Parts of Art Grades 1‐3

PARTS OF ART OVERVIEW The Parts of Art tour has been developed for first through third grade students. Its goal is to introduce the basic elements of art: line, shape & pattern, texture, color, and light (also termed “contrast” or “value”); to show how these elements are related to each other; and to observe how artists use them to create a desired effect in their art.

Note: Art‐making is offered as a second component of the Parts of Art experience. Students may be engaged in the classroom before or after your tour.

OBJECTIVES 1. To discover the visual language of art: line, shape & pattern, texture, color, and light. 2. To gain an understanding of how an artist makes the parts of art act together to express a particular idea.

INTRODUCTION

Warmly welcome your group and introduce yourself.  Review Museum Manners:  Stay far enough away from the work of art not to accidentally touch or bump into it (explain why we have the “no touching” rule). Remember that this pertains to furniture, cases, and walls too.  Stay together as a group and walk behind the docent (ask teachers and parents to help you keep the students together.  Keep voices down and remember to raise hands when they have a question.

Describe the basic concept of the tour: This tour is called Parts of Art. Artists make many choices when expressing an idea. An idea may be about something specific, such as a person, place, story or emotion, or it may be about nothing at all, but rather a celebration of creativity! Artists use the parts of art—LINE, SHAPE, PATTERN, TEXTURE, COLOR, AND LIGHT—to express their ideas. Today we will be looking at these parts of art and talking about the various ways an artist puts them together to create a unique work of art. It is almost like a puzzle—putting together the pieces to create the picture! LINE

OBJECTIVES:  To describe the qualities of lines all around us  To identify how lines are used differently by various artists in original art works

VOCABULARY  line = the path of a real or implied mark  qualities of line (examples) = long short curved straight natural mechanical wide thin zig‐zag wavy vertical horizontal diagonal crisp (clear) fuzzy

WORKS RELATING TO LINE (Select one work as your focus, and a second for useful comparisons)

Gallery 1  St. John on Patmos, Master of Barluenga  St. Petronius, (sculpture) artist unknown Gallery 2  Still Life, Jacob Van Es  The Death of Socrates, Jean‐Francois‐Pierre Peyron Gallery 3  The Smugglers Return, Phillipe Jacques de Loutherbourg  Mountain Landscape, Gustave Doré Gallery 4  Russian Beauty with a Cat, Makovsky  Return of Spring, Bouguerreau Gallery 5  Still Life by Vlaminck  Paris Street Scene, Paul Cornoyer Gallery 6  Portraits of Andrew and Hulda Judson, Erastus Salisbury Field  The Greenhow Children, Unknown North Corridor  San Isidro Labrador, Bolivian Gallery 8  Sunlight and Shadow, William Merritt Chase

Gallery 9 Gallery 10  Sunset, West Twenty‐third Street, John Sloan  Attic Door Number 2, Marvin Cone  Hailstorm, Thomas Hart Benton  Stone City, Iowa, Grant Wood  American Painting, Stuart Davis Pavilion  Galaxy, Jackson Pollock

FOR DISCUSSION: As you lead the following discussion, always refer to the selected works. Be sure students indicate “Where in the painting or sculpture do you see this?”  Introduce the painting(s). Give title and artist.  One of the most important parts of art that artists use to create a work of art is: line.  Where do you see a line in this work of art?  Does the line have a beginning and an end?  Does it stand out clearly or is it kind of fuzzy?  Describe this line. Which way does it go? Lines can go from side to side (horizontal) up and down (vertical). Lines can tilt (diagonal). Is it straight? Is it thick? If not what kind of line is it? Point out other kinds of lines.  What do you suppose the artist did to make this kind of line (materials, tools, hand & arm movements,…)

Discuss how the artist has used line in the work:  Sometimes an artist will use a line to give a certain feeling to a work of art. E.g.: horizontal straight line = calm (think of yourself lying in bed at rest); Vertical straight lines = sturdy, strong; diagonal line=movement (think of something being blown by the wind, or your body tilting when you’re running fast; diagonal zig‐zag line=agitation/unrest (think of lightning).  Find a line that is part of some shape or object in the artwork. What does this line show us about that person/object? (bold, calm, shivering, etc.)

