration of cultural components such as politics, social issues, and economy in creating their journal. A focus upon the political issues regarding the conflicts between the American Patriots and Loyalists will address historical issues, like subjectivity and point-of-view. Suggested Reading: Forbes, Esther. Johnny Tremain. Houghton Mifflin Company, Boston, 1943.

Suggested Video:

Silversmith of Williamsburg: The Extraordinary Work of a Skilled Craftsman. Colonial Williamsburg Videocassette. 1971 (44 minutes and available in the Teacher Resource Center, MAG).

Suggested Websites:

● http://www.earlyamerica.com/portraits/index.html "Gallery of Early American Portraits" *This site provides a menu of portraits of such notable historic figures as John Hancock, John and Samuel Adams, Benjamin Franklin. ● http://www.bham.wednet.edu/colonial.htm "Colonial American History Resources" *This is another great resource site including links to sites related to famous historical figures, colonial skills, religion in the colonies, etc. ● http://www.pbs.org/ktca/liberty/chronicle/episode1.html "Liberty: Chronicle of the Revolution: Boston 1774"

Name: ______Date: ______

Worksheet #1: Life as a colonial silversmith. A lesson in point of view

Directions: Answer the following questions during your Gallery visit to the ‘About Face’ exhibit. You will need this information to complete the rest of this assignment after your visit, so be sure to answer these questions thoroughly.

1. Where did Nathaniel Hurd live?

2. When did he live?

3. What was going on in American history during this time?

4. What did he do for a living?

5. What kinds of things did he make?

6. What was his social status?

7. Who were his customers?

8. What do you know about his family?

9. What else do we know about him by reading his will?

10. When did he die and why is this important?

11. List all the documents and objects you have used to answer these 10 questions. Name: ______Date: ______

Worksheet #2: Life as a colonial silversmith. A lesson in point of view

Directions: Using your observations from the ‘About Face’ exhibit and your knowledge of colonial Boston, answer the following questions.

1. Would Hurd have preferred the unfinished portrait by Copley, or the finished portrait? Why?

2. What was it like to live in a colonial city with an international harbor?

3. Who were Nathaniel Hurd’s customers?

4. What did he think about the turbulent time he was living in? Was he excited, threatened, indifferent?

5. If you think he was a Patriot, how did he feel about those who remained loyal to England?

6. Would he have felt that America was being mistreated by England?

7. If you think he was a Loyalist, what were his thoughts on the uprisings against England by his fellow colonists? Name: ______Date: ______

Worksheet # 3: Life as a colonial silversmith. A lesson in point of view. a.) Use the observation and interpretations worksheets as a guide to write a journal entry for Nathaniel Hurd. Consider his daily routine as well as his thoughts about the exciting things happening in Boston. b.) Do a personal journal based on the objects you would find in your locker or bedroom. Lesson Plans Social Studies Unit Introduction

Colonial Silver and Tea: An Introduction

Introduction Image 19:

Getting Started Jacob Hurd American, d. 1758 Teapot, ca. 1740 Lesson Plans Silver with wood handle 97.6.3 Curriculum Connections Historic Deerfield Inc., Deerfield, Massachusetts Images Gift of Janette F. Weber in memory of her husband, Frederick C. Weber, Jr., M.D.

Websites for further study Courtesy of Historic Deerfield, Inc., Photography by Amanda Merullo Bibliography Image 21:

Nathaniel Hurd American, 1729/30-1777 Teapot Silver 60.1045

Courtesy, Winterthur Museum

Image 22:

Nathaniel Hurd American, 1729/30-1777 Cream Pail Silver

Worcester Art Museum, Worcester, Massachusetts, Museum Purchase, 1936.51

Information: Quite often in colonial Boston, wealthy families would melt down silver coins to make household objects, such as this teapot and cream pail. The logic in doing this was to protect their money. There were no banks for people to safeguard their money in and silver coins were easy to steal and hard to trace. Silver objects decorated with the family's coat of arms (visible on this teapot) were easily identifiable and therefore less likely to be stolen. In addition, after silver was cast into objects it maintained the same value it had in coin form. Therefore silver objects such as spoons and teapots could also be used as a form of currency.

Many of the silver objects made in colonial Boston pertained to tea. Although colonials made teapots out of silver for the practical purpose of protecting their money, the value of the material used to cast the objects also expressed the social importance of tea in colonial America. Because of the high cost of tea and all the necessary accessories, the ritual of tea became a sign of social status. Silver tea sets were valuable because of their precious material, as well as their social significance.

Before the American Revolution, the fashions in colonial America were largely based on the fashions in England. The popularity of drinking tea in England influenced the trend in America. Due to the Townshend Acts, the duties on tea caused the beverage to become politically charged. After the Boston Tea Party, many upper class families stopped drinking tea as a symbol of political protest and consequently, the demand for silver teapots dropped drastically.

Vocabulary: coat of arms a decorative symbol that represents a family line. cast to form hot metal into a particular shape by pouring into a mold. currency the money in circulation in any country.

Townshend Acts (1767) laws passed by Parliament that taxed goods such as glass, paper, silk, lead, and tea in the American colonies.

Suggested Lesson:

Colonial Silver and Tea: Items of significance, yesterday and today Lesson Plans Art Unit Introduction English Language Arts Social Studies Colonial Trades and Apprenticeships

Introduction Image 19:

Getting Started Jacob Hurd American, d. 1758 Teapot, ca. 1740 Lesson Plans Silver with wood handle 97.6.3 Curriculum Connections Courtesy of Historic Deerfield, Historic Deerfield Inc., Deerfield, Massachusetts Inc., Images Gift of Janette F. Weber in memory of her husband, Photography by Amanda Merullo Frederick C. Weber, Jr., M.D.

Websites for further study

Image 20: Bibliography Nathaniel Hurd American, 1729/30-1777 Cann Silver 54.457

Historic Deerfield Inc., Deerfield, Massachusetts Courtesy of Historic Deerfield, Inc., Photography by Amanda Merullo Image 21:

Nathaniel Hurd American, 1729/30-1777 Teapot Silver 60.1045

Courtesy, Winterthur Museum

Information:

The teapot in Image 19 was made by Nathaniel Hurd's father, Jacob Hurd. Image 20 is a cann (pronounced; can) made by Nathaniel Hurd. Image 21 is a teapot made by Nathaniel Hurd. We know that is was made by Hurd because it bears his maker's mark. These marks were used by silversmiths so people could distinguish different artists' work. This was especially the case when two artists worked in the same silversmith shop and produced similar items. Both Nathaniel and his brother Benjamin apprenticed in their father, Jacob's silversmith shop until they were skilled enough to work on their own. Apprenticeships were a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a period for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master.

Vocabulary: cann - tulip-shaped mug popular in the 18th century. silversmith - one whose occupation is making and repairing articles of silver. apprenticeship - a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master. trade - another name for the occupations people had during the colonial era. Usually it required some prior training through an apprenticeship during which time the necessary skills would be learned.

Videos:

Silversmith of Williamsburg: The Extraordinary Work of a Skilled Craftsman. Colonial Williamsburg Videocassette. 1971 (44 minutes and available in the Teacher Resource Center, MAG).

Suggested Novel:

Johnny Tremain by Esther Forbes

Suggested Lesson:

Colonial Trades and Apprenticeships: Silversmiths Name:______Date:______

Worksheet: Artists in Colonial America: John Singleton Copley

Directions: Respond to the following questions based on the ‘About Face’ exhibit at the Memorial Art Gallery. This assignment will be discussed in class, so be sure your answers are complete and detailed.

1. Besides the silversmith, Nathaniel Hurd, who is the other important person in the ‘About Face’ exhibit who learned his trade through an apprenticeship?

2. What was his trade?

3. How did he learn to paint?

4. According to the exhibit, what other sources or influences did this person use in learning his trade? Explain your answers.

5. Does this influence tell you anything about America’s relationship with England in years preceding the American Revolution?

6. Besides borrowing imagery from European artists, what did John Singleton Copley do to train himself as an artist? Criteria for Rating Student Responses

Category 6 5 4 3 2 1 0

Use of Data Always uses Consistently Uses mostly Mixes accurate Uses mostly Uses almost Uses no Introduction accurate and uses accurate accurate and and inaccurate, inaccurate and no accurate or accurate or relevant data. and relevant relevant data. relevant and irrelevant data. relevant data. relevant data. data. irrelevant data. Is totally Getting Started unrelated to the topic. Lesson Plans Plan of Always Consistently Develops the Addresses the Attempts to Minimally Is a blank Organization demonstrates a demonstrates a assigned topics assigned topic, develop the addresses the paper Curriculum Connections logical and logical and using a general but assigned assigned topic coherent plan coherent plan plan of demonstrates topic, but but lacks a Images or organization. or organization. organization. weakness in demonstrates plan of organization a profound organization. and may weakness in Websites for further study include organization digression. and may Bibliography include several digressions.

Development Always Consistently Demonstrates Demonstrates Demonstrates Does not use Is illegible, i. of Ideas. develops ideas develops ideas satisfactory weakness in profound support e., includes so fully and fully, using development the weakness in materials in many clearly, using appropriate and expression development the the indecipherable appropriate examples, of ideas and expression development development words that no examples, reason, details, through the of ideas with and or expression sense can be reasons, explanations, adequate use of little use of expression of of ideas. made of the details, and/or support support ideas, with response. explanations, generalizations. materials. materials. little use of and/or support generalizations. materials.

Hilton, Ken, Rush-Henrietta High School. Document Based Assessment Activities for U.S. History Classes.

About Face: Copley’s Portrait of a Colonial Silversmith

About Face: Copley’s Portrait of a Colonial Silversmith explores the lives and work of two artists within Introduction colonial Boston prior to the outbreak of the American Revolution. John Singleton Copley was the most popular portrait painter in colonial America. In addition to painting some of the leading patriots of the time, such as Samuel Adams, John Hancock, and Paul Revere, Copley also painted the portrait of a Getting Started silversmith named Nathaniel Hurd. In fact, Copley appears to have painted Nathaniel Hurd three times. The MAG’s mysteriously unfinished portrait of Hurd, the centerpiece of this exhibit, is contrasted with the completed portrait owned by the Cleveland Museum of Art. (The third version, a miniature, is in a private Lesson Plans collection.) Nathaniel Hurd was a talented engraver whose skill and craftsmanship made him one of the most sought after silversmiths in Boston. Curriculum Connections In addition to focusing upon paintings by Copley and silver pieces by Hurd, this exhibit aims to contextualize these works and other objects within the daily life of colonial Boston. This interactive exhibit Images and accompanying teaching packet will:

Websites for further study ❍ make primary source documents (art works, objects, and written texts) central to providing students with a view of the experiences of men and women who were alive around the time of the American Revolution. Bibliography ❍ develop students' critical looking and thinking skills as they gain experience in interpreting historical documents. ❍ analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre. ❍ explore important social issues through portraiture. ❍ evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.

The About Face exhibit includes two computer kiosks with an interactive CD-ROM experience that allows students to navigate their own exploration. In this CD-ROM, the biographies of John Singleton Copley and Nathaniel Hurd are directly tied to the people and events that led up the American Revolution. Students can explore simulations of a house and silversmith workshop in colonial Boston . Students will be exposed to the issues of identity and social status that are addressed through the manipulation of Nathaniel Hurd’s portrait. About Face is made possible Visiting the exhibit: with support from Dorothy and Dan Gill and by the Museum Loan Network, a program About Face was designed to encourage a self-guided experience of the exhibit. The exhibit contains a great administered by MIT's Office deal of activities for students to engage in while visiting the Memorial Art Gallery. The label texts use of the Arts, funded by the John interactive formats, there are two computer kiosks containing the About Face CD-ROM, and there are a S. and James L. Knight number of books available for reference on life in colonial America. In addition to other activities present Foundation and The Pew in the exhibit room, there are a number of lesson plans in this interactive exhibit and in the accompanying Charitable Trusts. Additional teaching packet that require student participation while at the Gallery. support is provided by the National Endowment for the Arts, the New York State Council on the Arts and the Vanden Brul Conservation Fund.

Text by Jessica Marten and Education Department staff Web design by Lu Harper

About Face: Copley’s Portrait of a Colonial Silversmith

About Face: Copley’s Portrait of a Colonial Silversmith explores the lives and work of two artists within Introduction colonial Boston prior to the outbreak of the American Revolution. John Singleton Copley was the most popular portrait painter in colonial America. In addition to painting some of the leading patriots of the time, such as Samuel Adams, John Hancock, and Paul Revere, Copley also painted the portrait of a Getting Started silversmith named Nathaniel Hurd. In fact, Copley appears to have painted Nathaniel Hurd three times. The MAG’s mysteriously unfinished portrait of Hurd, the centerpiece of this exhibit, is contrasted with the completed portrait owned by the Cleveland Museum of Art. (The third version, a miniature, is in a private Lesson Plans collection.) Nathaniel Hurd was a talented engraver whose skill and craftsmanship made him one of the most sought after silversmiths in Boston. Curriculum Connections In addition to focusing upon paintings by Copley and silver pieces by Hurd, this exhibit aims to contextualize these works and other objects within the daily life of colonial Boston. This interactive exhibit Images and accompanying teaching packet will:

Websites for further study ❍ make primary source documents (art works, objects, and written texts) central to providing students with a view of the experiences of men and women who were alive around the time of the American Revolution. Bibliography ❍ develop students' critical looking and thinking skills as they gain experience in interpreting historical documents. ❍ analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre. ❍ explore important social issues through portraiture. ❍ evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.

