© 2020 Alisha Gratehouse, Masterpiecesociety.Com

Masterpiece Society Art Appreciation: Women Artists

Copyright Notice: This curriculum may not be reproduced, displayed, modified, stored or transmitted in whole or in part, in any form or by any means, electronic, mechanical or other- wise, without prior written consent of the author. One copy of this curriculum may be printed for your own personal use. Most images in this lesson are from Wikimedia Commons and are public domain. Fair Use Notice: This curriculum may also contain copyrighted images, the use of which is not always specifically authorized by the copyright owner. However, for the purpose of art appreciation and enrichment, we are making such material available. We believe this constitutes “fair use” of any such copyrighted material for research and educational purposes as provided for in sections 17 U.S.C. § 106 and 17 U.S.C. §107. No copyright infringement is intended. Disclosure: The Masterpiece Society is a participant in the Amazon Services LLC Associates Program. Affiliate links are included in this curriculum at no extra cost to you.

“We cannot measure the influence that one or another artist has upon the child’s sense of beauty, upon his power of seeing, as in a picture, the common sights of life; he is enriched more than we know in having really looked at a single picture.” – Charlotte Mason

“Being an ‘agent of civilization’ is one of the many roles ascribed to teachers. If we are to have any expectations of producing a well-educated, well-prepared generation of deep-thinking, resourceful leaders, then it is essential to give students an opportunity to review, respond to, and ultimately revere the power of the human imagination—past and present. There may be no better way to promote this than to study, understand, and exult in masterpieces.” – Joseph Matthew Piro

About Masterpiece Society Art Appreciation...... 5 How to Use This Curriculum ...... 7 Observation & Evaluation Questions ...... 11 Sofonisba Anguissola ...... 13 Sofonisba Anguissola Biography ...... 14 Fun Facts About Sofonisba Anguissola ...... 17 Sofonisba Anguissola Quotes for Copywork ...... 18 The Renaissance Era ...... 25 Artemisia Gentileschi ...... 29 Artemisia Gentileschi Biography ...... 30 Fun Facts About Artemisia Gentileschi ...... 33 Artemisia Gentileschi Quotes for Copywork ...... 33 Baroque Period ...... 40 Élisabeth Vigée Le Brun ...... 45 Élisabeth Vigée Le Brun Biography ...... 46 Fun Facts About Élisabeth Vigée Le Brun ...... 49 Élisabeth Vigée Le Brun Quotes for Copywork ...... 49 Rococo ...... 56 Angelica Kauffman ...... 60 Angelica Kauffman Biography ...... 61 Fun Facts About Angelica Kauffman ...... 64 Angelica Kauffman Quotes for Copywork ...... 64 The Neoclassical Period ...... 71 Berthe Morisot ...... 75 Berthe Morisot Biography ...... 76 Fun Facts About Berthe Morisot...... 79 Berthe Morisot Quotes for Copywork ...... 79 Impressionism ...... 85 Recommended for Further Study ...... 90

Masterpiece Society Art Appreciation is an “open-up & go” art enrichment curriculum created with the busy mom in mind. Although the lessons coordinate with my online art courses, you do not need to purchase the art course to get a well-rounded knowledge of: • the master artist • several of the artist’s famous works • his or her artistic techniques • the art movement in which he or she created

This eBook will be all you need for this study because I include: • internet links to virtual museums, galleries and artwork • internet links to other helpful websites† • printable templates (which can also be used as coloring sheets for younger students) • additional enrichment materials • recommended books for further study† • recommended videos/movies for further study†

†Please Note: Although we love many of the works of the master artists, we may or may not agree with how they lived their lives. Some of the recommended videos, books, or webpages touch on certain facets of their lives that may be unsuitable for children. Please use your own discretion as a parent.

5 © 2021 Alisha Gratehouse, masterpiecesociety.com My desire for this art appreciation curriculum is threefold: • to ignite a love, even passion, for the old masters and their works • to encourage kids and teens to actively engage in the art process and have FUN doing so • to inspire them to utilize and further develop their own God-given creativity

These lessons are written for elementary through middle school students, although they can be adapted for younger children and even teens. (See below.)

Use these lessons as: • a stand-alone art appreciation curriculum – great for morning time / morning basket or afternoon teatime! • a supplement to your family’s Charlotte Mason art and artist study • a “no mess” art course – simply use the templates as coloring pages for preschoolers and kindergarteners to “create” alongside older siblings (older students can use templates to transfer patterns for painting projects, or they may prefer to color in with pastels or colored pencils) • part of a unit study • part of your history studies

General Art Appreciation Tips & Suggestions:

Feel free to print out a copy of each work of art (included) and place it inside a page protector in a three-ring binder. This will become your “Art Appreciation” notebook. Various notebooking pages are also provided throughout each volume.

Let your student observe each work of art without you saying much (if anything). This allows the art to speak on its own. Simply encourage them to look closely and observe each piece. Does the work have a story to tell? You can encourage them to describe what they see, what they like or dislike. For a more in-depth study, please see below.

Move as slowly or as quickly as you feel is necessary for your student to form a connection with each artist and his or her work. This curriculum is yours to adapt and adjust as you see fit. Adjust it to your education style. Modify it to your student’s specific needs or tastes. Make it fun!

7 © 2021 Alisha Gratehouse, masterpiecesociety.com The most important thing isn’t to learn dull, dry facts about art and artists, but rather to instill and cultivate a love of beauty while helping to develop your student’s ability to “see.”

If you want to study one artist over the course of a few weeks, there is plenty more information under the “Recommended for Further Study” links at the end of the lessons.

As you study more and more artists and their bodies of work, it is important to allow your student(s) to compare and contrast their styles and pieces. What are their similarities? What are their differences?

This will ensure a “review” of each artist and their works, and will help your student form relationships with each one while providing a more comprehensive knowledge and appreciation of art.

Additionally, find ways to expose them to the great art masterpieces on a regular basis whether it’s via coffee table books, wall calendars, posters or prints. If possible, visit local art museums, and at the very least, visit the official websites of famous art museums (several museum links are included at the end of lessons). Our goal is simply to ignite a love for beautiful art in each student, and that will happen over the process of time.

Adapting for Different Ages:

The Masterpiece Society Art Appreciation curriculum is geared towards upper elementary and middle school students. But is easily adapted for all students. Below are a few suggestions:

Preschool/Early Elementary

• When studying the artist’s works, simply let them observe the painting (you can tell them the name of the piece and the artist who painted it if you wish) and have them tell you what they see, what they like or dislike.

8 © 2021 Alisha Gratehouse, masterpiecesociety.com • Encourage them to create their own version of the piece (drawing, coloring, finger-painting, watercolor, etc.). • Print out an art template (included) and let them color it while their older siblings are learning.