SUGGESTED ACTIVITY ‐ A:  Give each student a pipe cleaner. Have them use their eyes to find a line in the artwork. Try to shape the pipe cleaner so it looks like the line you have found.  Have the students place their “lines” on a piece of matboard (or indicate a space on the floor) where they will produce a new artwork!

SUGGESTED ACTIVITY ‐ B: o Let’s all get into a straight line and take a line for a walk. We will pretend that our feet are pencils. Everyone grab the hand of the person in front of you. (Tell the leader what kind of line to walk, i.e.: straight, curved, zig‐zag, wavy.) Make a thick line. Make a dotted line. (In order to make a dotted line, the students will hop, therefore, please consider the need for space).

Transition Activity o Another important use of the line is when an artist brings the ends together. Demonstrate with your pipe cleaner. We have now created another part of art ‐‐ shape! We will see how artists use shapes on our next stop.

SHAPE & PATTERN

OBJECTIVES:  To describe how a line can enclose a space, creating a shape  To learn the various names of shapes formed by lines, and identify them when they are seen in original works of art

VOCABULARY:  shape = a space enclosed and defined by line  geometric shapes = shapes made of simple straight or curved lines based on math: circle, square, triangle, rectangle  organic shapes = any shape that is irregular, like those found in nature  pattern = lines, shapes, or colors that are repeated in an artwork

WORKS RELATING TO SHAPE & PATTERN:

Gallery 1  St. John on Patmos, Master of Barluenga  Madonna & Child with Infant St. John & Two Angels, Lorenzo di Credi  St. Petronius, artist unknown Gallery 2  Still Life, Jacob Van Es  David and Goliath, Unknown  Battle of Imbros 1717, attributed to Giovani Raggi  The Death of Socrates, Jean‐Francois‐Pierre Peyron  Heloise & Abelard Surprised by the Abbot Fulbert, Vignaud Gallery 3 Gallery 4  Russian Beauty with a Cat, Makovsky  The Grief of the Pasha, Gérôme

Gallery 5  Girls at the Piano, Pierre‐Auguste Renoir  Haymakers, Evening, Eragny, Camille Pissarro  Still Life by Vlaminck Gallery 6  The Greenhow Children, Unknown Gallery 7  Omaha Jacket North Corridor Memorial Building  San Isidro Labrador, Bolivian artist  Virgin of Guadalupe, Mexican artist  Virgin of the Rosary, Unknown Bolivian Artist Gallery 8  Sunlight and Shadow, William Merritt Chase Gallery 9  Untitled (Advertisement for Fisk Cord Tires) by N.C. Wyeth Gallery 10  Sunset, West Twenty‐third Street, John Sloan  (any of the Cubist works)  Stone City, Iowa, Grant Wood  The Hailstorm, Thomas Hart Benton  American Painting, Stuart Davis Bridge  Chihuly Inside & Out, Dale Chihuly Pavilion Galleries  Cirium, Kenneth Nolan  Untitled, Donald Judd  Thinker, Moskowitz

FOR DISCUSSION: As you lead the following discussion, always refer to the selected works. Be sure students indicate “Where in the painting or sculpture do you see this?”

 Introduce the painting(s). Give title and artist.  If you have not already defined shape during your transition from line, do so at this time by asking: What happens when you bring the ends of a line together? etc.  Name some shapes that you see in the painting. Select an interesting shape for students to “air draw“.  Discuss whether they are geometric (shapes made of simple straight or curved lines based in math), or organic (irregular shapes like those found in nature). Try to get students to talk about shapes that might not be as obvious such as heads (ovals, circles), drapery or clothing (organic), etc.