The About Face exhibit includes two computer kiosks with an interactive CD-ROM experience that allows students to navigate their own exploration. In this CD-ROM, the biographies of John Singleton Copley and Nathaniel Hurd are directly tied to the people and events that led up the American Revolution. Students can explore simulations of a house and silversmith workshop in colonial Boston . Students will be exposed to the issues of identity and social status that are addressed through the manipulation of Nathaniel Hurd’s portrait. About Face is made possible Visiting the exhibit: with support from Dorothy and Dan Gill and by the Museum Loan Network, a program About Face was designed to encourage a self-guided experience of the exhibit. The exhibit contains a great administered by MIT's Office deal of activities for students to engage in while visiting the Memorial Art Gallery. The label texts use of the Arts, funded by the John interactive formats, there are two computer kiosks containing the About Face CD-ROM, and there are a S. and James L. Knight number of books available for reference on life in colonial America. In addition to other activities present Foundation and The Pew in the exhibit room, there are a number of lesson plans in this interactive exhibit and in the accompanying Charitable Trusts. Additional teaching packet that require student participation while at the Gallery. support is provided by the National Endowment for the Arts, the New York State Council on the Arts and the Vanden Brul Conservation Fund.

Text by Jessica Marten and Education Department staff Web design by Lu Harper

Paul Revere and Point of View English Language Arts Social Studies The figure of Paul Revere. Romanticizing colonial American history

Objectives: Introduction Students will Getting Started ● compare and contrast the representations of Paul Revere by John Singleton Copley and the early 20th century American artist Grant Wood to learn Lesson Plans about romanticizing history. ● read Henry Wadsworth Longfellow's poem about Paul Revere and compare Curriculum Connections it to historical research on the figure of Paul Revere.

Images Lesson times:

If you attend the About Face exhibit at the Memorial Art Gallery, this lesson Websites for further study consists of post-visit activities.

Bibliography Previous Knowledge: Students should have begun study of colonial America, with some basic background in pre-Revolutionary Boston and the role of Paul Revere in the early stage of the American Revolution.

Vocabulary:

heroize to make a hero out of someone; to treat as a hero. Patriot a colonial who believed that America should not be ruled by England. portrait a work of art that depicts a specific person. romanticize to treat or regard something in a fanciful way, without basis in fact. Materials:

1. Image

Image #11

John Singleton Copley American, 1737-1815 Paul Revere, 1768 Oil on canvas, 35 x 28 ½"

Museum of Fine Arts, Boston

Image #12 Midnight Ride of Paul Revere Grant Wood American, 1891-1942 Midnight Ride of Paul Revere, 1931 Oil on composition board, 30 x 40"

The Metropolitan Museum of Art, Arthur H. Hearn Fund, 1950. (50.117)

2. The figure of Paul Revere. Romanticizing colonial American history worksheet (html or Word) 3. Henry Wadsworth Longfellow's poem, "Paul Revere's Ride" (html or Word) 4. Internet access for follow-up research (optional) Lesson:

1. For this lesson, the students can work on their own or in groups. Give each student a copy of The figure of Paul Revere. Romanticizing colonial American history worksheet. 2. Project the two paintings of Paul Revere, Slide #11 by John Singleton Copley, and Slide #12 by Grant Wood. The students are to compare the two paintings on the worksheet provided, looking at such features as activity/ gesture, size, relationship of forms, colors, detail, and story/narrative.

For example, the activities are very different in these two images. The gesture of Copley's portrait of Paul Revere is subtle, he holds the teapot in one hand, and his chin in the other. These are very gentle gestures. In the Midnight Ride of Paul Revere by Grant Wood, the figure of Paul Revere is racing down the road in the lower left hand corner. His movement is a focal point of the painting. The story/narrative is also very different in these two paintings. The Grant Wood painting is based directly upon the story of the midnight ride of Paul Revere and it appears to illustrate that story. The Copley painting is a portrait. Copley was probably more interested in accurately portraying the physical presence of Paul Revere than telling a story. Narrative was probably not the primary concern of Copley in painting this portrait.

3. Allow the students about 10-15 minutes to complete the worksheet. Afterwards, the students can share their opinions.

4. Ask the students to guess which painting was made by an artist who knew Paul Revere, and which one was painted by an artist who never even met Paul Revere. Have them explain their answers.

The painting by John Singleton Copley appears to be an earnest attempt to capture the likeness of the individual man, Paul Revere. We know these two colonial artists knew each other because historical records show that John Singleton Copley went to Paul Revere to buy such things as jewelry and silver frames for his painted miniatures (Quinn, p. 248). On the other hand, the painting of Paul Revere by Grant Wood was painted more than a 100 years after the American Revolution. Grant Wood's painting does not focus upon anything that made Paul Revere an individual, instead, Wood has depicted the legend of Paul Revere. The bird's eye view allows viewers to look down upon the scene as the story unfolds before our eyes. The style of the painting was intentionally simplified in order to make a connection with the idealized simplicity of early American life and art. The inspiration for this painting by Grant Wood was his familiarity with Henry Wadsworth Longfellow's poem "Paul Revere's Ride" which, in itself, heavily romanticized the story of Paul Revere's midnight ride (Corn, p. 86). The storytelling quality of Wood's portrayal detaches us from Paul Revere the man, and we become viewers of a narrative based in the mythology of American history.

5. Does this knowledge change their understanding of the two images? What do you think John Singleton Copley is trying to say about Paul Revere? What do you think Grant Wood is trying to say about Paul Revere? Explain.

6. Explain to students the concept of romanticizing the past as this applies to these images of Paul Revere.

● Why do people romanticize American history? ● What other ways do people romanticize the past?

Follow-up:

Have students read Henry Wadsworth Longfellow's poem "Paul Revere's Ride" (html or Word). Or, for younger students choose a key excerpt of the poem for them to read. After reading the poem, students will conduct research on the figure of Paul Revere and then compare and contrast the fiction of the poem with the reality of Revere's ride to Concord.

● Is the poem historically accurate? ● How did this poem affect our conception of history and Paul Revere's role in American history? ● Which one should we believe? Why? ● Is Longfellow's poem a form of portraiture? ● Can a poem be a form of portraiture?

The Paul Revere House website is great for learning about Paul Revere. In addition to its own rich accounts of his life and midnight ride, this site also has a bibliography for further research.

Think about it: How do the visual documents of Paul Revere compare to the written documents? What kind of messages do you get from each? Which do you think is more reliable, the portrait of John Singleton Copley, or a written biographical account of his life? What can you learn about Paul Revere by looking at his painted portrait that you cannot learn by reading his bibliography, and vice versa?

Evaluation: Students will be assessed on their critical looking skills in comparing the two paintings of Paul Revere. Student's participation should be judged on their ability to apply their comparative skills as developed in the visual comparison to the comparison of the romanticized account of Paul Revere's midnight ride with the historical account of that event.

Summary: Students will compare two images of Paul Revere, one by a contemporary portrait artist, John Singleton Copley, and one by an early 20th century American artist, Grant Wood, in order to critique romanticized notions of our colonial American past. This concept of romanticizing our past will also be applied to the students analyzing representations of Paul Revere in written sources.

Sources: Corn, Wanda M. Grant Wood: The Regionalist Vision. Yale University Press, New Haven, 1983. Quinn, Karen E. "Paul Revere," in Rebora, Carrie, and Staiti, Paul, et. al. John Singleton in America. The Metropolitan Museum of Art, New York, 1995. pp. 247- 249. Name:______Date:______

Worksheet: The Figure of Paul Revere. Romanticizing colonial American history

Directions: Compare and contrast these two images of Paul Revere. After carefully viewing each painting, fill in each section provided.

SLIDE # 1 SLIDE # 2

Activity/Gesture: What is going on here? What makes you say that? Activity/Gesture What is going on here? What makes you say that?

Size of figures/forms in the painting: Size of figures/forms in the painting:

What details are most obvious to you? What details are most obvious to you?

What colors are used? What effect do they have? What colors are used? What effect do they have?

When do you think this was painted? What clues do you have? When do you think this was painted? What clues do you have?

What do you think the artist is trying to tell us about Paul Revere? What do you think the artist is trying to tell us about Paul Revere? What makes you say this? What makes you say this?

On the back of this paper, describe which painting of Paul Revere shows a man you would like to get to know. Be sure to explain your answer. Why does one appeal to you more than the other does? Lesson Plans Social Studies Unit Introduction

Firefighting and Community in Colonial America: An Introduction

Introduction Image 13:

Getting Started Possibly Henry Dawkins. American Certificate of the Hand-in-Hand Fire Company, 1753 Lesson Plans (detail) Engraving Curriculum Connections I.N. Phelps Stokes Collection Miriam and Ira D. Wallach Division of Art, Prints and Images Photographs The New York Public Library, Websites for further study Astor, Lenox and Tilden Foundations

Bibliography

Image 14:

J. Fenno American Fire Bucket, 1799 Leather

Courtesy of the Bostonian Society/Old State House Information:

These two objects were used in firefighting in colonial Boston. The possibility of fires getting out of control in the colonial city was a constant threat. Most of the homes in the city were made of wood and were tightly packed on narrow, winding streets. In 1760, Boston suffered a severe fire that destroyed 176 warehouses and left many families homeless.

The fire staff shown would have been similar to one used by Nathaniel Hurd around 1759 when he served as a fireward in Boston. When a call was put out that there was a fire, the fireward would come with his staff to direct the firefighting. The leather bucket is an example of the participation of most civilians in fighting fires. Most households would have owned a bucket like this. Neighbors would take their fire buckets and form a double line, one to pass water towards the house and one to pass empty buckets away.

Suggested Lesson:

Firefighting and Community in Colonial America: What can objects tell us?

Suggested Websites:

● http://www.archaeology.org/online/features/boston/index.html "Colonial Boston Unearthed" *Discusses archaeological findings from 'The Big Dig'. The contents of a colonial privy are used to make a hypothesis about the occupation of a woman who lived and worked in her house. ● http://www.history.org/almanack.htm "Colonial Williamsburg" *Go to 'Archaeology for Kids' page. There are a lot of interesting activities for students to explore, but most relevant is the 'Artifact Challenge' which provides photographs of artifacts and has multiple choice questions asking the students what they believed these objects were used for. When students guess the correct answer, there is an explanation of what the object is and how it was used. The page 'Experience Colonial Life' is also very interesting. ● http://theweboftime.com/ "American History from the Web of Time" *A magazine of American history, archaeology, and museum exhibits for kids. ● http://www.pbs.org/ktca/liberty/game/ "Road to Revolution: A Revolutionary Game" Document Based Question Colonial Community & Technology: Firefighting in Colonial America

4th-grade students Directions: • Write a well-organized essay that includes an introduction with a thesis statement, several paragraphs explaining the thesis, and a conclusion. • Analyze the documents and objects. • Use evidence from the documents to support your conclusion. • Include specific related outside information.

Historical Context: Colonial cities such as Boston were crowded and many buildings were made of wood.

Task: By using the documents, as well as your knowledge of how people lived during colonial times answer the following questions in a well-structured essay.

Question: Why were fires a big problem for cities like Boston? How did communities work together to put out fires? What kinds of technology did they use to fight fires?

Document Based Question

Colonial Community & Technology: Firefighting in Colonial America

4th-grade students Introduction Directions:

Getting Started ● Write a well-organized essay that includes an introduction with a thesis statement, several paragraphs explaining the thesis, and a conclusion. Lesson Plans ● Analyze the documents and objects. ● Use evidence from the documents to support your conclusion. ● Include specific related outside information. Curriculum Connections Historical Context: Images Colonial cities such as Boston were crowded and many buildings were made of wood. Websites for further study Documents or Materials to Use: Bibliography Image 13:

Possibly Henry Dawkins. American Certificate of the Hand-in-Hand Fire Company, 1753 (detail) Engraving

I.N. Phelps Stokes Collection Miriam and Ira D. Wallach Division of Art, Prints and Photographs The New York Public Library Astor, Lenox and Tilden Foundations Image 14:

J. Fenno American Fire Bucket, 1799 Leather

Courtesy of the Bostonian Society/Old State House

Image #15

Exterior photo of Paul Revere's home in Boston, MA

Courtesy of the Paul Revere Memorial Association

Image #16

Paul Revere after Christian Remick Landing of the Troops in Boston Harbor, 1770 Engraving

Image #17

Interior photo of the kitchen in Paul Revere House

Courtesy of the Paul Revere Memorial Association

Image #18

John Neagle American Pat Lyon at the Forge, 1826-1827 Oil on canvas

Museum of Fine Arts, Boston

Task:

By using the documents, as well as your knowledge of how people lived during colonial times answer the following questions in a well-structured essay.

Question:

● Why were fires a big problem for cities like Boston? ● How did communities work together to put out fires? ● What kinds of technology did they use to fight fires?

Firefighting and Community in Colonial America Social Studies What can objects tell us?

Objectives:

Introduction Students will

Getting Started ● view two unknown historical objects and try to identify their function by looking at and asking questions of their appearance and function. ● use critical thinking skills to view a number of images and objects together in Lesson Plans order to make educated assumptions about community, urban planning, and home construction in colonial Boston. Curriculum Connections Lesson Times: Images If you attend the About Face exhibit in the Memorial Art Gallery, this lesson consists of suggested pre-visit, visit, and post-visit activity. Websites for further study Vocabulary: Bibliography community - all of the people living in a particular district, city, etc.

Prior Knowledge: Students should have begun study of colonial America, with some basic background in pre-Revolutionary Boston.

Materials: 1. Images Image 13:

Possibly Henry Dawkins. American Certificate of the Hand-in-Hand Fire Company, 1753 (detail) Engraving

I.N. Phelps Stokes Collection Miriam and Ira D. Wallach Division of Art, Prints and Photographs The New York Public Library, Astor, Lenox and Tilden Foundations

Image #14

J. Fenno American Fire Bucket, 1799 Leather

Courtesy of the Bostonian Society/Old State House Image #15

Exterior photo of Paul Revere's home in Boston, MA

Courtesy of the Paul Revere Memorial Association

Image #16

Paul Revere after Christian Remick Landing of the Troops in Boston Harbor, 1770 Engraving

Boston Athenæum

Image #17

Interior photo of the kitchen in Paul Revere House

Courtesy of the Paul Revere Memorial Association Image #18

John Neagle American Pat Lyon at the Forge, 1826-1827 Oil on canvas

Museum of Fine Arts, Boston

2. Firefighting and Community in Colonial Boston worksheet (html or Word)

3. Internet access for students interested in checking out relevant website (optional)

Lesson:

1. Look at images of firefighting equipment (#13 & #14) at the same time. 2. Ask each student, in turn, to describe the object with a few words. For example, "This looks like wood," "It was supposed to hold water," "It is old," etc. Write each response on the blackboard/overhead transparency.\ 3. Continue around the room, any time a student cannot add to the list, they are disqualified. The game continues until the last person is disqualified. 4. After the objects have been described as fully as possible, ask students to guess how the objects were used. Then they will write a paragraph explaining their reasons for believing that the objects worked in a particular way. These can be shared with the rest of the class. 5. When the students come to the Memorial Art Gallery, the objects will be explained and put in their proper context.