Upper Elementary/Middle School

• Have them read an age-appropriate biography of the artist’s life. • Encourage them to study each piece included in this volume, learning its name, the period in which it was painted, the mediums and techniques with which it was painted, etc. • Print out copies of each piece, any notebooking pages (and fill in), any other relevant information to their study and place it in their “Art Appreciation” binder. • Have them answer a few of the “Observation & Evaluation Questions” (pp. 11-12) about each piece. • Print out the art template (included) and color in with pastels or colored pencils or use template to transfer a pattern to a canvas to paint.

Older Teens/High School

• Assign an age-appropriate biography for them to read about the artist. • Have them research each work of art to find out more interesting facts about it. • Encourage them to compare and contrast the artist’s various other works, as well as comparing and contrasting them with the works of other artists. • Let them create their own “Art Appreciation” notebook, decorating and “curating” it as they desire. • Have them answer several of the “Observation & Evaluation Questions” (pp. 11-12) about each piece. • Print out the art template (included) and color in with pastels or colored pencils or use template to transfer a pattern to a canvas to paint.

9 © 2021 Alisha Gratehouse, masterpiecesociety.com A Note about Viewing Art Pieces Online I have endeavored to link artwork from the museums in which they are housed or Wikimedia Commons, which only uses public domain works when possible. Whenever you click on a hyperlink within this curriculum and are taken to the artwork, remember to hover the cursor over the painting. If the cursor shows a plus symbol (+) on it, click again and the painting will be magnified so that you can view it in greater detail.

A Note about Pronunciations After testing several different websites and videos for native pronunciation of proper nouns, I decided to go with “Google Translate.” This site is streamlined and easy to use, and doesn’t have unwanted pop-ups. Additionally, the pronunciations are made by native speakers from the countries of origin. Whenever you see (pronunciation) after a name or place throughout this curriculum, simply click on the hyperlink and it will open up to Google Translate. Then click the “Listen” icon in the lower left hand corner of the left box to hear the correct pronunciation.

A Note about the Lives of Artists It bears repeating: Although we love many of the works of the master artists, we may or may not agree with how they lived their lives. Some of the recommended videos, books, or webpages touch on certain facets of their lives that may be unsuitable for children. Please use your own discretion as a parent.

Teaching your child or teen to “see” sometimes requires a bit of prompting and/ or probing. Use this list of questions if you want to take each lesson even further. (Pick and choose a few questions. Don’t feel compelled to inundate your kids with the entire list.) If you are utilizing this curriculum with multiple students, these questions will help create some rich discussions of art.

Observe: 1. Look at this work of art. Describe what you see. What else do you see? 2. What is the mood of this painting? How does it make you feel? 3. How would you describe the lines? Shapes? Colors? 4. What stands out most to you in this painting? Why? 5. What interests you most about this work of art? 6. How would you describe the people/place/things depicted in this piece? 7. How is this picture different from real life? 8. Is there anything this painting reminds you of? 9. Tell me about the colors in this piece. Which color is most prominent? 10. Which part of this painting do you think is the most important part? 11. How do you think the artist created this piece? 12. If you could meet the artist, what questions would you ask him/her about this painting?

Understand: 1. What do you think is happening in this painting? 2. Does this painting tell a story? What do you think that story is? 3. If you were inside this painting what would it feel like? What sounds would you hear? What fragrances (or odors) would you smell? 4. What do you think it would be like to live at the time of this painting? 5. What do you think the artist is trying to convey or communicate in this painting?

11 © 2021 Alisha Gratehouse, masterpiecesociety.com 6. What do you think the artist’s mood was when he/she created this piece? Why? 7. What do you think this painting is about? Why? 8. If you were able to name this painting what would you call it? 9. What interests you most about this piece?

Compare: 1. How is this painting like/different than others by this artist? 2. How is this painting like/different than paintings of other artists? 3. Is this painting like/different than real life? How?

Evaluate: 1. What do you think is good about this painting? 2. What do you think is bad about this painting? 3. Would you consider this a “great” work of art? Why or why not? 4. Does this piece inspire you? Why or why not? 5. What do you think is worth remembering about this piece? 6. Do you think this piece would inspire someone else?

Sofonisba Anguissola

Sofonisba Anguissola (pronunciation) Sofonisba Anguissola was born in Cremona, Italy in 1532. She was the oldest of seven children. Her parents, Amilcare Anguissola and Bianca Ponzone, were both of noble background. Sofonisba’s father cared very much about his children’s education, and so always made sure they had the right resources and the best teachers available. He especially encouraged them to pursue their natural talents and cultivate their knowledge of the arts. As such, Sofonisba, along with four of her sisters, took up painting. In 1545, at the age of fourteen, Sofonisba and one of her sisters became apprenticed to Bernardino Campi (pronunciation), who was a well-known and respected artist at the time. When she was twenty-two, Sofonisba traveled to Rome in order to study under the masters, and it was there that she was introduced to Michelangelo. The master artist was impressed with Sofonisba’s work, and the two began to correspond through letters, during which Michelangelo critiqued her work. On one occasion, Sofonisba showed Michelangelo a drawing she had created of a smiling girl. However, Michelangelo felt the subject was too easy and so challenged her to draw a crying boy instead. Sofonisba responded by drawing Child Bitten by A Lobster, which was a portrait of her brother and one of her sisters. Recognizing the young woman’s talent, Michelangelo gave Sofonisba his own art journals, allowing her to copy his pieces and draw them in her own style. Sofonisba continued to travel for the next few years, establishing her career as a professional painter. In that time, her popularity only continued to grow until she was well-known all throughout Europe. In 1558, she visited Milan to paint the Duke

14 © 2021 Alisha Gratehouse, masterpiecesociety.com of Alba. The Duke was so impressed with her work that he recommended her to the King of Spain, Philip II. The following year, the king invited Sofonisba to join the Spanish court as a lady-in- waiting to Queen Elisabeth of Valois, who was fourteen at the time. Sofonisba also became Elizabeth’s art teacher, and the two of them became good friends. Sadly, the queen died in 1568. Upon the queen’s death, the king arranged a marriage for Sofonisba to a nobleman so that she could remain in the Spanish court and be free to continue her career as an artist. During this time, she continued to teach art to the two young princesses. When her husband died in 1579, Sofonisba initially chose to stay in the Spanish court. But after two years, she decided to return to her home in Cremona to be close to her family again. Traveling by ship, she became close to and fell in love with the ship’s captain, a man named Orazio Lomellino. Despite her family’s disapproval, the two were eventually married and took up residence in Genoa. Little is known about the later years of her life, but Sofonisba continued to paint and train other young artists who were eager to imitate her work, as one did with other master artists. Even up into her nineties, she still had sharp mental clarity though her eyesight had become weak. She died in 1625 at the age of 93, but her legacy and success as an artist paved the way for other women to be accepted as students and pursue careers in art as well. She is now considered one of the most important female artists of all time.