 Discuss how the artist has used various kinds of shapes in the work of art a. To portray objects. (e.g. circle: grape, a globe, a person’s head; organic: leaf, cloud, a funny shaped hat). b. To balance the composition or move your eye around through the work.  Where do you see shapes that overlap? Which of these shapes is closest to us? Which is farthest away?  Look for repeated shapes (they can be of varying sizes or color). Where are they placed in the composition?  Artists like to use the parts of art like line or shape to create pattern. What is a pattern? How do you make a pattern? (A pattern is repetition of a line, or a shape.)  Find a pattern in this work of art and tell what the artist has repeated to create the pattern. (Look for lines or shapes. Sometimes the patterns are less obvious ‐‐ like leaves on a tree or certain colors repeated at intervals.)  What do you think is the artist’s purpose for using pattern in this artwork? (e.g. decoration; to help our eyes travel through the work, to balance the artwork, to make it more interesting…)  If it is appropriate to the artwork, and you have time for this, look for compositional shapes (people and objects placed in a triangle, oval, pyramid, etc.) Explain that “Some artists make “shapes” by arranging or placing people and objects in a way that forms a shape like a triangle, circle, X, and the like.”  Use your finger to “air draw” the shape of this arrangement. Make sure your example is clear and easy to distinguish.  Look for another example and have students “air draw” the compositional shape they find in that artwork.

TEXTURE

OBJECTIVES:  To define texture as the way the surface of an object feels when you touch it  To identify a variety of real textures all around us  To define implied texture as the way the surface of an object LOOKS like it may feel if touched  To identify a variety of implied textures in paintings  To describe how artists use line and shape (sometimes color and light/dark effects) to make a flat, smooth surface look like it has texture

VOCABULARY:  real texture = actual surface quality; the way the surface of something feels  implied texture = the way the surface of an object looks like it may feel if you touched it; not the actual surface quality.

 qualities of texture (examples) = smooth . . . . . rough moist ...... dry soft ...... hard warm ...... cool

WORKS RELATING TO TEXTURE: Gallery 1  Madonna and Child with Sts. Catherine and Agnes, Mabuse  St. Paul, workshop of Giovanni Pisano Gallery 2  Still Life, Jacob Van Es  David and Goliath, Unknown  Erminia among the Shepherds, Bernardo Strozzi Gallery 3  Storm on the Matterhorn, Albert Bierstadt Gallery 4  Russian Beauty with a Cat, Makovsky  The King of Rome, Vibert  The Grief of the Pasha, Gérôme Gallery 5  Across the Meadow, Claude Monet  Little Dancer Aged 14, Edgar Degas Gallery 6  The Greenhow Children, Unknown  Shepherd Boy and Kid, Chauncey Bradley Ives Gallery 7  Beaded Vest, Unknown Cheyenne Artist Gallery 8  Sunlight and Shadow, William Merritt Chase  Portrait of Mrs. Rotch, John Singer Sargent Gallery 9 Gallery 10  Woman with Black Necklace, Walt Kuhn  The Hailstorm, Thomas Hart Benton  Sunset, West Twenty‐third Street, John Sloan  Stone City, IA, Grant Wood  American Painting, Stuart Davis Pavilion Galleries  Untitled (Paris Blue), Petah Coyne  Self, Martin Puryear

FOR DISCUSSION: As you lead the following discussion, always refer to the selected works. Be sure students indicate “Where in the painting or sculpture do you see this?”

 Introduce the painting(s). Give title and artist.  Have you ever described something you have touched as “hard,” “soft,” rough,” or “smooth?” These words describe the texture of an object. Everything has some kind of texture. Point out some textures in the room or on clothing. If you can, use tile, marble, and skin to add “cool” and “warm” surface qualities.  What are some things the artist put into this artwork that would be really interesting to touch? What kind of things in the art have you actually touched? Describe what it felt like.  In a painting, the artist uses paint on a flat surface to let us know how an object would feel if we touched it in real life ‐‐ this object might look rough (smooth), cold (warm), and soft (hard), but if we touched the painting we would only feel a smooth surface. Besides feeling texture with your hands (real texture), you can see textures with your eyes. We call this “visual” or “implied” texture.  Show them the texture board. Compare the real texture (the rocky shingle) to texture imitated on a smooth surface (Formica chip). An artist can imitate the feel of something in a painting. Have students point out some implied (imitated) textures.  How does the way the artist used color or line show texture? Discuss how an artist implies texture– look for shiny or shimmery surfaces made with daubs of white or areas of lighter paint (note: light, color, shape); a reflection that lets us know something is metal (light, color, shape); repeated lines to make something look like fur (line, also pattern); brush strokes to create puffy feathers or delicate lace (line).

