Art Teacher's Book of Lists

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JOSSEY-BASS TEACHER

Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES

THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9

THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7

THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6

THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8

THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4

THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4

THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2

THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L. Partin • ISBN 978-0-7879-6590-7

THE VOCABULARY TEACHER’S BOOK OF LISTS Edward B. Fry • ISBN 978-0-7879-7101-4

ii The Art Teacher’s BOOK OF LISTS Second Edition

Grades K–12

Published by Jossey-Bass A Wiley Imprint 989 Market Street, San Francisco, CA 94103-1741 www.josseybass.com

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Library of Congress Cataloging-in-Publication Data

Hume, Helen D., 1933– The art teacher’s book of lists: grades K-12 / Helen D. Hume.—2nd ed. p. cm.— (J-B ed: book of lists; 66) Includes index. ISBN 978-0-470-48208-7 (pbk.) 1. Art—Miscellanea. I. Title N7438.H86 2010 702’.16—dc22 2010026656

Printed in the United States of America. SECOND EDITION 9780470877470 eMobi 9780470877814 ePDF 9780470877821 ePub PB Printing 10 9 8 7 6 5 4 3 2 1 ABOUT THIS RESOURCE

This book was written for the variety of people who want (in one volume) everything you wanted to know about art and didn’t know whom to ask. This includes art instructors from pre-school through university, classroom teachers, home-schoolers, professional artists, museum professionals, and university students. A revision is both painful and joyful. It is painful to have to eliminate favorite lists to make way for new ones, but joyful to research and write the new ones. All lists have been researched and updated, and many of the original lists are merged with others in a new format. And . . . more than one hundred new lists have been added. So enjoy! But if you have the original Art Teacher’s Book of Lists, don’t throw it away. Teachers need information about writing art lesson plans, sometimes incorporating other subject matter within the art lessons, yet keeping in mind that art has its own curriculum. At the elementary level in many districts, the classroom teacher is the art teacher. New to the book are projects that combine Art with Science, Math, Language Arts, and Social Studies. Lists such as “Fiber Arts Projects” and “Book Arts Projects” have been added to comply with statewide Grade Level Expectations and The National Art Standards. Included are lists “Websites Especially for the Art Teacher” and other website addresses for institutions such as museums, universities, and vendors, whose web addresses are not likely to change. Worldwide cultural timelines have been added, as well as lists on religious and secular holidays in other cultures, “Universal Symbols,” and “Body Art.” A greater emphasis on artists and institutions from cultures around the world is recognition that the population of the United States is increasingly diverse, and that this book is sold in other countries. The book is divided into twelve chapters, with “Basic Information for the Art Teacher” at the beginning, and in Chapter 11, “Art Projects.” Most of these lists have been completely transformed, or are new to the book. One real benefit from the Internet is the instant access for both teacher and student to visible information about artists and their artwork, as well as international cultures. More than ever before, art is used to encourage students to become more involved with social change as they learn more about other cultures, their environment, and their own futures. Teaching art is a constantly evolving field, even though the experienced teacher knows that there is really nothing new in art—just new and exciting ways to help students find the joy . . . the fun . . . that comes from creative problem solving.

v ABOUT THE AUTHOR

Helen D. Hume is an art educator, artist, and author, who has taught students from kindergarten through university level in St. Louis, Missouri. She spent most of her career in the Parkway School District and instructed and supervised pre-service teachers at Webster University, Florissant Valley Community College, and Font- bonne University. Her degrees are from Webster University. She lived overseas and taught for many years at international schools in Belgium and Brazil, where her husband’s business took him. As an artist, Helen specializes in plein-air oil painting, photography, printmaking, and computer graphics, participating in many juried shows. She is an exhibiting, prize-winning distinguished member (signifying acceptance in over forty-five juried exhibitions) of the St. Louis Artist’s Guild. This is her eighth book for artists and art educators. The others are The Art Teacher’s Survival Guide, Elementary and Middle School (2nd ed.); Art Lover’s Almanac; A Survival Kit for the Elementary/Middle School Art Teacher; The Art Teacher’s Book of Lists; American Art History and Appreciation Activities Kit; Art History & Appreciation Activities Kit; and A Survival Kit for the Secondary School Art Teacher.

vi ACKNOWLEDGMENTS

This book exists because of the generosity of friends who are artists and teachers. They cheerfully answer my questions about how they approach teaching of a certain subject and how they do personal artwork. My summer teaching experience at the Tennessee Arts Academy made new friends of extraordinary art educators Daryle Grenead, Billie Shelburn, Debi West, and Roger Smith, and art educators from all over the state of Tennessee. Other artist-educators whose input has been invaluable are Joan Larson, Margaret Peeno, Linda Packard, Beth Goyer, Marilynne Bradley, Michael Swoboda, Bill Vann, Steve Williams, John Baker, Clare Grosgebauer of the National Art Education Association, Susan Rodriguez, and Dr. E. Louis Lankford of the Saint Louis Art Museum and the University of Missouri, St. Louis. I’m eternally grateful to family and friends who keep me laughing as we socialize, and who listen, as I work through the book-writing process. My husband Jack, painting partner and friend, my sister LuWayne Younghans, Susan Hume, Carla Hume, Cindy Kunz, and Laurie Wilson are especially appreciated. This book had not previously had photographs, and it has been a pleasure to work with Donna Geis Zang, widow of Milton Geis, and artists who have allowed me to showcase their work: John Dyess, Sue Swo- boda, and Simon Baker. The descendants of Tawhiao, the first Maori king, have graciously granted permission to reproduce his portrait for the Art Teacher’s Book of Lists. The book is brought to fruition through the helpful expertise of the Jossey-Bass staff: Editors Marjorie McAneny and Lesley Iura, former editor Christi Hakim, production manager Pamela Berkman, and marketing manager Dimi Berkner. Copy editor Rebecca Taff and administrative assistants Carrie Wright, Tracy Gallagher, and Julia Parmer have also helped me through the process. It was especially meaningful to spend a weekend at a National Art Education Exhibition with Jossey-Bass marketing representative Rita Cohen. My grateful appreciation to art director Michael Cook for selecting artwork and designing the perfect cover for this book. A special thank you to museum and artists’ representatives who have gone out of their way to help me obtain permissions to use artwork from their collections: Geoffrey Heath of the Auckland Art Gallery in New Zealand; Aimee Marshall of The Art Institute of Chicago; Jeff Zilm, Dallas Museum of Art; Heidi Raatz, Min- neapolis Institute of Arts; Stacey Sherman, The Nelson-Atkins Museum of Art; Natalie Musser, Saint Louis Art Museum; Meghan Mazella, Museum of Fine Arts, Boston; Matt Morgan, visual program specialist of the Utah Office of Tourism; Cristin O’Keefe Aptowicz of the Artists Rights Society (ARS); and Andrea Mihalovic-Lee, Visual Artists and Galleries Association (VAGA). We thank the following for permission to use the works from their collections: Auckland Art Gallery: King Tawhiao. The Second Maori King The Art Institute of Chicago: American Gothic Museum of Fine Arts, Boston: Houses at Auvers; Under the Wave off Kanagawa; Chartres, Flying But- tresses at the Crossing Dallas Museum of Art: Boy in Short Pants; Back Lot; Ballet Dancers on the Stage; Seated Man #4, 1995; Three Non People Posts Minneapolis Institute of Arts and ARS: Dining Room in the Country Nelson-Atkins Museum of Art: Teaching a Mustang Pony to Pack Dead Game; Mound Magician; Green Pepper #30; Kirifuri Waterfall at Mount Kurokami; I Was Beatin’ His Face; Seated Man; Shuttlecock; Four Heads Nelson-Atkins Museum of Art and VAGA: Still Life No. 24; Hollywood, Thomas Hart Benton The Saint Louis Art Museum, Natalie Musser: Bronco Buster; Salmon Clan Hat; Spring Woods, Passing Rain; Jolly Flatboatmen in Port; Fans and Stream Utah Office of Tourism: Newspaper Rock

vii To the women in my family, past and present, achievers all. CONTENTS

About This Resource ...... v About the Author ...... vi Acknowledgments ...... vii

CHAPTER 1 Basic Information for the Art Teacher 1–1. Quotations About Art for the Classroom ...... 2 1–2. Websites Especially for the Art Teacher ...... 3 1–3. Acronyms for the Art Teacher ...... 4 1–4. Art Definitions ...... 5 1–5. Pronunciation Guide ...... 9 1–6. Artists’ Birthdays ...... 10 1–7. Elements of Art ...... 12 1–8. Principles of Design ...... 13 1–9. National Visual Arts Standards (K–4) ...... 14 1–10. National Visual Arts Standards (5–8) ...... 15 1–11. National Visual Arts Standards (9–12) ...... 16 1–12. Selected Glossary from the National Visual Arts Standards ...... 18 1–13. The Big Idea ...... 19 1–14. DBAE: Discipline-Based Art Education ...... 19 1–15. Tips on Writing Art Lesson Plans ...... 20 1–16. Sample Art Lesson Plan ...... 21 1–17. Assessment Strategies ...... 22 1–18. Creating a Scoring Guide ...... 23 1–19. Accommodations in Art for Special Needs Students ...... 24 1–20. Gifted and Talented Students in the Visual Arts ...... 26 1–21. A Vital and Visible Art Program ...... 27 1–22. Involve Families in Your Art Program ...... 29 1–23. Public Relations and Photography Guidelines ...... 30

1–24. Publicity Photography ...... 31 1–25. Tips on Photographing Artwork: Digital or Film ...... 31 1–26. Writing Art-Related Articles for Publication ...... 33 1–27. Safety Reminders for the Art Room ...... 34 1–28. Weight and Measure Equivalents ...... 35

CHAPTER 2 Museums and Educational Collections 2–1. Quotations ...... 37 Introduction ...... 38 2–2. Preparing Students for a Museum Visit ...... 38 2–3. Museums Devoted to the Work of One Artist ...... 39 2–4. International Artists’ Homes or Museums ...... 40 2–5. Museums with Special Folk Art Collections ...... 41 2–6. Museums of Decorative Arts and Contemporary Crafts ...... 43 2–7. Museums with Special Ancient and Classical Art Collections ...... 44 2–8. Museums with Outstanding Photographic Collections ...... 45 2–9. Asian Art in American and International Museums ...... 47 ix x Contents

2–10. American and International Jewish Museums ...... 50 2–11. Museums of Art and Architecture ...... 51 2–12. African American Art Museums ...... 52 2–13. American Museums with Special Emphasis on Hispanic Art ...... 52 2–14. Museums That Specialize in American Western Art ...... 53 2–15. Art Museums and Collections in the United States ...... 55 2–16. Major Museums in Other Countries ...... 62

CHAPTER 3 Artists and Art History 3–1. Quotations ...... 74 3–2. Art and Culture, 35,000–500 BC ...... 75 3–3. Art and Culture, 500 BC–AD 500 ...... 76 3–4. Art and Culture, AD 500–AD 1000 ...... 77 3–5. Art and Culture, 1000–1500 ...... 78 3–6. Art and Culture, 1500–1750 ...... 79 3–7. Art and Culture, 1750–1875 ...... 80 3–8. Art and Culture, 1875–1950 ...... 81 3–9. Art and Culture, 1950–Present ...... 82 3–10. What Did It Sell For? ...... 83 3–11. Timelines of Art History ...... 85 3–12. Looking at Art and Talking About It ...... 87 3–13. Looking at Sculpture ...... 88 3–14. Art Appreciation Activities ...... 88 3–15. Group Art Appreciation Activities ...... 89 3–16. Aesthetic Discussions ...... 89 3–17. Art Criticism Questions ...... 92 3–18. Classicism and Romanticism in Art ...... 93 3–19. Greek and Roman Gods, Goddesses, and Heroes ...... 94 3–20. Seventy-Five Mythological Paintings ...... 98 3–21. Fifty Famous Art Objects ...... 100 3–22. Art History and Artists ...... 101 3–23. Contemporary Artists ...... 129 3–24. Famous Women Artists ...... 132 3–25. African American Artists ...... 135

CHAPTER 4 Diverse Cultures Introduction: Having a Multicultural Art Program ...... 140 4–1. Quotations ...... 140 4–2. North American Timeline ...... 141 4–3. Native American Timeline ...... 142 4–4. Mexico, Central, and South American Timeline ...... 143 4–5. African Timeline ...... 144 4–6. Middle Eastern Timeline ...... 145 4–7. Oceania Timeline ...... 146 4–8. Asian Timeline ...... 147 4–9. International Holidays ...... 148 4–10. National and Religious Holidays in Countries Around the World ...... 148 Contents xi

4–11. Religious Holidays and Festivals in Various Cultures ...... 153 4–12. Heritage Months in the United States ...... 155 4–13. Body Art ...... 155 4–14. Universal Symbols ...... 157 4–15. Universal Arts and Crafts ...... 158 4–16. Arts and Crafts Projects from Many Cultures ...... 159 4–17. Native American Artists ...... 165 4–18. Native American Craft Specialties by Region ...... 166 4–19. Rock Art Sites to Visit ...... 168 4–20. Famous Hispanic Artists ...... 169 4–21. Famous Middle Eastern Artists ...... 170 4–22. Well-Known Artists from Oceania ...... 171 4–23. Asian Artists ...... 172 4–24. Japanese Historical Periods ...... 174 4–25. Chinese Dynasties ...... 174

CHAPTER 5 Literature and Supply Resources 5–1. Quotations ...... 177 5–2. Really Useful Reference Books for Art Teachers ...... 178 5–3. Art Magazines ...... 179 5–4. Visual Art Book Publishers ...... 181 5–5. Where to Find Visual Art Images ...... 182 5–6. Purchased Educational Games ...... 183 5–7. Hollywood Films About Artists ...... 184 5–8. Documentary Films About Artists and Art Appreciation ...... 185

CHAPTER 6 Definitions of Art Tools and Materials 6–1. Quotations ...... 188 6–2. Art Supply Resources in the United States ...... 189 6–3. Materials and Equipment Needed for Art Classes ...... 190 6–4. Paper Definitions ...... 192 6–5. Types of Paper ...... 193 6–6. Cardboard ...... 195 6–7. Graphic Design Tools (Non-Digital) ...... 195 6–8. Cutting Equipment ...... 196 6–9. Adhesives and Related Materials ...... 196 6–10. Tape ...... 197 6–11. Clips and Fasteners ...... 198 6–12. Equipment and Materials for Papier Maché ...... 198 6–13. Collage Equipment and Materials ...... 199 6–14. Book-Making Equipment and Definitions ...... 200 6–15. Drawing Materials ...... 200 6–16. Drawing Definitions ...... 201 6–17. Pencils ...... 202 6–18. Erasers ...... 203 6–19. Pastels ...... 204 6–20. Crayons ...... 204 6–21. Markers ...... 206 xii Contents

6–22. Inks ...... 206 6–23. Brushes ...... 207 6–24. Painting Materials ...... 208 6–25. Painting Definitions ...... 209 6–26. Color Pigments ...... 211 6–27. Types of Paint ...... 212 6–28. Watercolor Equipment ...... 213 6–29. Printmaking Materials ...... 214 6–30. Printmaking Definitions ...... 216 6–31. Cheap Substitutes for Expensive Materials ...... 218 6–32. Where to Find Useful Art Materials for Little Money ...... 221 6–33. Recycling for Teachers of Art ...... 222

CHAPTER 7 Painting, Drawing, and Printmaking 7–1. Quotations About the Graphic Arts ...... 224 7–2. Famous Artists and Their Subjects ...... 225 7–3. Great Themes in Painting ...... 229 7–4. Painting a School Mural ...... 230 7–5. Plein-Air Painting ...... 231 7–6. Master Painters and Examples of Their Work ...... 232 7–7. Impressionist and Post-Impressionist Artists ...... 237 7–8. Music to Paint By ...... 239 7–9. Artists Especially Known for Their Drawings ...... 240 7–10. Printmaking Timeline ...... 241 7–11. Famous Printmakers ...... 242

CHAPTER 8 Photography and Digital Arts 8–1. Quotations About Photography ...... 246 8–2. Events in Photography ...... 247 8–3. Photo Secession, 1905–1917 ...... 248 8–4. Group F.64 Photographers, 1932–c. 1936 ...... 249 8–5. Farm Security Administration Photographers, 1935–c. 1941 ...... 249 8–6. Painters and Photography ...... 250 8–7. Fifty Famous Contemporary Photographers ...... 251 8–8. Fifty Master Photographers and Masterworks ...... 257 8–9. One Hundred Notable Photographers ...... 263 8–10. Historical Photo Terms ...... 265 8–11. Photo-Appreciation Activities ...... 266 8–12. Photographic Controls, Equipment, and Definitions ...... 268 8–13. Creating Beauty ...... 270 8–14. Photography Assignments ...... 271 8–15. Photojournalism Assignments ...... 271 8–16. Suggested Subjects for Photography ...... 272 8–17. Terms Used in Computer Graphics ...... 273 8–18. Digital Graphics Photography Projects ...... 273 8–19. Computer Graphics Without a Camera ...... 275 8–20. Video Definitions ...... 276 8–21. Using a Video Camcorder ...... 277 Contents xiii

8–22. Video Camcorder Projects ...... 278 8–23. Video Storyboard ...... 279

CHAPTER 9 Sculpture and Ceramics 9–1. Quotations ...... 281 Introduction ...... 282 9–2. Sculpture Definitions ...... 282 9–3. Materials and Equipment for Sculpture ...... 283 9–4. Hardwoods and Softwoods for Carving ...... 285 9–5. Safety Reminders for Sculpture ...... 286 9–6. Important Sculptures by Unknown Artists...... 286 9–7. Fifty Master Sculptors and Examples of Their Work ...... 289 9–8. Famous Sculptors, Listed by Country ...... 292 9–9. One Hundred Public Art Pieces ...... 295 9–10. Ceramics Definitions ...... 298 9–11. Equipment and Materials for Ceramics...... 299 9–12. Teaching Ceramics ...... 300 9–13. Decorating Methods for Ceramic Vessels ...... 302 9–14. Famous Ceramics Artists ...... 302

CHAPTER 10 Architecture 10–1. Quotations About Architecture ...... 304 10–2. Architectural Terms ...... 305 10–3. Architectural Elements ...... 308 10–4. Famous Architects and Buildings Around the World ...... 311 10–5. Contemporary Architecture ...... 318 10–6. Frank Lloyd Wright Houses and Buildings Open to the Public ...... 318 10–7. Building Innovations from Many Cultures ...... 320 10–8. American Building Styles ...... 322 10–9. American Museum-Houses by General Style ...... 327 10–10. State Capitol Buildings and Their Architects ...... 329 10–11. Vernacular Architecture ...... 330 10–12. Eccentric Architecture ...... 331

CHAPTER 11 Art Projects 11–1. Quotations ...... 334 11–2. Subject Ideas ...... 335 11–3. Better Composition ...... 337 11–4. Ways to Change an Object in a Composition ...... 338 11–5. One-Hour Projects ...... 339 11–6. Ten Ideas for Combining Art with Language Arts ...... 340 11–7. Fifteen Ideas for Combining Art with Math ...... 341 11–8. Ten Ideas for Combining Art with Science ...... 342 11–9. Ten Ideas for Combining Art with Social Studies ...... 343 11–10. Art Field Trips ...... 344 11–11. The Face ...... 344 11–12. The Human Figure ...... 345 xiv Contents

11–13. Black and White ...... 346 11–14. Colored Pencils ...... 348 11–15. Markers ...... 349 11–16. Crayons ...... 350 11–17. Pastels ...... 351 11–18. Mixed Media ...... 352 11–19. Painting Information ...... 353 11–20. Watercolor ...... 354 11–21. Tempera ...... 355 11–22. Finger Painting ...... 356 11–23. Oil and Acrylic ...... 357 11–24. Printmaking ...... 358 11–25. Graphic Design ...... 361 11–26. Paper ...... 362 11–27. Papier Maché ...... 363 11–28. Collage ...... 365 11–29. Book Arts ...... 366 11–30. Fiber Arts ...... 368 11–31. Ceramics ...... 369 11–32. Sculpture ...... 371 11–33. Architectural ...... 374

CHAPTER 12 Schools and Careers in Art 12–1. Quotations ...... 376 12–2. Preparing an Admissions Portfolio ...... 377 12–3. Careers in Art ...... 378 12–4. Degrees Available in Art and Related Fields of Study ...... 380 12–5. Abbreviations for Art(s) Degrees ...... 381 12–6. Independent Art Schools and Art Institutes ...... 382 12–7. American Art Schools, Colleges, and Universities...... 384 12–8. Summer Programs for High School Juniors and Seniors ...... 388 12–9. Professional Summer Development for Teachers ...... 390

Credit Notes ...... 392 Index ...... 394 CHAPTER 1 BASIC INFORMATION FOR THE ART TEACHER 1–1. Quotations About Art for the Classroom 1–2. Websites Especially for the Art Teacher 1–3. Acronyms for the Art Teacher 1–4. Art Definitions 1–5. Pronunciation Guide 1–6. Artists’ Birthdays (Contemporary Artists Added) 1–7. Elements of Art 1–8. Principles of Design 1–9. National Visual Arts Standards (K–4) 1–10. National Visual Arts Standards (5–8) 1–11. National Visual Arts Standards (9–12) 1–12. Selected Glossary from the National Visual Arts Standards 1–13. The Big Idea 1–14. DBAE: Discipline-Based Art Education 1–15. Tips on Writing Art Lesson Plans 1–16. Sample Art Lesson Plan 1–17. Assessment Strategies 1–18. Creating a Scoring Guide 1–19. Accommodations in Art for Special Needs Students 1–20. Gifted and Talented Students in the Visual Arts 1–21. A Vital and Visible Art Program 1–22. Involve Families in Your Art Program 1–23. Public Relations and Photography Guidelines 1–24. Publicity Photography 1–25. Tips on Photographing Artwork: Digital or Film 1–26. Writing Art-Related Articles for Publication 1–27. Safety Reminders for the Art Room 1–28. Weight and Measure Equivalents 2 The Art Teacher’s Book of Lists

1–1. Quotations About Art for the Classroom

Students pay attention to art-related quotes hung in a classroom! Print them large, have them laminated, and put up fresh ones frequently (a quotation of the day or week could be a student responsibility). You do not always have to know who said it. One favorite for an art classroom is “Use Your Mistakes!”

