University of Victoria EDCI 307B Sketchbook Elementary School Art 2017

Logan Storrie

Table of Contents

Section One: Image Development Strategies

Image Development Strategies #1: K-Grade 1: Imagination, Elaboration, Stories, Observation……………………….… Pages 2-7

Image Development Strategies #2: Grade 3?!?!!: Magnification, Simplification, Abstraction, Multiplication…... Pages 8-11

Image Development Strategies #3: Grades 3 and 4: Superimposition, Fragmentation, Animation, Seriation…. Pages 12-15

Image Development Strategies #4: Grades 4-6: Rotation, Reversal, Stylization, Point of View……………..…...…… Pages 16-19

Image Development Strategies #5: Grade 7: Juxtaposition, Metamorphosis, Distortion, Exaggeration………….. Pages 20-23

Section Two: Art History and Principle of Design Artwork

Ancient Art Notes…………………………………………………………………………………………………………………………………………………. Page 26

Principle of Design: Proportion: Venus of Willendorf

Bill Reid’s Work: The Raven and the First Men

Egyptian Art Notes………………………………………………………………………………………..………………………………………………………. Page 27

Principle of Design: Proportion: Egyptian Mural Style Human

Greek Art Notes……………………………………………………………………………………………………………………………………………………. Page 31

Principle of Design: Balance: Radial Balance

Roman Art Notes……………………………………………………………………………………………………………………………………………….…. Page 34

Principle of Design: Repetition

Early Christian, Byzantine, and Romanesque Art Notes…………………………………………………………………………………………. Page 36

Principle of Design: Variety

Renaissance Notes…….…………………………………………………………………………………………………………………………….……………. Page 40

Principle of Design: Variety (continued)

Realism, Baroque, Rococo, Neoclassism, Romanticism Notes…………………………………………………………………………….…. Page 42

Principle of Design: Texture

Dutch Baroque Notes……………………………………………………………………………………………………………………………………………. Page 46

Principle of Design: Contrast

Impressionist Notes………………………………………………………………………………………………………………………………………………. Page 48

Principle of Design: Unity and Harmony

Photography Notes and Cyanotype…………………..……………………………………………………………………………………………………Page 49

Section One Image Development Strategies

Image Development Strategies #1: K-Grade 1 Monday, January 9th 2017

Imagination Materials: several pages from Crockett Johnson’s ‘Harold and the Purple Crayon’ Image of Norval Morrisseau’s art work (choose 1 appropriate for this grade level as some are intense) Sheet with different lines – named Purple crayons, white paper, Oil pastels, ½ sheets of heavier paper Element of Design: Line: straight, wavy, curved, thick and thin lines 1) examine pages from ‘Harold and the Purple Crayon’ as Harold uses his imagination and 1 crayon to create a world. 2) use different kinds of lines and your imagination to create your own drawing. Consult the lines chart – are there other types of lines you could add to give your piece more visual interest? 3) examine the lines used in Norval Morisseau’s art work. Describe different kinds of lines you see. Is this piece realistic or imaginary? Does it tell a story? Do the lines make it more interesting? Is there anything you can learn about his use of lines that could make your piece more visually interesting or make the meaning more clear? 4) write a short description about how lines can be used to assist an artist in making their imagination visual.

Make a chart with examples of the following: Types of Lines Straight, Wavy, Curved, Thick, Thin

Elaboration – using the Principle of design : Pattern, and the elements of design : line, colour, texture and shape Materials: patterned materials from the dollar store, leaves, etc., broken crayons, scissors, glue, white paper Principle of Design: Pattern 1) Fold 2 sheets of paper in quarters. Label each section with one of the following: Colour, Texture, Shape, Line 2) Examine the chart with ideas for making patterns with each element. Make your own patterns on both sheets in each section. 3) Save one sheet for your sketchbook. Cut out the other sheet and make a picture or pattern on another piece of paper using several or all of your patterns.

Make a chart: Image Development Strategy: Elaboration Principle of Design: Pattern

Colour Line

Shape Texture

Stories Art works by Chagall and Mondrian Plasticine: red, yellow, blue, red, white, black, paper and pencils Element of Design: Shape 1) use the concepts of Beginning, Middle and End to create a simple story writing 2 sentences for each. It can be funny, descriptive, emotional, etc. 2) use plasticine to create one character from your story. Mix colours as needed. Put your plasticine character in an action pose from your short story. Add any props needed to tell your story. Photograph with your cell phone for your sketchbook. How does telling the story first help you think through the art making that followed? Did it change the level of detail or enjoyment in the process? Make a note in your sketchbook.

Observation Element of Design: Line (contour) Materials: 5 copyright free images of animals from the internet, e.g. turtle, guinea pig, horse, iguana, hedgehog with the name printed on the back of each), watercolours, watercolour felt pens, watercolour paper, observation chart (helps clarify details of each animal), pencils. Albrect Durer: The Hare

1) Hide animal pictures by turning them over. Using felt pens, and smaller pieces of paper, draw your own contour drawing of one of the animals named on the back of the pictures. Now turn the pictures over. On the back of your animal drawing, make and complete the observation chart below. Now re-draw the same animal using felt pens and fill in with water colours. Compare your first and second drawings. Write a brief sentence or two about this process.

Animal:

Legs Eyes Mouth Teeth Body Covering

Image Development Strategies #2: Grade 2 Monday, January 16th 2017

Magnification Materials: magnifying glass, round object to trace, pencil crayons, oil pastels, white paper, ½ sheets of heavier paper Images by Pablo Picasso: Blue Period and Rose Period, Image by Emily Carr Element of Design: Colour: Primary Colours (red, yellow, blue), Warm and Cool Colours (warm: red, yellow, orange, Cool: blue, green, purple) 1) use magnifying glass to look at one part of one of the art works. Name the colours you see. Trace a circle onto your paper. Use oil pastels to re-create the colours you see. Repeat for each art work. Name the feeling each colour circle on your sheet. 2) use smaller, heavier paper – choose 3 colours plus white and black if desired. Make your own magnified abstract using the magnifying glass and objects of your choice. Name the feeling of your abstract.