Follow-up: The goal of this exercise is to get the students thinking about community in colonial Boston. After the Gallery visit, break the class into groups of 3-4 students each. Look at the firefighting objects (images # 13-14) and review the students' experience at the gallery. Next, look at images # 15-18 and then give each group the Firefighting and Community in Colonial Boston worksheet. Go through each image with the following questions on the worksheet:

● What were homes in colonial Boston made of? ● How was the city organized? ● What kind of fire risks did they have? ● What do these images tell you about the kind of technology they had in colonial Boston? ● What do you think it was like to live there? ● How were their homes, daily existences, communities, and responsibilities different than ours are today? ● What kinds of bonds or relationships were forged between people living so close together?

Give the students eight to ten minutes to brainstorm and fill in the worksheet, continue flipping through the slides so students can refer to the images appropriate to the questions they are answering. The students can share their work with the rest of the class.

Think about it: What other fire hazards would there have been in a colonial city or town? If you were the mayor of the city of Boston during the colonial era, what would you do to make sure there was protection against fire hazards, clean water to drink, a proper sewage system, police presence, street lights, etc.? What else would you be responsible for?

Evaluation: Students will be assessed on their participation in the pre-visit looking exercise, and their ability to synthesize the visual materials given to them in order to come to conclusions about life in colonial Boston.

Summary: Students will be examining slides of two objects from colonial Boston in order to make a hypothesis on their functions based on the way they look. After their visit to the Memorial Art Gallery, students will be given a number of visual images to study and will be asked to come up with some conclusions about life experiences in colonial Boston.

Relevant website: www.pbs.org/williamsburg/backdraft/index.html "Backdraft: The Fire Engine in the Colonial Community"

*Much of this site is limited to members, but the 'Background', 'Timeline', and 'Glossary' pages provide available, pertinent resources. theweboftime.com "American History from the Web of Time"

*a magazine of American history, archaeology, and museum exhibits for kids www.archaeology.org/online/features/boston/index.html "Colonial Boston Unearthed"

*Discusses archaeological findings from 'The Big Dig'. The contents of a colonial privy are used to make a hypothesis about the occupation of a woman who lived and worked in her house. www.pbs.org/ktca/liberty/game/ "Road to Revolution: A Revolutionary Game" Name:______Date:______Worksheet: Firefighting and Community in Colonial Boston

Directions: As a group, answer the following questions using the projected slides and photocopied images as resources.

1. What were homes in colonial Boston made of?

2. How was the city organized?

3. What kind of fire risks did they have?

4. What do these images tell you about the kind of technology they had in colonial Boston?

5. What do you think it was like to live there?

6. How were their homes, daily existences, communities, and responsibilities different than ours are today?

7. What kinds of bonds or relationships were forged between people living so close together?

Name:______Date:______

Worksheet: Firefighting and Community in Colonial Boston

Directions: As a group, answer the following questions using the projected slides and photocopied images as resources.

1. What were homes in colonial Boston made of?

2. How was the city organized?

3. What kind of fire risks did they have?

4. What do these images tell you about the kind of technology they had in colonial Boston?

5. What do you think it was like to live there?

6. How were their homes, daily existences, communities, and responsibilities different than ours are today?

7. What kinds of bonds or relationships were forged between people living so close together? Name:______Date:______Worksheet: Nathaniel Hurd, portraiture, identity

Directions: Look closely at the 2 portraits of Nathaniel Hurd. In the observation column, write down 15 things you see. After you have recorded your observations, answer the questions in the Opinions column. In the Questions column, write down 5 questions you would like to ask Nathaniel Hurd, the artist John Copley, or the docent at the Memorial Art Gallery.

OBSERVATIONS OPINIONS QUESTIONS 1. What are the men doing? 1.

2.

2.

When/where do these men live?

3.

3.

4.

What do you think each man does for a living or for his hobby?

4. 5.

6. What do you guess is their social 5. status?

7.

What type of audience do you 8. think was intended for each portrait?

9.

10. Which portrait do you like better?

11.

Why do you like one more than the other? 12.

13.

If you had a valuable secret, which of these men would you share it with? Why? 14.

15.

Name:______Date:______

Worksheet: Nathaniel Hurd, portraiture, identity

Directions: Look closely at the 2 portraits of Nathaniel Hurd. In the observation column, write down 15 things you see. After you have recorded your observations, answer the questions in the Opinions column. In the Questions column, write down 5 questions you would like to ask Nathaniel Hurd, the artist John Copley, or the docent at the Memorial Art Gallery.

OBSERVATIONS OPINIONS QUESTIONS

1. What are the men doing? 1.

2.

3. When/where do these men live?

2.

4.

What do you think each man does for a living or for his hobby? 5.

6. 3.

What do you guess is their social status? 7.

8.

4. What type of audience do you think 9. was intended for each portrait?

10.

11. 5.

Which portrait do you like better?

12.

13.

Why do you like one more than the other? 14.

15.

If you had a valuable secret, which of these men would you share it with? Why?

Colonial Silver and Tea English Language Arts Social Studies

Items of social significance, yesterday and today

Introduction Objectives: Getting Started Students will Lesson Plans ● describe and discuss the observable features of silver pieces from colonial Boston.

Curriculum Connections ● attempt to accurately apply their observations to identify the social context of these objects.

Images ● compare and contrast the signs of social status of colonial Boston with those of today.

Websites for further study Lesson Times:

If you attend the About Face exhibit in the Memorial Art Gallery, this lesson consists of suggested Bibliography pre-visit and post-visit activity.

Vocabulary:

coat of arms a decorative symbol that represents a family line. cast to form hot metal into a particular shape by pouring into a mold. currency the money in circulation in any country.

Prior Knowledge: Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston. Materials:

1. Images

Image 19:

Jacob Hurd American, d. 1758 Teapot, ca. 1740 Silver with wood handle 97.6.3 Courtesy of Historic Deerfield, Inc., Historic Deerfield Inc., Deerfield, Massachusetts Photography by Amanda Gift of Janette F. Weber in memory of her husband, Merullo Frederick C. Weber, Jr., M.D.

Image #21

Nathaniel Hurd American, 1729/30-1777 Teapot Silver 60.1045

Courtesy, Winterthur Museum Image #22

Nathaniel Hurd American, 1729/30-1777 Cream Pail Silver

Worcester Art Museum, Worcester, Massachusetts, Museum Purchase, 1936.51

Lesson:

1. Look at images #19 & 22. Get the students asking questions and brainstorming about the use of these objects in their proper context. Begin by asking them looking questions:

● What size are these objects?

● What are they made out of?

● Are they hard, soft, heavy, reflective, etc.?

● What shape are they in?

● Do they have any decoration on them?

2. Then get them thinking about where, when, and how these objects would have been used:

● When do you think these were made?

● Who would use them?

● What were these objects used for? ● In what kind of room, or house would you find these items?

● What would the house be decorated like?

● What kind of music would be playing?

● How much would they cost?

3. Explain to the students that back in colonial America there were fashionable brand names like there are today. Silversmiths would stamp their work with something called a maker's mark, to let people know who made them. If the silversmith was popular and in-demand, then these maker's mark held a lot of importance in society. Can the student's give an example of something similar to maker's marks in today's society? (ex. Nike, Calvin Klein, etc.) Maker's marks are explored further in the 'About Face' exhibit.

Follow-up (Option #1): Tea is not as important now as it was then.

● What would you cast in silver if you had your choice?

● What does that decision say about you and your values?

● If someone were to find your silver item 200 years from now, what would they think about you and the culture you lived in?

● Write one paragraph detailing your choice and the way that choice could be interpreted.

Think about it: Silver was used to make fancy tea sets for wealthy colonial families.

● Were all of their dishes and utensils made out of silver? ● What did ordinary colonial people use to make their plates, cups, and utensils?

● Where can we find examples of the dishes and utensils of wealthy people and average/poor people? Today we find many silver objects in art museums, and many ceramic objects in archaeological museums.

● What does this say about how these artifacts are valued in today's society?

Follow-up (Option #2): The Boston Tea Party was a form of political protest by the colonials against England's taxation of tea. How did the colonials' belief in their right to liberty and freedom conflict with their aggressive expansion onto land occupied by Native American peoples? Have students conduct research on the experiences of Native American people during the colonial era.

● What was it like for Native American tribes during the colonial era?

● Where did they live?

● How did they get along with European colonials?

● Did they participate in any of the military conflicts between the Patriots and England?

● If so, whose side were they on? Why?

Evaluation: Students should be assessed on their observation of the objects, and their application of that material towards determining the objects' original functions and contexts. Students should also be able to identify socially important items in the present day to compare with those of colonial Boston.

Summary: Students will be observing the physical features of silver objects from colonial Boston. Students will be expected to apply their observations towards a hypothesis on the typical functions and environments these items would be found in. The issue of social status as raised with silver objects and tea-related accessories will be addressed in exercises that will have students relating the socially valued items of their culture with those of the past. There is an optional research based follow-up assignment that addresses the roles of Native Americans and their relationships with the colonials during the colonial era. Artists in Colonial America Art Social Studies John Singleton Copley

Introduction Objectives:

Getting Started Students will

Lesson Plans ● examine and analyze the qualities of John Singleton Copley's portraits of Nathaniel Hurd.

● visit the Memorial Art Gallery's exhibit, 'About Face: Copley's Portrait of a Colonial Curriculum Connections Silversmith' and complete worksheet based on the career of John Singleton Copley as a colonial American artist. Images ● reflect upon their findings on Copley's career with classmates after Gallery visit. Websites for further study ● step into the role of a portrait artist by creating a portrait of a classmate.

Bibliography Lesson times:

If you attend the About Face exhibit at the Memorial Art Gallery, this lesson consists of suggested pre-visit, visit, and post-visit activities.

Vocabulary:

apprenticeship - a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master.

patron - a wealthy person who financially supports an artist, or pays them to create art for them. portrait - a work of art that represents a specific person. trade - another name for the occupations people had during the colonial era. Usually it required some prior training through an apprenticeship during which time the necessary skills would be learned.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials:

1. Images

Image #1

John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765

Memorial Art Gallery Marion Stratton Gould Fund, 44.2 Image #2: Portrait of Nathaniel Hurd from the Cleveland Museum of Art John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8"

Cleveland Museum of Art Gift of John Huntington Art and Polytechnic Trust

Image #3

John Singleton Copley American, 1737-1815 Mr. and Mrs. Thomas Mifflin (Sarah Morris), 1773 Oil on ticking, 60 ½ x 48"

Philadelphia Museum of Art Image #11

John Singleton Copley American, 1737-1815 Paul Revere, 1768 Oil on canvas, 35 x 28 ½"

Museum of Fine Arts, Boston, Gift of Joseph W. Revere, William B. Revere, and Edward H. R. Revere 30.781

2. Artists in America: John Singleton Copley worksheet (HTML or Word)

3. Line drawing of Copley's portrait of Nathaniel Hurd (GIF file, printable on 8½x11" paper)

4. Large pieces of paper for making portraits

5. Markers/crayons/colored pencil

Lesson:

1. Prior to the MAG visit, compare images #1 & 2. Ask the students to compare the faces of these portraits.

● Which of these two people seem the most 'real' to you?

● What is it about the way the person is painted that makes them seem 'real'?

● What do the facial expressions of each of these people tell us about them? ● Who was responsible for creating these facial expressions?

What we are trying to get at here, is the exceptional way in which Copley painted Nathaniel Hurd's face in the MAG portrait (image #1). Copley's unfinished portrait of Nathaniel Hurd is expressive of the sitter's interior life and emotions much more than contemporary portraits from both Britain and America. As a matter of fact, there is even a dramatic difference between Copley's unfinished portrait (image #1) of Hurd and his finished portrait (image #2)! How can two depictions of the same man by the same artist be so different? In the unfinished MAG version, Hurd appears serious and introverted; a man with integrity. The finished portrait from the Cleveland Museum of Art shows a man that is aware of the viewer, but any indication of his feelings or his personality is entirely missing. He appears bright and amicable, but relatively one-dimensional. How did Copley achieve this difference? Why is one portrait more personally engaging than the other? There is something almost intangible about the effect Copley's depiction of Hurd's face (image #1) has on viewers; can you put your finger on what it is that gives this man such a soulful quality?

2. Now that the students have begun thinking about the way John Singleton Copley created portraits, they can pursue information about his life and career while on the gallery visit. Give each student a copy of the Artists in Colonial America: John Singleton Copley worksheet. Tell them that all the information needed to complete this sheet is in the 'About Face' exhibit, which will be discussed in class.

● Besides the silversmith, Nathaniel Hurd, who is the other important person in the 'About Face' exhibit who learned his trade through an apprenticeship?

● What was his trade?

● Who did he learn from

● According the exhibit, what other sources or influences did this person use in learning his trade? Explain your answers.

● Does this influence tell you anything about America's relationship with England in years preceding the American Revolution?

● Besides borrowing imagery from European artists, what did John Singleton Copley do to train himself as an artist?

3. After the visit to the MAG, project Copley's portraits of Nathaniel Hurd so students have visual imagery to direct their reflections.

4. Have students pair up to discuss what they have learned so far in this exercise. Can they synthesize their pre-visit critique of Copley's portraits of Nathaniel Hurd with the information they learned about Copley's career while at the gallery?

Think about it:

John Singleton Copley was unable to receive artistic training in America because, unlike Europe, the American colonies did not have any schools or academies for training artists. Why would Europe have art schools when America did not?