“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” SCOTT ADAMS, 1957, AMERICAN CARTOONIST (DILBERT)

“Talent! What they call talent is nothing but the capacity for doing continuous work in the right way.” WINSLOW HOMER, 1836–1910, AMERICAN ARTIST

“The way to get started is to quit talking and begin doing.” AUTHOR UNKNOWN

“Only those who attempt the absurd will achieve the impossible. I think it’s in my basement . . . let me go upstairs and check.” M.C. ESCHER, 1898–1972, DUTCH GRAPHIC ARTIST

“Artists who seek perfection in everything are those who cannot attain it in anything.” EUGENE DELACROIX, 1798–1863, FRENCH ARTIST

“To an engineer, good enough means perfect. With an artist, there’s no such thing as perfect.” ALEXANDER CALDER, 1898–1976, AMERICAN SCULPTOR

“I’d asked around 10 or 15 people for suggestions. Finally one lady friend asked the right question, ‘Well, what do you love most?’ That’s how I started painting money.” ANDY WARHOL, 1930–1987, AMERICAN PAINTER (POP ART) Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “I am always doing that which I cannot do, in order that I may learn how to do it.” PABLO PICASSO, 1881–1973, SPANISH ARTIST

“I begin with an idea and then it becomes something else.” PABLO PICASSO, 1881–1973, SPANISH ARTIST

“A teacher affects eternity: he can never tell where his influence stops.” HANS HOFMANN, 1880–1966, AMERICAN ABSTRACTIONIST

“How important are the visual arts in our society? I feel strongly that the visual arts are of vast and incalcu- lable importance. Of course, I could be prejudiced. I am a visual art.” KERMIT THE FROG

“[Art is] a product of the untalented, sold by the unprincipled to the utterly bewildered.” AL CAPP, 1909–1979, CARTOONIST, SPEAKING ON ABSTRACT ART

“The best things in life are silly.” SCOTT ADAMS, 1957, AMERICAN CARTOONIST (DILBERT) Chapter 1 Basic Information for the Art Teacher 3

1–2. Websites Especially for the Art Teacher

Because websites change browsers and addresses from time to time, no effort has been made to include all art-related websites. The institutional sites listed here could also be accessed by simply typing in the name on a search engine. National Art Education Association (NAEA) 1916 Association Drive Reston, VA 20191–1590 www.naea-reston.org (703-860-8000) (800-299-8321) www.arteducators.org

Art & Creative Materials Institute, Inc. (ACMI) and Ask www.acminet.org Art Council for Art Education Youth Art Month, c/o ACMI

Artcyclopedia (browse artists alphabetically by name) www.artcyclopedia.com

ArtLex (Art dictionary, definitions) www.artlex.com

Artnet (Auction and gallery information) www.artnet.com

ArtsConnectEd2 Walker Art Center and www.artsconnected.org Minneapolis Museum of Art

ARTSEDGE (Kennedy Center lesson plans for K–12) www.artsedge.kennedy-center.org/teach

ArtsEdNet (Getty Education Institute for the Arts) www.getty.edu/artsednet

Artsonia (“thousands of art project lesson www.artsonia.com plans submitted by teachers”)

AskArt (lists of artists and their work) www.askart.com

Crayola® Lesson Plans (integrate language arts, www.crayola.com/lesson-plans science, math, and social studies)

U.S.A. Department of Education’s Teacher Site [email protected]

Google Images (treasure trove of www.google.com/Top/Arts/Art_History websites and images)

KinderArt (art lessons, art education) www.kinderart.com

Kodak Education, Art www.kodak.com/global

NASAD (National Association of www.nasad.arts-accredit.org Schools of Art and Design)

Princeton Educational Site www.princetonol.com/groups/iad

The Arts Education Partnership (AEP) www.aep-arts.org 4 The Art Teacher’s Book of Lists

1–3. Acronyms for the Art Teacher

As art teachers, we certainly encounter these initials all the time, and probably have a good idea what they mean, but sometimes you want to know exactly what they mean. Labeling students with initials has become a convenient shorthand for teachers, but we must remember that the label is not the person.

ADA Americans with Disabilities Act PSAT Preliminary Scholastic Aptitude Test AFT American Federation of Teachers PTA Parent–Teacher Association AP Advanced Placement PTO Parent–Teacher Organization AP approved product SAT Scholastic Aptitude Test CL cautionary labeling seal SCANS The Secretary’s Commission on Achiev- CP Certified Product ing Necessary Skills DBAE Discipline-Based Art Education UDL Universal Design Learning DEN Discovery Education Network VTS Visual Thinking Strategies E & Ps Elements of Art and Principles of Design SHORTHAND FOR DIVERSITY AMONG STUDENTS EATS Electronic Alignment Tool ADD Attention Deficit Disorder Eric Educational Resources Information Center ADHD Attention Deficit Hyperactivity Disorder ESL English as a Second Language ASD Autism Spectrum Disorder ETS Educational Testing Service BD Behavior Disorder FERPA Family Educational Rights and Privacy Act EMH Educable Mentally Handicapped GED General Education Development Test GT Gifted GLEs Grade Level Expectations HI Hearing Impaired LD Learning Disabled

IDEA Individuals with Disabilities & Sons, Inc. Copyright © 2010 by John Wiley Education Act MD Multiple Disabilities IEP Individualized Educational Plan PI Physically Impaired (or Individualized Education Program) PMH Profoundly Mentally Handicapped LHAMA Labeling of Hazardous Art Materials Act SED Severely Emotionally Disabled LRE Least Restrictive Environment SLI Speech and Language Impaired MSDS Material Safety Data Sheets VI Visually Impaired NAEA National Art Education Association NBCAT National Board Certified Art Teacher DISABILITY SPECIALISTS NBCT National Board Certified Teacher OT Occupational Therapist OSHA Occupational Safety and Health PT Physical Therapist Adminis tration SLP Speech and Language Pathologist PBS Positive Support System SPED Special Education Staff Chapter 1 Basic Information for the Art Teacher 5

1–4. Art Definitions

ART HISTORY PERIODS • Abstract Expressionism. A New York 1940s painting movement that rarely featured a subject; sometimes called action painting • Armory Show. An exhibit in New York in 1913 that introduced Paris-based Modernism to America • Art Deco. Applied design from the 1920s and 1930s derived from French, African, Aztec, and Chinese motifs; especially notable for architecture and crafts • Art Nouveau. An 1890s asymmetrical decorative style featuring sinuous forms based on objects found in nature • Arts and Crafts Movement. During the 1930s, a return to the hand-made decorative arts • Ashcan School. Paintings of everyday life in the city done by a group of painters of realism • Barbizon School. French landscape artists who worked near Barbizon, France, c. 1840s • Baroque. Detailed, swirling composition, diagonal lines, unusual viewpoints; period from mid-16th to mid-18th centuries • Bauhaus. A design school that existed in Weimar, Germany, from 1919 to 1933 until it was closed by the Nazis • Beaux-Arts. A tradition of the 19th and 20th centuries following principles of the French Academy • Byzantine. Stylized religious art of the Eastern Roman Empire from AD 323–1453 • Celtic Art. Art produced from c. 450 BC to c. 700 AD by the Celts; mostly portable objects • Constructivists. A Russian group of artists who wished to reflect modern machinery and technology working c. 1913 • Contemporary Art. Generally defined as art produced during the second half of the 20th century onward; artists are usually living • Cubism. Natural forms changed by geometrical reduction • Der Blaue Reiter (The Blue Rider). A group of avant-garde German Expressionists • Die Brücke (The Bridge). German Expressionist painters from Dresden working c. 1905 • Expressionism. The painting of feelings, sometimes with recognizable images, often totally abstract • Futurism. An Italian art movement that tries to show the rapid movement of machinery • Gothic. All Medieval art produced during the period between mid-12th and early 15th centuries

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Impressionism. An outdoor painting technique that shows the changing effects of light and color • Italian Renaissance. Revival of classical art, literature, and learning based on humanism • Pop Art. Objects from commercial art and the popular culture transformed into artworks

PAINTING TERMS • Acrylic. Pigment in a plastic binder medium; water-based paint that adheres to most surfaces • Aerial perspective. The effect of distance or atmosphere shown through haziness or changes in color • Alla prima. Paint applied to canvas in one coat instead of applied layer by layer • Atmospheric perspective (in painting). The change in color of objects in the distance • Breakfast piece. 17th century Dutch still life that showed an interrupted meal • Chiaroscuro. The use of light and shadow to create a focal point or mood • Easel. A support for an artist’s canvas during painting • Encaustic. Pigment is mixed with melted wax and resin, then the hot mixture is painted • Fresco. The technique of painting into freshly laid plaster (for example, Michelangelo’s The Sistine Chapel) • Gesso. An under-painting medium made of glue, plaster of Paris, or chalk and water • Gouache. A watercolor medium made more brilliant by the addition of finely ground white pigment • Grisaille (literally gray). A painting in shades of gray, sometimes on the outside panels of an altarpiece • Horizon line. The distant view where sky meets water or land at the artist’s eye level • Illumination. The decoration of manuscript pages, often with gold leaf and brilliant colors • Impasto. The thick, textured build-up of a picture’s surface through repeated applications of paint 6 The Art Teacher’s Book of Lists

1–4. Continued

• Odalisque. Term used to refer to a painted reclining woman, from the word for a Turkish harem slave • Oil paint. A powdered pigment held together with oil • Palette. A board on which an artist mixes paints; certain colors used by a specific artist • Romanticism. A type of painting that idealizes images, often with surrealistic or imaginative compositions • Sfumato. A soft, smoky, hazy appearance with blurred images • Still life (nature morte). A composition featuring inanimate objects such as food or flowers and vases • Tempera. Painting pigment, mixed with water or egg yolk to apply • Tenebrism. An effect such as chiaroscuro, with most figures in shadow, yet others in a shaft of light • Triptych. A painting done in three sections hinged together • Trompe l’oeil (fool the eye). A painting so real that you want to touch the objects • Wash. Pigment diluted with water and applied to a painting surface to give a translucent effect • Watercolor. Pigment mixed with a binder and applied with water to give a transparent effect

GENERAL ART DEFINITIONS • Abstract. Not realistic, although often based on an actual subject • Academic art. Traditional art teaching that follows proscribed rules; not experimental • Aesthetic. The science of the beautiful in art; defined by visual, moral, social, and contemporary standards • Altarpiece. A religious work of art placed behind the altar of a church • Analogous colors. Colors closely related on a color wheel, e.g. red, red-orange, yellow • Applied art. Design principles applied to functional objects such as clothing and fine crafts • Arabesque. Decorative technique that uses curving plant forms; frequently used in Islamic art • Artifact. Hand-made object that represents a particular culture or period • Asymmetrical. Different on either side of a central axis • Avant garde. At the forefront of new developments in art • Balance. Equilibrium in a composition, either symmetrical or asymmetrical • Bas-relief. Low-relief sculpture that projects slightly from a background Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Batik. Dyed textile or paper that has a wax resist pattern applied with molten wax • Biomorphic. Art based on irregular abstract forms found in nature • Blockbook. 15th century books in which the text and illustration were cut from the same block of wood • Book of Hours. Illuminated Medieval books with prayers for specific times of the day • Book of the Dead. Painting and hieroglyphics on a papyrus scroll, placed in an Egyptian tomb • Bronze. An alloy of copper and tin used for sculpture • Burnish. To polish or rub to make something shiny • Calligraphy. Fine handwriting in ink with a quill, reed pen, or brush; follows specific rules or designs • Camera obscura (dark room). A darkened box used as a drawing aid in the 16th century • Caricature. Character studies that usually exaggerate one or more features • Cartoon. Full-scale drawing for tapestry or wall painting or a humorous or satirical drawing • Cartouche. A vertical oblong lozenge shape that surrounds Egyptian names or a frame of the same shape • Carving. A subtractive method of sculpture; taking away wood or stone • Casting. Reproducing, in plaster, bronze, or plastic, an original piece of sculpture made of clay or a similar material • Center-of-interest. The largest, lightest, darkest, or most important part of a composition • Ceramic. Any object made of clay and fired • Chalk. Calcium carbonate, used in gesso, mixed with colored pigment to make pastels • Classical. Originating in Greece and Rome; represents unadorned beauty • Cloisonné. An Asian technique for fusing ground glass to a metal surface decorated with thin metal strips Chapter 1 Basic Information for the Art Teacher 7

1–4. Continued

• Codex. Cut-sheet manuscript rather than a scroll; bound into book form • Collage. A grouping of different textures, objects, and materials glued down • Color wheel. A system of organizing hues in a circle that demonstrates primary, secondary, tertiary, analogous, complementary, and split complement color schemes • Complementary colors. Colors at the opposite sides of a color wheel, such as red/green or yellow/violet • Composition. The manner in which the forms, lines, and colors of an artwork are arranged • Conté. A chalk stick available in black, gray, white, bistre (brown), sepia (dark yellowish brown), and sanguine (red) • Contour. An outline drawing of a form or object • Contrapposto. An S-curve or twist of the human figure caused by placing the weight on one foot • Cromlech. A circle of upright stones (dolmens) such as Stonehenge • Crosshatch. To create differences in value through a crossed series of parallel lines • Cuneiform. Characters written on clay tablets by the Mesopotamians; preceded hieroglyphics • Design. The organization of line, form, color, value, texture, and space in an eye-pleasing arrangement • Diptych. Two painted panels that are usually hinged together • Donor. A client or patron of an artist who donates an artwork to an institution; in altarpieces the donor and family were often included in the painting • Drawing. Usually a work in pen, pencil, or charcoal on paper • Earthworks. An artist-designed change in natural topography; a deliberate moving of earth • Easel. A support for an artist’s canvas during painting • Eclecticism. The borrowing and combining of a variety of styles from different sources • Element. Artistic design considerations such as color, line, value, texture, shape or form, and space • Elongated. The deliberate vertical distortion of a figure; a form of stylization • Emphasis. A design principle that gives dominance to a particular area through color, size, or repetition • Enamel. Glass powder is fused to a metal surface through heating at high temperatures until it has permanently hardened

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Figure. The human or animal form used in creating art, such as figure drawing • Foreshortening. The technique of distortion in perspective (for example, of the human figure) in order for the subject to appear three-dimensional • Frottage. Textural rubbing on paper done with crayon, oil, or pencil • Genre. A form of realistic painting of people that depicts ordinary events of the day; not religious, historical, or mythological • Gilt. A thin coat of gold leaf applied to the surface of a painting, frame, or architecture • Glaze. In ceramics, a glass-like coating that makes ceramics waterproof; in painting, to build up transparent layers of paint • Golden section. A proportion (in painting) of roughly 8 to 13 that was considered by Renaissance masters to express perfect visual harmony • Highlight. A light area that represents the reflection of light (as in the eye of a model) • Hue. Pure color (such as red, blue, or yellow), a tint or shade of mixed colors • Illustration. An artwork developed to accompany a story, advertisement, or written text • Intaglio. Damp paper pressed into the inked etched or engraved lines of a metal printing plate • Kitsch. Artwork, often mass-produced, that goes beyond good taste • Kore. Stiffly standing archaic Greek female sculpture, clothed • Kouros. Archaic Greek male figure, unclothed • Landscape. A scenery painting; might also be a cityscape or seascape • Linear perspective. A technical system that allows depth to be shown on a two-dimensional surface 8 The Art Teacher’s Book of Lists

1–4. Continued

• Lithography. A printmaking method in which a metal plate or stone is drawn on with an oily crayon that resists water, yet holds the ink for printing • Lost-wax (cire perdue). A method of creating a wax mold of a sculpture; the mold is heated to melt out the wax, which is replaced with molten metal • Maquette. A small three-dimensional model for a larger piece of sculpture • Mandorla. An almond-shaped background, enclosing a sacred figure • Medium. The material that is used in an artwork such as watercolor, oil, or pastel • Megalith. A huge block of natural stone, such as those in Stonehenge, sometimes arranged in lines or circles • Mobile/stabile. Terms coined to describe work created by Alexander Calder; the mobile is a hanging, movable sculpture; the stabile rests on the ground, but may also have moving parts • Modeling. In sculpture, transforming clay or wax into a form; in painting, varying the colors to suggest a three-dimensional quality • Monochromatic. A color scheme that involves different values of a single color • Mosaic. Design or picture created by imbedding stones or pieces of glass on a floor, vault, or wall • Mural. A continuous painting made to fill a wall • Naturalism. Reality-based painting • Nonobjective. An abstract artwork not based on anything in reality • Papyrus. Marsh plant from which paper was first made in Egypt; a scroll painted on this material • Parchment. Thin tanned animal hide (often kid or lamb), used for illuminated manuscripts • Pastel. Pigment held together with a binder and pressed into stick form (dry or oil-pastel) • Perspective. A formal method of creating a three-dimensional effect on a two-dimensional surface • Pigment. Powdered earth, minerals, and chemicals, ground and mixed with a binder such as oil • Plein air. Loose, fluid painting done outdoors, capturing effects of light and air • Pointillism (divisionism). The application of pure color in small dots, allowing the eye to mix (such as red and blue dots side-by-side, which the eye sees as violet) • Polychrome. Many-colored • Polyptych. A painting that consists of more than three panels hinged together & Sons, Inc. Copyright © 2010 by John Wiley • Primary colors. Red, yellow, and blue; may be mixed to make other colors but cannot themselves be mixed from other colors • Print. A work of art (usually on paper) created from a “plate” that has been transformed through a technique such as engraving, etching, or woodcut and then inked and transferred to paper • Psalter. A book of Psalms (thought to have been written by King David) • Putti. Nude male infants, often with wings, used in Classical and Renaissance painting • Realism. An artist’s attempt to portray a subject as accurately as possible • Romanticism. A type of painting that idealizes images; often with surrealistic or imaginative compositions • Saturated color. Hues undiluted with white, consequently deep and intense • Secondary colors. Green, violet, and orange; the colors obtained by mixing primary colors • Sfumato. A soft, smoky, hazy appearance with blurred images • Stenciling. Applying paint to a wall or cloth surface through holes cut in metal or oiled cardboard • Still-life. A composition featuring inanimate objects such as food or flowers and vases • Stylize. To abstract a form, leaving it with less detail, yet recognizable • Texture. The tactile quality of the surface, real or implied • Tone. Harmony in colors and values in an artwork • Values. Differences in the lightness or darkness of a hue • Vanishing point. A term used in perspective; all lines lead to this point, which may be on or off the canvas • Vellum. Thinned calf hide, prepared for writing Chapter 1 Basic Information for the Art Teacher 9

1–5. Pronunciation Guide

Every attempt has been made to pronounce these names the way they would be in the artist’s own language. The bold letters signify the accented syllable, when all the syllables are pronounced quickly.