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• Sofonisba’s had five sisters: Elena, Lucia, Europa, Minerva and Anna Maria, and one brother: Asdrubale.

• She came from a family of artists: four of her sisters were also painters, one sister became a writer, and her brother was a musician.

• She painted all her life, even up into her 80s, and only stopped when her eyesight began to weaken.

• Sofonisba is considered among the most accomplished painters of the late Renaissance

There are no known letters written by or documents attributed to Sofonisba Anguissola, therefore, we have no quotes by her. However, we have included a few quotes by others about her instead.

• “I bring to your attention the miracles of a Cremonese woman called Sofonisba, who has astonished every prince and wise man in all of Europe by means of her paintings, which are all portraits, so like life they seem to conform to nature itself. Many valiant [professionals] have judged her to have a brush taken from the hand of the divine Titian himself; and now she is deeply appreciated by Philip King of Spain and his wife, who lavish the greatest honors on the artist.” – Lomazzo, Libro de Sogni

• “[Sofonisba Anguissola] has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring, and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings.” – Giorgio Vasari

• “I sent it (Sofonisba’s drawing) to you with this one (Michelangelo’s Cleopatra), and I believe that it may stand comparison with many other drawings, for it is not simply beautiful, but also exhibits considerable invention.” – Tomasso Cavalieri (a friend of Michelangelo)

Introduction Sofonisba painted The Chess Game in 1555 when she was just twenty-three years old. The three girls in the picture are three of her sisters: Lucia (left), Europa (middle), and Minerva (right), playing a game of chess as their governess watches from the side. At the time, chess was considered to be an important educational exercise because it required players to have precision and strategy. In painting this scene, Sofonisba was hinting at the skill and intelligence of her sisters.

Background The Chess Game stands out as a snapshot of domestic life for women in the Renaissance era. The scene is set up in an outside garden, with the girls arranged around the table so that you, the viewer, can almost feel as if you were the fourth sitter among them. To the left sits Lucia, who faces the viewer with an almost smug expression as she plays this game of chess. The position of her hand over the board suggests that she is about to make a winning move against her sister, and across from her, Minerva raises her hand, perhaps to ask a question or even to forfeit the game. Between them their younger sister, Europa, looks at Minerva with a cheeky smile, seeming to laugh at her sister’s defeat. Sofonisba’s true talent is apparent in the level of detail she puts into the figures, with each portrayed at a different stage of life: from child, to adolescent, to adult woman (both young and old). She reveals her family’s wealth in the elaborate hairstyles and bright clothes, embroidered in gold and bedecked in jewels, which contrasts the simple attire of the governess. Her skill is also evident in the detail of the oak tree and the mountain landscape in the far background, as well as the chessboard and intricate tablecloth in the foreground.

Mediums and Techniques The Chess Game was painted with oil on canvas and stands just over three feet long. Before Leonardo da Vinci, most portraits were painted in profile (from the side) or straight on. However, he began using a new style called “three-quarter portraits” in which the sitter’s body faces one direction and turns his or her head in another. The Mona Lisa is painted in this manner. In The Chess Game, we see that Sofonisba incorporated the three-quarter portrait technique for both Lucia and Europa (even the governess is painted in this manner), and Minerva is painted in profile. And speaking of the Mona Lisa, notice the similarities between her and Lucia’s smile. Sofonisba used the same painting technique, sfumato (pronunciation), as Leonardo. Sfumato, which comes from the Italian word fumo, meaning “smoke” or “fume.” In painting, sfumato softens, blurs or shades. The effect is created by blending layers of translucent colors and tones to blur or obscure lines and boundaries. This process leaves no visible brush strokes and adds depth, volume and form. Notice the softness around the subjects’ eyes and the corners of their mouths. These are prominent areas in which the sfumato technique was used. This is especially apparent in the girls’ skin which appears soft and supple.

The painting (left) is called Portrait Group with the Artist’s Father, Brother and Sister and was done with oil on canvas and finished in 1559. Click here to view a larger version of this piece.

This painting (right) is entitled Two Sisters and a Brother of the Artist and was painted in oil on panel sometime between 1570 and 1590. Click here to view a larger version of this piece.

This painting (left) is called Portrait of Bianca Ponzoni Anguissola (the artist's mother) and was painted in oil on canvas, completed sometime in 1557. Click here to view a larger version of this piece.

This painting (right) is called Elisabeth of Valois and was painted with oil on canvas, completed around 1599. Click here to view a larger version of this piece.

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Sofonisba Anguissola painted and created during the period known as the “Renaissance Era.” The Renaissance (pronunciation) began in Florence, Italy during the 14th century and spread throughout Europe, ending in the 17th century. The word renaissance means “rebirth,” and was an age in history which marked a transitional period between medieval and modern times. Some of the greatest artists of all time lived during the Renaissance: Da Vinci, Michelangelo, Raphael, Titian, Botticelli, Van Eyck, Dürer, and many more. Not only was this a time of rebirth for art, but it was also a time of cultural growth, intellectual achievement, scientific breakthrough, architectural advancement, and much, much more. In other parts of Europe, a reawakening was taking place simultaneously with the Italian Renaissance. This is known as the Northern Renaissance and occurred north of the Alps in countries such as Germany, Belgium, France, England, Netherlands, and Poland. Compared to the formal, religious art of the Middle Ages, Renaissance art was much more personal and realistic, including scenes and images from everyday life, paintings of the Italian countryside, and more life-like people. Many paintings also begin to reveal a sense of mystery and beauty. Light and shadow, perspective, and abundant colors contributed to brighter works of art with an abundance of emotion. During the Renaissance, art came alive!

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If you would like to enrich your study of The Chess Game with a “no fuss” art activity, simply print out the template on the following page. Older students can use it as transfer pattern for painting projects, or they may prefer to color in with pastels, charcoals, or colored pencils. Younger students can use it as a coloring page to “create” alongside older siblings.