Simplification Element of Design: Shape Materials: Copy-right free images of 2 interesting animals, e.g. elephant and shark, pencils, smaller pieces of paper, foam shape stickers, scissors, Crayola felt pens. Artist: Marc Chagall, ‘The Wanderful Traveller’

1) Do a simple drawing of one of the animals in the pictures presented. 2) Now look at the basic shapes you see in one of the animals, for example, a round head, a square body, a triangular nose. Use the foam stickers to create an animal and some aspects of his/her habitat on a half sized sheet of paper folded in half again. 3) Now try to draw the animal using the basic shapes then adding details 4) Optional extra: colour foam shapes with Crayola felts. Fold paper to make a print.

Abstraction Element of Design: Line: contour lines, thick and thin lines Materials: leaves, pencils, paper, black crayons, water colour paints, brushes, water containers, Art Work: Frantisek Kupka

1) Draw the outline of a leaf in pencil. 2) Choose a second leaf and draw it, overlapping with the first leaf. 3) Continue adding leaves until your paper is full. 4) Outline each leaf with black. Now outline the overlapping spaces a second time to make thick lines. 5) Look at your composition and try to name a feeling you get from the lines (pretend they are not leaves). Choose colours of water colour paint that will bring out those feelings in your piece.

Multiplication: making a mandala Principle of Design: Symmetrical Balance, Radial Balance Element of Design: shape: organic shapes, triangles, rectangles, squares Materials: push pins, sandpaper, white paper, scissors, crayons

1) cut an organic or geometric shape from sand paper. Line your shape up under your paper and hold in place by sticking a pin in the middle of your white paper and go through the sand paper. Hold the pin down with one hand. 2) use the side of a crayon to do a rubbing of the sandpaper. Rotate it slightly under the paper. Choose a second colour. Rub again. Repeat this process until you have made a complete circular non-objective image. 3) use other geometric and/or organic shapes to add interest around the edges of your mandala.

Image Development Strategies #3: Grades 3 and 4 Monday, January 23rd 2017

Superimposition Artist: Carl Beam, ‘North American Iceberg’, 1985 Materials: Newspaper, construction paper, scissors, glue sticks, pencils black felt pens

Cut out a random piece of newspaper at least 10 x 10 cm. in size. Glue it to a piece of coloured construction paper. Read the words that exist there and get a sense of what the article is about. Create an image in pencil of something that represents the content of the article, e.g. tree, hydro wires and poles, bird. Go over the image in black felt pen, overlapping onto background paper if desired. If you wish, add words that express the idea in your newsprint. Elaborate by adding textures and other lines of interest.

Fragmentation Artist: Pablo Picasso ‘Weeping Woman’, 1937 Materials: construction paper, scissors, glue sticks, oil pastels, computer, printer, program: Photo booth

Go to the room next door (resource room). Ask Kathleen or Caren Williams to sign you onto the computer and get you into Photo booth. Think of 2 emotions that might represent your personality. Use the first to inspire you to make that expression and take a picture looking right at the computer screen. Use the second emotion to inspire a photograph facing sideways. Print each in black and white. Return to the classroom. Choose a background of construction paper. Cut the portraits out. Now cut them into random shapes and glue them onto the paper to make a Picasso-like double face to show 2 sides of your personality. Unify your piece by adding colour that could also exaggerate the feelings of the expressions. Name your piece.

Seriation Artist: Andy Warhol ‘Green Coke Bottles’, 1962 Materials: Water colour pucks, brushes, pencil crayons, felt pens, finger printers, trays with a small amount of water in each, paper towels, ½ sheets of heavier paper

Choose a finger printer. Dip it in water and rub it onto the paint pucks until you see colour on the printer. Stamp in a series or randomly. Add details to create a piece that documents multiples – for example, Andy Warhol drew attention to mass production in products and fashion.

Animation Artist: Disney/Pixar Materials: self-hardening clay, pencils, felt pens, ½ sheets of paper, oil and chalk pastels

The curriculum meaning of animation is to give human characteristics to inanimate or non-human objects. Use self- hardening clay to create a small animated object. Use pencil or felt pen to add textures or colours. Add facial features to create a human-like appearance. Create a back-drop with ½ sheets of paper and oil or chalk pastels. Place your piece in front of the backdrop and photograph with your phone to print later for your sketchbook.

Image Development Strategies #4: Grades 4-6 Monday, January 30th 2017

Rotation (Geo-block Prints) Artist: M.C. Escher Materials: wooden or plastic geo-shapes from a Math kit, paint pucks or tempera paint thinly spread in trays, paper towel, heavier paper, felt pens

Observe the M. C. Escher image. Notice the flips and the ways he has worked the shapes into each other. Scan through the lesson plan created by student Tia Baker to understand tessellations.

As small groups, use 1 set of squares and triangles to create a tessellation on the table. Work together to each make a print of your design by taking the middle piece out, dipping in paint, and giving each person a chance to stamp it onto their paper. Then move to the next pieces. Soon you will be able to understand the pattern and will be able to use the pieces independently. Wipe each piece with damp paper towel. When dry, add textures, details or decorations if desired.