ARTISTS’ NAMES Kollwitz, Käthe, kat y call vits gesso, jess o Albers, Josef, josef al burrs Leonardo da Vinci, lay o nar doe da gouache, gwahsh vin chee Bosch, Hieronymus, her on e mus bosh intaglio. in towl yo Leyster, Judith, judith lie ster Botticelli, Sandro, sahn dro bot tuh chel lee Manet, Edouard, aid wahr mah nay MISCELLANEOUS Boucher, Francois, frahn swah boo Mantegna, Andrea, an dray a mon shay tane ya Art Nouveau, ar nu vo Braque, Georges, zhorzh brock Martini, Simone, see mon ee mar tee Bauhaus, bough house Brueghel, Pieter, peter broy ghel nee Beaux-Art, bows are Caravaggio, Michelangelo, my kel an Massaccio, ma sot cho Champs Elysees, shahns eh lee zay jel o car a vod jo Matisse, Henri, on ree mah teess chiaroscuro, key are o skoo ro Cezanne, Paul, paul say zahn Medici, Giuliano de, jool yah no de cloisonné, cloy zon nay may de chee Chagall, Marc, mark shah gall douanier, dwahn yay Chardin, Jean Baptiste, zhon bahteese Medici, may dee chee fauve, fove shar dan Michelangelo (Buonarotti), my kel genre, jahn reh an jel o bwoe na rot tee Chirico, Giorgio de, georgee-o dee magi, may-jigh kee ree co Millet, Jean Francois, zhahn frahn Notre-Dame, no-treh dahm Dali, Salvador, sal va dor dah lee swah mill ay objet d’art, obe zhay d ar Daumier, Honore, on o ray dough Mondrian, Piet, peet moan dree ahn plein air, plen-air mee eh Monet, Claude, clowd mo nay putti, put ti David, Jacques Louis, zhock loo ee Munch, Edvard, ed vard moohnk Savonarola, sahv on a roll a dah veed Picasso, Pablo, pab lo pea kass o sfumato, sfoo-mah-to Degas, Edgar, ed gar day gah, Pollaiuolo, Antonio, an tone ee o pal triptych, trip tick Delacroix, Eugene, U-gen della crwah eye oo woe lo Dufy, Raoul, rah ool doo fee trompe l’oeil, trome p’loil

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Poussin, Nicolas, neek o lahs poos an Uffizi, you feet zee Durer, Albrecht, al brekt dur er Raphael, raph ay ul Eyck, Jan van, yon van ike Redon, Odilon, o dee lawn r’dawn Fragonard, Jean Honore, zhan on o Renoir, Pierre-Auguste, pee air oh TITLES OF PAINTINGS ray frag o nar goost ren wahr Der Blaue Reiter, dehr blah way right er Gauguin, Paul, Paul go ganh Rivera, Diego, dee ay go ree vay ra Grand Jatte, La, grahnd jhot Gericault, Jean Louis, zhon loo ee Rouault, Georges, zhorzh roo oh Guernica, gwere nee ka zhay ree co Rousseau, Henri, on ree roo sew Icarus, ik are us Giorgeone, jor jee oh nay Ruisdael, Jakob van, yah cob ryes doll Giotto di Bondone, jot toe dee bon Lascaux, lass ko Seurat, Georges, zhorgh sir ah doe nee Las Meñinas, lahs men yeen ahs Toulouse Lautrec, Henri de, on ree Gogh, Vincent van, vin cent van go de too looze low trek Les Demoiselles d’Avignon, lay dem Goya, Francisco de, frahn cees co day wah zel dahv een yone Velazquez, Diego. dee ay go vay las kez goy ah Mona Lisa, moan a lees a Vermeer, Jan, yahn ver mere Greco, El, ell greck o Montefeltro, Federigo, fay day ree go Warhol, Andy, and ee wohr hohl Gris, Juan, whahn greece dah moan te fell tro Watteau, Jean Antoine, zhon on twon Grunewald, Mathis, mah tis grewn Mont Sainte-Victoire, mawn sant veek wah toe vahlt twah Holbein, Hans, hahns hole byne Moulin Rouge, moo lan roozh Ingres, ang’r TECHNIQUES Pieta, pea ay tah Klee, Paul, Paul clay casein, case-een Primavera, La, lah pree ma vay ra Kokoschka, Oskar, oh-scar ko kosh ka chine collé, sheen cole ay Sabine, say byne 10 The Art Teacher’s Book of Lists

1–6. Artists’ Birthdays

Students enjoy identifying with artists who were born in the same day or month as they were. When the opportunity arises, have a birthday party for an artist, dividing a class into groups and putting students in charge of planning appropriate clothing (party hats?), decorations, food, and activities.

JANUARY APRIL 1. Bartolomé Murillo, 1618; Paul Revere, 2. Max Ernst, 1891 1735 4. Edward Hicks, 1780 2. Ernst Barlach, 1870 5. Jean Honoré Fragonard, 1732 4. Marsden Hartley, 1877 6. Raphael, 1483; René Lalique, 1860 5. Yves Tanguy, 1900 7. Gerard Dou, 1613 6. Gustave Doré, 1832 9. Eadweard Muybridge, 1830; Victor 7. Albert Bierstadt, 1830 Vasarely, 1908 10. Barbara Hepworth, 1903 10. Kenneth Noland, 1924 11. Alexander Calder, 1870 12. Robert Delaunay, 1885; Imogen 12. John Singer Sargent, 1856; Jusepe Cunningham, 1883 Ribera, 1588 13. James Ensor, 1860 13. Jan van Goyen, 1596 15. Leonardo da Vinci, 1452; Elizabeth 14. Berthe Morisot, 1841 Catlett, 1919; Charles Willson Peale, 15. Jaune Quick-to-See Smith, 1940 1841 19. Paul Cezanne, 1839; Cindy Sherman, 16. Elisabeth Vigée-Le Brun, 1755 1954 18. Max Weber, 1881 23. Edouard Manet, 1832 20. Joan Miró, 1893 24. Robert Motherwell, 1915 22. Odilon Redon, 1840 26. Barbara Kruger, 1945 23. J.M.W. Turner, 1775 28. Jackson Pollock, 1912; Claes 24. Willem de Kooning, 1904; Bridget Oldenburg, 1929 Riley, 1931; John T. Biggers, 1924 29. Barnett Newman, 1905 25. Karel Appel, 1921; Cy Twombly, 1928 30. Bernardo Bellotto, 1720 MARCH 26. Eugene Delacroix, 1798; Dorothea Lange, 1895 31. Max Pechstein, 1881 1. Oscar Kokoschka, 1886; August Saint- Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Gaudens, 1848 27. Samuel F.B. Morse, 1791 4. Sir Henry Raeburn, 1756 5. Giovanni Battista Tiepolo, 1696 6. Michelangelo Buonarotti, 1475 7. Piet Mondrian, 1872; Milton Avery, FEBRUARY 1893 1. Thomas Cole, 1801 9. David Smith, 1906 3. Norman Rockwell, 1894 12. Elaine de Kooning, 1920 4. Fernand Leger, 1881; Manuael Alvarez 13. Alexej von Jawlensky, 1864 Bravo, 1902 14. Reginald Marsh, 1898; Diane Arbus, MAY 5. Alison Saar, 1956 1923 1. George Inness, 1825 8. Franz Marc, 1880 16. Rosa Bonheur, 1822 4. Frederic Edwin Church, 1826; Keith 12. Max Beckmann, 1884; Eugene Atget, 17. Kate Greenaway, 1846 Haring, 1958 1857 19. Josef Albers, 1888; Georges de La Tour, 7. Deborah Butterfield, 1949 13. Grant Wood, 1892 1593 11. Salvador Dalí, 1904 17. Raphaele Peale, 1774 20. George C. Bingham, 1811 13. Georges Braque, 1882 18. Louis Comfort Tiffany, 1848 21. Hans Hofmann, 1880 15. Jasper Johns, 1930 20. Elie Nadelman, 1882; Ansel Adams, 22. Anthony van Dyck, 1599 18. Walter Gropius, 1883; Janet Fish, 1938 1902 23. Juan Gris, 1887 19. Jacob Jordaens, 1593; Gaston Lachaise, 21. Constantin Brancusi, 1876 24. John Smibert, 1688; Edward Weston, 1886 22. Rembrandt Peale, 1778; Horace 1886 21. Albrecht Durer, 1471; Henri Rousseau, Pippin, 1888 25. Gutzon Borglum, 1867 1844 23. Tom Wesselmann, 1931 27. Ludwig Mies van der Rohe, 1886; 22. Mary Cassatt, 1844 24. Winslow Homer, 1836 Edward Steichen, 1879 23. Franz Kline, 1910 25. Pierre A. Renoir, 1841 28. Grace Hartigan, 1922 24. Philip Pearlstein, 1924 26. Honoré Daumier, 1808 30. Francisco de Goya, 1746; Vincent van 27. Georges Rouault, 1871 27. Joaquin Sorolla, 1863 Gogh, 1853 30. Alexander Archipenko, 1887 29. Balthus, 1908 31. John La Farge, 1835 31. Ellsworth Kelly, 1923 Copyright © 2010 by John Wiley & Sons, Inc. 3 . JeanDubuffet,1901 31. GiorgioVasari, 1511;HenryMoore, 30. JennyHolzer, 1950 29. BeatrixPotter, 1866;MarcelDuchamp, 28. GeorgeCatlin,1796 26. ThomasEakins,1844 25. AlexKatz,1927 24. EdwardHopper, 1882; Alexander 22. LazlóMoholy-Nagy, 1895;NamJune 20. EdgarDegas,1834 19. GertrudeKasebier, 1852 18. CamilleCorot,1796;BereniceAbbott, 17. SirJoshuaReynolds,1723 16. RembrandtvanRijn,1606 15. GustavKlimt,1862;EdmoniaLewis, 14. AmedeoModigliani,1884;Andrew 12. CamillePissarro,1830;J.A.M.Whistler, 10. DavidHockney, 1937 9. KätheKollwitz,1867;Artemisia 8. MarcChagall,1887 7. FridaKahlo,1907 6. JohnSingletonCopley, 1738 3. AndréKertesz,1894 2. AllanHouser, 1914 30. RobertLaurent,1890 29. PeterPaulRubens,1577 28. PhilipGuston,1913 27. SamFrancis,1923;AntonioGaudi, 25. RobertHenri,1865 24. CarlMilles,1875 23. HenryOssawaTanner, 1859 21. CharlesEames,1907;M.C.Escher, 1889 17. JimDine,1935 16. MargaretBourke-White,1906 14. 13.Christo, 1935 AnnieAlbers,1899 12. JohnConstable,1776;JuliaMargaret 11. GustaveCourbet,1819;AndréDerain, 10. PieterSaenredam,1597;MetaWarwick 9. SirJohnEverettMillais,1829;Frank 8. PaulGauguin,1848;DamienHirst, 7. DiegoVelasquez, 1599 6. ThomasChippendale,1718 5. RaoulDufy, 1877 3. RedGrooms,1937 1. 1898; BetyeSaar, 1926 1887 Calder, 1898 Paik, 1932;JudyChicago,1939 1898 1845 Wyeth, 1917 1834 Gentileschi, 1593 1852 Cameron, 1815 1880 Fuller, 1877 Lloyd Wright, 1867 1965 JUNE JULY 5 PabloPicasso, 1881;ArshileGorky, 1904 25. RobertRauschenberg,1925 22. KatsushikaHokusai,1760 21. AelbertCuyp,1620;SirChristopher 20. UmbertoBoccioni,1882 19. 18.Canaletto, 1697 ChildeHassam,1859 17. AlHeld,1928 12. Antoine Watteau, 1684;BenjaminWest, 10. FaithRinggold,1930 8. MayaLin,1959 5. GiovanniBattistaPiranesi,1720; 4. PierreBonnard,1867 3. LarryPoons,1937 1. FrançoisBoucher, 1703 29. 28.Caravaggio, 1573 TheodoreGericault,1791;LewisW. 26. FrancescoBorromini,1599;Mark 25. PaulDelvaux,1897;LouiseNevelson,1899 23. HansHartung,1904 21. MarkdeSuvero,1933 18. JeanArp,1887;CarlAndre,1935 16. AntoineLouisBarye,1795 15. RobertIndiana,1928 13. BenShahn,1898;Richard Hunt,1935 12. SirJohnSoane,1753 10. GrandmaMoses,1860;JacobLawrence,1917 7. LouisSullivan,1856 3. RomareBearden,1911 2. Yasuo Kuniyoshi,1893 1. 3 . GeorgJensen,1866 31. JacquesLouisDavid,1748 30. J.A.D.Ingres,1780 29. MorrisGraves,1910 28. ManRay, 1890 27. HaleWoodruff, 1900 26. GeorgeStubbs,1724;AlphonseMucha, 24. JacquesLipchitz,1891;HenriCartier- 22. AubreyBeardsley, 1872 21. ElielSaarinen,1873;Eero1910 20. GustaveCaillebotte,1848 19. LarryRivers,1923 17. GeorgeLuks,1867 13. GeorgeBellows,1882 12. MartinJohnsonHeade,1819 11. William M.Harnett,1848 10. EmileNolde,1867 7. AndyWarhol, 1928 6. GeorgeTooker, 1920 5. JohnTwachtman, 1853 4. JohnSloan,1871;ArthurDove,1880 2. Wren, 1632 1738; AlbertoGiacometti,1901 Remington, 1861 Jean FrançoisMillet,1814;Frederick Hine, 1874 Rothko, 1903 1860 Bresson, 1908 1–6. Continued SEPTEMBER OCTOBER AUGUST 0 Andrea Palladio,1508;Adriaenvande 30. JamesRosenquist, 1933 29. Joséde Creeft,1884 27. George Segal,1924 26. HenrideToulouse-Lautrec, 1864;Cass 24. JoséOrozco,1883 23. RenéMagritte,1898 21. LouisDaguerre,1787 18. AgnoloBronzino,1503;Isamu 17. GeorgiaO’Keeffe,1887;Wayne 15. ClaudeMonet,1840;JohnSteuart 14. AugusteRodin,1840 12. PaulSignac,1863;EdouardVuillard, 1868 11. William Hogarth,1697;SirJacob 10. CharlesDemuth,1883 8. FranciscodeZurbaran,1598 7. PhilipsKoninck,1619;Washington 5. GerritvanHonthorst,1590 4. Walker Evans,1903 3. BenvenutoCellini,1500 1. Johannes(Jan)Vermeer, 1632;Meindert 31. AlfredSisley, 1839 30. AndreadellaRobbia,1435;Francis 28. RoyLichtenstein,1923 27. 3. HenriMatisse,1869 31. W. EugeneSmith,1918 30. DavidA.Sequeiros,1896 29. RaphaelSoyer, 1899;LouiseBourgeois,1911 25. JohnMarin,1870 23. JeanMichelBasquiat,1960 22. 21.Masaccio, 1401 PieterdeHooch,1629 20. PaulKlee,1879 18. PaulCadmus,1904 17. DavidTeniers II,1610 15. EdvardMunch,1863;Helen 12. AdriaenvanOstade,1610 10. RoydeCarava,1919 9. AristideMaillol,1861;DiegoRivera,1886 8. GianLorenzoBernini,1598;Stuart 7. FredericBazille,1841 6. Walt Disney, 1901 5. Wassily Kandinsky, 1866 4. GilbertStuart,1755 3. GeorgesSeurat,1859 2. 4 JosephCornell,1903;Ad Reinhardt,1913 24. Velde, 1636;SamGilliam,1938 Gilbert, 1859 Noguchi, 1904 Thiebaud, 1920 Curry, 1897 Epstein, 1880 Villon, 1876 Allston, 1779;RaymondDuchamp- 1827 Hobbema, 1638;RichardMorrisHunt, Bacon, 1909 Frankenthaler, 1928 Davis, 1894 OCTOBER (cont.) NOVEMBER DECEMBER 12 The Art Teacher’s Book of Lists

1–7. Elements of Art

Line Line is the path of a moving point. Following are some variations in line. vertical horizontal diagonal curved angular zig zag bent

straighstraightt interruptedinterrupted t thickhick tthinhin paralleparallell cross-hatche cross-hatchedd spiraspirall

Form: 3-D: height, width, and depth. Value Shape: 2-D: is the area enclosed by an outline Value: differences in a hue or neutral ranging from the realistic. lightest to darkest, for example, white to black. geometric abstract form idealized form naturalistic nonrepresentational amorphous form biomorphic Space Space organizes elements in a composition: shallow space. actual space. control of size, little perspective color, overlapping Texture positive/negative.

Color Chapter 1 Basic Information for the Art Teacher 13

1–8. Principles of Design

According to National Visual Arts Standards, the standards of design are repetition, balance, emphasis, contrast, and unity.

Repetition Emphasis Repetition is the use of line, color, or a motif, in more Emphasis is given to a center of interest, which might be than one place in a composition. the largest, brightest, or lightest subject. Pattern is created through a repetitious use of the same element to create an overall design.

Rhythm is the repeated use of similar elements such as color, line, or shape—the smooth transition from one part to another. Contrast Contrast shows differences between the elements of art, which are line, color, shape, value, space, and texture. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Balance Balance is the equilibrium of various elements in the work of art. Symmetrical or formal balance: equal balance on each Unity side of an imaginary middle line Unity is the harmony of all the visual elements in a Asymmetrical or informal balance: balance achieved composition. through unequal distribution on each side of an imagi- Proportion is the pleasing relationship of all parts to each nary middle line other and to the whole of the design. Variety consists of differences in scale, surface, line, value, and shape that give interest to a composition. 14 The Art Teacher’s Book of Lists

1–9. National Visual Arts Standards (K–4)*

The National Visual Arts Standards apply to three different age groupings of students. The Standards are goals designed to help students achieve visual literacy and develop new skills through varied experiences. These Standards were developed by and for art teachers and are living, vital guidelines, as applicable today as when they were created.*

CONTENT STANDARD #1: UNDERSTANDING AND APPLYING MEDIA, TECHNIQUES, AND PROCESSES Achievement Standards: • Students know the differences between materials, techniques, and processes. • Students describe how different materials, techniques, and processes cause different responses. • Students use different media, techniques, and processes to communicate ideas, experiences, and stories. • Students use art materials and tools in a safe and responsible manner.

CONTENT STANDARD #2: USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS Achievement Standards: • Students know the differences among visual characteristics and purposes of art in order to convey ideas. • Students describe how different expressive features and organizational principles cause different responses. • Students use visual structures and functions of art to communicate ideas.

CONTENT STANDARD #3: CHOOSING AND EVALUATING A RANGE OF SUBJECT MATTER, SYMBOLS, AND IDEAS Achievement Standards: • Students explore and understand prospective content for works of art. • Students select and use subject matter, symbols, and ideas to communicate meaning.

CONTENT STANDARD #4: UNDERSTANDING THE VISUAL ARTS IN RELATION TO HISTORY AND CULTURES Achievement Standards: • Students know that the visual arts have both a history and specific relationships to various cultures. • Students identify specific works of art as belonging to particular cultures, times, and places. & Sons, Inc. Copyright © 2010 by John Wiley • Students demonstrate how history, culture, and the visual arts can influence each other in making and studying works of art.

CONTENT STANDARD #5: REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS Achievement Standards: • Students understand there are various purposes for creating works of visual art. • Students describe how people’s experiences influence the development of specific artworks. • Students understand there are different responses to specific artworks.

CONTENT STANDARD #6: MAKING CONNECTIONS BETWEEN VISUAL ARTS AND OTHER DISCIPLINES Achievement Standards: • Students understand and use similarities and differences between characteristics of the visual arts and other arts disciplines. • Students identify connections between the visual arts and other disciplines in the curriculum.