Artemisia Gentileschi

Artemisia Gentileschi (pronunciation) was born in Rome, Italy in 1593. Her father, Orazio Gentileschi (pronunciation), was also a painter, and taught Artemisia in the arts. Sadly, her mother, Prudenzia, died when she was only twelve years old. Orazio was friends with Caravaggio (pronunciation), who was another distinguished Italian painter from the Baroque era. And it is evident in his and Artemisia’s works that they took inspiration from the artist. In 1611, when Artemisia was only seventeen, Orazio hired another artist, Agostino Tassi (pronunciation) to further train Artemisia in painting. Regrettably, Tassi was not an honorable man. He took advantage of Artemisia and abused her. When her father found out, he pressed charges and Tassi was found guilty. Unfortunately, his sentence was never enforced because the Pope protected him. Fueled by this injustice, Artemisia’s work took on a new attitude. She began to paint strong and courageous women who were men’s equals in every way. Often painting scenes from history or mythos, she frequently depicted situations where women gruesomely killed men. However, despite the bold subjects, it isn’t believed that they were painted out of a mere obsession with violence or revenge. Rather that Artemisia took it upon herself to depict women who were strong, not weak or helpless, who fought for the greater good. Art historian, Raymond Ward Bissell, commented that “no one would have imagined that it was the work of a woman. The brush work was bold and certain and there was no sign of timidness.” (1999), Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné.

30 © 2021 Alisha Gratehouse, masterpiecesociety.com Soon after the trial, Orazio arranged for Artemisia to marry a man named Pierantonio Stiattesi (pronunciation), who was also an artist. The two then moved to Florence, where Artemisia began to receive commissions from several wealthy patrons, including the Grand Duke of Tuscany and Charles I of England. In 1618, Artemisia gave birth to a daughter, whom she named Prudentia after her mother. Prudentia grew up to follow in her mother’s footsteps by becoming a painter as well, though little is known about her work. Artemisia returned to Rome in 1621, but it proved difficult to find commissions, therefore little is known of her movements during this time. In 1630 she moved to Naples, which supplied better job opportunities for her. She took on new commissions and collaborations, upon which Artemisia adapted her style to match those with whom she collaborated. In 1638, King Charles I of England summoned Artemisia to the London court, where she was once again reunited with her father, Orazio, who had become one of the regular London court painters. For a while the two worked together on a commission to paint the ceiling of the Queen’s House in Greenwich, until Orazio died in 1639. Artemisia had returned to Naples by 1642, where she spent the rest of her life painting, until her death sometime in 1656. However, her legacy lives on, and she will forever be remembered for the art she created to fight for women’s equality, showing bold women who weren’t afraid to stand up in the face of adversity.

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• Artemisia painted herself as the heroine of many of her paintings.

• She was the first woman ever admitted into the Accademia dell’Arte del Disegno in Florence.

• She was acquainted with Galileo due to the fact that they were both members of the Academy del Disegno.

• Artemisia was commissioned to paint a fresco at the Casa Buonarotti (pronounciation), which was Michelangelo’s home. At that tie it was then in the process of being transformed into a museum by his nephew.

Artemisia Gentileschi Quotes for Copywork

• “My illustrious lordship, I’ll show you what a woman can do.”

• “As long as I live, I will have control over my being.”

• “You will find the spirit of Caesar in this soul of a woman.”

Masterpiece #2: Judith and her Maidservant

Introduction The story of Judith originates from the Book of Judith. Once believed to be an apocryphal book of the bible, it is now considered to be more along the lines of a historical novel. In the story, Judith is a Jewish widow who tricks the Assyrian general, Holofernes, and kills him to save Israel from oppression.

Background In Judith and her Maidservant, Artemisia chose to focus on the tense moments right after the murder has take place. Judith stands at the central focus of the scene, one hand outstretched before the candle, the other concealing the murder weapon. She keeps watch while her servant, Abra, wraps Holofernes’ severed head in a bag, emphasizing Judith’s role as the one charge of the situation, as well as her willingness to protect her servant should they be caught. A solitary candle is the only source of light in this dark room, emitting a warm glow that creates a stark contrast of shadows and adds tension to the situation. However, even in the unusual light, Artemisia manages to bring out the vivid colors around the room, as seen in the gold of Judith’s dress and the deep red of the curtains. The head of Holofernes is barely visible in the shadows, almost as if her were meant to die in obscurity, while the two women are bathed in light, accentuating their role as the heroines of this story. In particular, the light across Judith’s face closely resembles a crescent moon, which was a symbol of Artemis, the goddess of purity and the hunt.

35 © 2021 Alisha Gratehouse, masterpiecesociety.com Mediums and Techniques Artemisia painted Judith and her Maidservant sometime between 1623 and 1625. She used oil paint on a canvas that stands just over six feet tall. It’s obvious she drew inspiration from the works of Caravaggio, as can be seen from her dramatic use of chiaroscuro (pronunciation), which is a compound of the Italian words, chiaro, meaning “light,” and scuro, meaning “dark.” Notice how most of the painting is dark, but the women’s faces, arms, hands, and clothing are illuminated with light. This technique masterfully creates the illusion of depth on a flat surface.

Compare and Contrast Check out more paintings by Artemisia Gentileschi. How does each compare or contrast to Judith and her Maidservant?

This painting (left) was also titled Judith and her Maidservant or alternatively, Judith with the Head of Holophernes. It was painted with oil on canvas and completed sometime between 1618 and 1619. Click here to view a larger version of this piece.

This painting (right) is known as Judith Beheading Holofernes and depicts the scene that took place right before Judith and her Maidservant. It was painted with oil on canvas and completed sometime between 1614 and 1620. Click here to view a larger version of this piece.

The painting (left) is called Jael and Sisera and was done with oil on canvas and finished in 1620. Click here to view a larger version of this piece.

This painting (right) is titled Conversion of the Magdalene and was done with oil on canvas and finished in 1620. Click here to view a larger version of this piece.

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Artemisia Gentileschi painted during a time known as the “Baroque Period” (pronunciation), which began in Rome, Italy around 1600 and spread throughout Europe, ending in 1750. The word baroque refers to something extravagantly ornate, elaborate, or intricately detailed in style, whether it be painting, sculpture, architecture, music, literature, or fashion. This period in history began when Catholic popes started funding the construction of grand cathedrals with magnificent architectural features to draw in more people. Some of the famous artists who lived during the Baroque period were: Rembrandt, Velázquez, Caravaggio, Rubens, Vermeer, Van Dyck, Poussin and others. But the Baroque period didn’t just give us amazing artists, we also gained some of the most brilliant composers of all time such as Bach, Vivaldi, Handel and Pachelbel. It was truly a time of growth and expansion in all areas of the arts. Baroque style spread from Italy into France, then throughout other parts of Europe. The notion that monarchs in these countries ruled by a “divine right” from God was widespread. In Catholic countries, the art was mainly religious in nature. While in Protestant countries, religious art and imagery were forbidden. Consequently, paintings in these countries consisted of portraits, still life, landscapes, and scenes from everyday life.