Follow-up (Option #1): What would Nathaniel Hurd look like if he were a current day baseball player, carpenter, scientist, or mechanic? The students will complete the line drawing of the unfinished portrait of Hurd (attached) based on a 21st century occupation, or they can create their own portrait. In shaping their portrait in the manner of a contemporary occupation, they should consider gesture, mood, clothing, setting, pose, and attributes.

Follow-up (Option #2): Put the students in the place of a colonial portrait painter. Tell them a little about Copley's working process while you show them some images of Copley's portraits to illustrate what you are telling them (Images #1-3, 11). Then allow them to figure out the way they want to create a portrait.

Copley was meticulous in his depiction of sumptuous materials, reflecting surfaces, flesh, and human hair in his portraits of Boston's elite. Can they see his attention to detail in his portraits (Images #1-3, 11)? What do they notice most? What do they think were the hardest details to capture? Copley's attention to detail resulted in his taking a very long time to complete a portrait. Unlike many of the artists in Europe, Copley did not have any assistants, he painted his many portraits all by himself. How long do the students think it would take them to paint a portrait like this?

Normally, the process of painting a portrait at this time in Europe and America began with the artist painting the sitter's face and hands first, as these were considered the most important parts of any portrait. This process of portrait painting is visible in the MAG's unfinished portrait of Nathaniel Hurd in which the face is almost completely painted while the clothing and background remain very sketchy (Rebora, p. 18).

Because Copley would complete the face and hands of a sitter first, these early sessions were when the sitter's presence was absolutely necessary. But during the remainder of the portrait when the figure's clothing and background were being painted, the sitter's presence was no longer mandatory. Copley would sometimes paint the clothing on his portraits' figures based on studying draped material or clothing on doll-sized figures called lay figures. With this working technique, Copley could take his time painting the rest of the portrait without occupying the time of his patrons. In this way, Copley was able to spend the time it took to truly capture the sumptuous clothing and settings his patrons wanted in their portraits (Saunders, p. 67).

Have students pair up and try to draw a portrait of their partner. The students will find this is not so easy to do. The result of each portrait will be a combined effort of the artist and the sitter.

● What will the person be wearing?

● What will they be holding?

● How do the students handle these questions?

● Does the sitter have as much say as the artist does?

After the portraits are complete, have the students hang up their portraits and explain why they depicted the sitter the way they did. ● What did the artist include in the portrait to make the person recognizable?

● How much input did the sitter have in their portrait?

● How would their experience have been any different if the sitter were paying the artist to paint their portrait?

Follow-up (Option #3):

John Singleton Copley taught himself to paint by studying the European masters. See how Copley copied ideas and figures from earlier famous masterpieces: www.nga.gov/feature/watson/index.html

*This website looks at Copley's painting Watson and the Shark, which he painted in London after leaving America. This site focuses upon the story behind the painting, the artist, the formal elements of the painting, and the historical and artistic influences on Copley.

Evaluation: Students will be assessed on their active participation in the observation and discussion of the two portraits of Nathaniel Hurd by John Singleton Copley, their exploration at the Gallery visit, post-visit reflections on their experiences at the Gallery, and their thoughtful creation of their partner's portrait. Students should have an understanding of the basic issues concerning the career of John Singleton Copley and the role of artists in colonial America.

Summary: Their pre-visit inquiry and observation activity, active searching and viewing exercise at the Gallery, and their post-visit creation of a portrait of their classmate will provide students with insight into the career of John Singleton Copley and the role of artists in colonial America.

References: King, Penny and Roundhill Clare. Artist's Workshop: Portraits. Crabtree Publishing Company...

This book contains creative suggestions and activities on how kids can make portraits. These activities include a historical element by using portraits by well- known artists as examples.

Sources:

Rebora, Carrie, "Transforming Colonists into Goddesses and Sultans: John Singleton Copley, His Clients, and Their Studio Collaboration," The American Art Journal, vol. XXVII, numbers 1 & 2, 1995-1996. pp. 4-37

Saunders, Richard H. and Miles, Ellen G. American Colonial Portraits: 1700-1776. Smithsonian Institution Press for the National Portrait Gallery, Washington City, 1987. Name:______Date:______

Worksheet: The Figure of Paul Revere: Romanticizing colonial American history

Paul Revere’s Ride

By Henry Wadsworth Longfellow

Listen, my children, and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in Seventy-five; Hardly a man is now alive Who remembers that famous day and year.

He said to his friend, “If the British march By land or sea from the town to-night, Hang a lantern aloft in the belfry arch Of the North Church tower as a signal light, -- One, if by land, and two, if by sea; And I on the opposite shore will be, Ready to ride and spread the alarm Through every Middlesex village and farm, For the country folk to be up and to arm.”

Then he said, “Good night!” and with muffled oar Silently rowed to the Charlestown shore, Just as the moon rose over the bay, Where swinging wide at her moorings lay The Somerset, British man-of-war; A phantom ship, with each mast and spar Across the moon like a prison bar, And a huge black hulk, that was magnified By its own reflection in the tide. Meanwhile his friend, through alley and street, Wanders and watches with eager ears, Till in the silence around him he hears The muster of men at the barrack door, The sound of arms, and the tramp of feet, And the measured tread of the grenadiers, Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church, By the wooden stairs, with stealthy tread, To the belfry-chamber overhead, And startled the pigeons from their perch On the sombre rafters, that round him made Masses and moving shapes of shade, - By the trembling ladder, steep and tall, To the highest window in the wall, Where he paused to listen and look down A moment on the roofs of the town, And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead, In their night-encampment on the hill, Wrapped in silence so deep and still That he could hear, like a sentinel’s tread, The watchful night-wind, as it went Creeping along from tent to tent, And seeming to whisper, “All is well!”

A moment only he feels the spell Of the place and the hour, and the secret dread Of the lonely belfry and the dead; For suddenly all his thoughts are bent On a shadowy something far away, Where the river widens to meet the bay, -- A line of black that bends and floats On the rising tide, like a bridge of boats. Meanwhile, impatient to mount and ride, Booted and spurred, with a heavy stride On the opposite shore walked Paul Revere. Now he patted his horse’s side, Now he gazed at the landscape far and near, Then, impetuous, stamped the earth, And turned and tightened his saddle-girth; But mostly he watched with eager search The belfry-tower of the Old North Church, As it rose above the graves on the hill, Lonely and spectral and sombre and still. And lo! as he looks, on the belfry’s height A glimmer, and then a gleam of light! He springs to the saddle, the bridle he turns, But lingers and gazes, till full on his sight A second lamp in the belfry burns!

A hurry of hoofs in a village street, A shape in the moonlight, a bulk in the dark, And beneath, from the pebbles, in passing, a spark Struck out by a steed flying fearless and fleet: That was all! And yet, through the gloom and the light, The fate of a nation was riding that night: And the spark struck out by that steed, in his flight, Kindled the land into flame with its heat.

He has left the village and mounted the steep, And beneath him tranquil and broad and deep, Is the Mystic, meeting the ocean tides; And under the alders that skirt its edge, Now soft on the sand, now loud on the ledge, Is heard the tramp of his steed as he rides.

It was twelve by the village clock, When he crossed the bridge into Medford town. He heard the crowing of the cock, And the barking of the farmer’s dog, And felt the damp of the river fog, That rises after the sun goes down.

It was one by the village clock, When he galloped into Lexington. He saw the gilded weathercock Swim in the moonlight as he passed, And the meeting-house windows, blank and bare, Gaze at him with a spectral glare, As if they already stood aghast At the bloody work they would look upon. It was two by the village clock, When he came to the bridge in Concord town. He heard the bleating of the flock, And the twitter of birds among the trees, And felt the breath of the morning breeze Blowing over the meadows brown. And one was safe and asleep in his bed Who at the bridge would be first to fall, Who that day would be lying dead, Pierced by a British musket-ball.

You know the rest. In the books you have read, How the British Regulars fired and fled, -- How the farmers gave them ball for ball, From behind each fence and farm-yard wall, Chasing the red-coats down the lane, Then crossing the fields to emerge again Under the trees at the turn of the road, And only pausing to fire and load.

So through the night rode Paul Revere; And so through the night went his cry of alarm To every Middlesex village and farm, -- A cry of defiance and not of fear, A voice in the darkness, a knock at the door, And a work that shall echo forevermore! For, borne on the night-wind of the Past, Through all our history, to the last, In the hour of darkness and peril and need, The people will waken and listen to hear The hurrying hoof-beats of that steed, And the midnight message of Paul Revere Make it Yourself!

The Spoon Game exercises are designed to be done in your classroom using the drawings of spoons included in the slide sets. These exercises can be done using many sorts of everyday objects. Explore Odyssey Online's Teaching with Works Introduction of Art for an online, interactive version of the Spoon Game, and for other interactive activities.

Getting Started

Lesson Plans

Curriculum Connections

Images

Websites for further study

Bibliography Colonial American Trade, Currency, and Economy Art Social Studies What can money tell us?

Objectives: Students will Introduction

● study the physical presence, imagery and written text on a reproduction of colonial Getting Started currency. ● synthesize their knowledge about colonial American history with their visual observations in order to place the coin within the historical events and collective Lesson Plans experiences of early America. ● apply this method of inquiry to a modern day quarter, then compare and contrast the two Curriculum Connections coins in order to learn more about America and its history. ● design their own colonial American coin. Images Lesson times: If you attend the About Face exhibit at the Memorial Art Gallery, this lesson is suggested as a Websites for further study pre-visit activity.

Bibliography Vocabulary: currency - the money in circulation in any country.

Prior Knowledge: Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials:

1. Reproduction coin (included in teaching packet) 2. What can a coin tell us about history? What can history tell us about a coin? worksheet (HTML or Word) 3. Quarters Lesson:

1. Divide the class into groups of 3-4 students. Give each group a copy of the worksheet and a copy of the reproduction coin. The students are to write their observations and the answers to the questions on a separate sheet of paper.

About the coin: The denomination of this coin is not known exactly but it has been estimated to be about a dollar, hence its name, the Continental Dollar. The images on this coin are based on those made by Benjamin Franklin for the Continental Congress paper currency issued on February 17, 1776. So, it is likely that the coin was printed at a later date. It is believed that the mint that produced these coins was located in New York City. The letters "EG FECIT" is Latin for "EG made this". EG refers to the engraver, Elisha Gallaudet, who had engraved the plates for the Continental Congress paper currency that this coin design was taken from. The word "FUGIO" means "I fly" in Italian. These coins were made out of pewter, brass, copper, and silver. This information is taken from "The Leslie Brock Center for the study of Colonial Currency".

1. Tell the students that they are to take between five to ten minutes to observe the coin and write down their observations. They also need to address questions that touch on important physical and aesthetic attributes of the coin.

● What shape is it? ● What are its measurements? ● Is it heavy or light? ● Hard or soft? ● Shiny or dull? ● What images or words on the coin can you understand? ● What is unidentifiable?

2. Then they will respond to questions that are related to the students' experiences or opinions:

● Can you tell what it is made out of? ● Would it fit in your wallet or your pocket? ● Does it have 'heads' or 'tails' like modern American coins? ● Do you think this coin is attractive or ugly?

● What do you think is the most important thing about the coin? ● How does a person who designs coins decide what is important enough to put on the coin?

3. Ask the students to suggest some possible meanings for the images and words on these coins based on their observations thus far. 4. Next, the students will begin the detective work necessary to find out more about this coin. Which group can come up with the most accurate hypothesis on the origin and meanings of this coin based upon historical research? Students could use their textbooks or a website. Students can practice documenting the source of their information as a part of the research process. Give the students about 15-20 minutes to complete this task. 5. Some of the questions in the Research section of the worksheet are:

● What kind of clues do the coins give? ● What is the value of this coin? ● Where was this coin made? ● When was it made? ● Where can you go to find out more about the history of these coins? ● What happened in 1776? ● Would this coin have been printed at the beginning of 1776, or the end? ● Can suggest an exact month or date this might have been made?

6. The students will share their findings with the rest of the class. Make sure they include their historical documentation.

● Where did you get your information? ● Is there anything your textbook cannot tell you about the coin and its historical context? ● Where else could you go to find more information about this coin and its placement within American history?

7. Break the students into their groups again. Give each group a quarter to compare with the colonial coin. The students will address similar concerns in analyzing the modern quarter as they did with the Continental Dollar (They can work with the same worksheet questions). Finally, the students will complete the 'Compare and Contrast' section that asks them:

● If you were alive 200 years from now, and found both of these coins in an archaeological excavation, what could these coins tell you about America and its history? ● What would they not tell you?

Follow-up: After the students have thoroughly analyzed the two American coins, have them create their own coins. If you were to design your own Continental Congress coin, what would it look like? Make it historically accurate, but be creative. Make sure you consider such things as material, size, weight, shape, design, text, value, historical relevance, and the concerns of American leaders in 1776. For example:

● Is there something that you think is important enough to include that was not represented on the colonial coin? Would you make it attractive, or plain? ● If you made it out of gold, from where would you get the gold? ● Does it have to be round?

Evaluation: Students will be assessed on their observation of the colonial coins and their directed research on the coin's historical context. Students will also be assessed on their ability to apply this inquiry method to a modern day American quarter, and their ability to compare and contrast the two coins in order to come up with some conclusions about America and its history. In addition, students will be evaluated on their consideration of the aesthetic, physical properties of the coins, their attention to historical accuracy and their ability to incorporate this into the design of their own coin. Summary: In this lesson students will observe, question, and research a colonial coin to place it in its historical context. Students will then apply this method of inquiry to a modern day quarter, and compare and contrast the two coins in order to better understand America and its history. Students will design their own colonial coins. Source: "The Leslie Brock Center for the Study of Colonial Currency" *This is an advanced site that contains detailed discussions of colonial currency, including discussion of paper currency and coins. There are many quality images of colonial American and international currency from the 16th and 17th centuries. Name: ______Date: ______

Worksheet: What can a coin tell us about history? What can history tell us about a coin?

Directions: As a group, answer the questions on this worksheet on a separate piece of paper. When doing research, make sure you correctly record your sources.