1–10. National Visual Arts Standards (5–8)*

CONTENT STANDARD #1: UNDERSTANDING AND APPLYING MEDIA, TECHNIQUES, AND PROCESSES Achievement Standards: • Students select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choices. • Students intentionally take advantage of the qualities and characteristics of art media, techniques, and processes to enhance communication of their experiences and ideas.

CONTENT STANDARD #2: USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS Achievement Standards: • Students generalize about the effects of visual structures and functions and reflect upon these effects in their own work. • Students employ organizational structures and analyze what makes them effective or not effective in the communication of ideas. • Students select and use the qualities of structures and functions of art to improve communication of their ideas.

CONTENT STANDARD #3: CHOOSING AND EVALUATING A RANGE OF SUBJECT MATTER, SYMBOLS, AND IDEAS Achievement Standards: • Students integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks. • Students use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks.

CONTENT STANDARD #4: UNDERSTANDING THE VISUAL ARTS IN RELATION TO HISTORY AND CULTURES Achievement Standards: • Students know and compare the characteristics of artworks in various eras and cultures. • Students describe and place a variety of art objects in historical and cultural contexts. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Students analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art.

CONTENT STANDARD #5: REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS Achievement Standards: • Students compare multiple purposes for creating works of art. • Students analyze contemporary and historic meanings in specific artworks through cultural and aesthetic inquiry. • Students describe and compare a variety of individual responses to their own artworks and to artworks from various eras and cultures.

CONTENT STANDARD #6: MAKING CONNECTIONS BETWEEN VISUAL ARTS AND OTHER DISCIPLINES Achievement Standards: • Students compare the characteristics of works in two or more art forms that share similar subject matter, historical periods, or cultural context. • Students describe ways in which the principles and subject matter of other disciplines taught in the school are interrelated with the visual arts.

1–11. National Visual Arts Standards (9–12)*

CONTENT STANDARD #1: UNDERSTANDING AND APPLYING MEDIA, TECHNIQUES, AND PROCESSES Achievement Standard, Proficient:† • Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks. • Students conceive and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use. Achievement Standard, Advanced: • Students communicate ideas regularly at a high level of effectiveness in at least one visual arts medium. • Students initiate, define, and solve challenging visual arts problems independently using intellectual skills such as analysis, synthesis, and evaluation.

CONTENT STANDARD #2: USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS Achievement Standard, Proficient: • Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art. • Students evaluate the effectiveness of artworks in terms of organizational structures and functions. • Students create artworks that use organizational principles and functions to solve specific visual arts problems. Achievement Standard, Advanced: • Students demonstrate the ability to compare two or more perspectives about the use of organizational principles and functions in artwork and to defend personal evaluations of these perspectives. • Students create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions.

CONTENT STANDARD #3: CHOOSING AND EVALUATING A RANGE OF SUBJECT MATTER, SYMBOLS, AND IDEAS Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Achievement Standard, Proficient: • Students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture. • Students apply subjects, symbols, and ideas in their artworks and use the skills gained to solve problems in daily life. Achievement Standard, Advanced: • Students describe the origins of specific images and ideas and explain why they are of value in their artwork and in the work of others. • Students evaluate and defend the validity of sources for content and the manner in which subject matter, symbols, and images are used in the students’ works and in significant works by others.

1–11. Continued

CONTENT STANDARD #4: UNDERSTANDING THE VISUAL ARTS IN RELATION TO HISTORY AND CULTURES‡ Achievement Standard, Proficient: • Students differentiate among a variety of historical and cultural contexts in terms of characteristics and purposes of works of art. • Students describe the function and explore the meaning of specific art objects within varied cultures, times, and places. Students analyze relationships of works of art to one another in terms of history, aesthetics, and culture, justifying conclusions made in the analysis and using such conclusions to inform their own art making. Achievement Standard, Advanced: • Students analyze and interpret artworks for relationships among form, context, purposes, and critical models, showing understanding of the work of critics, historians, aestheticians, and artists. • Students analyze common characteristics of visual arts evident across time and among cultural/ethnic groups to formulate analyses, evaluations, and interpretations of meaning.

CONTENT STANDARD #5: REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS Achievement Standard, Proficient: • Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works. • Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts. • Students reflect analytically on various interpretations as a means for understanding and evaluating works of visual art. Achievement Standard, Advanced:

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Students correlate responses to works of visual art with various techniques for communicating meanings, ideas, attitudes, views, and intentions.

CONTENT STANDARD #6: MAKING CONNECTIONS BETWEEN VISUAL ARTS AND OTHER DISCIPLINES Achievement Standard, Proficient: • Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and types of analysis. • Students compare characteristics of visual arts within a particular historical period or style with ideas, issues, or themes in the humanities or sciences. Achievement Standard, Advanced: • Students synthesize the creative and analytical principles and techniques of the visual arts and selected other arts disciplines, the humanities, or the sciences.

1–12. Selected Glossary from the National Visual Arts Standards*§

• Aesthetics. A branch of philosophy that focuses on the nature of beauty, the nature and value of art, and the inquiry processes and human responses associated with those topics. • Analysis. Identifying and examining separate parts as they function independently and together in creative works and studies of the visual arts. • Art criticism. Describing and evaluating the media, processes, and meanings of works of visual arts, and making comparative judgments. • Art elements. Visual arts components, such as line, texture, color, form, value, and space. • Art history. A record of the visual arts, incorporating information, interpretations, and judgments about art objects, artists, and conceptual influences on developments in the visual arts. • Art materials. Resources used in the creation and study of visual art, such as paint, clay, cardboard, canvas, film, videotape, models, watercolors, wood, and plastic. • Art media. Broad categories for grouping works of visual art according to the art materials used. • Assess. To analyze and determine the nature and quality of achievement through means appropriate to the subject. • Context. A set of interrelated conditions (such as social, economic, political) in the visual arts that influence and give meaning to the development and reception of thoughts, ideas, or concepts and that define specific cultures and eras. • Create. To produce works of visual art using materials, techniques, processes, elements, and analysis; the flexible and fluent generation of unique, complex, or elaborate ideas. • Expressive features. Elements evoking affects such as joy, sadness, or anger. • Expression. A process of conveying ideas, feelings, and meanings through selective use of the communica- tive possibilities of the visual arts. • Ideas. A formulated thought, opinion, or concept that can be represented in visual or verbal form. • Organizational principles. Underlying characteristics in the visual arts, such as repetition, balance, emphasis, contrast, and unity. • Perception. Visual and sensory awareness, discrimination, and integration of impressions, conditions, and Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley relationships with regard to objects, images, and feelings. • Process. A complex operation involving a number of methods or techniques, such as the addition and subtraction processes in sculpture, the etching and intaglio processes in printmaking, or the casting or con- structing processes in making jewelry. • Structures. Means of organizing the components of a work into a cohesive and meaningful whole, such as sensory qualities, organizational principles, expressive features, and functions of art. • Techniques. Specific methods or approaches used in a larger process; for example, gradation of value or hue in painting or conveying linear perspective through overlapping, shading or varying size or color. • Technologies. Complex machines used in the study and creation of art, such as lathes, presses, computers, lasers, and video equipment. • Tools. Instruments and equipment used by students to create and learn about art., such as brushes, scissors, brayers, easels, knives, kilns, and cameras. • Visual arts. A broad category that includes the traditional fine arts such as drawing, painting, printmaking, sculpture; communication and design arts such as film, television, graphics, product design; architecture and environmental arts such as urban, interior, and landscape design; folk arts; and works of art such as ceramics, fibers, jewelry, works in wood, paper, and other materials. • Visual arts problems. Specific challenges based in thinking about and using visual arts components.

*This glossary is taken from The National Art Education Association News of June, 1994. Copyright 1994 by The National Art Education Association. Reprinted with permission. Chapter 1 Basic Information for the Art Teacher 19

1–13. The Big Idea

A “Big Idea” is a challenge to your students to go beyond learning the foundation of art (elements, principles, safety, art history and appreciation, and use of tools and materials). These essentials of the curriculum are useful tools that students apply as they investigate a larger concept. A Big Idea could be a semester or year-long commitment. It could be a school-wide investigation, with classroom teachers or specialists assisting as students write, read, report, and discuss their findings. This list includes some possibilities for a temporary or ongoing emphasis in your art curriculum.

Architectural spaces People in underdeveloped countries Conflict Personal experiences Differing religious or political beliefs Place and time Ecology Pop culture Environmental concerns Population explosion Family and cultural influence Relationships Folk art School and community Gender Stereotypes Global awareness Symbolism Heroes Tolerance Identity Universal need for power Nature of art Visual culture Nature of beauty Why people make art

1–14. DBAE: Discipline-Based Art Education

Discipline-Based Art Education (DBAE) was a revolutionary change in art education that began in the early 1990s under the guidance of educators across the country and The Getty Institute. Art education today continues to include art production, art history, aesthetics, and criticism/analysis. The four components are seldom Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley in equal parts and may not be present in every lesson. In place of those formal terms, author Eldon Katter, former editor of School Arts, uses the terms “production,” “valuing traditions,” “perception,” and “critical reflection” in his article “Why Kids Need Art” (School Arts, April 2009, p. 18.) Art production continues to be the dominant one of these four components, and it is of special importance for elementary students. It introduces concepts, problem solving, and a proper introduction of tools and materials. The materials and techniques vary, but some art lessons remain standard because they teach children important things about themselves and their surroundings. Cross-discipline connections in art are sometimes included, but art also has its own curriculum, and is an important component of a well-rounded education. Art history is normally introduced as part of a studio lesson. Concepts that can be built in are the who, what, where, when, why, and how of an art piece (styles, themes, symbolism, time periods, media, techniques, and the culture in which the artwork originated). Students will see cultural differences and learn about outside influences on art such as literature, patronage, religion, government, and technology. Aesthetics is the philosophy of art. Aesthetic conversations help students formulate their own ideas of what they consider beautiful. In some cultures there is not even a concept that functional, well-designed, useful objects could be considered “art,” yet they are aesthetically pleasing. Helping students define what they consider art, to talk or write about it, and perhaps defend their ideas, enhances their appreciation of personal choice. Criticism/analysis (reflection is the portion of a lesson that could be hurtful if done with an “I like it/ I don’t like it attitude.”) Encourage conversations about students’ own work, that of their classmates, or that of professional artists, to make analysis a wonderful experience for everyone. They can learn to compare and contrast historical images, or simply begin with a description of what they see: the subject, formal properties (elements, principles) of an artwork; and also the expressive qualities, the intangibles that an artist is able to show through the work that might make it appeal to a viewer. Sometimes it necessitates asking students to write before they share. 20 The Art Teacher’s Book of Lists

1–14. Continued

Discipline-based art education easily fits within a standard lesson plan format. The art history/cultural component is part of the motivation or input such as visual images that are shown or placed around a room. The art production portion of DBAE in also included as motivation. Creative expression occurs naturally when you encourage students to come up with unusual solutions within an assignment. Aesthetics and criticism/analysis seem to naturally fall into the assessment portion of a lesson. Assess- ment isn’t always something that occurs at the end of a lesson, but may be ongoing as you discuss with students what they intend to do next. Analysis is one form of closure to a lesson. The lesson plan in List 1–16 may be helpful as a guide as you compose lesson plans on a computer. The lesson may take several pages, but these are the basic components.

1–15. Tips on Writing Art Lesson Plans

Naturally, lesson plans vary from one district or state to another, and lesson plans are adapted to fit within a district’s format. Fortunately, most good art projects automatically meet the National Art Education Standards and their state’s Grade Level Expectations (GLEs). The one-page lesson plan example in List 1–16 gives a standard format that could simply be filled in by hand, or the headings could be used for a computer- generated lesson. Information and lesson plan ideas are readily available on the Internet. The many art education and museum websites, and your own state’s art network are invaluable resources. Objectives/Goals: The student will be able to (select one or two of these): analyze, apply, arrange, choose compare, construct, contrast, create, define, demonstrate, depict, describe, develop, discover, discuss, draw, emphasize, experiment, explain, express, identify, illustrate, interpret, judge, list, make connections, manipulate, produce, recognize, select, show, solve, use, utilize, verbalize, Standards: State Grade Level Expectations or National Standards Teacher Preparation (notes to yourself as to materials needed or experiments you might need to conduct) 1. Anticipatory set: questions, posters, photos, slides, quotations on board, riddles

2. Objectives and evaluation criteria: stated or written on the board; unit vocabulary: discussed, written & Sons, Inc. Copyright © 2010 by John Wiley on board, handout for journals; art history/aesthetic discussions Art History/Cultural Connection: Not every lesson will have such a connection, but the most effective generally do. 3. Input: art history, or motivation Procedure/Motivation: Instructions: procedure, directions 4. Demonstration, modeling behavior 5. Check for understanding 6. Guided practice 7. Independent practice (might include homework) Closure 8. Analysis, written critique, homework assignment 9. Assessment criteria (relate back to instructional objectives) 10. Criticism/analysis discussion 11. Aesthetic questions Teacher Reflection State GLE’s or National Visual Arts Standards may be included at the end of the lesson or grouped with the goals Alternative project Modifications/adaptations Cross-disciplinary connections Chapter 1 Basic Information for the Art Teacher 21

1–16. Sample Art Lesson Plan

Lesson Title: PROCEDURE/MOTIVATION* Medium: 1. Anticipatory set Grade Level: 2. Objectives 3. Input: art history, instructions 4. Demonstration, modeling behavior Content Connections: (circle one) Language Arts, 5. Check for understanding Mathematics, Science, Social Studies 6. Guided practice 7. Independent practice 8. Closure Time Needed:

*This format is based on the Madeline Hunter model. Materials and Resources: Assessment Criteria (Relate Back to Instructional Objectives):

Objectives/Goals (The student will be able to . . .) Critical Analysis (Might Be Used During Closure/ Assessment):

Teacher Preparation: Alternative Project:

Art History/Cultural Connection:

Elements of Art (choose those that apply: line, Modifications/Adaptations: color, value, space, shape/form, texture)

Principles of Design (choose those that apply: repetition, balance, emphasis, contrast, unity) Teacher Reflection:

Vocabulary 22 The Art Teacher’s Book of Lists

1–17. Assessment Strategies

Statewide tests in the visual arts are being developed in most states. Teachers are generally well aware of expectations of what a student is expected to know and do at each grade level. In addition to the National Standards for the Visual Arts, states have developed Grade Level Expectations that serve as excellent guidelines for teachers when they are planning a curriculum. • Assessment Standards. Build standards into the lesson so the students can see the relationship between the objectives and how well they met those objectives (authentic assessment). • The Portfolio. Encourage students from their earliest grades to select their best two or three artworks to keep in a special folder (work could be also photographed and also kept in a digital folder). As they become older, suggest they keep some preliminary sketches. Personal discussion with students about their portfolios is ideal, but if there is not time for this, students can do a written evaluation of their coursework. • Self-Assessment. Students could compare work done early in the course with that done later and select one work of art and write one thing they think is good about one work of art and one thing they might do to improve it. Have students describe the medium they used (paint, clay, oil pastel), and identify and describe how they used at least one element in the artwork. Students could review what they did in this project, step-by-step, as if they were telling a friend how to do it also. Which part of the process did they think was the most fun? • Sketchbook/Journals. Give students the opportunity to react to art through writing (three-ring loose-leaf binders work well). The journal could include a daily log, free writing, sketches, and discussion of ideas they would like to try. • Written tests. Students can demonstrate their knowledge of the fundamentals of art through writing answers on a worksheet rather than a multiple choice test. • Class Discussion or Written Critiques. Have them critique their own work or that of others. Remind students that a written critique is an opportunity to include comments about an area in an artwork that works well or that might need a little further development. This critique could be done by Post-it Notes put

directly underneath work that has been taped on the wall. Or the artwork with a piece of paper paper- & Sons, Inc. Copyright © 2010 by John Wiley clipped on top, could be passed to several people with each “critique” folded under before passing it to the next person. • Interviews. Students and teachers talk about completed work and work-in-progress. Students could also share their ideas with each other in small cooperative learning groups. • Scoring Guide/Rubric. Scoring guides vary depending on the weight given various components. Included might be the ability to follow instructions; preparation/preliminary work; class participation, cooperation, and involvement in discussions; design, craftsmanship, attention to detail; creativity/originality/quality/ imagination/individuality/expression; effort, learning, and progress; use of higher-order thinking skills and problem solving; attitude, respect for materials, and time management. Chapter 1 Basic Information for the Art Teacher 23

1–18. Creating a Scoring Guide

SCORING GUIDE FOR GRADING ART

100 95 90 percent 89 85 80 percent 79 75 70 percent 69 65 60 percent 59 55 50 percent

A B C D F Excellent Above Average Average Below Average Unsatisfactory Outstanding Very Good Good Needs Improvement Poor Exemplary Acceptable Not Yet Acceptable Barely Acceptable Unacceptable

USE OF ELEMENTS OF DESIGN: LINE, TEXTURE, COLOR, LINE, SHAPE/FORM, VALUE, SPACE; USE OF PRINCIPLES OF DESIGN: REPETITION, BALANCE, EMPHASIS, CONTRAST, AND UNITY A. Planned carefully, made several sketches, and showed an awareness of the elements and principles of design; chose color scheme carefully, used space effectively. B. The artwork shows that the student applied the principles of design while using one or more elements effectively; showed an awareness of filling the space adequately. C. The student did the assignment adequately, yet it shows lack of pre-planning and little evidence that an overall composition was planned. D. The assignment was completed and turned in, but showed little evidence of any understanding of the elements and principles of art; no evidence of planning. F. The student did the minimum or the artwork was never completed.

CREATIVITY/ORIGINALITY A. The student explored several choices before selecting one; generated many ideas; tried unusual combinations or changes on several ideas; made connections to previous knowledge; demonstrated outstanding problem solving skills.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley B. The student tried a few ideas before selecting one; or based his or her work on someone else’s idea; made decisions after referring to one source; solved the problem in a logical way. C. The student tried one idea and carried it out adequately, but it lacked originality; substituted “symbols” for personal observation; might have copied work. D. The student fulfilled the assignment, but gave no evidence of trying anything unusual. F. The student showed no evidence of original thought.

EFFORT/PERSEVERANCE A. The project was continued until it was as complete as the student could make it; gave effort far beyond that required; took pride in going well beyond the requirement. B. The student worked hard and completed the project, but with a little more effort it might have been outstanding. C. The student finished the project, but it could have been improved with more effort; adequate interpretation of the assignment, but lacking finish; chose an easy project and did it indifferently. D. The project was completed with minimum effort. F. The student did not finish the work adequately. 24 The Art Teacher’s Book of Lists

1–18. Continued

CRAFTSMANSHIP/SKILL/CONSISTENCY A. The artwork was beautifully and patiently done; it was as good as hard work could make it. B. With a little more effort, the work could have been outstanding; lacks the finishing touches. C. The student showed average craftsmanship; adequate, but not as good as it could have been, a bit careless. D. The student showed below average craftsmanship, lack of pride in finished artwork. F. The student showed poor craftsmanship; evidence of laziness, or total lack of understanding.

GROUP COOPERATION/ATTITUDE A. The student worked toward group goals, effectively performs a variety of roles in group work, follows through on commitments, is sensitive to the feelings and knowledge level of others, willingly participates in necessary preparation or work for classroom. B. The student participated enthusiastically, followed through on commitments, performed more than adequately, assists in preparation and cleanup. C. The student mostly allowed others in the group to make all the decisions, did his or her share of work adequately, assisted in preparation and cleanup when asked. D. The student allowed others to do most of the work, did participate minimally, did the minimum amount. F. The student was part of the group, but did almost nothing toward group goals, did a minimal amount of work.

This list is the result of contributions from St. Louis Special District Art Specialists, personal experience, art specialist Kathryn Rulien-Bareis, classroom observation at all levels, and input from my Fontbonne University classes for special education majors. Equipment and materials are available from manufacturers. Modifications have been developed by experts to increase your sensitivity and help you vary your teaching methods. Allow all students to select special tools if they wish. It helps them appreciate the benefits of such tools and encourages personal decision making.