40 © 2021 Alisha Gratehouse, masterpiecesociety.com Art from the Baroque period is characterized by drama, rich, deep colors, and intense light and dark shadows. The settings were extravagant with intricate ornamentation. Artists sought to capture the climax or most dramatic point of an event. They showed the action occurring, which was intended to evoke intense emotion and passion. They wanted to draw the viewer into the scene as a participant. Common themes in Baroque art include grandiose visions, ecstasies and conversions, martyrdom and death, bright light, and intense psychological moments. The Baroque period brought art to a grand and elaborate place!

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If you would like to enrich your study of Judith and her Maidservant with a “no fuss” art activity, simply print out the template on the following page. Older students can use it as transfer pattern for painting projects, or they may prefer to color in with pastels, charcoals, or colored pencils. Younger students can use it as a coloring page to “create” alongside older siblings.

Élisabeth Vigée Le Brun

Élisabeth Vigée Le Brun (pronounciation) was born in Paris on April 16, 1755. Her father was an artist who trained her in painting. It was obvious that, even from an early age, she had a natural talent for art. At the age of five years old, her parents entered entered her into a convent. But when she was twelve, her father passed away, so Élisabeth moved back home with her mother. During this time she continued to develop her painting skills, and she excelled so much that by the time she was fifteen, she was taking commissions to paint professional portraits to earn a living for her mother and herself. In 1776, Élisabeth married Jean-Baptiste-Pierre Le Brun, who was also a painter and art dealer. Four years later, she gave birth to a daughter, Jeanne Lucie Louise, whom she called Julie and nicknamed “Brunette.” She and her daughter were always close, and she painted several portraits of herself with Julie. After Élisabeth’s art was noticed by Marie Antoinette, the queen hired her to paint her portrait. The two quickly became friends, with Marie Antoinette hiring Élisabeth over thirty times to paint portraits of her and her family. Because of this, many people incorrectly assumed that she was the queen’s official portraitist. In 1783, Élisabeth became a member of the French Royal Academy, which was the most distinguished painter’s guild at the time and accepted very few women artists. In fact, they initially refused her admittance, but Marie Antoinette appealed to her husband, King Louis XVI, and he pushed to have Élisabeth accepted. When the French Revolution broke out in 1789, Élisabeth and her daughter were forced to leave France, since she was so close to the French royalty. She traveled

46 © 2021 Alisha Gratehouse, masterpiecesociety.com to Italy, but spent a lot of time in Austria, Russia, and Germany. During this time she was commissioned to paint portraits of other royals and aristocrats. After twelve years, Élisabeth was finally able to return to France, however she continued to travel throughout Europe for the rest of her life. During her lifetime, she produced over 600 portraits and about 200 landscapes. Her art is displayed in many museums, including the Louvre, the National Gallery in London, and the Palace atVersailles.

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• Élisabeth loved art even as a kid, and would frequently scribble drawings of heads and profiles everywhere she could, even in her schoolwork.

• Her piece, Self-Portrait with Her Daughter Julie, caused a lot of controversy due to the fact that she was smiling and showing her teeth in the portrait.

• Élisabeth had a habit of challenging the norm in her paintings.

• She frequently depicted women in her work, capturing their beauty with both her rich colors and intricate details.

• Élisabeth’s favorite of her pieces was the Cumaean Sibyl, 1792, which was modeled by her friend Emma Hamilton.

Élisabeth Vigée Le Brun Quotes for Copywork

• “The passion for painting was innate in me. This passion has never failed, perhaps because it has always increased with time; even today, I experience all its charm, and I hope that this divine passion ends only with my life.”

• ”As soon as I entered one of these galleries, I immediately became just like a bee, so eagerly did I gather in knowledge that would be of use to me in my art, and so intoxicated with bliss was I in studying these works of the great painters.”

• “I will not attempt to describe the transports I felt when I heard the first cry of my child. Every mother knows what those feelings are.”

Masterpiece #3: Marie Antoinette with a Rose

Introduction Marie Antoinette was the queen of France before the French Revolution that began in 1789. She’s infamous for her extravagance and lavish spending during a time when the nation had been stricken with poverty, and she was soon hated by the people. Chief among her extravagant lifestyle was her wardrobe, in which she paraded around in enormous frilly dressed of fine silks and lace, donning hats and powdered wigs. Her portrait was painted in such fine attire many times.

Background Le Brun painted Marie Antoinette’s portrait over thirty times, so it’s no surprise that the queen was her most important patron. Because of their close friendship, Le Brun had access to paint the more personal and casual moments of Marie Antoinette’s life. One such piece was a portrait of the queen wearing a beautiful muslin dress and straw hat, entitled, Marie Antoinette in a Muslin Dress. (Click here to see a larger version of this painting.) However, when Le Brun tried submitting it to the Paris Salon, the painting was met with controversy, as critics considered it too scandalous and improper for the Queen of France to be seen wearing such an informal outfit. As a result, Le Brun was required to quickly paint another more formal portrait to replace the first painting. The second painting was much better suited for the Queen of France and the critics felt that it displayed “both her majesty and her Frenchness.” Both Marie Antoinette in a Muslin Dress and Marie Antoinette with a Rose were painted in 1783.

When compared, it’s easy to see how similar the two paintings are, from the way she stands facing the viewer, to the feathers in her hat, to the position of her hands, still holding a rose.

Mediums & Techniques Marie Antoinette with a Rose was painted with oil on canvas and stands over 4 feet tall and almost 3 feet wide. Unlike the subdued portrait of Marie Antoinette in muslin, this portrait is vibrant. Le Brun used brilliant blues (which were common in many royal portraits at the time) in her dress. The deeper blue in the background sky as well as the surroundings in dark shadow, contrast highly with the queen’s soft pink skin, showing Élisabeth’s skill with chiaroscuro. Her use of chiaroscuro immediately draws the viewer’s eyes to the face of Marie Antoinette. Unlike other paintings of her in which the décor upstages the queen,

52 © 2021 Alisha Gratehouse, masterpiecesociety.com displaying her wealth and position, this painting draws you to the woman herself. She gazes directly out at the viewer, with kindness in her eyes and a simple smile on her young, rosy-cheeked face. There is no evidence of the haughty, greedy queen she was reputed to be towards the end of her life. Instead, she seems gentle, soft, and relatable. This is the direct effect of Le Brun’s skill as a portraitist. In her hand she holds a small bouquet with a rose being the central focus. Not only did the rose represent love and beauty, it was also the flower of the Hapsburg Empire (a subtle reference to the queen’s Austrian heritage). Notice the “shininess” of the silk gown in its sleeves, folds, and ribbons. This was achieved by adding black and white paint to the blue in order to create multiple values, giving the gown the look of softness and movement as well as adding wrinkles in the fabric. Multiple shades of white were used to create the delicate and intricate details of the lace as well as the pearl jewelry the queen is wearing. Le Brun frequently employed the sfumato technique, blending her lines and colors until they were soft and hazy. You will notice this softness particularly on her eyes, skin, and hair and the feathers on her hat.