COLOR

OBJECTIVES:  To identify primary and secondary colors in original artworks.  To describe how secondary colors ‐‐ and tints and shades of a color ‐‐ are mixed  To discuss how an artist has used color: to present an idea or quality, to draw attention to a figure or an object, to create a feeling, etc.

VOCABULARY:  primary colors = red, yellow, blue  secondary colors = green, orange, violet (purple) green = blue + yellow orange = red + yellow violet/purple = blue + red  tint = lightened = color + white  shade = darkened = color + black

WORKS RELATING TO COLOR (Select one work as your focus, and a second for possible comparisons) Gallery 1  Madonna and Child with Sts. Catherine and Agnes, workshop of Jan Gossaert, called Mabuse  Madonna & Child with Infant St. John & Two Angels, Lorenzo di Credi Gallery 2  The Battle of Imbros 1717, attributed to Giovanni Raggi  Erminia Among the Shepherds, Bernardo Strozzi  Still Life, Jacob Van Es  Death of Socrates, Jean‐Francois‐Pierre Peyron Gallery 3  The Pearl of Venice, Thomas Moran  Mountain Landscape, Gustave Dore Gallery 4  Russian Beauty with a Cat, Makovsky  The King of Rome, Vibert  Coast Scene‐Approaching Storm, Gustave Courbet Gallery 5  Girls at the Piano, Pierre‐Auguste Renoir  Haymakers, Evening, Eragny, Camille Pissarro Gallery 6  The Greenhow Children, Unknown Gallery 7 Gallery 8  Sunlight and Shadow, William Merritt Chase Gallery 9 Gallery 10  Stone City, IA, Grant Wood  American Painting, Stuart Davis  The Hailstorm, Thomas Hart Benton Bridge  Chihuly Inside & Out, Dale Chihuly  Pavilion  Galaxy, Jackson Pollock  Morning, Hans Hofmann

FOR DISCUSSION: As you lead the following discussion, always refer to the selected works. Be sure students indicate “Where in the painting or sculpture do you see this?”  Introduce the painting(s). Give title and artist.

 One of the parts of art that is especially important to an artist is color. Color is everywhere.  Do you think that (artist) used color in this painting to make it more exciting or more soothing and calm?  Who can tell me the names of the three primary colors? (Red, yellow, blue.) Which of the three primary colors can you find in this painting?  Why do you think they are called primary colors? (The word “primary” means “first”. All other colors can be made with the primary colors.)  Find one of the primary colors in this artwork. Give the name of the color and describe the object or shape that is that color.  How many different tones of this color do you see?  Point out any tints or shades of a primary color in the painting. How do you think this color was made? When you mix a color with white you make tints; by mixing a color with black you make shades. (If there are no tints and shades of primary colors, wait with this until the discussion on secondary colors.)  When you mix primary colors together you get secondary colors. Let’s mix two primary colors together (choose two that will create a secondary color that is used in the artwork you are discussing). Where do you see it in the artwork? Refer to discussion on shades and tints. Select a color that you see in the artwork. Suppose you had only the primary colors, plus white and black, describe how you might mix this color.  Select one of the colors in the painting and ask: What are some other things you have seen that look like this color? Let’s think of an interesting name to call the color. Why do you think the artist used (name color) in this part of the artwork?  Point out a key object/shape in the painting and ask: “How did the artist make this (object/shape) stand out in the picture?”  How do the colors affect the mood or feeling of the painting?  How would the effect of the painting be changed if the artist had used (a different color)?