TOOLS FOR SPECIAL NEEDS STUDENTS • Squizzors • Dual-control training scissors for student and teacher • Self-opening scissors • Adapt-A-Cut® and Adapt-A-Hold® scissors • Continuous loop plastic scissors • Square or triangular crayons (they won’t roll off the table) • Brushes: shaving, chubby brushes, easy-grip, adaptive grip • Drawing: large chalk, crayons, pencils, and oil pastels • Glue sticks and extra wide roll-on glue • Large poster markers • Chalk in an art mobility tool that allows a wheelchair-using student to draw on a sidewalk • Pencil grips to fit over crayons, colored pencils, crayons, and brushes Chapter 1 Basic Information for the Art Teacher 25

1–19. Continued

GENERAL SUGGESTIONS FOR WORKING WITH SPECIAL NEEDS STUDENTS • Teach for various learning styles (all students have them): write on the board, use pictures, give verbal directions, demonstrate, and help with hands-on experience. • Read the student’s IEP (Individualized Education Program) to achieve personal goals. • State expectations clearly, and give praise when the expectations are met. • Music or headphones may help the student to focus. • Give help when needed, but allow the student to do what he or she is able to do. • Break activities into shorter tasks, building on earlier experience or knowledge. • If a student is having difficulty focusing, a “time-out table” might occasionally be helpful. • Be flexible when assigning media. Pastels might be easier than watercolor, for example. • Draw a line where glue might be applied or paper might be cut. • Allow more time if needed for testing. • Encourage students to be buddies, to help someone who might be having difficulty. • Arrange the room to accommodate a wheelchair or make it easier for a student with motor impairment to move around.

FOR THE STUDENT WITH BEHAVIORAL DISABILITIES • Appoint the student as your special assistant. • Use materials that offer resistance (clay, linocuts, carving). • Help the student to calm down by counting backward from five. • Move the student to a quieter place to work. • Offer a change of pace, or break the project into a number of smaller tasks.

FOR THE STUDENT WITH DEVELOPMENTAL DISABILITIES • Select projects that are appropriate for the ability of this student. Or substitute a similar project that will offer success. • Over-teach! Encourage completing one stage before beginning the next. Explain each task in separate steps. • Write steps on the board or a poster board so the student may check the procedure. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley FOR THE STUDENT WITH IMPAIRED HEARING • Get the student’s attention by touching his or her arm. • Face the student when you give instructions. • Check that the student understands. Repeat or write the steps.

FOR THE STUDENT WITH MOTOR IMPAIRMENT • Special tools are available (scissors and other tools listed at the beginning of this list). • Tape paper in place to keep it from moving around. • Use a template to trace around. • Substitute materials freely (torn colored paper or markers instead of paint).

FOR THE STUDENT WITH VISUAL IMPAIRMENT • Let the student know when you approach and when you leave. • Allow the student to touch your hands as you are demonstrating. • Use tactile materials: clay, wire, fingerpaint, cardboard. • Place supplies within a frame taped to a table (a box lid or masking-tape roll). • Encourage the student to feel an object while drawing it (your ear or a twig). • Color code crayons by using a different number of rubber bands on each color, and arrange by spectrum. • Tape screen wire to cardboard. Crayon drawings leave a texture the student can feel. • Three-dimensional projects are especially appropriate, as the student truly can “see” the artwork. • Add sand to paint to give it texture. 26 The Art Teacher’s Book of Lists

1–20. Gifted and Talented Students in the Visual Arts

In my opinion, all students are gifted and talented. Some draw better than others, and those who draw well may take a while to understand photography or sculpture, but every student has the innate capability to do well in art. Remind them that they cannot expect to sit at a piano and compose a sonata without practice. Or that they couldn’t become baseball or basketball players without training. It is a process that is built up over time, and drawing can be taught! Encourage students to maintain a portfolio at home from elementary school onward (real and/or digital). It might include work created in and outside the classroom, and photographs of large designs or three-dimensional work. Naturally they edit the portfolio from time to time, keeping only the best. The following list includes theories of many art educators for identifying a “gifted and talented” art student.

THE GIFTED AND TALENTED VISUAL ART STUDENT • Often begins drawing at a young age • Stays with a task longer than many students, displaying greater than average persistence • Often recalls or imagines things in photographic detail • Draws more detail than average • Demonstrates originality within a given assignment • Develops a personal style in early grades of school • Demonstrates mastery of advanced drawing techniques • Creates artwork with greater skill than other children of the same age • Frequently has a higher than average IQ • Demonstrates the ability to think of many ideas • Has the ability to look at things from several different aspects • Has information about the subject or idea that is being shown • May be inspired by others’ artwork, but does not copy Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Can discuss the meaning of his or her own art or that of others • Combines elements and principles of design and considers questions of aesthetics • Has the interest, motivation, and desire to do art • Is able to create and analyze space in art (spatial relationships) • Is multi-dimensional and uses a variety of media with skill • Is technically skilled when compared with children of the same age • Makes art that means something personally Chapter 1 Basic Information for the Art Teacher 27

1–21. A Vital and Visible Art Program

SHOWCASE YOUR STUDENTS AND KEEP IT CURRENT • Give some assignments that are applicable to the real world. • Discuss careers in art with your students. When a student shows an exceptional interest in art, give special encouragement to that student. Try to stay in contact with those of your students who do go on to careers in art. • Have an “Art Student of the Week, Month, or Year.” Display the student’s name with one or more examples of his or her artwork on an easel or bulletin board near the office. Make an announcement in the school newsletter, and present a fancy certificate. • Participate in a yearly exhibition in a local business or place where the general public will see it. If you can persuade the sponsor to give prizes, send photos to a local paper featuring the winners and their work (and the sponsor). • Exhibit your students’ work outside the school at public locations within the community such as a business lobby, a large recreational complex, an indoor shopping mall, an art museum lobby, the local library, or school district administrative offices and meeting rooms. • Participate in your annual regional Congressional High School Competition. • Participate in Youth Art Month (March) in your state, or have a local Youth Art Month celebration. • Feature student work on your school’s web page, or develop a website for your art program. National websites often welcome student artwork. • You will be overwhelmed with many opportunities for your students to participate in a competition. Many offer worthwhile learning opportunities for students, as well as recognition for those whose work is accepted. If the competition fits into the curriculum and the students can learn something from it, probably no harm is done. • Send an article about a student or your program to a magazine such as School Arts and Arts & Activities (see List 1–26 for writing such an article). • Time an exhibit for when parents will be in the building for another purpose (such as enrollment). Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Work with students to make a monumental artwork for a big wall using tiles of ceramic, found-object sculpture, or tapestry, or have students paint a mural. • Take your classes on field trips. • Invite guest speakers to your classes. • Involve parents as helpers or resource persons. • Involve your students in evaluating their own art. • Provide opportunities for students to work in a group. • Start an art club or National Art Honor Society (junior and senior high). Contact the NAEA about further information. • Consider fundraisers to earn enough to give an annual art scholarship or to purchase some special piece of equipment for your department. • Encourage your students to tutor an art class of younger students or to help in an after-school art program. 28 The Art Teacher’s Book of Lists

1–21. Continued

ACT AS A RESOURCE PERSON TO YOUR COLLEAGUES • Help your librarian select outstanding art resources by giving suggestions on current art books or videos. • Develop an interdisciplinary lesson with a colleague. • Establish a Principal’s Collection, selecting one piece of artwork a year. Have it beautifully framed, complete with brass plaque with the student’s name, grade, and year. • Offer teachers, administrators, and counselors leftover artwork for their classrooms or offices. Maintain a rotating student exhibition in the main office and halls. • Art teachers sometimes team up with classroom teachers or specialists to do an interdisciplinary presentation at a convention or district meeting.

PERSONAL GROWTH • Join your National Art Education Association. Attend a state or national art conference; it is a great way to meet fellow art-educators. Consider presenting something related to your program at the convention. • Get on regional museum mailing lists. Most provide special programs for teachers. • Use the Internet as a resource. Museum and art education websites are amazing. • Keep up with the advances in materials and equipment appropriate to what you teach. • Subscribe to art magazines, or check them out from the library. • Become aware of gender and cultural issues, making sure you treat all students equally. • Create a personal work of art that is not just a “sample.” Be an “artist who teaches” and an art teacher. Talk with your students about your own experiences in creating art. • Gear your departmental philosophy to the reality of the modern classroom, students, and facilities. • Join a local arts organization, or organize one! If you have an interest in art, it will provide you with a lifelong joy and purpose. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Chapter 1 Basic Information for the Art Teacher 29

1–22. Involve Families in Your Art Program

Art is important in students’ lives! Let families know what you are doing and why. Any time a student has work on display outside the school, inform the family by e-mail or letter when and where it can be seen.

THE ART NEWSLETTER • The art newsletter can be posted on a school’s website, sent home with students, or combined with the principal’s newsletter. • Find appropriate quotes about art to include. • Include jokes or cartoons about art, art-related crossword puzzles, and games. • Post information about art student interests or achievements. • Publish a student-written report each month about a specific artist. • Be specific about where students can take outside art lessons. • Inform families about projects and goals for each specific grade level. • Invite parents to your once or twice yearly school exhibitions. • Mention museum exhibitions and include e-mail address for museums in nearby large cities. • Talk about the artistic achievements of your school’s graduates. Many family members enjoy making time to occasionally volunteer. When you are involved in a school- wide project such as a mural or paper-making, send home a request asking families to schedule just one hour of work, and you will find mothers, fathers, and grandparents who might be willing to come and help.

PARENT VOLUNTEERS Here are some other ideas for involving families. They can: • Do public relations: you may have a parent whose business or interests are in public relations • Photograph artwork for publicity • Videotape an exciting process from beginning-to-end for reuse in another class Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Create a PowerPoint program • Mat artwork for display • Arrange bulletin boards on a routine basis • Remove and hang art displays monthly • Do woodworking: make display boards, scissors and brush holders, boxes for storage of posters or portfolios • Escort a field trip: accompany you on an art field trip to a gallery or museum (or perhaps just the neighborhood grocery store, to sketch nearby houses, or to go on a drawing excursion in a field or farm) • Assist at an art open house • Cut or trim paper (to vary size of artwork, or make scrap paper manageable) • Be a picture person (to teach students [perhaps once a month] about a culture or an individual artist) • Arrange a professional artist visit: a parent might be able to organize such a visit • Act as judges to help you select one picture a year to be beautifully framed to add to the Principal’s Collec- tion for the office 30 The Art Teacher’s Book of Lists

1–23. Public Relations and Photography Guidelines

Check first with the school principal, who would probably inform the district’s public relations or communications department. Some school districts encourage each school to have its own parent-ambassador committee, but these also must notify the district office before information is released. One large school district has a central communications committee that divides responsibility for websites, newspapers, and television.

WHAT IS NEWSWORTHY? WHAT MAKES A UNIQUE STORY? If you are writing about an event, the most important information should be in the first paragraph. Here are a few newsworthy suggestions: • Special news about a student’s achievement, such as winning a statewide art competition • Art students creating something special • Students doing a service project with retired individuals • Students participating in an exhibit at the state capitol during Youth Art Month • Cooperative art partnership/exchange with a school from a different district • A local angle to a national story (students creating art from recycled materials from a local store?) • Students at work; dramatic action

POSSIBLE PLACES TO PUBLISH • A district newsletter that contains student art from all the schools in the district could be a joint effort between parents, art teachers in all the schools and the Public Relations Department. • School’s web page featuring one grade level per month, displaying student artwork and discussing what was learned from it. Or post on national websites. These are of special interest to teachers, featuring art projects and displays of student work. • Write a blog to demonstrate how to create something the children know how to do such as origami, so they could re-create it at home. Or you can have an art exhibit of selected paintings. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Local newspaper or TV station. If you are doing something that is special (a mural, an off-campus display, a monumental work of art, an unusual technique, sponsoring a visiting artist), this might be of interest to your local newspaper or TV station. Sometimes a local newspaper will send out a photographer or the television station will send a crew to film it. Give them adequate notice. More often you will find that if you take photos and send in pertinent information to the newspaper, eventually the photo will find its way into print. Many now prefer to receive them online. • Professional art magazines or journals. Sometimes you and your students have done a project with an unusual and exciting result that might be surprising even to you. Share it with your fellow art teachers. Art publications such as School Arts, Arts & Activities, and Art Education (the journal of the National Art Education Association) welcome articles with quality photographs. Your students will be thrilled to see their artwork in a magazine. Chapter 1 Basic Information for the Art Teacher 31

1–24. Publicity Photography

Photographs draw people into the story. Even in a caption, describe in detail what is happening in the photo; when and where it was taken; identify every person in the photo from left to right, with accurately spelled names (the five Ws and H—Who, What, Where, When, Why, and How). State whether the public is invited to an event. Include the date an event might happen, the name and address of your school, and a contact person with phone number and e-mail address. Check with your school office to make sure there is no student in the photo whose name is on the Do Not Photograph (FERPA/Family Education Rights and Privacy Act) list. One district allows only the use of children’s first names in a photograph to be published. Otherwise, use correctly spelled full names of people and places. If faculty members are included in a photo, also give the title of the person (fifth-grade teacher, principal, school nurse). If in doubt include a written permission signed by the parents of a child whose photo is used.

DIGITAL IMAGES • Use a high resolution camera (5 to 8 megapixel minimum). • The picture should be of reproduction quality, 300 ppi (pixels per inch), and may be reprinted CMYK (cyan/magenta/yellow/black) or black and white. • Take the largest picture you can take and the finest quality (then when the publisher reduces it in size, the result will be better). • Inkjet or desktop printed photos may be of poor quality, and images taken on camera/phones are not of print quality. • If sent by e-mail, the photo should not be larger than five megabytes. If in doubt, call the newspaper and ask their guidelines. Formats generally preferred are jpeg (use maximum quality) and tiff. • Traditional glossy photos from either a digital or a 35mm film camera should be at least 4-by-6 inches. Assume it will not be returned to you.

With the advent of the digital camera, photographing artwork is much simpler than it was. After taking a picture, you can check the exposure to see if it was correct, or if it is sharp enough. If you must expose at slower than 1/30th of a second, use a tripod to avoid camera shake.

SETTING UP ARTWORK TO PHOTOGRAPH • Natural Light. Photograph artwork in natural light to record the color as faithfully as possible. Ideally you have natural daylight behind you to provide light. Pin the artwork to a neutral backdrop and work closely enough to the artwork that it fills the frame of the viewfinder, eliminating distracting borders. • Outdoors. Do this on a calm day in a spot that is sheltered from the sun. A cloudy bright day is ideal. • Avoid Distortion. If the finished photograph is distorted or needs to be cropped, some of your problems can be adjusted in a computer program such as PhotoShop, although most magazines prefer to do their own corrections. • For 3-Dimensional Art. Hang neutral roll paper on the wall and allow it to spill onto the tabletop. Place the artwork on the paper. This eliminates a line behind the artwork. Take shots from several angles: eye-level, from above looking down, from below. • Indoors with Flash. Check in the viewfinder to see whether the lighting is even. If it is not, you may find it necessary to use the flash. If you are using an automatic camera with a flash, stand approximately 6 to 10 feet back and use the telephoto function to frame the artwork properly. If you are too close with the flash, the colors will be washed out. 32 The Art Teacher’s Book of Lists

1–25. Continued

INDOORS WITH PHOTO FLOODLIGHTS • Take the photographs some distance from windows, with no overhead lights. • Position photo floodlights on standards at a 45-degree angle, approximately 3 feet in front of the artwork and between the camera and the artwork. • If you have an adjustment for white balance on a digital camera, adjust it for indoor photography. • Avoid glare. If you see it in the viewfinder, it will show in the photograph. If this occurs, you may have to move the photo floodlights to a 90-degree angle to the artwork.

USING FILM FOR SLIDES • If you are using slide film, it should be for tungsten lighting, or use a blue filter to avoid a yellow tinge. • If you still have need for print or slide film, you will get true colors by using a gray card (available at photo stores). Hold the gray card directly in front of the artwork, walk forward and fill the lens with the gray card, and “take a reading.” Step back to make the exposure at that reading. • Bracket exposures. To bracket, make an exact exposure according to the gray card. Then overexpose one or two stops and underexpose one or two stops. If taking many artworks, it may cost less to retake the pictures. The lower the film ISO number, the finer the grain will be. The higher the aperture number (smaller lens openings), the greater depth of field (and therefore sharpness) you will have.

PHOTOGRAPHING ARTWORK IN PROCESS • This means taking pictures of students doing art, or with their artwork. Depending on the final use of the photograph (whether it is simply for a record, or to use for publicity), you may take it differently. • As mentioned previously in Public Relations Guidelines, some students will be on a Do Not Photograph list in the office. If you do use students’ photographs for publicity, your district’s policy will guide you as to whether to use their names. Likely the district will have publicity releases that will be signed by the student’s parents. That being said, it is still wonderful to show students at work, and the more pictures you Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley can take, the better. Chapter 1 Basic Information for the Art Teacher 33

1–26. Writing Art-Related Articles for Publication

Art teachers share theories, concepts, and projects with each other through writing for the National Art Educa- tion Journal and other professional magazines such as Arts & Activities or School Arts. To find an appropriate spot for your article, review past copies of such magazines to see how the photographs and text work together. Suggestions here are from 2009 brochures about writing from Arts & Activities and School Arts.

THE MANUSCRIPT • Format. Although these change over time, these are the currently accepted formats for three journals. • ART, The Journal of the National Art Education wants three double-spaced copies. • Arts & Activities. One hard copy, a CD-ROM with the manuscript and digital photos. • School Arts. A CD-Rom with the article and photographs. • Submit an article to only one magazine at a time. • Include a cover page with the title of the article, your name, school, school phone and e-mail address, and your home address, phone number and e-mail. • Captions, handouts, National Standards, materials, resources (websites, books, videos) may be on a separate page. Number the captions to correspond with the number on the back of the photo. • Your manuscript may be written in a conversational manner—one colleague to another. The article could be between 500 to 1,500 words for Arts & Activities, and 800 words for School Arts. • For return of an unused manuscript and materials, include a self-addressed, stamped envelope of the appropriate size. • Check spelling on the computer, and have a colleague read the article before it is sent. • Use gender-free terms such as student(s) or craftsperson(s) as much as possible. • If you are using hazardous materials or equipment, include safety reminders. • Use brand names only if you find a specific brand important to the project. • Adaptations to different grade levels might be included. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley PHOTOGRAPHS • Small, flat artwork may be sent, but digital photos are preferred to printed photos or slides. • Do not write on the backs of photographs; use self-adhesive labels instead. • Photograph against a neutral background, eliminating unnecessary clutter in front of or behind. • Keep the photos simple, one or two students, one artwork, clear and sharply focused. • If you think the photo might be used for a cover, allow space around the artwork for the magazine’s logo. • If students’ faces are shown, include a release form signed by the student and parents for any student under 18. • Even lighting is very important. If using a flash, stand far enough away to avoid having a washed-out appearance to the artwork. Outdoors in cloudy bright sun gives good results. • Use the best setting on a digital camera. Each publication has different standards for the photos they receive (digital, slides, prints), so check first on the website before sending them. • The websites are given here if you would like to request a brochure about writing for publication in a specific magazine:

ART, The Journal of the National Art Education Association www.arteducators.org Arts & Activities www.artsandactivities.com School Arts www.schoolartsonline.com 34 The Art Teacher’s Book of Lists

1–27. Safety Reminders for the Art Room

For the students’ protection and your own, always instruct students in the safe use of tools and materials, rein- forcing frequently. It is crucial that you take responsibility for making the environment in your art classroom safe for yourself and your students.