This painting (left) is called Self-portrait with Her Daughter, Julie and was oil painted in oil on wood and completed in 1786. Click here to view a larger version of this piece.

This piece (right) is known as Cumaean Sybil and was painted in oil on canvas in 1792. Click here to view a larger version of this painting.

This piece (left) is titled Portrait of Emma, Lady Hamilton as a Bacchante. It was painted with oil on canvas and completed sometime in 1790. Click here to view a larger version of this painting.

This painting (right) is known as Portrait de la Baronne de Crussol. It was painted in oil on canvas in 1785. Click here to view a larger version of this piece.

The Rococo period was a new style of art and architecture that began in the early 18th century in France. It immediately followed the Baroque period and is sometimes referred to as Late Baroque. The word “Rococo” comes from the French style rocaille, which was full of exuberant decoration and abundant curves. The term was first used as a derogatory remark in the 19th century, around 1825, when they referred to the Rococo style as outdated and old-fashioned. Rococo became prominent during the time when the Royal Court had reached its peak and became increasingly important as the aristocracy took their place in daily court life. The Rococo style reflected their luxurious and idle way of living, marked by free and graceful movement, a playful use of line, and delicate colors. Rather than putting emphasis on grand heroes or pious martyrs, Rococo art was more concerned with love and romance. Where the Baroque period had been extravagantly ornate with its elaborate designs, the Rococo period took it to the extreme with its flowery style, asymmetrical curves and intricate details. Some of the famous artists during the Rococo period were Élisabeth Le Brun, Antoine Watteau and Jean-Honoré Fragonard in France, Gainsborough and Hogarth in England, and Francisco Goya in Spain.

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If you would like to enrich your study of Portrait of Marie Antoinette with a “no fuss” art activity, simply print out the template on the following page. Older students can use it as transfer pattern for painting projects, or they may prefer to color in with pastels, charcoals, or colored pencils. Younger students can use it as a coloring page to “create” alongside older siblings.

Angelica Kauffman

Angelica Kauffman (pronunciation) was born in Switzerland in 1741. Her father, Joseph Johann Kauffmann, was a muralist and painter, while her mother, Cleophea, was of noble birth. Recognizing Angelica’s talents at an early age, both her parents did everything they could to provide her with the best education. Her father taught her how to paint and her mother taught her the ways of culture and class. Angelica also learned to play the cello and had a beautiful singing voice. In fact, she grew to be such a talented musician that she seriously considered choosing the life of an opera singer instead. However, in the end, she chose the life of an artist and so began to paint professionally. Angelica and her parents frequently traveled through Europe as her father took commissions. Sadly, her mother died in 1754. It was a hard time for Angelica and her father, but they found strength in each other, and Angelica’s father continued to teach her in the ways of art. When she was sixteen years old, Angelica traveled with her father to Austria, where she worked as his assistant in painting a fresco of the Twelve Disciples in a church. It wasn’t long after that she began receiving commissions of her own, and by the time she was twenty, she was supporting both her father and herself. She began to travel throughout Italy, taking more commissions for portraits. She was well-liked wherever she went due to her cultured upbringing and friendly disposition, and people everywhere wanted her to do portraits for them. In 1762, she became a member of the Academy of Fine Arts of Florence. Three years later, her work reached England and took them by storm. While traveling, she befriended Lady Wentworth-Murray, who was the wife of an English

61 © 2021 Alisha Gratehouse, masterpiecesociety.com ambassador, and she convinced Angelica to move to England. There, her popularity only continued to grow. It was hard, though, living so far from her father, and they frequently wrote back and forth. In 1769, just after the Royal Academy of Arts was established, Angelica was featured in the first catalogue, being one of only two women featured. She continued to exhibit numerous art pieces at the Royal Academy for the next thirteen years. Angelica was a prolific artist and created many kinds of art, but she identified primarily as a historical painter. This is because, at this point in time, historical painting was the most respected and considered the highest form of art. Angelica took full advantage of this by painting many historical and mythological art pieces. Women were almost always front and center of her artwork, because she wanted to show how women were just as strong and of equal status as men. Angelica continued to paint for the rest of her life, until she died in Rome in 1807. The people were heartbroken at her passing, and it is said that she had the greatest and most elaborate funeral for a painter in Rome since Raphael.

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• She painted her first self-portrait when she was thirteen years old.

• Angelica was a natural hostess and could speak several different languages, including English, French, Italian, and German.

• She, along with roughly 30 other artists spoke to King George III about establishing a Royal Academy of Art in London. She was also one of the only two women featured there.

• Angelica painted herself into many of her paintings.

• During her lifetime she was one of the highest paid and most sought after portrait artists

Angelica Kauffman Quotes for Copywork

• “My love for my fatherland will not die in my heart.”

• “My portrait, or rather, the painting that I made for the gallery in Florence, was received kindly. A couple of days ago, I had letters that placed me in a very good light and compared me to a serious man, none other than Michelangelo Buonarroti. I wish I could stand alongside him in my works and not only in effigy, but he is too terrifying.”

• “I am now known by everyone here and esteemed. Not only must I maintain my character in keeping with my work, everything else must be arranged accordingly - with a certain propriety that is necessary these days - if one would wish to distinguish oneself.”

Masterpiece #4: Cornelia, Mother of the Gracchi

Introduction Angelica primarily painted historical scenes, but she always had her own signature style that featured notable women from history and mythology who had their own virtues and heroism. Women such as Venus, Ariadne, and various women from the Bible. The subject of this painting is Cornelia Africana, who was a Roman citizen born around 190 B.C. She was the mother of Tiberius and Gaius Gracchus, who were important social reformers of Rome in their day.

Background Angelica painted Cornelia, Mother of the Gracchi in 1785. Cornelia exemplified a noble and beautiful woman who was dedicated to her family. When she was widowed, she didn’t remarry (even though she had plenty of opportunities). Instead, she chose to focus on raising her three children. She was well-learned and highly intelligent, and she advised her sons throughout their political careers. This painting is an illustration of one of Cornelia’s teachings. One day a visitor came to Cornelia’s home and showed a wonderful array of jewels and other beautiful treasures. However, when the visitor asked Cornelia to show off her own treasures, Cornelia responded by bringing in her sons and daughter, because her most valuable treasures were not material possessions, but her own children.