Reversal (oil pastel transfer) Element of Design: colour Artist: M.C. Escher: Drawing Hands, 1948 Materials: oil pastels, folded paper, large spoons

M.C. Escher’s piece is such a clever examples of Reversal. We are going to use a much less detailed technique. Fold a half sheet of paper in half again. On one side, draw a simple object or pattern in a dark colour of oil pastel. Fold card over and press on the back with a metal spoon to transfer the oil pastel. Fill in the extra pastel needed, and add colour as desired. This is a fun place to experiment with colour: ie warm colours (red, yellow, orange) on one side, cool (blue, green and purple on the other). If you are enjoying the process, you could do a second, more complicated image on larger paper. This time, think about what you can say with a reverse image – good princess, bad queen……summer/winter, etc.

Point of View: (plasticine relief in the style of Barbara Reid) Artist: (illustrator) Barbara Reid Materials: manila tag or old empty CD cases, primary colours of plasticine plus black and white, masking tape

Canadian children’s illustrator Barbara Reid was one of the early illustrators to utilize worm’s eye views and birds eye views. Fold a piece of manila tag into quarters and go around the edge with masking tape. Use this as a background to draw an image in pencil looking down or way up. Have fun exaggerating details, for example, worms-eye: shoes near you will look very big! Using plasticine as your medium, create a scene by mixing the colours you need and pressing the plasticine onto cardboard to show either a worm’s eye view or a birds’ eye view.

Stylization (drawing) Artists: Brian Jungen: various works from 1998 – 2003, Bill Reid: Eagle: 1984. Brian Marian: Hunting Bear ? around 1985

Examine the imaginative images presented. Look up one of the artists to see if you can find out anything more about the context or the artist or the image itself. Jot down 3 points for your sketchbook. What is Brian Jungen’s connection to the Nike Running shoe? Is the blue on the bear a positive or negative colour? Where do you think you may have seen Bill Reid’s work prior to this course?

In three sentences, describe the style of the artist you looked up, for example, the artist I choose drew an eagle. The artist may only used black and red. Some lines are very heavy and some are very thin. Some are thick and thin. There are many ovals used. There are 4 extra faces. If you learned anything from your reading that could help describe the artist’s style, add it here. Instead of copying these fine Indigenous artists, you are going to create your own style and use it to draw something important to you. Draw a quick sketch in pencil of something you care about – animal, person, thing, idea. Give yourself rules about how you will work with your. See if your colleagues can describe the style you have used.

Image Development Strategies #5: Grade 7: Monday, February 6th 2017

Juxtaposition Artist: Rene Magritte, ‘The Listening Room’ Materials: ¼ sheets of paper, ½ sheets of paper, scissors, crayons or chalk pastels, pencils

The Surrealist Artists were masters at Juxtaposition where 2 items that appeared to have little relationship to each other and in different scales were placed side by side. Draw, colour and cut out a simple article like an apple. Create a scenario on a ½ sheet of paper that is incongruous, for example, a huge apple on a tiny hand. The surrealists were commenting on the unconscious mind that do not make sense in the normal way.

Metamorphosis Artist: Heronomous Bosch, ‘The Temptation of St. Anthony’, 1536 – 1600 Materials: magnifying glass, ½ sheets of paper, black felt pens, pencils

Heronomous Bosch used metamorphosis as a way to warn Christians of what would happen if they sinned. Look and see the date!! Use the magnifying glass if needed to see the strange animals and images. If you use this artist with children, look carefully at all images as some can be pornographic! This image making strategy is very contemporary in the art world right now. Draw an animal in pencil. Add details from another animal, an imaginary animal or a plant to your animal. Go over your pencil lines in black felt pen.

Distortion Artist: Edvard Munch, ‘The Scream’ Materials: oil pastels, pencils, paper, carbon paper

Ask Caren Williams to sign you on to the computer in the art lab. Use Photo Booth and turn on the Distortion function. Make a distorted face. When you have it where you like it, print it. Now you have 2 choices: either use oil pastels to add colour right to the print or get a piece of paper. Place it down on the table. Place a piece of carbon paper, black side down on top of your other paper then place your picture on top. Draw around your image with pencil pressing firmly to transfer the lines onto the paper underneath. The carbon paper can be re-used. Use pencil to shade your drawing by looking at your original photograph.

Exaggeration Artist: watch you tube on caricatures: https:/www.youtube.com/watch?v=We46lu1gzF8 or google Drawing Caricatures Materials: pencils, erasers, paper, mirrors (they are in the storage room if Caren Williams is around to help you get them). Pencil crayons

Watch you tube above. Use the mirror to look at your own face. Try to make a caricature of your own face. Don’t be too hard on yourself, it is not as easy as it looks! Exaggerate one feature.

Section 2 Art History Notes and Principle of Design Artwork

Principal of Design: Proportion

the relationship between different things or parts with respect to comparative size, number, or degree; relative magnitude or extent; ratio

Indigenous Mentor Artist Modern Mentor Artist

“The Raven and the First Men” by Bill Reid Brigette Chubby by Kaith Anastasaki

http://www.billreidfoundation.ca/index.htm (http://anastasaki.gr/)

“Bill Reid was the pivotal force in introducing to “I hope that through my work, the observers the world the the great art traditions of the indigenous people of the Northwest Coast. His will--discover a forgotten-remembrance. Maybe I legacies include infusing that tradition with can urge them towards a new path of perception, a different perspective of reality, Maybe to touch a modern expression, influencing emerging artists, and building lasting bridges between First Nations hidden, sensitive chord. My intention is to and other peoples.” communicate without words.”

Art History

Venus of Willendorf, Michelangelo’s David oldest statue

28 000-25 000 BC

Egyptian Pyramids Egyptian Painting(proportion of people)

Connections to the Curriculum

(grade 4 BC arts education curriculum used as example)

Big Idea: Artists experiment in a variety of ways to discover new possibilities.

Curricular Competency: Develop and refine ideas, processes, and technical skills in a variety of art forms to improve the quality of artistic creations.