GENERAL GUIDELINES EQUIPMENT • Use AP (approved product) or CP (certified product) • If you must use extension cords, they should be three- seal that is given by the Art and Craft Materials Insti- pronged and rated for the appropriate wattage for the tute. Dispose of materials that do not have this. purpose. Make every effort to run them around the side • Use materials that state on the label “Conforms to of the room or even up and over the top of a door rather ASTM D–4236.” Some art materials also come with than across a floor. If necessary, tape them down on the Material Safety Data Sheets (MSDS). floor. • Be aware that students under twelve are particularly • Staple guns should be off-limits to students. Students vulnerable to substances that older students might use of all ages cannot resist trying to see if they work by such as rubber cement and fixative. aiming them straight forward. • Wipe up spills immediately. • Have electrical equipment (kiln, electric drill) inspected • Be aware of current safety procedures and basic first aid. for proper operation on a regular basis. • Have adequate ventilation, or work outdoors (in season). • Use a sturdy ladder and stepstool rather than climbing • Wash hands. on stools, chairs, or tables. • Store materials properly (lids closed, oily rags in proper • The paper-cutter guard must always be in place. If you storage can). allow older students to help you cut paper on the paper • When working with electrical tools of any type, no jew- cutter, give them careful instructions on its use, and elry, hair tied back, sleeves rolled above elbows. always be in the room while they are working. • Make sure your fire extinguisher is routinely inspected • Wear safety glasses or goggles when sanding, chipping, and/or replaced. or working with material that might get into eyes.

WORKING WITH CLAY RECOMMENDED MATERIALS • For a healthy environment, your kiln should be in a • CP or AP pencils, watercolors, tempera, acrylic, oil separate room or at least separated by a screen. If this sticks, crayons, chalks, and colored pencils is simply not possible, consider using wet, premixed • CP or AP water-based inks instead of oil-based inks talc-free clays, or paint the fired clay with acrylic paint • CP or AP pastes for papier mâché or CP or AP cellulose rather than using glazes. papier mâché Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Have students wipe the tables with damp sponges after • CP or AP clear acrylic emulsion can be used to fix working with clay and dry them. drawings • Ideally, have your floor mopped nightly rather than • CP or AP lead-free glazes for ceramics swept to avoid dust in the air. • Water-based markers rather than permanent markers • Many teachers allow the kiln to fire overnight to avoid • Mineral spirits or Turpenoid® (a turpentine substitute) an unpleasant atmosphere in the classroom. instead of turpentine or kerosene • Glue sticks, white glue, or polymer medium rather than rubber cement CARE OF CUTTING TOOLS • Shellac containing denatured alcohol • Be aware of age-appropriate use of certain tools. Give • Food or vegetable dyes (onion skins, tea) in place of frequent instructions on safe practices with scissors procion dyes and such cutting tools as lino-tools, snips, or cutting knives. • Sharp cutting knives and lino-cutters are wonderful tools, but should not be used by anyone younger than fourth or fifth grade (and then only with very specific safety instructions). • Cutting knives or lino-tools should be kept in a cabinet, counted before distribution, and again at the end of class. • Have students use bench hooks when doing lino-cuts and instruct them to always keep the knife facing forward, while keeping the other hand behind the knife. For curved cuts, show students how to revolve the material rather than the cutter. Chapter 1 Basic Information for the Art Teacher 35

1–28. Weight and Measure Equivalents

LIQUID MEASURE EQUIVALENTS

Fluid Ounces Cup Pint Quart Liter Gallon 128 oz 16 C 8 pt 4 qt 3.75 l 1 ga 34 oz 4.23 C 2.11 pt 1.06 qt 1 l .26 ga 32 oz 4 C 2 pt 1 qt .95 l .25 ga 16 oz 2 C 1 pt .5 qt .47 l .13 ga 8 oz 1 C .5 pt .25 qt .24 l .06 ga 1 gallon of water weighs 8 1/3 pounds 1 pint of water weighs +/– 1 pound

DRY MEASURE EQUIVALENTS

Dry Measure Fluid Ounces Tablespoon Teaspoon Milliliter 1 C 8 oz 16 Tbsp 48 tsp 237 ml ¾ C 6 oz 12 Tbsp 36 tsp 177 ml ½ C 4 oz 8 Tbsp 24 tsp 118 ml ¼ C 2 oz 4 Tbsp 12 tsp 59 ml 1/16 C .5 oz 1 Tbsp 3 tsp 15 ml 2 pints = 1 quart 8 quarts = 1 peck 4 pecks = 1 bushel

LENGTH/DISTANCE EQUIVALENTS

American System Metric Equivalent 12 inches = 1 foot 10 millimeters = 1 centimeter 2.54 centimeter = 1 inch 3 feet = 1 yard 100 centimeter = 1 meter 0.9144 meters = 1 yard 5,280 feet = 1 mile 1000 meters = 1 kilometer 1.609 kilometers = 1 mile

144 square inches = 1 square ft 10,000 square centimeters = 1 square meter 9 square feet = 1 square yard 10,000 square meters = 1 hectare 43,560 square feet = 1 acre 100 hectares = 1 square kilometer

640 acres = 1 square mile 6,452 square centimeters = 1 square inch 10,759 square feet = 1 square meter 1,196 square yards = 1 square meter 2.47 acres = 1 hectare 2.59 square kilometers = 1 square mile

WEIGHT (OR MASS)

16 ounces = 1 pound 1,000 milligrams = 1 gram 28.35 grams = 1 ounce 2,000 pounds = 1 ton 1,000 grams = 1 kilogram 2.205 pounds = 1 kilogram 1,000 kilograms = 1 metric ton 1,102 tons = 1 metric ton

TEMPERATURE CONVERSION

To Convert Centigrade to Fahrenheit To Convert Fahrenheit to Centigrade multiply by 9, divide by 5, and add 32 subtract 32, multiply by 5, and divide by 9 CHAPTER 2 MUSEUMS AND EDUCATIONAL COLLECTIONS 2–1. Quotations Introduction 2–2. Preparing Students for a Museum Visit 2–3. Museums Devoted to the Work of One Artist 2–4. International Artists’ Homes or Museums 2–5. Museums with Special Folk Art Collections 2–6. Museums of Decorative Arts and Contemporary Crafts 2–7. Museums with Special Ancient and Classical Art Collections 2–8. Museums with Outstanding Photographic Collections 2–9. Asian Art in American and International Museums 2–10. American and International Jewish Museums 2–11. Museums of Art and Architecture 2–12. African American Art Museums 2–13. American Museums with Special Emphasis on Hispanic Art 2–14. Museums That Specialize in American Western Art 2–15. Art Museums and Collections in the United States 2–16. Major Museums in Other Countries Chapter 2 Museums and Educational Collections 37

2–1. Quotations

“Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.” BARBARA KRUGER, 1945, PAINTER/GRAPHIC DESIGNER

“There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.” PABLO PICASSO, 1881–1973, SPANISH ARTIST

“I tell young people that the greatest paintings in museums are made with minerals mixed in oil smeared on cloth with the hair from the back of a pig’s ear. It’s that simple.” JAMES ROSENQUIST, 1933, AMERICAN POP ARTIST

“Art is made to disturb. Science reassures. There is only one valuable thing in art: the thing you cannot explain.” GEORGES BRAQUE, 1882–1963, FRENCH CUBIST PAINTER

“Painting is easy when you don’t know how, but very difficult when you do.” EDGAR DEGAS, 1834–1917, FRENCH POST-IMPRESSIONIST

“At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.” M.C. ESCHER, 1898–1972, DUTCH GRAPHIC ARTIST

“I would like to recapture that freshness of vision which is characteristic of extreme youth when all the world is new to it.” HENRI MATISSE, 1869–1954, FRENCH PAINTER

“Good painting is the kind that looks like sculpture.” MICHELANGELO BUONAROTTI, 1475–1564, ITALIAN PAINTER/SCULPTOR

“I would not cast off my illness, for there is much in my art that I owe to it.”

“Nobody sees a flower—really—it is so small it takes time—we haven’t time—and to see takes time, like to have a friend takes time.” GEORGIA O’KEEFFE, 1887–1986, AMERICAN PAINTER

“I choose a block of marble and chop off whatever I don’t need.” AUGUSTE RODIN, 1840–1917, FRENCH SCULPTOR

“I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.” MARK ROTHKO, 1903–1970, AMERICAN PAINTER

“It does not matter how badly you paint, so long as you don’t paint badly like other people.” GEORGE MOORE, 1852–1933, IRISH CRITIC AND NOVELIST

“All the really good ideas I ever had came to me while I was milking a cow. So I went back to Iowa.” GRANT WOOD, 1892–1942, AMERICAN REGIONALIST PAINTER 38 The Art Teacher’s Book of Lists

Introduction

In this time of instant museum access worldwide by the Internet, most people can “visit” a museum and get at least a representative view of its collection. This has been a wonderful boon for teachers. If you wish to have a reproduction for a classroom, often it can be shown on a screen, if not printed out. For the most part, websites for American museums in this chapter have been substituted for addresses. The exception is in List 2–16 that includes international museum listings. International websites are sometimes tricky, so some highlights of the museums’ collections are included.

2–2. Preparing Students for a Museum Visit

• Students don’t often have the opportunity to visit a museum and, usually, when they do, a docent who knows the collection leads the discussion. Even so, it is helpful for students to have an idea in advance what they will be seeing. They appreciate seeing and recognizing artwork in reality rather than always in reproduction. A museum activity is often offered, but you could suggest students select artwork about which to write poems when they return to school. • Simple reminders that even adults sometimes forget: Touch artwork only with your eyes; don’t sit on anything except benches or the floor; speak quietly; don’t run; and watch where you are going. • Find out about the educational program offered by the museum by accessing its website. • Limit yourself to seeing a current special exhibition, or aspects of the museum’s collection such as sculpture, a painting period, or a cultural collection. • Familiarize yourself with highlights of the museum’s collection by looking at a museum catalog or the postcards in the gift shop. • Talk with students about a few of the artists whose work they will see. They love knowing what an artist was like as a young person or some interesting fact about his or her adult life. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Explain how to read a museum label: the artist’s name, the title of the artwork, the date it was created, the medium, size, the accession number (usually a date such as 110/2009, which means it was the 110th work purchased in 2009), and the name of a donor or “museum purchase.” • Tell students what you will expect them to remember when they get back: a favorite piece, the name of one artist and artwork, or the strangest artwork. Chapter 2 Museums and Educational Collections 39

2–3. Museums Devoted to the Work of One Artist

These museums are often the home and/or studio of the artist. Perhaps some day you or a student may be in the town where the museum of a famous artist is open for visitors. You will see some of the art created there and envision the influence of place on the artwork. Websites change from time to time, but simply type in the artist’s name to find information and images.

UNITED STATES California Sam Maloof, Maloof Foundation, Rancho Cucamonga www.malooffoundation.org

Florida Salvador Dali Museum, St. Petersburg www.salvadordalimuseum.org

Illinois Frank Lloyd Wright Foundation, Oak Park www.franklloydwright.org

Iowa Grant Wood Studio, Cedar Rapids www.crma.org/Grant_Woods_Studio

Massachusetts James McNeill Whistler House Museum of Art, Lowell www.whistlerhouse.org Norman Rockwell Museum, Stockbridge www.nrm.org

Missouri Thomas Hart Benton Home and Studio, Kansas City www.Thomas_Hart_Benton_Home_and_Studio_State_Historic_Site

New Hampshire Augustus, Saint-Gaudens Historic Site, Cornish www.sgnhs.org

New Mexico Ernest L. Blumenschein, Taos www.taosmuseums.org Georgia O’Keeffe Foundation, Santa Fe www.okeeffemuseum.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley R.C. Gorman, Navajo Gallery, Taos www.rcgormangallery.com

New York Chaim Gross Studio Museum, New York City www.chaim-gross-studio-museum Edward Hopper House, Nyack www.hopperhouse.org Isamu Noguchi Garden Museum, Long Island City www.noguchi.org Pollock-Krasner House and Study Center, East Hampton http://sb.cc.stonybrook.edu/pkhouse/ Frederic Remington Art Museum, Ogdensburg www.fredericremington.org

Ohio Charles Burchfield, Salem www.burchfieldhomestead.com

Pennsylvania Charles Demuth House and Garden Museum, Lancaster www.demuth.org Auguste Rodin Museum, Philadelphia www.rodinmuseum.org Wyeth family, Brandywine River Museum, Chadds Ford www.BrandywineMuseum.org

Texas Mark Rothko. Rothko Chapel, Houston www.rothkochapel.org Cy Twombly Gallery, The Menil Collection, Houston www.menil.org Andy Warhol Museum, Pittsburgh www.warhol.org 40 The Art Teacher’s Book of Lists

2–4. International Artists’ Homes or Museums

BELGIUM Peter Paul Rubens. Rubenshuis, Antwerp www.antwerpen.be/rubenshuis/index_eng.html

CZECH REPUBLIC Alphonse Mucha. Mucha Museum, Prague www.mucha.cz

FRANCE Antoine Bourdelle. Musée Bourdelle, Paris www.bourdelle.paris.fr Paul Cezanne. Atelier de Cezanne, Aix-en-Provence www.atelier-cezanne.com Musée Marc Chagall, Nice www.musee-chagall.fr Le Corbusier. Fondation Le Corbusier, Paris www.fondationlecorbusier.asso.fr Musée Eugene-Delacroix, Paris www.musee-delacroix.fr Musée National Fernand Léger, Biot www.musee-fernandleger.fr Henri Matisse. Musée Matisse, Nice www.musee-matisse-nice.org Claude Monet. Musée Marmottan, Paris www.marmottan.com Musée Claude-Monet, Giverny, near Paris www.giverny.org/monet Musée d’Art Americain, Giverny www.maag.org Musée Gustave-Moreau, Paris www.musee-moreau.fr Pablo Picasso. Musée National Picasso, Paris www.musee-picasso.fr Pablo Picasso. Chateau Grimaldi/Musée Picasso, Antibes www.Château-Grimaldi/Musée Picasso-Antibes Musée Renoir, Cagnes-sur-Mer www.musee-renoir-cagnes-sur-mer.fr Auguste Rodin. Rodin Museum, Paris www.musee-rodin.fr Musée Toulouse-Lautrec. Palais del la Berbi, Albi www.musee-toulouse-lautrec.com Vincent van Gogh Foundation, Arles www.fondationvangogh-arles.org/fr

GERMANY Albrecht Dürer House, Nuremberg www.nuremberg/durer_house Käthe Kollwitz Museum, Berlin www.dhm.de/museen/kollwitz/english/home Wilhelm Lehmbruck Museum, Duisburg www.lehmbruckmuseum.de Paula Modersohn–Becker Museum, Bremen www.pmbm.de

ITALY Chirico. Casa de Chirico, Rome www.italy/rome/casa-d-chirico

THE NETHERLANDS & Sons, Inc. Copyright © 2010 by John Wiley M.C. Escher’s Art Museum, Leeuwarden www.escher+museum Frans Hals Museum, Haarlem www.franshalsmuseum.nl Rembrandt. Het Rembrandthuis, Amsterdam www.rembrandthuis.nl Vincent van Gogh Museum, Amsterdam www.vangoghmuseum.nl

NORWAY Munch Museum, Oslo www.munch.museum.no Gustav Vigeland Sculpture Park, Oslo www.vigelandsculpturepark.no

SPAIN Muséu Picasso de Barcelona, Barcelona www.museupicasso.bcn.es Joan Miró Foundation, Barcelona www.barcelona/joan_miro_foundation

SWEDEN Carl Milles. Millesgarden, Stockholm www.millesgarden.se

SWITZERLAND Paul Klee Centre, Bern www.paulkleecentrum.ch Museum Jean Tinguely, Basel www.tinguely.ch

THE UNITED KINGDOM Barbara Hepworth Museum and Sculpture Garden, www.tate.org.uk/stives/hepworth St. Ives, Cornwall, England Henry Moore Foundation, Dane Tree House, Much Hadham, www.henry-moore-fdn.co.uk Hertfordshire, England Chapter 2 Museums and Educational Collections 41

2–5. Museums with Special Folk Art Collections

Folk art that may be found in many large museums often includes practical items created for everyday use by traditional folk artists who continue to work in the same manner as their ancestors. Museums also may include work of outsider artists (non-academically trained) and visionaries those who “see things differently” than some. The artwork might have been created just because the artists considered it beautiful or decorative or wanted to express their innermost feelings.

CALIFORNIA Uncle Sam Whirligig, late 19th century, Museum of Mingei International Museum, Balboa Park, San Diego www.mingei.org American Folk Art Craft and Folk Art Museum, Los Angeles www.cafam.org The Museum of Craft and Folk Art, San Francisco www.mocfa.org Southwest Museum, Los Angeles www.southwestmuseum.org

CONNECTICUT The Museum of America and the Sea, Mystic Seaport www.mysticseaport.org

DELAWARE The Henry Francis du Pont Winterthur Museum, www.winterthur.org Winterthur

DISTRICT OF COLUMBIA Index of American Design, National Gallery of Art, www.nga.gov/collection/gallery/iad.htm Washington, D.C.

GEORGIA High Museum, Atlanta www.high.org

MAINE American Heritage Collection of Folk Art, Waterville www.maineartmuseums.org/Colby.php National Heritage Museum, Lexington www.monh.org

MARYLAND American Visionary Art Museum, Baltimore www.avam.org

MASSACHUSETTS Old Sturbridge Village, Sturbridge www.osv.org Whaling Museum of the Nantucket Historical Association, www.nha.org Nantucket

MICHIGAN Henry Ford Museum and Greenfield Village, Dearborn www.hfmgv.org

NEW MEXICO Museum of International Folk Art, Santa Fe www.internationalfolkart.org 42 The Art Teacher’s Book of Lists

2–5. Continued

NEW YORK American Folk Art Museum, New York City www.folkartmuseum.org The Cooper Union Museum, New York City www.cooper.edu Metropolitan Museum of Art, New York City www.metmuseum.org Fenimore House, Cooperstown www.fenimoreartmuseum.org The Shaker Museum, Shaker Museum Road, Old Chatham www.shakermuseumandlibrary.org

NORTH CAROLINA Museum of Early Southern Decorative Arts, Old Salem, www.Museum_of_Early_Southern_ Winston-Salem Decorative_Arts_(MESDA)_Winston-Salem Appalachian Cultural Museum, Boone www.museum.appstate.edu

OKLAHOMA National Cowboy Hall of Fame and www.nationalcowboymuseum.org Western Heritage Center, Oklahoma City

SOUTH DAKOTA Museum of Pioneer Life, Mitchell www.museumstuff.com

TEXAS Archer M. Huntington Art Gallery, Austin www.tfaoi.com Art Museum of Southeast Texas, Beaumont www.amset.org Panhandle-Plains Historical Museum, Canyon www.panhandleplains.org

UTAH Chase Home Museum of Utah Folk Art, Salt Lake City www.Chase_Home_Museum_of_Utah_Folk_Art Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley VERMONT Vermont Folk Life Center, Middlebury www.vermontfolklifecenter.org Shelburne Museum, Shelburne www.shelburnemuseum.org

VIRGINIA The Abby Aldrich Rockefeller Folk Art Museum, www.history.org/History/museums/ Williamsburg abby_art.cfm The Mariners Museum, Newport News www.mariner.org

WISCONSIN Circus World Museum, 426 Water Street, Baraboo www.circusworldmuseum.com

FOLK ART MUSEUMS IN FOREIGN COUNTRIES American Museum in Britain (Claverton Manor), Bath, England Benaki Museum, Odos Koumbari, Athens, Greece British Folk Art Collection, Compton Verney, Warwickshire (near Stratford-on-Avon), England De Stadshof Collection, Zwolle, The Netherlands National Folklore Museum of Korea, Seoul Raven Clan Hat, Chilkat-Tlingit, early 19th century Chapter 2 Museums and Educational Collections 43

2–6. Museums of Decorative Arts and Contemporary Crafts*

These museums house some of the world’s most important examples of design, including jewelry, toys, home furnishings, needlework, and fine crafts. Some specialize in only contemporary work, but other collections include armor and decorative items that range from thousands of years old to 20th century contemporary craft.