Mediums and Techniques Cornelia, Mother of the Gracchi was painted with oil on canvas and is over four feet long and three feet high. As a neoclassical painter, Kauffman drew inspiration from the Renaissance artists and classic Greek and Roman styles. You can see this in the architecture with the Roman columns, rich, warm tones of red and gold, as well as the flowing togas and robes the subjects are wearing. This piece was painted not long after the ruins of Pompei had been found. So at this time, there was a renewed interest in classical antiquity — not only in painting, but in literature and architecture as well. Even the fashions and interior design of the day were inspired by the discovery of these ruins. Notice that the composition of the painting has a geometric symmetry to it. Cornelia takes center stage with her sons, Tiberius and Gaius, to the viewer’s left, while her daughter, Sempronia, and the visitor balance out the right side of the painting. The wall and the column frame the beautiful blue sky in the background. You can see the effects of Angelica’s sfumato technique in this painting with the softened faces and skin, and lack of brushstrokes. And her use of color draws attention to the gold jewels and the highlights on their clothing.

This painting (left) is known as The Three Singers. It’s an oil on canvas and was completed in 1795. Click here to view a larger version of this painting.

This piece (right) is called Beauty, Supported by Prudence, Scorns the Offering of Folly and was painted with oil on canvas sometime in 1780. Click here to view a larger version of this painting.

This painting (left) is called Christ and the Samaritan Woman at the Well and was painted with oil on canvas in 1796. Click here to view a larger version of this piece.

This piece (right) is titled Portrait of a Woman as a Vestal Virgin. It was painted with oil on canvas in 1775. Click here to view a larger version of this painting.

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The Neoclassical period began in the 1760s as a reaction to that lighthearted nature of Rococo. The Rococo period saw art that reflected gaiety, frivolity, love, and romance. But by the time of the French Revolution, artists began to reject the Baroque and Rococo art, instead turning their styles to classical forms to express ideas of courage, sacrifice, and love for one's country. The buried ruins of Pompeii had been rediscovered in the 1730s and 40s, which brought a renewed interest in the classical periods of Greece and Rome. The Neoclassical style sought to revive the ideals of the Greek and Roman art and was characterized by balanced compositions, flowing contour lines, and noble gestures and expressions. Around this time, the Royal Academy of Art began to hold exhibitions in Paris, which were called salons. These became important social events, during which an artist’s reputation was either made or destroyed. It wasn’t necessarily the most gifted artists who won these events. Rather, it was the artists who reflected the tastes of the judges and members of the Academy. When it became clear that the French people preferred and therefore bought more paintings in the Neoclassical style, the Academies started encouraging contemporary artists to paint in that classical style as well. Some of the most famous artists during the Neoclassical period include Angelica Kauffman, Jacques-Louis David, Jean Auguste Dominique Ingres, and Antonio Canova.

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Cornelia, Mother of the Gracchi Enrichment Activity

If you would like to enrich your study of Cornelia, Mother of the Gracchi with a “no fuss” art activity, simply print out the template on the following page. Older students can use it as transfer pattern for painting projects, or they may prefer to color in with pastels, charcoals, or colored pencils. Younger students can use it as a coloring page to “create” alongside older siblings.

Berthe Morisot

Berthe Morisot (pronunciation) was born in Bourges, France (pronunciation) in 1841 to a wealthy middle class or “bourgeois” (pronunciation) family. She had two older sisters and one younger brother. When Berthe was eleven, she and her family moved to Paris, where she ended up living for the rest of her life. As part of their bourgeois upbringing, Berthe and her sister Edma were required to learn art and so were tutored by a painter named Joseph Guichard (pronunciation). Throughout their training, Guichard would take them to the Louvre, where the two sisters had the opportunity to copy some of the paintings. Guichard recognized that both girls were extremely talented with art and that they could take up careers as artists if they so desired. Edma, however, married a naval officer and moved away, giving up art so that she could raise a family. The two sisters were always close though and maintained correspondence through letters, with Edma encouraging Berthe to pursue a career as a painter. As Berthe continued to study art, she registered as an official copyist at the Louvre. While there, she met Jean-Baptiste-Camille Corot (pronunciation) who encouraged her to start working en plein air (pronunciation), or painting outdoors. During this time, she was also introduced to the artist Édouard Manet (pronunciation), who became a lifelong friend and for whom she posed for several paintings. In 1864, when Berthe was twenty-three years old, the Paris Salon accepted two of her paintings, which was a rare achievement for a woman of her age. She continued exhibiting at the Salon for a few years, however, as the Impressionist movement began to grow among the artists she considered friends, she found she identified more with their new art style. Thus, in 1874, when the Impressionists

76 © 2021 Alisha Gratehouse, masterpiecesociety.com started their own exhibition, she displayed her art with them instead and continued exhibiting with them for the rest of her life. In 1874 Berthe married Édouard Manet’s brother, Eugène, and in 1878, she had a daughter, Julie. Instead of giving up painting, however, Berthe found balance between artist and mother, and even taught Julie the ways of art. The inspiration for Berthe’s subjects was mostly drawn from her own personal experiences, therefore she usually painted women, children, and other intimate and domestic scenes of everyday life. However it’s notable that many of her pieces depicted the life of a woman in the nineteenth century, where she featured themes such as the restrictions of women and subsequent boredom with having little to do. Berthe painted for the rest of her life, until her death in 1895. However, her legacy lives on as one of the prominent contributors to the Impressionist movement, as well as her efforts to fight against preconceived gender stereotypes.

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• The prominent Rococo artist, Jean-Honoré Fragonard, was Berthe’s great- uncle, whose brisk and impressionistic style inspired Berthe’s own art.

• As Berthe’s artistic style improved, she began to combine the use of oil paints, watercolors, and pastels in her pieces, which was a technique fellow artist Edgar Degas perfected.

• Her daughter, Julie Manet, ended up becoming a painter as well and frequently modeled for her parents and other Impressionist artists.

• Berthe’s art influenced many other female Impressionist painters, including Mary Cassatt and Eva Gonzalès.

Berthe Morisot Quotes for Copywork

• “It is important to express oneself... provided the feelings are real and are taken from your own experience.”

• “Real painters understand with a brush in their hand.”

• “A love of nature is a consolation against failure.”

• “The touch, sure and light [is] fixing something of the passing moment… memory is the true, imperishable life, that which has sunk without trace and been forgotten was not worth experiencing, the sweet hours, and the great and dread, are immutable. Dreams are life itself – and dreams are more true than reality; in them we behave as our true selves – if we have a soul it is there.”

• “My ambition is limited to capturing something transient.”