Content: Image development strategies

Ancient Art Notes

Source for all: pages 4 and 5 of The Annotated Mona Lisa Ancient Art was created ''out of an attempt to control or appease natural forces'' (page 4). This is evidenced by fertility statues, images of hunted animals, and structures that are congruent with celestial bodies. Cave paintings comprised of mostly animals had no background, ground, or surroundings- just the animal/figure itself. These are believed to have been made before hunting trips to guarantee success, as the images showed the animals pierced by human tools, or had chips/dents in the cave wall from having spears thrown at them. Architecture/stone creations that were erected seemed impossible to have been human-made given the technology of the time, and credit was given to giants or magic. These structures, such as Stonehenge, were in fact erected by humans using hundreds of humans’ combined strength, and simple yet brilliant leverage techniques. Additional notes from in-class discussion: The Ancient Art Epoch lasted from the beginning, estimated 2 500 000 BCE, to the beginning of the Egyptian Period. The oldest existing art from this time was found in an Indonesian cave, and is dated (not literally) 39 000 BC. Many discoveries of Ancient Art were made by children. A child’s small stature and vantage point made it possible for them to get into places (caves) and see things (roofs of caves) in a way that adults could not. Ancient cave art was preserved for years by its protected location- one discovery had to be closed to the public after too many people entered the cave, the moisture from their breath causing the paintings/carvings to be hidden by (essentially mildew) growth.

Principle of Design: Proportion VENUS OF WILLENDORF The proportions of the 4.4invh high Venus of Willendorf statue differ from a real drawing’s proportions in several ways: her arms and feet are very small and thin in comparison to the rest of her, which was described as ‘well fed.’ Her belly and breasts, associated with fertility, are exaggerated. Found in a burial site, it is believed that she was a fertility god, or made to honor the fertility gods. She is dated at approximately 27 000 BCE.

BILL REID’S WORK Similarities between Bill Reid’s piece ‘The Raven and the First Men’ and Venus of Willendorf: • Related to the creation of people, or how people came to be • Heads are enlarged, not proportional to the rest of the body • Proportions are symbolic, non-realistic • Symbolize a story

Differences between Bill Reid’s piece ‘The Raven and the First Men’ and Venus of Walhendorf: • Venus is made from stone, Bill Reid worked with wood • Venus depicts a person who births people, Bill Reid depicts a clamshell/Raven birthing people • Venus is smaller than life; The Raven and the First Men is larger than life

Egyptian Art: Source for all: pages 8-11 of The Annotated Mona Lisa Egyptians obsession with immortality gave rise to the perfection of mummifying bodies, an unchanging-and-long-lasting civilization, and, with regard to art, depicting their everyday lives with careful detail on tomb walls. Additionally, statues were created from hard substances so they would last; limbs were not made to protrude from the statue so that the risk of them breaking off was minimal. ‘Careful detail’ is an odd phrase, because the proportions of the human body were deliberately repeatedly distorted. ‘Sculpture and paintings followed a rigid formula for representing the human figure. … The size of a figure indicated rank, with pharos presented as giants towering over pygmy-size servants.’ (page 9) Egyptians believed that the pharaoh’s spirit (called ka) was immoral, and this is why their bodies were preserved so carefully. The Egyptians had a fallback plan- portrait statues- in which the ka could reside if the mummified body was damaged or destroyed. The purpose of these statues/art was to ensure immortal life of the ka. Additional Notes from in-class discussion: The Egyptian Epoch in art terms lasted 3000 years, from 3100 BCE – 395 CE. Art was for the afterlife, not for everyday- life decor. The sealed (except for air ducts) inner burial chambers were adorned with much gold for the enjoyment of the dead/afterlife- not in homes for the living. Pyramids themselves were functional works of art. Although built without the modern technology our architects use to level and survey the ground, the base of a pyramid is a perfect square, and only ½ inch lower on one corner than the opposite side; this is incredibly impressive as well as aesthetically pleasing. Additionally, pyramids are structurally sound but very heavy; the fact that there are hollow chambers inside this enormous weight is another architectural wonder. Limestone coats the outside of the pyramids, of which every stone was moved with massive human-power; no cranes or machinery as we know it was used to transport and raise all that stone. It is speculated that the great squares of limestone were floated nearby (although some pyramids are not located near the Nile), and then rolled/maneuvered with the aid of cylinders. Still, it was all done with human power and basic tools at an estimated rate of 40 stones placed per day.

Principle of Design: Proportion EGYPTIAN STANCE

Principle of Design: Balance

What is balance in art?

Balance in art refers the how the elements (lines, shapes, texture etc.) are arranged in the piece. It is a reconciliation of contrasting elements in a art composition that results in visual stability (Jirousek, 1995). Balance in art can be demonstrated in two visual forms; symmetrical, when the art is arranged equally on all sides of the page and asymmetrical, when objects of varying ‘weight’ are clustered to balance the image .

Emily Carr ‘Cape Mudge Totem Poles’ (1912)- this image shows an example of symmetrical balance. The totem poles are equal to each other, therefore balancing the image for the viewer.

Sue Coleman ‘Orcas’, demonstrates balance in a symmetrical way. Both sides of the painting are equal (mirrored) and create visual balance for the viewer.

Marion Webber ‘Early Fall Gates Lake #2’. This piece shows a balance of complementary colours between the red/orange and green shades. It also demonstrates asymmetrical balance where the trees behind are clustered behind the small orange tree in front.

Linda Skalenda ‘Protective’

Curriculum Connections to balance

Big Ideas:

Artists experiment in a variety of ways to discover new possibilities and perspectives (Grade 5).

Engaging in creative expression and experiences expands people’s sense of identity and community (Grade 6).

Curricular Competencies:

Choose artistic elements, processes, materials, movements, technologies, tools, techniques and environments using combinations and selections for specific purposes in art making (Grade 4).