I. OBSERVATIONS:

1. Shape

2. Measurements

3. Weight

4. Texture

5. Is it hard or soft?

6. Is it shiny or dull?

7. What kind of images and words do you see on this coin? Describe them.

8. What is it made out of?

9. Would it fit in your wallet, or pocket?

10. Does it have an obvious head or tail side like modern American coins?

11. Do you think this coin is attractive or ugly?

12. What do you think is the most important thing about the coin?

13. How does a person who designs coins decide what is important enough to put on the coin? II. RESEARCH

1. Where can you go to find out more about this coin?

2. What kinds of clues do the coins give?

3. What was the value of this coin?

4. Where was this coin made?

5. When was it made?

6. What happened in 1776?

7. Would this coin have been printed at the beginning of 1776, or the end? Why?

8. Is there any way you can suggest an exact date or month this might have been created?

9. What do you base your conclusion on?

10. What do you think each of the designs on this coin mean/symbolize? What makes you think that?

III. COMPARE AND CONTRAST

You are living 200 years from today and you know nothing about American history. On an archaeological excavation you find both of these coins.

1. What could you know about America and its history just by looking at these coins?

2. What could these coins not tell you about America and its history?

3. Where would you go to find out more about the coins and American history? Portraits as Keys to History English Language Arts Social Studies Nathaniel Hurd, portraiture, identity

Objectives: Introduction Students will Getting Started ● visually examine and analyze two historical portraits in the About Face exhibit in order to Lesson Plans identify differences. ● construct the framework to use art as a primary source document.

Curriculum Connections Lesson Times:

Images If you attend the About Face exhibit in the Memorial Art Gallery, this lesson consists of suggested pre-visit, visit, and post-visit activity. Websites for further study Vocabulary:

Bibliography identity - the characteristics and qualities of a person, considered collectively and regarded as essential to that person's self-awareness. portrait - a work of art that represents a specific person. silversmith - one whose occupation is making and repairing articles of silver. sitter - the person who is the subject of a portrait.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials: 1. Nathaniel Hurd, portraiture, identity worksheet (html or Word document) 2. Images Image #1 John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 29 3/8 x 24 5/8"

Memorial Art Gallery, Marion Stratton Gould Fund, 44.2

Image #2 Portrait of Nathaniel Hurd John Singleton Copley from the Cleveland American, 1737-1815 Museum of Art Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8"

Cleveland Museum of Art, Gift of John Huntington Art and Polytechnic Trust

3. Portfolio of portraits from the Memorial Art Gallery (collection of laminated pictures provided in the Teacher packet) Lesson: Pre-visit

1. Photocopy one worksheet for each student. To facilitate brainstorming, have your students pair up for the looking exercise. 2. Project Slide 1 & 2. Be sure to let them know these are images that will be seen and explored during their visit to the Memorial Art Gallery. Do not let them know these two portraits are of the same man. 3. Tell the students they are expected to study the two projected images in depth. Give them approximately 10 minutes to look at the portraits and brainstorm with their partner. 4. On the worksheet provided in the 'Observations' column, each student is to write down 10- 15 differences they can identify between the two portraits, paying attention to such features as clothing, textures, facial features, pose, lighting, mood, etc. This could be as simple as, "The man on the left has two books in front of him, the man on the right does not." If the students begin by making judgements about the portraits, ask the students to explain their

answers. For example, if a student says that one of the men looks like a more cheerful person, they need to tell you what it is about the way the person is painted that makes them appear so. "This man looks nicer than the other man. I say this because I can see that he has a bit of a smile on his face, his eyes that are looking at me are friendly, and he is wearing bright, colorful clothes. Whereas the other man is surrounded by grays and the whole portrait appears more distant because he is not even looking out at the viewer." The goal of the 'Observations' part of this lesson is to have the students study and explain the two paintings' formal features (color, light, composition, brushstroke, space, etc.) in detail so their later discussion of the paintings' meanings is based on solid observations. 5. After the students have identified these differences, each group can share one observation as you go around the room until all observations have been shared with the class. Every new addition can be written on the blackboard, an overhead transparency, or on each student's personal worksheet. 6. Once the observations are exhausted the students will address the questions in the 'Opinions' column of their worksheet. The answers should be based on the previous observations made of the two works. These questions are:

● What is going on in these portraits? Explain your answer. ● When/where do these men live? ● What do you think each man does for a living, or as a hobby? ● Can you guess what their social status is? ● What type of audience do you think was intended for each portrait? ● Which portrait do you like better? ● Why do you like one more than the other? ● If you had a valuable secret, which of these men would you share it with? Why?

7. Ask the students to be clear about the reasons for their answers. They should explain their 'Opinions' based upon the 'Observations' they just made. If the students need more room to write their explanations, they can turn to the back of their worksheet. The opinions are, of course, personal, so although the students are encouraged to share their opinions with the class, it is not necessary that each student add any other opinions to their own list. You can post the students' responses on the blackboard or an overhead transparency for class consideration. 8. Finally, in the 'Questions' column, the students will write down at least three to five questions they have about these two portraits that cannot be answered simply by looking at them. What are they hoping to learn about these portraits while they are at the museum?

Lesson at the Gallery Exhibit:

1. These worksheets will be brought to the gallery visit, so the students can compare their own observations and opinions with what is known about the two portraits. The questions the students formulate in the classroom during their looking exercise will allow the students to interact with the exhibition material during their visit. 2. Let the students know that while they are in the 'About Face' exhibit, they are required to actively pursue at least two of the answers to the questions they generated in the classroom. They will be expected to be able to reflect upon their discoveries in class after the gallery visit.

Follow-up (Option #1): After the gallery visit, when they are back in the classroom, ask the students to discuss any new ideas on Nathaniel Hurd's portrait they found in the exhibit. Add these comments to the lists on the blackboard or overhead transparency.

● What kind of answers did you find to your questions? ● Was there anything you were not expecting to discover? ● Was there something you were hoping to learn about at the exhibit that was not discussed? ● Were any of your opinions or observations way off, or surprisingly accurate?

Follow-up (Option #2): Instruct the students to look at the collection of portraits in the teacher's packet of materials. All are from the Memorial Art Gallery groups and then to explain the categories they used to create the groups. Students could then try to hang the portraits in a classroom art gallery. The students could also explore the use of these portraits as social documents by asking the same questions they asked of the Hurd portrait.

Follow-Up (Option #3): Examine other portraits on line.

● http://www.earlyamerica.com/portraits/index.html "Gallery of Early American Portraits" *This site provides a menu of portraits of such notable historic figures as John Hancock, John and Samuel Adams, Benjamin Franklin.

Think about it:

In this lesson we have been trying to understand the meanings portraits holds in their historical contexts. Is there any way we can ever get past looking at historical objects through modern eyes? Can we ever truly understand the portrait of Nathaniel Hurd in the same way that a colonial American would have?

Evaluation:

Students can be assessed through their participation in the 'Observations' activity, their ability to build interpretations on observations in the 'Opinions' activity, and their active, self-guided engagement with the About Face exhibit.

Summary:

Students will participate in a process of visual observation, comparison, and inquiry that will culminate with a visit to the gallery where the portraits of Hurd will be placed within the historical context of colonial Boston. This lesson plan will help students create their own framework in which to approach and engage the material in the About Face exhibit. Lesson Plans English Language Arts Unit Introduction Social Studies Paul Revere and Point of View: An Introduction Boston Massacre, Paul Revere, point of view

Introduction Image 10:

Getting Started Paul Revere American Engraving of the Boston Massacre, 1770 Lesson Plans American Antiquarian Society Curriculum Connections

Images Image #11:

Websites for further study John Singleton Copley American, 1737-1815 Bibliography Paul Revere, 1768 Oil on canvas, 35 x 28 ½"

Museum of Fine Arts, Boston, Gift of Joseph W. Revere, William B. Revere, and Edward H.R. Revere 30.781

Information: This engraving was created by the Patriot silversmith Paul Revere to commemorate the Boston Massacre. Paul Revere lived and worked at the same time and in the same city as Nathaniel Hurd. In addition to living and working in the same city, Paul Revere and Nathaniel Hurd were both silversmiths who learned their trades through apprenticeships with their respective fathers. Both silversmiths also had their portraits painted by John Singleton Copley, and apparently Hurd once engraved some of Revere's silver.

By 1768 when this portrait of Paul Revere was painted by John Singleton Copley, the Townshend Acts' duties on tea were causing rising resentment in the colonies towards England. The fact that Revere is shown working on a teapot may hold political significance (Quinn, p248). This portrait appears to fulfill the potential that the incomplete portrait of Hurd did not. In the portrait of Paul Revere we see an artisan in his work clothes and environment. Yet, Revere appears to be a gentleman worker; his hands and the table he is working on are perfectly clean.

Vocabulary: engraving - image made by taking the impression from an engraved and inked metal or wood block. Patriot - a colonial who believed that America should not be ruled by England. silversmith - one whose occupation is making and repairing articles of silver. apprenticeship - a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master. portrait - a work of art that represents a specific person. Townshend Acts - (1767) laws passed by Parliament that taxed goods such as glass, paper, silk, lead, and tea in the American colonies.

Suggested Websites:

● http://www.paulreverehouse.org "The Paul Revere House" *This sight is interesting and fun. It could act as a good introduction to thinking about life in colonial Boston and the 'About Face' exhibit. ● http://www.pbs.org/ktca/liberty/chronicle/episode1.html "Liberty: Chronicle of the Revolution: Boston 1774" ● http://www.pbs.org/ktca/liberty/game/ "Road to Revolution: A Revolutionary Game" Suggested website:

Source:Quinn, Karen E. "Paul Revere," in Rebora, Carrie and Staiti, Paul, et. al. John Singleton Copley in America. The Metropolitan Museum of Art, NY, 1995. pp. 246-249

Suggested Lessons:

Paul Revere and Point of View: Images and accounts of the Boston Massacre Paul Revere and Point of View: The figure of Paul Revere. Romanticizing colonial American history John Singleton Copley and British Portraiture English Language Arts Social Studies Picturing History

Objectives: Introduction Students will Getting Started

● observe and compare 18th century British portraits with those made by John Singleton Lesson Plans Copley. ● write a creative story about a person in one of the Memorial Art Gallery's portraits. ● conduct research to explore the cultural climate of the portrait in order to write a Curriculum Connections historically accurate story.

Images Lesson Times:

If you attend the About Face exhibit at the Memorial Art Galery, this lesson consists of Websites for further study suggested pre-visit, visit, and post-visit activities.

Bibliography Vocabulary:

portrait - a work of art that represents a specific person.

sitter - the person who is the subject of the portrait.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials: 1. Images

Image #1

John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 29 3/8 x 24 5/8"

Memorial Art Gallery Marion Stratton Gould Fund

Image #2 Portrait of Nathaniel Hurd from the Cleveland Museum of Art John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8"

Cleveland Museum of Art Gift of John Huntington Art and Polytechnic Trust Image #3

John Singleton Copley American, 1737-1815 Mr. and Mrs. Thomas Mifflin (Sarah Morris), 1773 Oil on ticking, 60 ½ x 48"

Historical Society of Pennsylvania, Philadelphia 1900.2

Image #11

John Singleton Copley American, 1737-1815 Paul Revere, 1768 Oil on canvas, 35 x 28 ½"

Museum of Fine Arts, Boston

Image #24

Thomas Gainsborough British, 1727-1788 Man with Book Seated in a Landscape, ca. 1753 Oil on canvas, 24 x 20"

Memorial Art Gallery Gift of Dr. and Mrs. Fred W. Geib, 75.115 Image #25 :

Sir Joshua Reynolds English, 1723-1792 Portrait of Miss Hoare, 1782 Oil on canvas, 36 3/16 x 28"

Memorial Art Gallery George Eastman Collection of the University of Rochester, 77.1

2. Picturing history worksheet (HTML or Word)

Lesson: Previsit

1. Project Slides #24 & 25. Allow the students to take some time to look at these two portraits. 2. Begin asking the class questions to help focus their looking:

● What details do you see? ● Where are these people from? ● When were these portraits painted? ● What do the visual elements (setting, facial expression, pose, clothing, etc.) of these portraits tell you about the sitters' personality, culture, and class status? ● Are these people you would want to know?

3. Choose one or two of John Singleton Copley's portraits of American sitters (Slides #1-3 and 11) to compare with these two British portraits.

● Can you tell which are British and which are American? What is your evidence? ● How are these two British portraits similar to the portraits by Copley? Explain. ● Are there any blatant differences between these two portraits and those by John Singleton Copley? ● Where do you see the most dramatic differences between the British and American portraits? ● Do you see it in the color, light, brushstroke, organization, size, gesture, mood, expression, etc.?

4. Discuss with the students how American colonials followed the trends and fashions of English society. The colonies were still very reliant upon England and there were many similarities between the two countries at the time.

Lesson in the Exhibit:

1. Next, while the students are at the Gallery, they are to find a portrait other than the ones previously discussed. On the Picturing history worksheet, the students will carefully document the portrait they choose. Make sure they spend a good deal of time looking at the portrait. They will need to be as detailed as possible in describing their portrait because they will be writing about the portrait after their gallery visit. They will answer such questions as:

● Is it a portrait of a woman or a man? ● What is going on in this portrait? What makes you say that? ● How big is this portrait? Do you think it would go in someone's living room, or maybe a palace, or bedroom? What makes you think that? ● What is s/he wearing? Describe the style, pattern, materials, and textures. ● Where is s/he set? ● What kind of colors do you see in this portrait? ● Is the sitter looking out at the viewer? Explain. ● What does this person's facial expression convey to you? What kinds of mood do you get from looking at this portrait? ● Does this person look young/old, wealthy/poor, important/not important, happy/sad, nice/ mean, smart/stupid, etc.? Explain your answer in detail. ● What do you think this person would do for a living? For fun? Explain your answer. ● Would you like to get to know this person? Why or why not? 2. After the gallery visit, students will use the information collected on their worksheet to begin thinking of a story based around the person in the portrait. 3. The students will do research on the culture and time period of the portrait. From there, students with have a context in which to place their person when they write a fictional biography, narrative story, expose newspaper article, or first person stream of consciousness about the person in their chosen portrait.