Bath, England Holburne Museum of Art www.bath.ac.uk/holburne Copenhagen, Denmark The Danish Museum www.danishmuseum.org London, England Victoria and Albert Museum www.vam.ac.uk British Museum www.britishmuseum.org Paris, France Musée des Arts Décoratifs www.lesartsdecoratifs.fr Centre Georges Pompidou www.centrepompidou.fr Reims, France Musée des Beaux-Arts de Reims www.ville-reims.fr Sydney, Australia Sydney Powerhouse Museum www.powerhousemuseum.com Vienna, Austria Kunsthistorisches Museum www.khm.at Weil am Rhein, Germany Vitra Design Museum www.design-museum.de

UNITED STATES San Francisco, California San Francisco Craft and www.mocfa.org Folk Art Museum Brookfield, Connecticut Brookfield Craft Center www.brookfieldcraftcenter.org Winterthur, Delaware The Henry Francis Du Pont www.winterthur.org Winterthur Museum, Inc. District of Columbia Daughters of the American www.dar.org/museum Revolution Museum Renwick Gallery www.americanart.si.edu/renwick Smithsonian Institution www.wi.edu Atlanta, Georgia Decorative Arts Collection www.decorativeartscollection.org Wichita, Kansas Decorative Arts Collection www.decorativeartscollection.org Louisville, Kentucky Kentucky Art and Craft www.kentuckyarts.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Foundation, Inc. Boston, Massachusetts Museum of Fine Arts www.mfa.org Ridgeland, Mississippi Mississippi Crafts Center www.mscrafts.org New York City Cooper-Hewitt National Design www.cooperhewitt.org Museum, Smithsonian Institution New York Design Center www.nydc.com Metropolitan Museum of Art www.metmuseum.org Museum of Modern Art www.moma.org The Cloisters www.metmuseum.org/cloisters Asheville, North Carolina Biltmore House www.Biltmore.com Charlotte, North Carolina Mint Museum of Craft and Design www.mintmuseum.org/ Winston-Salem, North Carolina Museum of Early Southern www.oldsalem.org Decorative Arts (MESDA) Lancaster, Ohio Decorative Arts Center of Ohio www.decartsohio.org Bethlehem, Pennsylvania Kemerer Museum of Decorative Arts www.historicbethlehem.org/index Chattanooga, Tennessee Houston Museum of Decorative Arts www.thehoustonmuseum.com Memphis, Tennessee National Ornamental Metal Museum www.metalmusuem.org Houston, Texas Houston Center for Contemporary www.crafthouston.org Craft (HCCC)

*This list was previously printed in The Art Lover’s Almanac, Helen D. Hume, Jossey-Bass, 2003. 44 The Art Teacher’s Book of Lists

2–7. Museums with Special Ancient and Classical Art Collections

These museums are especially noted for their fine collections of Greek and Roman art, presumably because their benefactors were major collectors.

UNITED STATES Brooklyn Museum, Brooklyn, New York www.brooklynmuseum.org California Palace of the Legion of Honor, www.famsf.org San Francisco Cleveland Museum of Art, Cleveland, Ohio www.clemusart.com Detroit Institute of Arts, Detroit, Michigan www.dia.org Field Museum, Chicago, Illinois www.fieldmuseum.org Fogg Art Museum, Cambridge, Massachusetts www.artmuseums.harvard.edu J. Paul Getty Art Museum, Los Angeles, California www.getty.edu Metropolitan Museum of Art, New York City www.metmuseum.org Museum of Fine Arts, Boston, Massachusetts www.mfa.org Saint Louis Art Museum, St. Louis, Missouri www.slam.org The Cloisters, New York City www.metmuseum.org

INTERNATIONAL British Museum, London, England www.britishmuseum.org Louvre Museum, Paris, France www.louvre.fr Pergamon Museum, Berlin, Germany www.pergamonmuseum.html Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Greek Vase Chapter 2 Museums and Educational Collections 45

2–8. Museums with Outstanding Photographic Collections

Photos are seldom displayed for long periods in museums because of possible damage from light, so exhibitions are frequently changed. Because photographs are relatively small and more easily transported than some art forms, they are often temporarily borrowed from other museums for special exhibitions that feature one era of photography or a noted photographer.

UNITED STATES Arizona Center for Creative Photography, www.creativephotography.org Tucson

California Ansel Adams Center/Friends of Photography, www.friendsofphotography.org San Francisco J. Paul Getty Museum, Los Angeles www.getty.edu/museum Museum of Photographic Arts, Balboa Park, www.mopa.org San Diego

District of Columbia Library of Congress, Washington, D.C. www.loc.gov/rr/print Smithsonian Photographs Online www.smithsonianimages.si.edu

Illinois Art Institute of Chicago www.artic.edu Museum of Contemporary Photography, Chicago www.mocp.org

New York International Center of Photography, www.icp.org New York City George Eastman House, Rochester www.eastman.org Metropolitan Museum of Art, New York City www.metmuseum.org Museum of Modern Art, New York City www.moma.org

Oklahoma International Photography Hall of Fame www.iphf.org and Museum, Oklahoma City 46 The Art Teacher’s Book of Lists

2–8. Continued

INTERNATIONAL MUSEUMS SPECIALIZING IN PHOTOGRAPHY Wallraf-Richartz Museum, Cologne, Germany www.wallraf.museum Australian Centre for Photography, Sydney www.acp.au.com Canadian Museum of Contemporary Photography, www.cmcp.gallery.ca Ottawa Centro Fotografico Álvarez Bravo, Oaxaca, Mexico www.cfmab.blogspot.com Finnish Museum of Photography, Helsinki, Finland www.fmp.fi/fmp_fl/Index.htm Fotomuseum Winterthur, Switzerland www.fotomuseum.ch Fox Talbot Museum, Lacock, England www.Fox_talbot_museum_at_lacock_abbey Galley of Photography, Dublin, Ireland www.galleryofphotography.ie Latvian Photo Museum, Riga, Latvia www.fotomuzejs.lv Maison Europeenne de la Photographie, Paris, www.mep–fr.org France Musée Nicéphore Niépce, Bourgogne, France www.museeniepce.com Musée d’Orsay, 1 Rue de Bellechasse, Paris www.musee–orsay.fr Museet for Fotokunst, Odense, Denmark www.MuseetForFotokunst.html Museum of Photography of Antwerp, Belgium www.antwerp-fotografie.html Nara City Museum of Photography, Japan www.dnp.co.jp/museum/nara/nara-e.html National Museum of Photography, Film and [email protected] Television, Bradford, England Royal Photographic Society, Bath, England www.rps.org The British Museum, Great Russell St., London www.mapsack.com Thessaloniki Museum of Photography, Greece www.thmphoto.gr/english Tokyo Metropolitan Museum of Photography www.syabi.com & Sons, Inc. Copyright © 2010 by John Wiley

Drawn from Green Pepper #30, Edward Weston, Nelson-Atkins Museum of Art Chapter 2 Museums and Educational Collections 47

2–9. Asian Art in American and International Museums

In addition to the wonderful Asian collections seen in most major art museums, the museums listed here house especially complete collections of ancient and contemporary artifacts. Exhibitions might also feature experiences unique to one culture, such as the incarceration of Japanese Americans during World War II or photographs of Korean American adoptees.

UNITED STATES California Asian Art Museum of San Francisco www.asianart.org Fine Arts Gallery, Balboa Park, San Diego www.wdmart.org Japanese American National Museum, Los Angeles www.janm.org Korean American Museum, Los Angeles www.kamuseum.org MH de Young Memorial Museum, San Francisco www.famsf.org Norton Simon Museum, Pasadena www.nortonsimon.org Pacific Asia Museum, Pasadena www.pacificasiamuseum.org Pavilion for Japanese Art, Los Angeles www.lacma.org/japaneseart/japan.htm Chinese American Museum of Los Angeles www.camla.org

Connecticut Yale Art Gallery, New Haven www.artgallery.yale.edu

District of Columbia Freer Gallery of Art and Arthur M. Sackler Gallery, www.asia.si.edu Washington, D.C.

Illinois Art Institute of Chicago www.artic.edu Chinese–American Museum of Chicago www.ccamuseum.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Oriental Institute Museum, Chicago www.oi.uchicago.edu

Indiana Indianapolis Museum of Art www.inamuseum.org

Massachusetts Arthur M. Sackler Museum, Cambridge www.artmuseums.harvard.edu/sackler Fogg Art Museum, Cambridge www.museums.harvard.edu Museum of Fine Arts, Boston www.mfa.org Museum of Fine Arts, Springfield www.springfieldmuseums.org Worcester Art Museum www.worcesterart.org

Michigan Detroit Institute of Arts www.dia.org

Minnesota Minneapolis Institute of Arts www.artsmia.org Minnesota Museum of Art, St. Paul www.mmaa.org 48 The Art Teacher’s Book of Lists

2–9. Continued

Missouri Nelson-Atkins Museum of Art, Kansas City www.nelson-atkins.org

New Jersey Newark Museum www.newarkmuseum.org Princeton University Art Museum www.artmuseum.princeton.edu

New York Brooklyn Museum www.brooklynmuseum.org Japan Society, New York City www.japansociety.org Metropolitan Museum of Art, New York City www.metmuseum.org The Asia Society Galleries, New York City www.asiasociety.org Jacques Marchais Museum of Tibetan Art, www.tibetanmuseum.org Staten Island

North Carolina Mint Museum of Art, Charlotte www.mintmuseum.org

Ohio Cleveland Museum of Art www.clemusart.com Dayton Art Institute www.daytonartinstitute.org Denison Museum, Burmese Arts, Granville www.denison.edu Toledo Museum of Art www.toledomuseum.org

Oregon Portland Art Museum www.pam.org

Rhode Island

Texas Texas State Museum of Asian Cultures, www.asianculturesmuseum.org Corpus Christi Crow Collection of Asian Art, Dallas www.crowcollection.org

Virginia Hermitage Foundation Museum and Gardens, Norfolk www.thfm.org

Washington Seattle Asian Art Museum www.seattleartmuseum.org Wing Luke Asian Museum, Seattle www.wingluke.org

INTERNATIONAL MUSEUMS China Forbidden City, Beijing www.Palace_Museum_Beijing National Museum of China, Beijing www.National_Museum_of_China Shanghai Museum www.shanghaimuseum.net Chapter 2 Museums and Educational Collections 49

2–9. Continued

England British Library, London www.bl.uk British Museum, London www.britishmuseum.org Horniman Museum, London www.horniman.ac.uk Victoria and Albert Museum, London www.vam.ac.uk

France Musée du quai Branly, Paris www.quaibranly.fr Musée Guimet, Paris www.guimet.fr

Germany Museum für Asiatische Kunst, Berlin www.smb.spk-berlin.de

Japan National Museum, Kyoto www.kyohaku.go.jp Tokyo National Museum www.tnm.go.jp National Museum, Nara www.narahaku.go.jp

Korea National Museum of Korea, Seoul www.museum.go.kr

Fans and Stream, Sakai Hoitsu, 1820–1828, Four Panel Screen, Saint Louis Art Museum 50 The Art Teacher’s Book of Lists

2–10. American and International Jewish Museums

Jewish museums are found around the world, as this culture has settled in many countries. Holocaust Museum and Learning Centers exist in many cities throughout the United States and can be accessed on the Internet.

UNITED STATES Contemporary Jewish Museum, San Francisco www.thecjm.org Jewish Museum of Maryland, Baltimore www.jewishmuseummd.org Judah L. Magnes Museum, Berkeley, California www.magnes.org Museum of the Southern Jewish Experience, www.isjl.org Jackson, Mississippi Skirball Cultural Center, Los Angeles www.skirball.org Spertus Museum of Judaica, Chicago www.spertus.edu Museum of Jewish Heritage, New York City www.mjhnyc.org The Jewish Museum, New York City www.thejewishmuseum.org Yeshiva University Museum, New York City www.yumuseum.org United States Holocaust Memorial Museum, www.ushmm.org Washington, D.C.

INTERNATIONAL Jewish Museum, Vienna, Austria www.jmw.at Jewish Museum of Belgium, Brussels www.brussels/jewish-museum-of-belgium Jewish Museum, London www.jewishmuseum.org.uk Jewish Museum, Prague, Czech Republic www.jewishmuseum.cz Jewish Museum, Berlin www.jmberlin.de Jewish Museum of Greece, Athens www.jewishmuseum.gr Jewish Museum and Archives of Hungary, [email protected] & Sons, Inc. Copyright © 2010 by John Wiley Budapest Bible Lands Museum, Jerusalem www.blmj.org Israel Museum, Jerusalem www.imjnet.org.il Wohl Archaeological Museum, Jerusalem www.wohl_archaeological_museum_jewish_ quarter_jerusalem Jewish Museum, Amsterdam www.jhm.nl.netherlands.aspx Chapter 2 Museums and Educational Collections 51

2–11. Museums of Art and Architecture

Architecture museums in many large cities all over the world are formed to educate the public about this particular art form. Though visiting them might not be possible, all have websites that are most interesting.

FRANCE Fondation Le Corbusier, Paris www.fondationlecorbusier.asso.fr

GERMANY Vitra Design Museum, Stuttgart www.design–museum.de Deutsches Architektur Museum, Frankfurt www.dam.inm.de

ITALY ACMA. Italian Center for Architecture, Milan www.acmaweb.com

THE NETHERLANDS The Netherlands Architecture Institute, Rotterdam www.nai.nl

SCANDINAVIA The Norwegian Museum of Architecture, Oslo www.nasjonalmuseet.no Alvar Aalto Museum, Jyväskylä, Finland www.alvaraalto.fi Dansk Arkiektur Center, Copenhagen, Denmark www.dacdk Swedish Museum of Architecture, Stockholm www.arkitekturmuseet.se/english

THE UNITED KINGDOM The RIBA Architecture Gallery, London www.architecture.com The Architecture Centre, Bristol www.architecturecentre.co.uk

UNITED STATES A + D. Architecture and Design Museum, Los Angeles www.aplusd.org

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Atema Architecture, New York City www.atemanyc.com Chicago Architecture Foundation www.architecture.org Fallingwater, Mill Run, Pennsylvania www.fallingwater.org MAK Center for Art and Architecture, Hollywood, www.makcenter.org California MoMA, The Museum of Modern Art, New York City www.moma.org National Building Museum, Washington, D.C. www.nbm.org The Chicago Athenaeum: Museum of www.chi–athenaeum.org Architecture and Design The Octagon Museum, Washington, D.C. www.archfoundation.org/octagon The Skyscraper Museum, New York City www.skyscraper.org

OTHER Architektur Forum, Zurich, Switzerland www.af-z.ch Canadian Centre for Architecture, Montreal, Canada www.cca.qc.ca Das Architekturmuseum in Basel, Basel, Switzerland www.sam-basel.org Fondation pour l’architecture, Brussels, Belgium www.fondationpourlarchitecture.be Latvian Architecture Museum, Riga, Latvia www.archmuseum.lv Museum Meiji-mura (outside Nagoya, Japan) www.meijimura.com Museum of Finnish Architecture, Helsinki www.mfa.fi Schusev State Museum of Architecture, Moscow www.muar.ru/eng The Austrian Museum of Architecture, Vienna www.azw.at The Museum of Estonian Architecture, Tallinn www.arhitektuurimuuseu 52 The Art Teacher’s Book of Lists

2–12. African American Art Museums

These museums feature work by African Americans. Many large museums throughout the country have such work in their collections and often have special exhibitions. California African American Museum, www.caamuseum.org Los Angeles DuSable Museum of African American History, www.dusablemuseum.org Chicago Great Plains Black Museum, www.Great_Plains_ Omaha Black_History_Museum.org Museum for African Art, www.africanart.org New York City Museum of African American History, www.maah-detroit.org Detroit Drawn from Poster Design National Museum of African Art, [email protected] for Whitney Museum Washington, D.C. Exhibition, “Jacob The African American Museum, www.aampmuseum.org Lawrence” Philadelphia The Studio Museum in Harlem, www.studiomuseum.org New York City

2–13. American Museums with Special Emphasis on Hispanic Art

Museum of History, Art, and Culture, Los Angeles www.thelatinomuseum.com The Mexican Museum, San Francisco www.mexicanmuseum.org El Museo del Barrio, New York City www.elmuseo.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Hispanic Society of America, New York City www.hispanicsociety.org

Drawn from The Flower Carrier, 1935, Diego Rivera, San Francisco Museum of Modern Art Chapter 2 Museums and Educational Collections 53

2–14. Museums That Specialize in American Western Art

ARIZONA Museum of Northern Arizona, Flagstaff www.musnaz.org Heard Museum, Phoenix www.heard.org Phoenix Art Museum www.phxart.org

CALIFORNIA Autry National Center, Los Angeles www.autrynationalcenter.org Oakland Museum of California www.museumca.org San Diego Museum of Art www.sdmart.org

COLORADO Colorado Springs Fine Arts Center www.csfineartscenter.org Denver Art Museum www.denverartmuseum.org

GEORGIA The Booth Western Art Museum, www.boothmuseum.org Cartersville

IDAHO Appaloosa Museum and Heritage Center, www.appaloosamuseum.org Moscow

KANSAS Wichita Art Museum www.wichitaartmuseum.org

MONTANA C.M. Russell Museum, Great Falls www.cmrussell.org Montana Historical Society, Helene www.montanahistoricalsociety.org Museum of the Rockies, Bozeman www.museumoftherockies.org

NEBRASKA Joslyn Art Museum, Omaha www.joslyn.org Buffalo Bill Ranch State Historical Park, www.buffalobillranch.org North Platte

NEW MEXICO New Mexico Museum of Fine Arts, Santa Fe www.mfasantafe.org Museum of New Mexico, Santa Fe www.museumofnewmexico.org Harwood Foundation Museum, Taos www.harwoodmuseum.org 54 The Art Teacher’s Book of Lists

2–14. Continued

NEW YORK Rockwell Museum, Corning www.rockwellmuseum.org National Museum of the American Indian, www.nmai.si.edu New York City

OKLAHOMA National Cowboy and Western www.cowboyhalloffame.org Heritage Center, Oklahoma City Cherokee Heritage Center, Park Hill www.cherokeeheritage.org Philbrook Museum of Art, Tulsa www.philbrook.org Woolaroc Museum, Bartlesville www.woolaroc.org

TEXAS Jack S. Blanton Museum of Art, Austin www.blantonmuseum.org Dallas Museum of Art www.dallasmuseumofart.org Amon Carter Museum, Fort Worth www.cartermuseum.org Sid Richardson Collection of Western Art, www.sidrichardsonmuseum.org Fort Worth The Museum of Western Art, www.museumofwesternart.org Kerrville

UTAH Museum of Art at Brigham Young University, www.moa.byu.edu Provo

WYOMING Buffalo Bill Historical Center, www.bbhc.org Whitney Gallery of Western Art, Cody

Drawn from Teaching a MUSTANG Pony to Pack Dead Game, Frederick Remington Chapter 2 Museums and Educational Collections 55

2–15. Art Museums and Collections in the United States

Although a number of these museums are in other lists, they are organized here by state. A few major university art museums are included. Museums with an asterisk are contemporary art museums, or are especially noted for their contemporary collections.