LIGHT (sometimes called CONTRAST or VALUE)

OBJECTIVES:  To recognize light and dark values in original artworks.  To discuss how an artist has used light and dark value contrasts to portray objects, to present an idea or quality, to draw attention to a figure or an object, to create a feeling, etc.

VOCABULARY:  highlight = white area that reflects most light from light source  shade = darkened areas  shadow = dark shade created by light being blocked by a solid object  contrast =

 value =

WORKS RELATING TO LIGHT/VALUE (Select one work as your focus, and a second for possible comparisons) Gallery 1  Madonna & Child with Sts. Catherine & Agnes, workshop of Jan Gossaert  Madonna & Child with Infant St. John & Two Angels, Lorenzo di Credi  Giorgio Cornaro with a Falcon, Titian Gallery 2  Erminia Among the Shepherds, Bernardo Strozzi  Still Life, Jacob Van Es  Death of Socrates, Jean‐Francois‐Pierre Peyron  David and Goliath, Unknown Gallery 3  The Pearl of Venice, Thomas Moran  Aubade, Martin Rico y Ortega  Mountain Landscape, Gustave Dore Gallery 4  The King of Rome, Vibert  The Grief of the Pasha, Gérôme  Russian Beauty with Cat, Makovsky Gallery 5  The Cowherd, Couse  Girls at the Piano, Pierre‐Auguste Renoir  Across the Meadow, Claude Monet Gallery 6  Shepherd Boy with Kid, Chauncey Bradley Ives Gallery 7 Gallery 8  Sunlight and Shadow, William Merritt Chase Gallery 9  Untitled (Fisk Cord Tire Ad), N.C. Wyeth  Nomads, Henry Farney Gallery 10  The Hailstorm, Thomas Hart Benton  Portrait of Fi, Robert Henri  Stone City, IA, Grant Wood  Attic Door, No. 2, Cone  American Painting, Stuart Davis

DISCUSSION As you lead the following discussion, always refer to the selected works. Be sure students indicate “Where in the painting or sculpture do you see this?”

 Select two paintings. Introduce them, giving title and artist.  In which of these two works is it easier to tell what’s in it?  Suppose a painting or sculpture were all dark shades. Or what if it were made with only very light colors and shapes? What difference would that make in our being able to see clearly?  One reason for this is that artists know that without light we would not be able to see anything. The more difference there in the light and dark of objects, the better we can see them. In what part(s) of this artwork do you see the most light?  Where is the light coming from? How can you tell? How does this affect where your attention is drawn?  Where is it the darkest? Look for shadows in the artwork. When an object blocks the path of light, it creates a shadow. Find a shadow, and then look for the object that blocks the light from shining there. Do the shadows look like the object that causes it?  What time of day do you think this is? What clues does the artist give?  Would you like to be in this place? Tell why or why not.

CONCLUSION

Suggested Activity: “Take it Home with You” Select an artwork that has all “Parts of Art” clearly developed.  Briefly review the parts of art that you have talked about. These parts are found in some way in nearly every artwork. Look carefully at this painting.  Describe the kinds of Lines Shapes Textures Colors Lighting  Think about the mood or climate of the scene. What would it feel like to be there?  Now, close your eyes. Do you see the picture? (If not, open your eyes and look again.)  Put this picture away in your memory. You how have this artwork in your mind and can take it home.  This is a good way for you to start your very own art gallery.

These parts of art are everywhere around us. They are also part of anything we can see. Look for line, shape, texture, color and light/value on your bus ride home, in your classroom at school, and at home.

Encourage students to visit Joslyn Art Museum with their family and friends to share what they have learned today. Remind them that the Museum has free admission on Saturday mornings from 10 to 12, thanks to some very generous people who gave Joslyn money for this purpose.

NOTE: At the conclusion of the tour, please take your group down to the classroom if they are scheduled for an art‐making session. Either they will have class now, or they will need to return to pick up their artwork.