Follow-up (Option 1): Research about life in Boston leading up to the Revolution. What was it like to live in the city in such a turbulent time? What did people do for entertainment? What kinds of clothes did people wear? What were the different social classes, and how did their lives differ?

Research resources: Brenner, Barbara. If You Were There in 1776. Simon and Schuster for Young Readers, New York, 1994.

Moore, Kay. If You Lived at the Time of the American Revolution. Scholastic, New York, 1997.

Suggested Websites:

● http://www.bham.wednet.edu/colonial.htm "Colonial American History Resources" *This is another great resource site including links to sites related to famous historical figures, colonial skills, religion in the colonies, etc. ● http://americanhistory.si.edu/hohr/springer/index.htm "You be the Historian" *Looks at primary source documents (both texts and objects), to try to figure out what a late 18th century colonial family was like. Available for printing is 'Questions for Future Historians' worksheet for further analysis and discussion. 'In Conclusion' section has historians giving their opinions on the family based on their study of the primary source documents. ● http://www.pbs.org/ktca/liberty/game/ "Road to Revolution: A Revolutionary Game"

Follow-up (Option 2): The students can do the following research on the experiences of Loyalists before and after the Revolution. How many Loyalists were there in the American colonies prior to and during the American Revolution? How many moved back to England? How were Loyalists who stayed in the colonies treated?

Evaluation: Students will be assessed on their ability to observe and describe the features of the portrait they choose at the Memorial Art Gallery. Students should be able to research the historical time period of their chosen portrait in order to contextualize their creative writing assignment.

Summary: Students will compare and contrast two 18th century British portraits with Copley's portraits of Nathaniel Hurd. During their visit to the Memorial Art Gallery, students will each choose one of the Gallery's many portraits to write about. After the Gallery visit, students will research the historical and cultural context of the portrait in order to contextualize their creative writing assignment. The exercise will provide a model for the necessity of combining observation with historical research when approaching historical art and objects. Name:______Date:______

Worksheet: Picturing History

Directions: Choose one portrait at the Gallery that you would like to write a short story about. TAKE YOUR TIME and look carefully at this portrait. Answer the following questions and make sure you are thorough in the notes you take while at the Gallery because you will be writing about this portrait later on.

Portrait you have chosen:

Artist: ______

Country of Origin: ______

Title and Date: ______

Medium: ______

1. Is it a portrait of a woman or a man?

2. What is going on in this portrait? What makes you say that?

3. How big is this portrait? Do you think it would go in someone’s living room, or maybe a palace, or bedroom? What makes you think that?

4. What is s/he wearing? Describe the style, pattern, materials, and textures.

5. Where is the setting of the painting?

6. What kind of colors do you see in this portrait?

7. Is the sitter looking out at the viewer? Explain.

8. What does this person’s facial expression convey to you? What kinds of mood do you get from looking at this portrait?

9. What adjectives would you use to describe this person? Explain you answers.

10. What do you think this person would do for a living? For fun? Explain your answer.

11. Would you like to get to know this person? Why or why not? Lesson Plans Art Unit Introduction English Language Arts Social Studies Portraits as Keys to History

Introduction Image 1: Getting Started John Singleton Copley American, 1737-1815 Lesson Plans Nathaniel Hurd, ca. 1765 Oil on canvas, 29 3/8 x 24 5/8" Curriculum Connections Memorial Art Gallery, Marion Stratton Gould Fund, 44.2 Images

Websites for further study Image 2: Portrait of Nathaniel Hurd from the Cleveland Bibliography John Singleton Copley Museum of Art American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 30 3/8 x 25 3/8"

Cleveland Museum of Art, Gift of John Huntington Art and Polytechnic Trust Information:

We do not know why the portrait of Nathaniel Hurd in the Memorial Art Gallery is incomplete. There are obvious differences between this portrait and the completed version at the Cleveland Museum of Art. In the portrait of Hurd owned by the MAG, the faraway gaze of the sitter hints at a thoughtful unselfconscious personality. In addition, Hurd is also represented in the work clothes of a colonial silversmith, with his waistcoat and collar open and his shirtsleeves rolled up. Portraits painted by John Singleton Copley for the upper class of colonial Boston emphasized their material wealth through rich clothing and settings. This portrait of Nathaniel Hurd would have been uncommon at the time in that his interior life and manual labor appear to be the main focus. The subject and unfinished state of this portrait raise interesting questions. Is this portrait incomplete because Hurd rejected this unidealized image of himself? Would this have been a portrait for public display or for a private, intimate setting?

The Hurd portrait owned by the Cleveland Museum of Art is quite different from the MAG’s. In this image, Hurd is wearing a fashionable Turkish turban and banyan (a lounge coat associated with gentlemen of leisure at the time). He is depicted as an alert, confident individual squarely meeting the viewers’ eyes. Some people notice the apparent addition of weight visible in the Cleveland’s Hurd portrait. This ‘fattening up’ of the sitter was a common device of Copley’s when painting male sitters. At this time, fat was a sign of beauty, health, and financial success (Staiti, p. 56). In this case the weighty appearance of Hurd in the Cleveland portrait might act together with his much fancier attire in shaping Hurd’s identity as a prosperous tradesman.

Vocabulary: portrait – a work of art that represents a specific person. silversmith – one whose occupation is making and repairing articles of silver. sitter - the person who is the subject of a portrait. identity – the characteristics and qualities of a person, considered collectively and regarded as essential to that person’s self-awareness.

Sources:

Staiti, Paul, "Character and Class," in Rebora, Carrie and Staiti, Paul, et. al. John Singleton Copley in America. The Metropolitan Museum of Art, NY, 1995. pp. 53-78

Lessons:

Portraits as Keys to History: Nathaniel Hurd, portraiture, identity

Portraits as Keys to History: Life as a colonial silversmith

Portraits as Keys to History: Self-Portraits and fashioning your own identity Portraits as Keys to History Art English Language Arts Self-portraits and fashioning your own identity

Objective: Introduction Students will Getting Started ● apply what they learned about the ability of portraiture to display social status and identity by constructing their self-portraits out of images and words. Lesson Plans ● observe the power of these visual clues as social signifiers by participating in and observing other students identifying people through their self-portraits. Curriculum Connections Lesson times: Images If you attend the About Face exhibit in the Memorial Art Gallery , this lesson is suggested as a post-visit activity. Websites for further study Vocabulary: Bibliography identity - the characteristics and qualities of a person, considered collectively and regarded as essential to that person's self-awareness.

portrait - a work of art that represents a specific person.

self-portrait - a work of art depicting oneself, created by oneself.

sign - an object, character, or gesture that represents something else that is not visible or tangible.

symbol - something that stands for, represents, or suggests another thing.

Prior Knowledge: Students should have visited the About Face exhibit at the Memorial Art Gallery.

Materials:

1. Magazines from which students can cut out words and images that describe them (optional) 2. Scissors 3. Tape, glue, or rubber cement 4. Large pieces of paper 5. Markers, crayons, colored pencils 6. Self-portraits and fashioning your own identity worksheet (html or Word)

Lesson:

1. Get the students thinking about what clues were given in Nathaniel Hurd's portraits that help us understand his occupation, social status, culture, and time period. For example, in the Memorial Art Gallery, Hurd is shown with a bald head, wearing a turban. This helps us understand something about his culture. During this time in America, men sometimes shaved their heads because they wore wigs. His hat and clothes also tell us about Nathaniel Hurd's social status. The way we see him here, with his turban on, the sleeves of his shirt rolled up, and his collar unbuttoned, all indicate this man is not dressed up. And, once we know a little more about clothing, social status, and portraiture in colonial America, then we can tell that this portrait is unusual in its deliberate casualness. Most people who had their portrait painted wanted to look very wealthy and important. They did this by having their portrait painted while wearing very stylish, expensive clothes, or sitting in a sumptuous room. Hurd's portrait clues us in on his social status and occupation. It may also clue us in to his personality, his contemplative gaze hints at a man that has a lot on his mind. 2. Ask the students to think about what kind of clues they would give about themselves in a self-portrait.

● What attributes symbolize you? ● What colors, words, emotions, attributes would best express your identity? 3. Students will construct a self-portrait considering their age, family, hobbies, education, responsibilities, social life, culture, etc. This activity can be done in the classroom, or at home. Doing this activity at home may be beneficial in order to maintain each student's anonymity. This will make the students' task of identifying their classmates' self-portraits later a true exercise in observation and detective work. 4. Depending on the available materials students can:

a.) Create a self-portrait by first creating a written self-portrait. They will write about their age, family, hobbies, education, responsibilities, social life, culture, etc., and then choose one image, object, or symbol that best embodies each of these categories. Using markers, crayons, or pencils draw each of these attributes on paper to create a composite self-portrait. For example, students can draw family members, favorite music groups, hobbies such as swimming or painting, feelings through facial expressions, etc. b.) Create a self-portrait by cutting images and words from magazines and making a collage of the images to represent their age, family, hobbies, education, responsibilities, social life, culture, etc. This could include students cutting out a smile to represent happiness, or cutting out a baseball glove for students who like to play or watch baseball, etc.

5. After the portraits are complete, the students can hang their self-portraits. Make sure each portrait has a clearly marked number, so when the other students are trying to identify the maker of each portrait, they can indicate what numbered portrait they are discussing.

6. Give each student a copy of the worksheet. First, the students will walk around and view the self-portraits without writing anything. Try to discourage too much discussion during this time. After each student has gotten a feeling for the group of portraits as a whole, they can begin filling out their worksheets in order to identify every self-portrait in their class.

7. In the 'Observations' column students are to write down as many distinguishing characteristics as they see in each of these portraits. For example, "This girl is wearing a baseball glove. She has glasses and blonde hair." In the 'Interpretation' column the students will begin to interpret the things they have observed in the self-portraits. For example, "This may be a portrait of someone who likes to play baseball, or someone who likes to watch baseball. Jane plays on a little league team and has blonde hair and glasses." And finally, in the 'Identities' column, the students will put together what they have found in the 'Observations' and 'Interpretations' column in order to identify the person whose self-portrait they are looking at. "I think this is Jane!"

8. Go over the worksheets with the entire class. Make sure the students are clear when they explain why they chose to identify portraits with certain people. Everyone in the class can share one of their identifications with the class. First, they discuss their observations of the self-portrait, then their interpretations, and finally their identification. If they do a sufficient job, move on to the next student. If you have the time allow other students to share their findings, the more points of view the students are exposed to, the better.

Follow-up:

After all of the identities have been discovered, be sure to relate this experience to the way portraiture was used by the people in colonial Boston. Follow up by asking students:

● If you could hold only one thing in your portrait, like the books in the Cleveland portrait of Nathaniel Hurd, what would it be? ● What does that attribute say about you? What does it not say about you?"

Think about it:

If a young person were to find your self-portrait in an attic 100 years from now, what would be the best way for them find out about you? What kind of questions should they ask? Where would they go to do research?

Evaluation:

Students will be assessed on their ability to construct their personality, traits, interests, and background into a coherent 'identity' to be expressed through visual symbols and attributes. Students should also be evaluated on their participation in 'reading' the clues in their classmates' portraits. Look for the richness of detail in the students' Observations column, their ability to put these observations to meaningful use in the Interpretations column, and their final synthesis of the material in their identification of the person.

Summary:

Constructing their own self-image will provide students with a personal example of the power of images to fashion an identity. This experience will contribute to students analytically approaching visual and textual documents in the future. Participating in interpreting the self- portraits of other students and watching their own self-portrait get identified will illustrate to the students the power of visual signs to help us interpret images and understand history. Name:______Date:______

Worksheet: Self portraits and fashioning your own identity

Directions: Use this worksheet to help identify the self-portraits of your classmates. Use the Observations column to write down what you see. Use the Interpretations column to interpret what you can see, and use your Identities column to identify the maker of each self-portrait based on your Observations and Interpretations.

OBSERVATIONS INTERPRETATIONS IDENTITIES

#1

#2

#3

#4

#5

#6

Name: ______Date: ______

Worksheet: Self-portraits and fashioning your own identity

OBSERVATIONS OPINIONS IDENTITY #__

#__

#__

#__

#__

#__

#__

Identity of Women in Portraiture English Language Arts Social Studies Signs, symbols, identities and women in the American Revolution

Objectives: Introduction Students will Getting Started ● look at portraits of women throughout the Memorial Art Gallery. ● search for signs and symbols that act as visual clues in fashioning identity. Lesson Plans ● analytically approach portraits/paintings as a form of primary source document. ● research the roles of women in the American Revolution. Curriculum Connections Lesson times: Images If you attend the About Face exhibit at the Memorial Art Gallery, this lesson consists of suggested visit and post-visit activities.

Websites for further study Vocabulary:

Bibliography double portrait - a work of art that represents two specific people.

gender - the behavioral, cultural, or psychological traits typically associated with one sex.

identity - the characteristics and qualities of a person, considered collectively and regarded as essential to that person's self-awareness.

symbol - something that stands for, represents, or suggests another thing.

Whig - another name for a Patriot.

Tory - the derogatory name Patriots (Whigs) called Loyalists.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre-Revolutionary Boston. Students should have been introduced to the portraiture of John Singleton Copley by the pre-visit materials on Nathaniel Hurd. Students should have a basic understanding of the concepts of signs, symbols, gender, and identity.