Reflect on works of art and creative processes to understand artist's intentions (Grade 7).

Content: Image development strategies

Greek Art All notes taken from The Annotated Mona Lisa:

In both painting and statue, Greeks sought and produced lifelike qualities. Birds were said to peck at murals of painted fruit, and statues were created that captured motion and showed ‘ideal proportions.’ ‘‘Greeks sought a synthesis of the two poles of human behaviour- passion and reason...[and] they came close to achieving it.’’

9th - 8th Century B.C. Geometric Art: pottery with geometric banding of simple animals/humans

625 – 480 B.C. Kouros/ Kore: freestanding statues of nude male/clothed female; positioned specifically, with an ‘Archaic smile’ or grimace

600 – 480 B.C. Archaic Art: stone figures and vase painting

480 – 323 B.C. Classical Art: peak of art and architecture, order and harmony important

323 – 31 B.C. Hellenistic Art: more melodramatic than Greek-style, found in Egypt, Asia Minor, Mesopotamia

Sculpture: Greek sculpture ‘invented’ nude art. They were obsessed with ‘ideal proportions’ and ‘perfection’ of the body and mind. Bodies sculpted were of athletic build (see: body image issues that have lasted thousands of years). Young men were shown nude, but women were wrapped in cloth (how long have the sexes been unequal, and women’s bodies been censored? Since 600 B.C.) Motion was captured in statue form with draped cloth, and the weight of the body resting on one foot.

Architecture: The Parthenon was meant to express the grandeur of Athens, built ‘crowning’ the Acropolis. This building was not made from straight lines, but instead of barely-perceptible curves that ‘‘give the illusion of upward thrust.’’ In 1687 a rocket hit destroyed much of the building. Many parts of the Parthenon now reside in the British Museum, taken by Lord Elgin in 1801 (as is the British way of taking things that aren’t theirs).

Additional notes from in-class discussion:

From 1000- 100 BC. The only thing that is left is clay bricks. The metal artwork was melted down and used for other things, so is long since gone. Carvings of bodies did not have a background, but hung suspended in midair. Only young athletic bodies were represented in art.

Principle of Design: Balance RADIAL BALANCE

Roman Art All notes taken from The Annotated Mona Lisa

While inspired by the ideal/intellectual design of Greek art, Roman art is more functional and less religiously focused (secular). Greek architecture featured grand temples, while Roman architecture featured roads, bridges, sewers, baths, and aqueducts.

Romans invented and perfected the use of arches, vaults, and domes. Unlike the Greek use of stone blocks, Romans used concrete. The combination of concrete and arches/domes allowed Romans to cover huge spaces without using interior supports. They even built a revolving domed roof with which to follow the movement of constellations around the sky. The Colosseum is still one of the world’s largest buildings. Its grand structure seated 50,000 spectators with a stage large enough to fit a cast of 3,000. Brutal and deadly entertainment took place here, orchestrated by emperors to distract commoners from how poor they were.

Roman depiction of humans in art was also different from that of the Greeks, once they moved on from reproducing Hellenic art and found their own style. The exception lay with early important figures such as emperors, politicians, and military leaders, who were represented as perfect or godlike. Later on, however, busts of tyrants were created with ‘brutal honesty,’ showing unflattering characteristics of unpleasant rulers. However, Romans kept wax death masks in their homes, literal impressions of perished human faces, and this carried into sculpture, showing human bodies and faces as they really were. Long panels depicted narrative relief, sculptures commemorating military exploits.

As there were no windows in the interior of villas, window scenes ranging from simple to elaborate were painted or mosaiced onto the walls. The more complex among these were quite incredible, including one mosaic of an eye of only 1.5 inches, but made up of 50 tiny cubes. ‘‘Artists mastered tricks of perspective and effects of light and shadow that were unknown in world art.’’

Additional notes from in-class discussion:

Unlike with Greek art, in which bodies were suspended with no point of reference, Roman art portrayed human bodies set upon a background. Folks who were old, wise, and revered were also represented in Roman art, unlike the Greeks who only depicted the young and athletic. Roman paintings covered entire interior walls of long buildings, largely commemorating battle scenes. There is little documentation of who actually made Roman art, much of which was incorporated into architecture (as with the window paintings in lieu of actual windows).

Principle of Design: Repetition SANDPAPER CRAYON RUBBINGS

Principle of Design: Variety

Variety is a principle of design that combines different visual elements to create complex pieces of art with a high visual interest. This may be achieved by using different shapes, textures, lines, values, sizes or hues.

For example, to the right in Claude Monet’s “Rue Montorgueil in Paris, Festival of June 30, 1878” the variety is shown through the decreasing size of the flags that are hanging from the windows.

Principle of Design: Variety: Examine the image of Reims Cathedral on p. 27. Name all the shapes you can see on the Cathedral. Do the same with the image from the 'Book of Kells' at the bottom of the page.

Variety is included as a principle of design in grades 4-onward. There is no hyperlink.

‘Variety’ appears frequently in the curriculum, but in the form of ‘‘...a variety of…’’

Variety is often seen in abstract works and landscapes. It is not commonly found in portraits. Simplification is the reduction of variety.

Albrecht Durer- The Rhinoceros, 1515

Early Christian, Byzantine, and Romanesque Art

All notes taken from The Annotated Mona Lisa pages 24-29.

Christian Art:

Paganism was [made illegal] by Christianity, which specialized in framing the body as corrupt, and eradicating the idea of balance between the mind and body, [and controlling its subjects through fear of eternal damnation]. The soul and a glorious afterlife became the focus, and as such spirituality and religious Dogma were represented in art. ‘Art became the servant of the church.’ Paintings showed saints or holy people with wide staring eyes and haloed heads. Nudes were forbidden, and ‘images of clothed bodies showed ignorance of anatomy.’ Buildings, like the ideal Christian, were ‘plain on the outside but glowing with spirituality…inside.’