Introduction The Cradle was Berthe’s first painting on the subject of motherhood—a subject that soon became one of her favorites and which she went on to paint many times. The sitter is her sister, Edma, who had just given birth to her daughter, Blanche.

Background Painted in 1872, The Cradle is an expression of a tender and intimate moment between a mother and her baby, almost echoing the soothing quality of traditional paintings of the Madonna and Child in early church art.

Media and Techniques Berthe painted The Cradle using oil on canvas. In the Impressionist style, she used the wet on wet technique so as to work fast. However, she also used delicate brush strokes to add the delicate layers and intricate details, such as the ruffles and lace of Edma’s dress and the whisps of hair coming down her forehead. If you look at Edma’s eyes, you can see how she looks down at her baby. Her left arm is bent, mirroring the baby who has her right arm bent, creating a diagonal line. In the same sense, you can see how the curtain above the bassinet curves down in the opposite direction, enclosing both Edma and the baby in triangles and creating balance. Berthe also adds a lot of contrast with light and dark. The walls are black, but the curtains are white. Edma’s dress is dark, but her baby’s clothes are light, distinguishing them as opposites.

This painting (left) is known as In the Dining Room. It’s an oil on canvas and was completed sometime in 1875. Click here to view a larger version of this piece.

This piece (right) is called Eugène Manet at the Isle of Wight. It was painted with oil on canvas in 1875. Click here to view a larger version of this painting.

This painting (left) is called The Artist's Sister at a Window and was painted with oil on canvas and completed in 1869. Click here to view a larger version of this piece.

This piece (right) is titled Woman and child on a balcony. It was painted with oil on canvas in 1872. Click here to view a larger version of this painting.

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Berthe Morisot was one of the founding members of the art movement known as “Impressionism.” Impressionism began in Paris, France during the mid-19th century (around the 1860s) when a handful of artists became disenchanted with the art establishment of the day. The Academy of Arts in Paris had an annual art exhibition, known as the Salon. At this exhibition, artists would show their work in the hopes that rich patrons would buy it and continue to support their livelihood. In fact, success at the Salon was of utmost importance for any artist’s career. However, the artists and art critics of the Salon only valued art made in the traditional styles of the old masters – mythological imagery, scenes from the Bible or history, classical landscapes, portraiture, still life, etc. Artists such as Édouard Manet (pronunciation) and Edgar Degas (pronunciation) still painted using traditional techniques, but desired something more. They wanted to paint modern life rather than the same things that had been painted for centuries before them. Manet’s work was instrumental at the beginning of the Impressionist movement. Both he and Degas identified with Realism, an art movement from the 1840s through the 1880s, that stressed the natural, realistic representation of objects and figures in ordinary life. Realism opposed the idealistic and mythical subjects of classical art. Impressionism also opposed the ideals of traditional, classical-style art, but took it a step further than Realism. Impressionism brought movement, light, and excitement to an ordinary, fleeting moment.

85 © 2021 Alisha Gratehouse, masterpiecesociety.com Artists such as Claude Monet (pronunciation), Pierre-Auguste Renoir (pronunciation), Frédéric Bazille (pronunciation), and Alfred Sisley (pronunciation) began painting in their own way, out of doors, with short, quick brushstrokes to capture the fleeting light and the way color changed at various times of the day or throughout the seasons. Although Édouard Manet did not identify himself as an Impressionist, these young artists respected and admired his work – his freedom of subject matter, as well as his freedom of brushstrokes. And after a while, they began to influence his art too. Manet began to paint in the open air and started using a lighter color palette. In 1874, Degas joined with Monet, Renoir, and Sisley, as well as Paul Cézanne (pronunciation), Berthe Morisot, and others at their own art exhibition, “The Anonymous Society of Painters, Sculptors, and Engravers.” (Édouard Manet declined to exhibit with them.) These artists decided to think for themselves, create from their hearts instead of their heads, and focus on painting modern scenes in the “here and now.” In the process, they began an art revolution. And unfortunately, they were ridiculed by the art establishment in Paris. One art critic stated that their paintings looked as if they had “fired paint at the canvas with a pistol.” While another said they were “declaring war on beauty.” Still another art critic in his review of their exhibition, sarcastically referred to them as “Impressionists.” This group of artists quickly adopted the satirical name of Impressionists, and Impressionism became one of the most influential art movements in history. In the words of Claude Monet: “Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct...” Impressionistic style focused on loose brushwork, brighter color palettes, capturing the way light changes, and the movement of water and wind, among other things. Traditional linear perspective and form were abandoned and impressions of the moment were preferred. Art critics condemned these paintings as ugly, amateur and unfinished.

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If you would like to enrich your study of The Cradle with a “no fuss” art activity, simply print out the template on the following page. Older students can use it as transfer pattern for painting projects, or they may prefer to color in with pastels, charcoals, or colored pencils. Younger students can use it as a coloring page to “create” alongside older siblings.

Want even more enrichment materials to complement your study of women artists? Here is a list of resources:

(Please Note: Although we love many of the works of the master artists, we may or may not agree with how they lived their lives. Some of the recommended videos, books, or web pages touch on certain facets of their lives that may be unsuitable for children. Please use your own discretion as a parent.)

Recommended Books:

• Sofonisba Anguissola: The First Great Woman Artist of the Renaissance • Sofonisba Anguissola: A Renaissance Woman • Sofonisba's Lesson: A Renaissance Artist and Her Work • The Artemisia Files • Artemisia Gentileschi: The Language of Painting • Artemisia Gentileschi • The Memoirs of Madame Vigée Lebrun • Elisabeth Vigée Le Brun: The Odyssey of an Artist in an Age of Revolution • The Exceptional Woman: Elisabeth Vigee-Lebrun and the Cultural Politics of Art • Miss Angel: The Art and World of Angelica Kauffman, Eighteenth-Century Icon • Angelica Kauffman: Art and Sensibility • Angelica Kauffmann: A Woman of Immense Talent • Berthe Morisot • Berthe Morisot: The First Lady of Impressionism • Berthe Morisot, Woman Impressionist

Recommended Websites:

• WikiArt: Sofonisba Anguissola Art Collection • WikiArt: Élisabeth Vigée Le Brun Art Collection • Memoirs of Madame Vigée Le Brun • WikiArt: Angelica Kauffman Art Collection • WikiArt: Berthe Morisot Art Collection

Volume One Artists: • Leonardo da Vinci • Rembrandt van Rijn • Claude Monet • Vincent van Gogh • Pablo Picasso • Georgia O’Keeffe

Volume Two Artists: • Albrecht Dürer • Jan Vermeer • Edgar Degas • Mary Cassatt • Paul Cézanne • Henri Matisse