Materials: 1. Women in portraiture worksheet (HTML or Word) 2. Images Image #3

John Singleton Copley American, 1737-1815 Mr. and Mrs. Thomas Mifflin (Sarah Morris), 1773 Oil on ticking, 60 ½ x 48"

Philadelphia Museum

Image #4

Kees van Dongen Dutch, 1877-1968 Portrait of a Woman, ca. 1903 Oil on canvas, 39 3/8 x 27 ¾"

Memorial Art Gallery Gift of Mr. and Mrs. Irving S. Norry, 66.27

Image #5

Ralph Earl American, 1751-1801 Mary Smith Booth, 1790 Oil on canvas, 38 x 31"

Memorial Art Gallery Marion Stratton Gould Fund, 57.13

Image #6

Jefferson Gauntt American Josephine Dixon

Memorial Art Gallery Gift of Mrs. George Barlow Penny, 42.45 Image #7

Jacob Jordaens Flemish, ca. 1640 Portrait of Elizabeth Jordaens

Memorial Art Gallery Gift of Dr. and Mrs. Fred W. Gelb, 74.102

Image #8

M.M. Manchester American, active ca. 1840s Judge and Mrs. Arthur Yates, 1840 Oil on canvas, 36 x 58 ¾"

Memorial Art Gallery Gallery Purchase, 41.30

Image #9

Ammi Phillips American, 1788-1865 Old Woman with a Bible, ca. 1834 Oil on linen, 33 ½ x 28"

Memorial Art Gallery Beatrice M. Padelford Trust, 84.22

Lesson:

1. Provide students with a copy of the Women in portraiture worksheet to be completed during their trip to the Gallery. 2. This sheet asks students to find four portraits of women (both alone and in groups) and address the questions on the worksheet in response to the portraits they choose. Make sure the students focus on portraits of women, and not just images of women. Students can identify portraits as those that have as their titles, "Portrait of..", or a woman's proper name. This worksheet asks:

● What is going on in this portrait? What makes you say that? ● What is she holding? ● What is she wearing? ● What is the setting? ● What else do you notice about the woman in this portrait? Is she making any gestures?

3. When they get back to the classroom, have students pair up so they can compare their results and begin looking for any similarities or differences in their findings. Give them five to ten minutes to brainstorm. 4. Discuss the gallery experience with the entire class.

● Did they find portraits of women? ● What were they like? ● Were they all different, or the same? ● What was each woman holding? ● What message did you get from each portrait? Why?

Allow the students to be creative in their guesses as to what the portraits mean.

5. After the students have offered up their interpretations of the different attributes they saw at the Gallery, introduce them to some of the attributes commonly used in portraits of women. Slides 4-9 are portraits of women that are in the Memorial Art Gallery collection. After the gallery visit, these images should be familiar to the students. You can use these images to illustrate the way different attributes were used in portraits.

Some traditional portraiture attributes and their general symbolic interpretations: fruits and flowers make reference to fertility in motherhood. flowers refer to a woman's fertility, or her gentility (ability to cultivate a garden). birds in colonial America birds often make reference to the women's ability to train the birds as pets. This illustrates the woman's patience and nurturing nature. small dogs domesticity, loyalty book could be the Bible to show a woman's piety, or could refer to their knowledge and ability to read.

6. After you share these portraits and interpretations with the students, give them time to reflect on how they represent women. Then engage them in a personal response to those attributes:

● Do these symbols make sense to the students? ● What do these symbols tell us about the way gender roles have been understood/expressed in different cultures throughout history? ● Do they help viewer's understand something about the sitter that they didn't understand before? ● Is there anything that these commonly used attributes cannot express about an individual woman's personality, interests, life experiences, and aspirations?

7. Look at image #3 of Mr. and Mrs. Thomas Mifflin (Sarah Morris) by John Singleton Copley. 8. Based on their experiences observing portraits of women at the Memorial Art Gallery, ask the students to examine this double portrait. You could even compare this Copley portrait with the MAG's other portraits of women (images 4-9). 9. Begin asking the students questions about the Mifflin portrait:

● What is going on here? ● What makes you say that? ● How is this portrait different than what you have seen before? ● How is it similar to what you have seen before? · What do their actions/gestures mean? ● How can we find out more about this portrait?

10. If it is not brought up during discussion of the previous questions, raise the issue of the cultural context of the Mifflin portrait. References to the American Revolution may help them move towards understanding the political significance of this portrait. A loom is not a familiar item to most children in the 21st century. Focus their attention on the loom.

● What is she doing? What is the object she is using? ● Is it a tool, a game, a weapon, a machine? Describe it. ● Does it look like anything the students have ever seen before? ● How does it compare to the other attributes they discussed?

Once the loom is identified, see if the students can relate that activity to the political actions taken by the colonials against Britain in the years leading up to the American Revolution.

● If the colonials protested Britain's taxes by boycotting British manufactured goods, then where did they get their clothes? ● Why would Sarah Morris Mifflin have wanted to show herself weaving in her portrait? What does that say about her as a colonial, as a woman?

Follow-up:

Discussion of this painting is a good lead into a more in depth discussion of women's roles in the American Revolution.

Have your students do research on the role of women in the American Revolution. In what other ways besides spinning, did women participate in the patriotic cause? How do you think women who were helping in the fight towards American independence felt about their own inability to vote and hold the same rights as their husbands?

Think about it:

Weaving and spinning took an enormous amount of time. How did the political decision to boycott English products affect the lives of women in colonial America?

Suggested Websites:

● http://www.earlyamerica.com/ "Archiving Early America" *This site includes newspapers, maps, writings, lives of Early Americans, notable women of Early America, and how to read a 200 year old document. ● http://americanhistory.si.edu/hohr/springer/index.htm "You be the Historian" *Looks at primary source documents (both texts and objects), to try to figure out what a late 18th century colonial family was like. Available for printing is 'Questions for Future Historians' worksheet for further analysis and discussion. 'In Conclusion' section has historians giving their opinions on the family based on their study of the primary source documents.

Evaluation:

Students can be assessed on their ability to observe and record the details of portraits of women and their ability to compare their results with another student and synthesize their findings to gain greater understanding of the traditional ways of depicting women in portraiture. Students should also be evaluated on their participation in applying their knowledge about the American Revolution to an unknown portrait, and their research into the roles of women in the Revolution.

Summary: By recognizing and noting the details of portraits of women from the Memorial Art Gallery collection, students will develop their looking skills. The post-visit collaborative work will afford the students an opportunity to categorize and compare the signs and symbols that serve as visual clues in fashioning an identity. By placing a portrait in the context of the American Revolution, students will have a chance to apply their analytical looking skills to identify the portrait's imagery. Students will also conduct historical research on the roles of women in the American Revolution. Colonial Trades and Apprenticeships Arts English Language Arts Social Studies Silversmiths

Introduction Objectives:

Getting Started Students will

Lesson Plans ● examine and analyze culturally significant objects from colonial Boston. ● construct a story around the life and work of Nathaniel Hurd from a list of keywords excerpted from a passage about Nathaniel Hurd. Curriculum Connections ● learn about colonial trades and apprenticeships and create a representational sign in the manner of a colonial limner (sign painter). Images Lesson times: Websites for further study If you attend the About Face exhibit at the Memorial Art Gallery, this lesson could be a pre-visit or post-visit activity. Bibliography Vocabulary:

apprenticeship - a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master.

cann - tulip-shaped mug popular in the 18th century.

silversmith - one whose occupation is making and repairing articles of silver.

trade - another name for the occupations people had during the colonial era. Usually it required some prior training through an apprenticeship during which time the necessary skills would be learned.

Prior Knowledge:

Students should have begun study of colonial America, with some basic background in pre- Revolutionary Boston.

Materials: 1. Images

Image #1 John Singleton Copley American, 1737-1815 Nathaniel Hurd, ca. 1765 Oil on canvas, 29 3/8 x 24 5/8"

Memorial Art Gallery, Marion Stratton Gould Fund, 44.2

Image 19:

Jacob Hurd American, d. 1758 Teapot, ca. 1740 Silver with wood handle 97.6.3 Courtesy of Historic Deerfield, Inc., Photography by Amanda Merullo Historic Deerfield Inc., Deerfield, Massachusetts Gift of Janette F. Weber in memory of her husband, Frederick C. Weber, Jr., M.D. Image 20:

Nathaniel Hurd American, 1729/30-1777 Cann Silver 54.457

Historic Deerfield Inc., Deerfield, Massachusetts Courtesy of Historic Deerfield, Inc., Photography by Amanda Merullo

Image 21:

Nathaniel Hurd American, 1729/30-1777 Teapot Silver 60.1045

Courtesy, Winterthur Museum

2. Nathaniel Hurd: Silversmith in pre-Revolutionary Boston worksheet #1 (HTML or Word) 3. Nathaniel Hurd: Silversmith in pre-Revolutionary Boston worksheet #2 (HTML or Word) 4. Internet access for follow-up activity (optional) 5. Large pieces of paper to use for sign making 6. Markers/crayons/colored pencil Lesson:

1. Look at images of silver pieces by Jacob and Nathaniel Hurd (Slides #19-21). 2. Begin by asking open-ended questions about the silver pieces.

● What are they? ● What are they decorated with? ● What are they made out of? ● What size are they? ● How much do you think they cost? ● How were things like this made in the 18th century? ● Who would have been responsible for making things like this?

3. Look at the image of the MAG's Hurd portrait (Image #1) alongside the image of Hurd's cann (Image #20). 4. Next give each student a copy of the list of words taken from the short story on Nathaniel Hurd's life. Give them 20-25 minutes to write a short story about Nathaniel Hurd and the silver pieces based on the words provided on the worksheet. Students have to include every word on the list in their story. 5. These stories can be funny or silly. Their participation in constructing a story about the past will pique their curiosity to find out the real story. 6. Students can share their stories with the class. Then give students the real historical story about Nathaniel Hurd (worksheet #2) and tell them to keep an eye out for the words they used to make a story. How is the real story different? Are there any words that you didn't expect to see used in a certain way?

Follow-up: (Option #1) This activity will broaden the students' exposure to the kinds of trades that existed during colonial time. First the students will visit "Colonial Williamsburg Historical Almanack". Or, if Internet access is limited you can print out and photocopy the relevant pages prior to the class session. Under 'Experience Colonial Life', there are a number of trades listed with a description of each. After having read about the different types of trades, the students will choose one of the trades that existed during colonial times and make a representational sign that would be hung outside of a shop's window. Students may wish to see the Memorial Art Gallery's collection of trade signs from 19th century Rochester area.

When all the signs are complete hang them up and as a group, guess what each sign is meant to display. Ask students why signs are not as representational today as they were during colonial times. This activity is from http://www.mmhschool.com/teach/socialstud/grade3-6/wl549-2.html

Follow-up: (Option #2) Show the video "Silversmith of Williamsburg; The Extraordinary work of a Skilled Craftsman" (available on loan from the Gallery's Teacher Resource Center).

Think about it: For the most part, colonial American women worked in the home, but a small percentage of women were tradespeople, such as silversmiths and printers. How did women receive training for their trades in a culture that didn't approve of women working in the public sphere?

Evaluation: Students will be assessed on their active participation in the discussions, writing, exploration at the Gallery visit, and their ability to read other students' signs. Students should have an understanding of the basic issues concerning colonial trades and apprenticeships.

Summary: Students will examine culturally significant objects from colonial Boston, which will lead to exploration of colonial trades and apprenticeships through a creative writing assignment and creating their own colonial trade sign. Name:______Date:______

Worksheet #1: Nathaniel Hurd: Silversmith in Pre-Revolutionary Boston

Directions: Create a story about the silver objects you have seen and the portrait of Nathaniel Hurd using every word on this paper. It is okay if you are not 100% accurate in your story, just do the best you can, and feel free to be creative. teapot

reputation social

nephew

genius

famous

Patriot

bayonet

difficult

fancy

distinguished

siblings

love silversmith

Paul Revere Name:______Date:______

Worksheet #2: Nathaniel Hurd: Silversmith in Pre-Revolutionary Boston

Nathaniel Hurd was born on February 13th, 1729/30. He originally had eleven siblings, but many of them died before the age of four. In 1738, when he was about eight years old, Nathaniel was attending Boston Latin School. He would have had to learn to read and write for his future trade as an engraver, and also must have learned some math to keep the books of his future business as a silversmith. He probably did not stay in school for very long, as he was apprenticed to his father to learn the silversmithing trade. His father, Jacob Hurd, was one of the most distinguished silversmiths in Boston. Nathaniel’s brother Benjamin also apprenticed with their father to learn how to become a silversmith. It was common for families to pass their skills and trades down to sons and nephews. In Nathaniel’s last Will, he gives to his nephew, “my large printing press and some tools in consideration of the love I have for him and the genius he discovers for the same business which I have followed and to which I intended to have brought him up to.” Here we see how the family business would be passed down from generation to generation.

Although he also did a good deal of engraving, Nathaniel made a wide variety of objects for use in upper-class households. Silver was a very expensive metal, so to have teapots, spoons, cups, and trays made out of it cost a great deal of money, and therefore could only be owned by wealthy people. Similar to the way drinking coffee has become a social activity in our society (like on the show “Friends” where the characters main hangout is a coffee shop), tea drinking was a highly social activity in colonial America. People would invite their friends over to have interesting conversation and to show off their fancy houses and expensive silver teasets.

Nathaniel Hurd was very good at the silversmith trade and he had a good reputation during his career. Sometimes silversmiths would specialize in a certain kind of silver item, and when people requested a silversmith to make items that they didn’t know how to make, they would have to ask one of their fellow silversmiths to help them out. On a couple of occasions, Hurd ordered a number of items that he could not make from Paul Revere, who was also a silversmith. We don’t know if Nathaniel Hurd and Paul Revere were friends, but they definitely knew each other, and they probably did not live very far from each other in the city of Boston. Paul Revere was a famous Patriot. Was Nathaniel Hurd involved in the patriotic effort as well? We don’t know, but he definitely was around to experience the tensions and turbulence of the years before the American Revolution. Just hours before the Boston Massacre occurred on March 5, 1770, Nathaniel was walking down a street in Boston and had his hat knocked off of his head by the bayonet of a British soldier!

Vocabulary: silversmith one whose occupation is making and repairing articles of silver. trade another name for the occupations people had during the colonial era. Usually it required some prior training through an apprenticeship during which time the necessary skills would be learned. apprenticeship a common way for young men to learn a trade during colonial times. Boys were often apprenticed to a master tradesman for a prescribed period of time to acquire the skills of the trade by watching and working with their experienced master. engraver a tradesman who cuts letters and designs into a surface from which prints are made.

Patriot a colonist who believed America should not be ruled by England. bayonet a dagger-like blade put on the end of a rifle, for hand-to-hand fighting. Name: ______Date: ______

Worksheet: Make it Yourself! Make it Yourself!