Byzantine Art:

Byzantine mosaics, unlike Roman mosaics, were characterized by creation with a wide range of large coloured glass cubes, found on walls and ceilings, had abstract backgrounds, and depicted religious subjects. Architecture took Roman design one step further, placing atop a square base formed by four arches a large dome. The dome had many windows in its base, creating the look of a halo of light. ‘Human figures were flat, stiff, and symmetrically placed…artisans had no interest in suggesting perspective or volume…’ Expressions were solemn and still.

Romanesque Art:

Back in Roman art we learned that buildings were made from concrete. Here, it is claimed that Romans used timber, and that Romanesque artisans began to use stone.

Architecture featured churches built in the shape of the cross, with multiple segments that allowed for ceremonies to carry on uninterrupted by pilgrim tourists in the outer segments. On Romanesque churches, sculpture adorned only the area around the main doors and depicted religious scenes. Since most of the people were illiterate, sculptures were used to tell the stories of Christ.

Gothic art was beautiful, featuring stained glass, verticality, and pointed arches.

Principle of Design: Variety BOOK OF KELLS INITIAL

MOVEMENT

The path the viewer's eye takes through the artwork, often to a focal area. It can be directed along lines, edges, shapes and color. Movement is using art elements to direct a viewer's eye along a path through the artwork, and/or to show movement, action and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external power.

Barge by Ben Grasso (2009)

“There is something brilliantly immediate about Ben Grasso’s paintings. A sort of half-wonder, half-fear as huge architectural and natural structures are reduced to their component parts in one, slowed-down moment of orchestrated dissembling/assembling.”

Bryony Quinn, www.itsnicethat.com

Raumzeichnung by Monika Grzymala

“I’m not sure it’s possible to infuse black tape with more energy than Polish artist Monika Grzymala has accomplished with her piece Raumzeichnung, roughly “Drawing of a Room”. The three dimensional installation which seems to launch from columns in the basement of Galerie Crone was installed in 2012 and required 3.1 miles (that’s 5km) of stretched, cut, and criss-crossed tape.” - Christopher Jobson, www.thisiscolossol.com

Art History:

Vincent Van Gogh The Starry Night 1889 Henri Matisse Two Figures Reclining in a Landscape 1921

J. M. W. Turner Dutch Boats in a Gale 1801 M. C. Escher Relativity 1953

Arts Education Grade 7 Curriculum:

Big Idea: - Engaging in the arts develops people’s ability to understand and express complex ideas. Curricular Competencies:

- Reflect on works of art and creative processes to understand artists’ intentions. - Express feelings, ideas, and experiences through the arts. Content:

- Manipulation of elements and principles to create meaning in the arts, including but not limited to: - Principles of design: pattern, repetition, balance, contrast, emphasis, rhythm, movement, variety, proportion, unity, harmony

Renaissance Art

All notes taken from The Annotated Mona Lisa pages 30-39

Early 1400s to 1790; Spain, Italy, France, Germany, England, Holland, Belgium. Protestant Reformation decreased the Churches importance and influence. This, along with the study of anatomy allowed a resurgence in the realistic reproduction of the human body in art. The top four breakthroughs of this time were a move from tempera paint on wood and fresco on plaster, to oil paint on stretched canvas. Perspective, depth, texture and three-dimensional form were born from the discovery of concepts like the vanishing point, use of light and shadow, and pyramid configuration.

Masaccio: founder of early Renaissance painting; first to paint a human with realistic proportions, not in the Gothic pillar style. Master of perspective, and use of realistic shadows/ constant light source.

Donatello: the Masaccio of sculpting. Figures were carved with a knowledge of the ‘underlying skeletal structure.’ His Mary Magdalen sculpture was frighteningly lifelike, and ghastly.

Leonardo da Vinci: handsome, intelligent, charming, ambitious, inventor, artist-genius, capricious, and fickle. Had difficulty finishing thing she started because he became frustrated with the product not resembling what he pictured in his head. His famous works include the Mona Lisa, The Last Supper, In the Womb. For the Mona Lisa, he used perspective, and showed her in ‘a relaxed, natural, three-quarter pose.’ He studied skeletons and dissected cadavers in his study to produce such lifelike hands on the Mona Lisa. His procedure in creating the painting also set a new standard- rather than filling in a drawn outline, he used light, shadow, and layers upon layers of semi-transparent glazes, to produce the edgeless form. Leonardo’s ‘sketches of the growth of the fetus in the womb were so accurate they could teach embryology to medical students today.’

Michelangelo: sculptor, painter, architect; solitary, married to his work, cruel of wit. Carved statues from one piece, rather than adding bits to cover mistakes as other sculptors did. Also being one to dissect corpses, his statues were amazingly accurate to the human form. When asked to paint ‘a few vines on a blue background’ in the Sistine Chapel, he instead produced ‘more than 340 human figures’ in ‘less than four years, virtually without assistance.’ There were many challenges involved, such as damp plaster from the leaking roof, the shape of the roof, and the height of the roof. He illustrated Jesus as a ‘avenging Judge’ so believable that it made the pope cry out.

Raphael: painter; adored. Painted the ‘School of Athens’ in the Vatican, which fused Pagan and Christian elements. [my own knowledge] This painting shows all the greatest philosophers, scientists, and mathematicians from different living times sharing ideas under one roof.

Principle of Design: Variety (Kells letter continued)

Realism Began in France; 1840s-1880s

Realism is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Before Realism, portraits and other artwork were modified by idealization and sensationalism, or depicted religious/spiritual images. Realism refused such content. When asked to paint an angel, Gustave Courbet replied that he would paint an angel when somebody showed him one.

The well known work, ‘The Horse Fair,’ was painted by Rose Bonheur (1822 – 1877). To gain knowledge on horse anatomy, Bonheur spent a year sketching at a horse market (disguised as a man) and worked in a slaughterhouse.

Gustave Courbet (1819 – 1877) was the father of the Realist movement in France. One of the reasons that Realism was met with widespread criticism was due to the unflattering (but accurate) nature of portraits; artists painted what they saw, as Courbet did in his painting ‘The Countess of Karoly’ [pictured right, 1865].

Realism Art

All notes taken from The Annotated Mona Lisa pages 82-89

After technical limitations were overcome during the Renaissance, and after subjects were modified by idealization or sensationalism, came Realism: ‘visual perceptions without alteration… only what they could see or touch was considered real.’ The subjects of paintings, once Gods and heroes, were now the urban working class and peasants.

Realist painter Rosa Bonheur (1822-1877): To gain knowledge of anatomy she worked at a slaughterhouse, and sketched at a horse market for over a year, disguised as a man. ‘‘…fiercely independent…She lived with a female friend, cut her hair short like a man’s, smoked cigarettes even though doing so was scandalous, and obtained a police permit to wear trousers. A courageous and colourful character, she was one of the fist advocates of women’s rights.’’

In France, the ‘father’ of the movement was Gustave Courbet, who insisted that painting ‘must be applied to real and existing things’ as well as ‘everything that does not appear on the retina is outside the domain of painting.’ When asked to paint an angel, he replied that he would paint an angel when someone showed him one.

Realism was met with widespread criticism, partly due to the unflattering (but accurate) nature of the outcome of portraits, and partly due to outrage that ‘plain folk’ be represented in such a grand (size and effort) manner.

Winslow Homer was self-taught and based his work on observations of people in nature. He refused to look at European art, insisting that ‘if a man wants to be an artist he should never look at paintings.’ He later moved to the seaside where he began to paint the sea exclusively- in the beginning he painted men in boats, but later created pieces of only the sea and rocks. He would go outside in the middle of the night to capture the moon on the water and ‘His ability to portray harsh, stormy weather, to the point where you can almost feel the icy spray, remains unmatched.’ Other artists had long been using watercolour for sketches/first drafts and had an anemic look to them, but Homer used watercolour as finished works like no one else yet had and they were ‘luminous and brightly coloured…[and] had the authority of oils.’

James Abbott McNeill Whistler was the ‘leading theoretician of the Art for Art’s Sake doctrine.’ One of his most criticised paintings depicted fireworks in the night sky, was criticised as akin to ‘flinging a pot of paint in the public’s face.’ Whistler’s work was a precursor to Abstract painting.

In terms of architecture, buildings that were formerly designed with stone and decorated columns were abandoned as cast iron became readily available and workable. As the movement came began, only ‘useful’ things like bridges and railroad sheds were made with ‘cast iron[,] used without adornment.’ However, ‘an awareness grew that new materials and engineering methods demanded a new style as practical as the Age of Realism itself.’ Buildings such as The Crystal Palace (London, destroyed by fire) and the Eiffel Tower came to be seen as both functional and beautiful.

[Rococo, Surrealism, Romanticism Notes: all from groupmates]

Rococo: Notes taken from annotated Mona Lisa

-Began in Paris, -Coincided with the reign of Louis XV (1723-74). -known for luxurious castles and churches throughout Germany, Austria and central Europe. -Form of interior decoration -Rococo derived from “Rocaille” motif of shell work and pebbles ornamenting grottoes and fountains. -art was decorative and unfunctional -Antoine Watteau, a famous artist at the time painted “Pilgrimage to Cythera” showing romantic couples frolicking. It highlighted young eternal love. He utilized fuzzy colour and hazy atmosphere in his painting. 42

-Francois Boucher had an artificial style. He claimed nature was “to green and badly lit” so he refused to paint from life. He earned great success -Many art during this time was flirtatious, light hearted and frilly. -Woman’s day. Women dominated during the pre- French revolution. Women dominated European courts and female artists made their mark. -Rococo Art: Mood: Playful, superficial, alive with energy Interior decor: Gilded woodwork, painted panels, enormous wall mirrors Shapes: Sinuous S and C curves, arabesques, ribbonlike scrolls Style: Light, graceful, delicate Colors: White, silver, gold, light pink, blues, greens -Exterior buildings continued to be Baroque. -Found in private townhouses of Paris, and the churches and palaces of Germany, Austria, Prague, and Warsaw. Cuvillies, Mirror Room, 1734-49, Amalienburg, Germany -Best example of Rococo Interior.

Surrealism Surrealism appeared in the 1920’s. Sigmund Freud impacted surrealism as it involved looking at the unconscious. Surrealism often incorporates movement. Many of the pictures incorporate a dream like quality. Salvador Dalí, has several famous works of art that are surrealism pieces such as “the persistence of memory,” (below). Characteristics of surrealism include pushing against boundaries, incorporating chance and spontaneity, exposing feelings and expressing basic drivers like hunger and fear. http://arthistory.about.com/od/modernarthistory/a/Surrealism- Art-History-101-Basics.htm https://www.britannica.com/art/Surrealism http://www.theartstory.org/movement-surrealism.htm

Romanticism: Emotion and intuition over rational objectivity Rebellion after Neoclassism All about passion in art Cult of nature worship Gothic horror stories combined with macabre ideas Heroic overtones in nature scenes Artists should feel the art not just see it Passionately in love with passion Lush colours, swirls, bestial animals

Experimental Artwork for Principle of Design: Texture (regarding Realism)

Use the idea of realism to exhibit something in your life that a magazine would ‘photoshop’ to make it look ‘better’ than it is- but don’t do this. Draw, paint, or use plasticine to illustrate this idea, with attention to texture to concentrate the effect of the ‘blemish.’