The Spoon Game

During colonial times in America, the marrow inside the bones of meat was considered a delicacy. If you wanted to get the marrow out of a narrow bone, what kind of utensil would you make?

Before you begin, make sure you…

Consider the necessary size

● small ● medium ● large ● long ● short

Consider the appropriate material

● wood ● silver ● glass ● clay ● plastic

Consider design

● fancy decoration/design ● plain decoration/design ● deep well ● shallow well ● wide ● narrow Name: ______Date: ______

Worksheet: Make it Yourself!

Make it Yourself!

The Spoon Game

What did you choose? Draw your marrow spoon here:

In colonial America, the Boston silversmith Nathaniel Hurd made a marrow spoon.

His marrow spoon consisted of parts: C + 5

His marrow spoon was perfect for the job!

Size:

Colonial Americans ate the marrow out of beef bones. Hurd’s spoon is the right size for dealing with beef bones. What would the spoon have looked like if they were eating the marrow out of elephant bones?!

Materials:

The marrow spoon is made of silver. This is because marrow was a delicacy, and meat was a luxury only the rich could afford on a regular basis. The marrow spoon is made of silver because that would fit in best with the rest of the fancy silver dishes and utensils on a dining room table. Besides, if you made a marrow spoon in wood, clay, or glass, it would probably break while digging inside the bone. And plastic? Well, that’s a modern invention. Plastic didn’t exist in colonial America.

Design:

Unlike regular utensils, Hurd designed his marrow spoon with spoon wells on both ends! Why would he do this? Well, as you can see, the two wells are similar shapes but one side is more shallow and narrow. This is to get into thinner bones. The other size is slightly wider and deeper. This is for when there is a larger bone that has more marrow. Marrow was considered a delicacy, and they didn’t want to miss a bite! How would it look if you designed a double-ended spoon for eating ice cream? As you can see, when Hurd was designing his marrow spoon he thought first about how the spoon was going to be used, and then he decided on the size, material, and design that would make the best spoon for digging marrow out of bones.

What’s your favorite thing to eat? Try designing a new utensil to make eating it easier and more fun! Think about how you can use different sizes, materials, and designs to make the best utensil for your favorite food.

Name: ______Date: ______

Worksheet: Make it Yourself!

Make it Yourself!

The Spoon Game

During colonial times, tea was very precious because it had to be shipped on long, dangerous trips over the Atlantic Ocean. Because tea cost so much money, mostly upper class people drank it and eventually drinking tea became a sign of social status. This tiny teacup shows how little tea was served at tea parties. This was to save the expensive tea. If you wanted to design a teaspoon to stir your tea with, what would it look like?

Before you begin, make sure you…

Consider size small

medium

large

long

short

thick

thin Consider material wood

silver

glass

clay

plastic

Consider design fancy

plain

Name: ______Date: ______

Worksheet: Make it Yourself!

Make it Yourself!

The Spoon Game

What did you choose? Draw your teaspoon here:

In colonial Boston, Nathaniel Hurd made a teaspoon.

His teaspoon consists of parts: B + 2

As you will see, the way Nathaniel Hurd made this teaspoon makes a lot of sense!

Size: This teaspoon is very small. Why would he make a spoon so small? Well, as you can tell, the teacups in colonial America were tiny! Remember? Tea was expensive, so they wouldn’t serve a lot at once.

Materials:

This teaspoon is made in silver, just as many of the colonial American teapots were. This was one of the ways rich people could show off their wealth. The teaspoons made of silver also show us how important drinking tea was to colonial Americans. If drinking tea wasn’t important, then they might have made their teaspoons and teapots out of ceramics. If you could make one thing out of silver, what would it be? What does that say about what you think is important?

Design:

The well of this teaspoon is very shallow. How useful could a spoon be with such a shallow well? What did they use to scoop up their sugar if not the teaspoon? Colonial Americans bought sugar in solid cones. They cut these cones into little cubes that they would put into their tea. So they didn’t need their spoons to get sugar, it made more sense for them to use tongs to pick up their sugar cubes! (tongs – a grasping device made of two pieces joined at one end by a hinge.)

Usually the decoration on teaspoons was fancier than the designs found on regular spoons. Because tea time was a time to entertain, wealthy people would make sure they had the fanciest tea sets to show off to their friends. Have you ever been over to a friend’s house who wanted to show you their fancy or expensive belongings? What were they?

As you can see, the way Nathaniel Hurd chose the size, materials, and design of the spoon was based on the way the spoon was going to be used. What other things can you think of that are designed based on their use?

So, what do you think? Did Nathaniel Hurd know what he was doing? If you think you have a better idea, design your very own teaspoon here: Name:______Date:______

Worksheet: Boston Tea Party

Directions: In the CD-ROM game ‘Boston Tea Party’, you collect items from the inside of a house in colonial Boston to set up for a tea party. With each item you find, there is information you can retrieve about life in colonial America prior to the American Revolution. Write the answers to the following questions in the spaces provided.

1. Find this object: and answer this question;

What does a clock have to do with God?

Question to research/think about: What was the predominant religion in the northeastern states of America before the American Revolution?

2. Find this object: and answer this question;

What does this have to do with sea ships and technology?

Question to research/think about: The East India Company lost a lot of their tea during what important event in Boston’s history? What was the reason for this event to happen in the first place?

3. Find this object: and then answer this question;

What event in Boston in 1760 left many families in the city homeless?

Questions to research/think about: What could regular citizens of Boston do to help prevent fires from spreading throughout the city? Without televisions, how else besides newspapers did colonial people get the latest news? 4. Find this object: and answer this question;

What kind of plates would colonial people use when they invited guests for dinner?

Questions to research/think about: What were the plates colonials used on an everyday basis made out of?

Suggested Website:

● http://www.archaeology.org/online/features/boston/index.html "Colonial Boston Unearthed" *Discusses archaeological findings from 'The Big Dig'. The contents of a colonial privy are used to make a hypothesis about the occupation of a woman who lived and worked in her house. Testimony and Depositions from the Trial of the British Soldiers

“I, John Wilme, of lawful age, testify that about ten days before the late massacre, Christopher Rumbly of the 14th regiment, was at my house…[and]…did talk very much against the town, and said if there should be any interruption, that the grenadier’s company was to march up King street…and that he had been in many a battle; and that Introduction he did not know but he might be soon in one here; and that if he was, he would level his piece so as to not miss; and said that the blood would soon run in the streets of Boston….” Getting Started From the deposition of John Wilme Lesson Plans “I, Jeffery Richardson, of lawful age, testify and say, that on Friday, the second instant, about 11 o’clock, A.M., eight or ten soldiers of the 29th regiment, armed with clubs, came Curriculum Connections to Mr. John Gray’s ropewalks [ropemaking shop], and challenged all the ropemakers to come out and fight them….” Images From the deposition of Jeffery Richardson

Websites for further study “…this put me upon immediately waiting upon Col. Dalrymple, to whom I related what I understood had passed at the ropewalk days before. He replied it was much the same as he had heard from his people; but says he, ‘your man was the aggressor in affronting Bibliography one of my people, by asking him if he wanted to work, and then telling him to clean his little-house [outhouse].’ For this expression I dismissed my journeyman on the Monday morning following; and further said, I would all in my power to prevent my people’s giving them any affront in future. He then assured me, he had and should do everything in his power to keep his soldiers in order….”

From the deposition of John Gray

“Matthew Adams…testifies and says, that on Monday evening the fifth day of March instant, between the hours of seven and eight of the clock, he went to the house of Corporal Pershall…the corporal called him back, and desired him with great earnestness to go home to his master’s house as soon as business was over, and not to be abroad on any account that night in particular, for the soldiers were determined to be revenged on the ropewalk people….” From the deposition of Matthew Adams

“they stood with their pieces before them, to defend themselves; and as soon as they had placed themselves, a party, about twelve in number, with sticks in their hands, who stood in the middle of the street, gave three cheers, and immediately surrounded the soldiers, and struck upon their guns with their sticks, and passed along the front of the soldiers, toward Royal-Exchange-lane, striking the soldiers’ guns as they passed…I saw the people near me on the left, strike the soldiers’ guns, daring them to fire, and called them cowardly rascals, for bringing arms against naked men….”

From the testimony of Ebenezer Bridgham

The above quotes were taken from The Trial of the British Soldiers, of the 29th Regiment of Foot. Boston: Published by William Emmons, 1824.

Statements by the Defense from the Trial of the British Soldiers

“‘You lobster,’ ‘You Bloody back,’ ‘You coward’ and ‘You dastard,’ are but some of the expressions proved.— What words more galling? What more cutting and provoking to a soldier? To be reminded of the colour of his garb, by which he was distinguished from the rest of his fellow citizens; to be compared to the most despicable animal that crawls upon the earth, was touching indeed a tender point…. A soldier and a coward!…Gentlemen of the jury, for heaven’s sake, let us put ourselves in the same situation! Would you not spurn at that spiritless institution of society, which tells you to be a subject at the expense of your manhood?

“The expressions from one party were—‘Stand off—stand off!’ ‘I am upon my station’—‘if they molest me upon my post, I will fire.’—‘By God I will fire!’—‘Keep off!’ These words were likely to produce reflexion and procure peace.”

Josiah Quincy for the Defense

(Quincy was one of three lawyers who defended the soldiers together. John Adams was the lead counsel.)

“The people crying kill them! kill them! knock them over! heaving snow balls, oyster shells, clubs, white birch sticks three inches and a half diameter, consider yourselves, in this situation, and then judge, whether a reasonable man in the soldiers’ situation, would not have concluded they were going to kill him.”

John Adams for the Defense The above quotes were taken from The Trial of the British Soldiers, of the 29th Regiment of Foot. Boston: Published by William Emmons, 1824. Name:______Date:______

Worksheet: What is this visual document?

Directions: Look in depth at the engraving of the Boston Massacre. As a group, answer the following questions. When you respond to questions about what the image looks like, describe what you are seeing as if you are telling someone about it over the telephone. In other words, take time to look at the image and be detailed in your description.

1. Study the way the artist has organized and painted this piece. How does he arrange the people? Sketch the piece to show the main shapes and lines and bursts of color.

2. What does he do with color?

3. Describe what you see on the right side of the picture? How are the people organized? How many people are there? What are they doing? What can you tell about the people from their clothing and their expressions?

4. Describe what you see on the left side of the picture? How are the people organized? How many people are there? What are they doing? What can you tell about the people from their clothing and their expressions?

5. What does this image tell us about the event that occurred on March 5, 1770?

6. What is the actual use of this engraving?

7. What side of the struggle does the artist support and what visual details make that evident to you?

Think about it: Should an artist put his point of view into his artwork? Name:______Date:______

Worksheet: Women in Portraiture

Directions: If you are completing this lesson over the internet, choose four portraits from the six portraits of women offered from the Memorial Art Gallery collection and answer the following questions. If you are visiting the MAG, find four portraits of women in the Gallery and take time to study them. Answer the questions on this worksheet for each portrait you choose. This worksheet is part of an assignment that will be completed in the classroom, so make sure you are clear in your descriptions. Make sure you choose portraits of women, and not just images of women. You can recognize a portrait when the title consists of the sitter’s proper name, or when the title is something like, "Portrait of...".

Artist Artist

Country Country

Title Title

Date Date

What is going on in this portrait? What makes you say What is going on in this portrait? What makes you say that? that?

What is she holding? What is she holding?

What is she wearing? What is she wearing?

What is the setting? What is the setting?

What else do you notice about the woman in this What else do you notice about the woman in this portrait? Is she making any gestures? portrait? Is she making any gestures?

Lesson Plans English Language Arts Unit Introduction Social Studies

Identity of Women in Portraiture: Women in the American Revolution

Introduction Image 3:

Getting Started John Singleton Copley American, 1737-1815 Mr. and Mrs. Thomas Mifflin (Sarah Morris), 1773 Lesson Plans Oil on ticking, 60 ½ x 48"

Curriculum Connections Philadelphia Museum of Art

Images Information: Websites for further study This painting is not included in the About Face exhibit, but it is included in the teaching materials as the basis of an optional lesson plan. This husband and wife double portrait explores issues of Bibliography identity and the contributions of colonial women towards the patriotic cause. The Mifflin's were prominent Philadelphians. Among other things, Thomas was a radical Whig and a delegate to the Continental Congress. Sarah Morris Mifflin was also an active Patriot. In this image we see a husband and wife each involved in activities suitable to their gender. Thomas was reading, and has paused with his finger holding his page in order to look at his wife. Sarah is in the middle of weaving and appears to have momentarily glanced up at the viewer from her handwork.

The prominence of Sarah in this double portrait is uncommon in colonial portraits of husbands and wives. The visual priority given to Sarah's efforts at the loom hints at its importance. During the years leading up the American Revolution, women participated in the patriotic cause by boycotting products imported from England. Many colonial women refused to drink tea and/or purchase English fabric and clothing. This was an appropriately feminine way for women to participate in the public realm of politics. Colonial women's patriotic activities took them even further out into the public sphere with the advent of spinning bees. These were organized to bring a number of women together to spin and weave American-made clothing. The popularity of these spinning bees added to women's public role and their contribution towards the American cause. Therefore, the visual priority given to Sarah Mifflin's activity at the loom alludes to her involvement in the patriotic cause and her desire to have this activity act as a defining characteristic of her identity (Staiti, p. 320).

Vocabulary: identity - the characteristics and qualities of a person, considered collectively and regarded as essential to that person's self-awareness.

Whig - another name for a Patriot.

Tory - the derogatory name Patriots (Whigs) called Loyalists. gender - the behavioral, cultural, or psychological traits typically associated with one sex. double portrait - a work of art that represents two specific people.

Source:

Staiti, Paul, "Mr. and Mrs. Thomas Mifflin (Sarah Morris)," in Rebora, Carrie and Staiti, Paul, et. al. John Singleton Copley in America. The Metropolitan Museum of Art, NY, 1995. pp. 318-321

Lesson:

Identity of Women in Portraiture: Signs, symbols, identities, and women in the American Revolution