It did not come across in this photo, but the zits are 3-dimensional, made with a rubbing.

Dutch Baroque Art All notes taken from The Annotated Mona Lisa pages 52-59

Dutch Baroque experienced its heyday from 1630-1670. Due to Protestantism, religious art was forbidden (although Rembrandt painted biblical scenes; unsure/unclear how these opposing facts intermingle). Still life, landscapes, and portraits (group, self, regular) dominated the canvas. The subjects/objects of these paintings, however, were not the focus of the artwork- rather, they were the vessel ‘to capture the play of light on different surfaces and to suggest texture…by the way light was absorbed or reflected.’ All the artists described below conveyed a powerful sense of light and shadow in their work:

Ruisdael was ‘the most versatile landscape artist’ distinguished by the melancholy and ‘threatening clouds’ created with ‘dramatic contrasts of light and shadow.’

Hals was known for capturing expression using ‘sweeping fluid brushstrokes’ to create ‘portraits of men and women caught in a moment of rollicking high spirits.’ He also began a new trend of group portrait style. Whereas before group portraits were akin to school class photos (rows of straight standing figures), ‘Hals seated them around a table in relaxed poses, interacting naturally, with each facial expression individualized.’

Rembrandt’s work showed great emotional depth, very much influenced by the state of his life (ex. losing his wife to premature death). Pigment laid ‘half a finger thick’ on his canvas in places, the ‘uneven surface reflected and scattered the light, making it sparkle…’ He was also renowned for etching.

Vermeer ‘the master of light’ departed from common use of gray, green, brown colours and instead worked with bright colours such as blue and yellow. His paintings followed a theme, ‘a neat, spare room lit from a window on the left and a figure engrossed in a simple domestic task’ (and in doing so, he ‘honored women as no other Dutch painter has’). With light coming from the window, surfaces were shadowed and illuminated according to how far they were from the source. Applying paint in ‘dabs and pricks’ created more surface area and allowed the paint to reflect more light, creating a ‘surface [like] crushed pearls melted together.’

Principle of Design: Contrast CHIAROSCURO

Principles of Design: Unity and Harmony

Unity is the fundamental principle of design and it is supported by all the other principles. Unity occurs when all of the elements of a piece combine to make a balanced, harmonious, complete whole.

Harmony involves the selection/design of elements that share a common trait. It brings together a composition with similar units. For example, using only wavy lines and organic shapes together to create a cohesive piece.

“And Harmony means that the relationship between all the elements used in a composition is balanced, is good.” - Karlheinz Stockhausen

“The Great Wave Off Shore at Kanagawa” “Starry Night” - Vincent Van Gogh - Katsushika Hokusai

“Bathers at Asnieres” - Georges Seurat

“In an artwork, when many diverse parts are made to fit together, then piece has unity.” - Dianne Mize

Curriculum Connections to Unity and Harmony

Big Ideas

❖ Artists experiment in a variety of ways to discover new possibilities. (Grade 4) ❖ Artistic expressions differ across time and place. (Grade 6)

Curricular Competencies

❖ Reflect on creative processes and make connections to other experiences (Grade 4) ❖ Intentionally select, apply, combine, and arrange artistic elements, processes, materials, movements, technologies, tools, techniques, and environments in art making. (Grade 6)

Impressionism Art

All notes taken from The Annotated Mona Lisa pages 106 – 109

Impressionism was the first complete art revolution after the Renaissance, originating in France in the 1860s. ‘Perspective, balanced composition, idealized figures, and chiaroscuro’ were thrown out the window, replaced with ‘immediate visual sensations [of] colour and light.’ Manet, Monet, Renoir, and Degas were the artists of note of Impressionism, but each used unique colours, subjects, and style. This movement began when these artists rejected the idea of painting inside, and took to the outdoors. Monet would bring 30 canvases outside with him, and switch to a blank one whenever the light changed- as frequently as every seven minutes. He also threw down his brush and refused to paint when the sun was behind a cloud. Light and colour were one, and instead of using dark colours for shadow, he used complementary colours. Colours were also not blended on the canvas, but a line of blue would lay next to a line of yellow, which at a distance created the look of green. Painting was done in small dabs that look like nothing close up, but are revealed as a scene once seen from a distance.

Principle of Design: Unity and Harmony PLAYING WITH LIGHT

Photography Notes

In the 1840s, Turner and Gurbet critiqued ideas of society through artwork- this was a prelude to photography and contemporary artwork. One in England and one in France, two people independently made discoveries of chemicals/substances that reacted to light- early forms of photography. Fox Talbot found that a blue and white print could be made with cyanotype, and Daguerre created copper prints of drawings of light.

Eakins was an artist and teacher who was very interested in anatomy. He had his students sit in Operating Rooms and paint images of surgery (realism). When photographic technology came to be, Eakins took many photos of the same event in quick succession, putting them together to make an action shot. This was the beginning of silent movies.

With the discovery of photography, there was no more need to paint portraits, or record operations by brush. By this time there was also little want for paintings of religious figures (1850s). Painters scrambled to find the purpose of art- if it was not for religious purposes and not for keeping records…what was it about!?

In their scramble and confusion, Artists began to experiment with elements of design, probing the question ‘is this art?’ Mark Rothko painted many layers of colour that resulted in a black canvas. He is famous because he dared to say ‘this IS art.’ Rothko experienced depression, so his black canvas was indicative of his feelings. Barnet Newman also created artwork that was ‘only’ a canvas filled with solid colour. Newman’s work was part of the contemporary art movement; a new purpose of art was to critique ideas of society.

CYANOTYPE of pine needles, a leaf, and three pussy-willows