ALABAMA Birmingham Museum of Art www.artsbma.org Mobile Museum of Art www.mobilemuseumofart.com Montgomery Museum of Fine Arts www.mmfa.org

ALASKA Alaska State Museum, Juneau www.museums.state.ak.us Anchorage Museum of History and Art www.anchoragemuseum.org University of Alaska Museum, Fairbanks www.uaf.edu/museum

ARIZONA Heard Museum, Phoenix www.heard.org *Tucson Museum of Art www.tucsonmuseumofart.org Scottsdale Museum of Contemporary Art www.smoca.org

ARKANSAS Arkansas Arts Center, Little Rock www.arkarts.com

CALIFORNIA Asian Art Museum of San Francisco www.asianart.org *California Center for the Arts, Escondido www.artcenter.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley California Palace of the Legion of Honor, www.famsf.org San Francisco Henry E. Huntington Library and Art Gallery, www.huntington.org San Marino *J. Paul Getty Museum, Los Angeles www.getty.edu *Los Angeles County Museum of Art, www.lacma.org Los Angeles M.H. De Young Memorial Museum, www.famsf.org San Francisco *Museum of Contemporary Art of San Diego, www.mcasd.org St. Louis Art Museum, 1904, Cass Gilbert La Jolla *Norton Simon Museum of Art, Pasadena www.nortonsimon.org San Diego Museum of Art www.sdmart.org *San Francisco Museum of Modern Art www.sfmoma.org Santa Barbara Museum of Art www.sbma.net *Santa Monica Museum of Art www.smmoa.org *The Museum of Contemporary Art (MOCA), www.moca.org Los Angeles Timken Museum of Art, San Diego www.timkenmuseum.org 56 The Art Teacher’s Book of Lists

2–15. Continued

COLORADO *Boulder Museum of Contemporary Art www.bmoca.org Colorado Springs Fine Arts Center www.csfineartscenter.org Denver Art Museum www.denverartmuseum.org

CONNECTICUT *Housatonic Museum of Art, Bridgeport www.hcc.commnet.edu *The Aldrich Contemporary Art Museum, www.aldrichart.org Ridgefield The New Britain Museum of American Art www.nbmaa.org *Wadsworth Atheneum, Hartford www.wadsworthatheneum.org Yale Center for British Art, New Haven www.ycba.yale.edu *Yale University Art Gallery, New Haven www.artgallery.yale.edu *New England Center for Contemporary Art, www.museum–necca.org Brooklyn

DELAWARE Delaware Art Museum, Wilmington www.delart.org Henry Francis du Pont Winterthur Museum, www.winterthur.org Winterthur

DISTRICT OF COLUMBIA Renwick Gallery, 1859–1861, Second *Corcoran Gallery of Art www.corcoran.org Empire Style, Washington, D.C. Freer Gallery www.asia.si.edu *Hirshhorn Museum and Sculpture Garden www.hirshhorn.si.edu

*National Gallery of Fine Arts www.nationalgallery.org & Sons, Inc. Copyright © 2010 by John Wiley National Museum of African Art www.nmafa.si.edu National Museum of American Art www.americanart.si.edu National Museum of Women in the Arts www.nmwa.org National Portrait Gallery www.npg.si.edu Renwick Gallery www.renwickgallery.com National Museum of American Indian www.nmai.si.edu *The Phillips Collection www.phillipscollection.org United States Capitol Art Collection, www.aoc.gov/cc/capitol Capitol Building

FLORIDA John and Mabel Ringling Museum of Art, Sarasota www.ringling.org *Museum of Contemporary Art, Jacksonville www.mocajacksonville.org Museum of Fine Arts, St. Petersburg www.fine-arts.org *Norton Museum of Art, West Palm Beach www.norton.org Salvador Dali Museum, St. Petersburg www.salvadordalimuseum.org Tampa Museum of Art www.tampamuseum.com Morse Museum of American Art, Winter Park www.morsemuseum.org The Wolfsonian, Miami Beach www.wolfsonian.org Chapter 2 Museums and Educational Collections 57

2–15. Continued

GEORGIA High Museum of Art, Atlanta www.high.org Museum of Contemporary Art, Atlanta www.mocaga.org

HAWAII *The Contemporary Museum, Honolulu www.tcmhi.org Honolulu Academy of the Arts www.honoluluacademy.org

IDAHO Boise Art Museum www.boiseartmuseum.org

ILLINOIS *Art Institute of Chicago www.artic.edu Field Museum of Natural History, Chicago www.FieldMuseum.org *Museum of Contemporary Art, Chicago www.mcachicago.org Oriental Institute, Chicago www.oichicago.edu

INDIANA Indianapolis Museum of Art www.imamuseum.org *University of Indiana Art Museum, Bloomington www.indiana.edu

IOWA Cedar Rapids Museum of Art www.crma.org *Des Moines Art Center www.desmoinesartcenter.org *University of Iowa Museum of Art, Iowa City www.uiowa.edu

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley KANSAS *Nerman Museum of Contemporary Art, Kansas City www.nermanmuseum.org Spencer Museum of Art, Lawrence www.spencerart.ku.edu Wichita Art Museum www.Wichitaartmuseum.org

KENTUCKY University of Kentucky Art Museum, Lexington www.uky.edu

LOUISIANA *Contemporary Arts Center, New Orleans www.cacno.org New Orleans Museum of Art www.noma.org

MAINE *Ogunquit Museum of American Art www.ogunquitmuseum.org *Smith College Museum of Art, Northampton www.smith.edu/artmuseum

MARYLAND American Visionary Museum, Baltimore www.avam.org Baltimore Museum of Art www.artbma.org *Contemporary Museum, Baltimore www.contemporary.org *The Walters Art Museum, Baltimore www.thewalters.org 58 The Art Teacher’s Book of Lists

2–15. Continued

MASSACHUSETTS Addison Gallery of American Art, Andover www.addisongallery.org Fogg Art Museum, Cambridge www.artmuseums.harvard.edu *Institute of Contemporary Art, Boston www.icaboston.org Isabella Stewart Gardner Museum, Boston www.gardnermuseum.org Museum of Fine Arts, Boston www.mfa.org *Museum of Fine Arts, Springfield www.springfieldmuseums.org *Smith College Museum of Art, Northampton www.smith.edu/artmuseum Sterling and Francine Clark Art Institute, www.clarkart.edu Williamstown

MICHIGAN *Detroit Institute of Arts www.dia.org

MINNESOTA *Katherine E. Nash Gallery, University of Minnesota, www.nash.umn.edu Minneapolis Minneapolis Institute of Arts www.artsmia.org *Walker Art Center, Minneapolis www.walkerart.org

Jolly Flatboatmen in Port, 1857, George Caleb Bingham, oil on canvas, Saint Louis Art Museum, Museum Purchase Chapter 2 Museums and Educational Collections 59

2–15. Continued

MISSOURI *Contemporary Art Museum, St. Louis www.contemporarystl.org *Kemper Museum of Contemporary Art, www.kemperart.org Kansas City *Mildred Lane Kemper Art Museum, St. Louis www.kemperartmuseum.wustl.edu *Nelson-Atkins Museum of Art, Kansas City www.nelson-atkins.org *Pulitzer Foundation for the Arts, St. Louis www.pulitzerarts.org Saint Louis Art Museum, St. Louis www.slam.org

NEBRASKA Joslyn Art Museum, Omaha www.joslyn.org *Sheldon Memorial Art Gallery and www.sheldonartgallery.org Sculpture Garden, Lincoln

NEVADA *Guggenheim Hermitage Museum, Las Vegas www.guggenheimlasvegas.org Nevada Museum of Art, Reno www.nevadaart.org

NEW HAMPSHIRE Hood Museum of Art, Hanover www.hoodmuseum.dartmouth.edu

NEW JERSEY Art Museum, Princeton www.artmuseum.princeton.edu Newark Museum www.newarkmuseum.org *New Jersey State Museum, Trenton www.newjerseystatemuseum.org

NEW MEXICO Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley *Georgia O’Keeffe Foundation, Santa Fe www.okeeffemuseum.org Harwood Museum of Art, Taos www.harwoodmuseum.org *Museum of Contemporary Art, Santa Fe www.sitesantafe.org Museum of New Mexico, Santa Fe www.palaceofthegovernors.org

NEW YORK *Albright–Knox Art Gallery, Buffalo www.albrightknox.org American Craft Museum, New York City www.americancraftmuseum.org American Indian Museum, New York City www.nmai.si.edu Brooklyn Museum of Art www.brooklynmuseum.org Cooper Hewitt National Design Museum, www.cooperhewitt.org New York City *Ps1 Contemporary Art Center, www.Ps1.org Long Island City Corning Museum of Glass www.cmog.org *Dia Center for the Arts, New York City www.diacenter.org Guggenheim Art Museum, 1959, Everson Museum of Art, Syracuse www.everson.org New York City, Frank Lloyd Wright *Frances Lehman Loeb Art Center, Poughkeepsie www.filac.art.vassar.edu Frick Collection, New York City www.frick.org *Guggenheim Art Museum, New York City www.guggenheim.org Hyde Collection, Glen Falls www.hydecollection.org/ 60 The Art Teacher’s Book of Lists

2–15. Continued

*IBM Corporation, Armonk www.ibm.com Memorial Art Gallery, Rochester www.mag.rochester.edu *Metropolitan Museum of Art, New York City www.metmuseum.org *Munson-Williams-Proctor Institute, Utica www.mwpai.org *Museum of Modern Art, New York City www.moma.org National Academy Museum, New York City www.nationalacademy.org *New Museum of Contemporary Art, New York City www.newmuseum.org The Cloisters, New York City www.metmuseum.org The Herbert F. Johnson Museum of Art, Ithaca www.museum.cornell.edu The Morgan Library and Museum, New York City www.themorgan.org *Whitney Museum of American Art, www.whitney.org New York City

NORTH CAROLINA North Carolina Museum of Art, Raleigh www.ncartmuseum.org Southeastern Center for Contemporary Art, www.secca.org Winston-Salem *Weatherspoon Art Gallery, Greensboro www.weatherspoon.uncg.edu

NORTH DAKOTA North Dakota Museum of Art, Grand Forks www.ndmoa.com

OHIO *Akron Art Museum www.akronartmuseum.org Allen Memorial Art Museum, Oberlin www.oberlin.edu Butler Institute of American Art, Youngstown www.butlerart.com

Cincinnati Art Museum www.cincinnatiartmuseum.org & Sons, Inc. Copyright © 2010 by John Wiley *Cleveland Museum of Art www.clemusart.com *The Contemporary Art Center, Cincinnati www.contemporaryartscenter.org Columbus Museum of Art www.columbusmuseum.org *Dayton Art Institute www.daytonartinstitute.org Taft Museum of Art, Cincinnati www.taftmuseum.org Toledo Museum of Art www.toledomuseum.org

OKLAHOMA Gilcrease Museum, Tulsa www.gilcrease.org Oklahoma City Museum of Art www.okcmoa.com Philbrook Museum of Art, Tulsa www.philbrook.org

OREGON *Jordan Schnitzer Museum of Art, Eugene www.jsma.uoregon.edu Portland Art Museum www.pam.org

PENNSYLVANIA Barnes Foundation, Merion Station www.barnesfoundation.org Brandywine River Museum, Chadds Ford www.brandywinemuseumshop.org Carnegie Institute Art Museum, Pittsburgh www.cmoa.org Frick Art Museum, Pittsburgh www.frickart.org Chapter 2 Museums and Educational Collections 61

2–15. Continued

Historical Society of Pennsylvania, Philadelphia www.hsp.org *ICA Institute of Contemporary Art, Philadelphia www.icaphila.org Pennsylvania Academy of Fine Arts, Philadelphia www.pafa.org *Philadelphia Museum of Art www.philamuseum.org

RHODE ISLAND *Rhode Island School of Design Museum of Art, www.risdmuseum.org Providence

SOUTH CAROLINA Bob Jones University Museum of Sacred Art, www.bjumg.org Greenville Columbia Museum of Art www.columbiamuseum.org

SOUTH DAKOTA South Dakota Art Museum, Brookings www.southdakotaartmuseum.com

TENNESSEE Dixon Gallery and Gardens, Memphis www.dixon.org *The Knoxville Museum of Art www.knoxart.org Memphis Brooks Museum of Art www.brooksmuseum.org

TEXAS Amon Carter Museum, Fort Worth www.cartermuseum.org *Archer M. Huntington Art Gallery, Austin www.tfaoi.com *Contemporary Arts Museum, Houston www.camh.org *Dallas Museum of Art www.dm-art.org Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley El Paso Museum of Art www.elpasoartmuseum.org Kimbell Art Museum, Fort Worth www.kimbellart.org Menil Collection, Houston www.menil.org *Modern Art Museum of Forth Worth www.themodern.org Museum of Fine Arts, Houston www.mfah.org *San Antonio Museum of Art www.samuseum.org

UTAH Brigham Young University Museum of Fine Arts, Provo www.moa.byu.edu

VERMONT Shelburne Museum www.shelburnemuseum.org St. Johnsbury Athenaeum www.stjathenaeum.org

VIRGINIA *Chrysler Museum at Norfolk www.chrysler.org *Hermitage Museum and Gardens, Norfolk www.thfm.org Virginia Museum of Fine Arts, Richmond www.vmfa.state.va.us

WASHINGTON Maryhill Museum of Art, Goldendale www.maryhillmuseum.org *Henry Art Gallery, Seattle www.henryart.org 62 The Art Teacher’s Book of Lists

2–15. Continued

Seattle Art Museum www.seattleartmuseum.org Tacoma Art Museum www.tacomaartmuseum.org

WEST VIRGINIA *Huntington Museum of Art www.hmoa.org

WISCONSIN *Fine Arts Center, Rock Springs www.cfac4art.com *Milwaukee Art Center www.mam.org

WYOMING Buffalo Bill Historical Center, Cody www.bbhc.org National Museum of Wildlife Art, Jackson Hole www.wildlifeart.org

2–16. Major Museums in Other Countries

A nation’s cultural history is represented by its art museums, and these often have been founded when wealthy collectors (sometimes royalty) agree to share their art collections with the public. A museum’s artworks change over time as artwork is de-accessed (sold) or new work is purchased. In this list a few outstanding treasures in some museums are noted. Information about the collection is available on their websites. Modern art museums such as the “Beaubourg” in Paris or MoMA in New York have strong collections and also feature contemporary artists. Websites are not included, but information about the collection may be found by entering the museum’s name on an Internet search engine such as Google. Note that contemporary art museums are incorporated in this list. Few have notations about a collection because, by their very nature, they often have changing exhibitions that feature contemporary (usually living) artists and ideas. & Sons, Inc. Copyright © 2010 by John Wiley

AFGHANISTAN Kabul Darul Aman. Museum. 5,000 years of Afghanistan’s history, Islamic collection, Bud- dhist paintings, archaeological treasures

AFRICA Kenya Nairobi. Kenya National Museum. ancient and contemporary African art South Africa Cape Town. South African National Gallery. Dutch and English paintings, German Expressionism, modern European schools of art Johannesburg Johannesburg Art Gallery. South African art, 19th century French painting and sculpture, British works Nigeria Jos. Jos Museum. Nok culture, contemporary Nigerian art architecture and archaeology of Nigeria

ARGENTINA Buenos Aires National Museum of Fine Arts. Work by Renoir, Rodin, Monet, Toulouse-Lautrec, van Gogh, and 19th and 20th century Argentine artists, prints, drawings, furniture, musical instruments Rosario Juan B. Castagnino Municipal Museum of Fine Arts. Argentine artists, European painters

AUSTRALIA Adelaide *Art Gallery of South Australia. Australian 18th and 19th century paintings and Eng- lish art from the 15th century, Sickert’s Mornington, Tom Robert’s The Breakaway Chapter 2 Museums and Educational Collections 63

2–16. Continued

AUSTRALIA (cont.) Canberra *National Gallery of Australia. Eva Hesse’s Contingent Melbourne National Gallery of Victoria. Aboriginal, colonial Australian, Asian, and European works, Tom Robert’s Shearing the Rams, Frederick McCubbin’s The Pioneer, DuChamp, Christo, Warhol Perth *Australian Centre for Contemporary Art. European art, Australian painters Art Gallery of Western Australia South Brisbane Queensland Art Gallery Sydney Art Gallery of New South Wales. traditional and modern The Australian Museum. 20th century, Aboriginal art, Asian art, sculpture garden *Museum of Contemporary Art

AUSTRIA Salzburg *Museum of Modern Art Vienna *Albertina Graphische Sammlung. prints, drawings, watercolors, Durer’s Praying Hands, Rembrandt’s etchings, Rubens’ drawings Gallery of Paintings of the Academy of Fine Arts. 14th–18th century Italian, 18th–19th century French artworks *Kunsthaus Wien: Museum of the 20th Century Kunsthistorisches Museum. Hapsburg collections, Brueghel’s Tower of Babel and Peas- ant Wedding, Velazquez’s Infanta Margarita, Vermeer’s The Artist in His Studio, The Gemma Augustea (Roman Cameo), Cellini’s Saliera (salt cellar), Holbein’s Jane Sey- more, Cranach’s Young Woman *New Gallery of the Museum of the History of Art. 19th and 20th century paintings *Osterreichische Galerie Belvedere: Leopold Museum. This gallery within a palace includes works by Austrian artists such as Schiele and Kokoshka.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley BELGIUM Antwerp Royal Museum of Fine Arts, Antwerp. Van Eyck, Van der Weyden, Van Dyck, Rubens, Ensor, Permeke, Delvaux Brussels Royal Fine Arts Museums of Belgium. Van Dyck, Rubens, Jordaens, Van der Weyden, Master of Flemalle, Brueghel *Modern Art Museum/Royal Fine Arts Museums of Belgium. 19th century Belgian art from 1860–present, Ensor, Delvaux, Magritte, Jacques-Louis David Ancient Art Museum Bruges Municipal Fine Arts Museum Ghent *Museum van Hedendaagse Kunst

BRAZIL Rio de Janeiro *Museu de Arte Moderna. Brancusi, Mlle Pogany; Picasso, Profile of a Woman’s Head; Vieira Da Silva, The Terraces São Paulo São Paulo Museum of Art. Rembrandt Self Portrait with a Golden Chain; Botticelli’s Vir- gin and Child with the Infant St. John the Baptist; changing contemporary exhibitions

CANADA British Columbia Vancouver The Vancouver Art Gallery. Canadian artists, Emily Carr paintings Victoria Art Gallery of Greater Victoria. Japanese and Chinese artworks, European painting and sculpture, 15th to 20th century art, Rodin’s Mercury Descending from a Cloud 64 The Art Teacher’s Book of Lists

2–16. Continued

Manitoba Winnipeg Winnipeg Art Gallery. Eskimo carvings, Dufy’s The Jetty at Trouville, North German panel: Flagellation of Christ

Ontario Ottawa *National Gallery of Canada. Benjamin West’s The Death of General Wolfe, Memling, Martini, Rembrandt, El Greco, Corot Toronto Art Gallery of Ontario (AGO). Rubens’ The Elevation of the Cross, Gainsborough’s The Harvest Wagon, Moore’s Working Model for Three-Piece Sculpture No. 3-Vertebrae, New York School collection Royal Ontario Museum (ROM). outstanding Asian collections, Canadian paintings and furniture *Center for Contemporary Art: The Power Plant

Quebec Montréal *Musée des Beaux Arts de Montreal. 13th–20th century paintings, Memling, Rem- brandt, Tiepolo Quebec Le Musée du Quebec

CHINA Beijing Imperial Palace Museum. The Forbidden City housed twenty-four emperors. Buildings are restored and filled with “some one million historical relics.” Museum of Fine Arts. large collection of traditional arts of China Hong Kong Hong Kong Museum of Art. Chinese antiquities, fine arts, decorative arts Shanghai Shanghai Museum. bronze vessels, paintings, ceramics, furniture, jade, seals, and coins Sichuan The Sanxingdui Museum houses jade, gold, bronze, and pottery artifacts from the Sanx- ingdui archaeological site. Xian Museum of Qin Terracotta Warriors and Horses. More than 7,000 life-size figures have been unearthed from this tomb built between 211 and 206 B.C. & Sons, Inc. Copyright © 2010 by John Wiley Zhengzhou Henan Museum. Bronze, pottery, porcelain are among the 130,000 cultural relics from the Ming and Qing Dynasties

DENMARK Copenhagen National Museum of Fine Art. Danish and International collection of painting and sculpture dating from 1600 Ny Carlsberg Glyptothek. Egyptian and Greek collections, Gauguin’s early paintings, other Impressionists Rosenborg Castle Collections. crown jewels, ivory Coronation Chair, life-size silver lions, Venetian glass, silver furniture Humlebaek *Louisiana Museum of Modern Art. Collection of over 3,000 works, including Louise Bourgeois’ Spider, and works by Philip Guston, Henry Moore, Andy Warhol Ishoj *Arken Museum of Modern Art Skagen Skagens Museum. Kroyer’s Summer Evening on the Southern Beach

CZECH REPUBLIC Prague National Gallery. Schiele’s Seated Woman with Bent Knee, Bohemian Master Brueghel’s Haymakers, Kokoschka, The Charles Bridge, Prague

EGYPT

Cairo Egyptian Museum. Egyptian antiquities from 1800 B.C., King Tut treasures and golden mask, gold, sculpture, mummies Chapter 2 Museums and Educational Collections 65

2–16. Continued

ENGLAND Aylesbury *Peter Stuyvesant Foundation Limited Birmingham Barber Institute of Fine Arts. English and European collection Birmingham Museum and Art Gallery. Italian collection, tapestries, furniture, mid- eastern archaeological collection Bristol Bristol Art Gallery. Asian collection, Chinese glass, wide European collection of paintings and prints Cambridge *Fitzwilliam Museum. Egyptian, Greek and Roman antiquities, European paintings, medieval manuscripts and music collection, contemporary art Leeds Leeds City Art Gallery. Grimshaw’s Nightfall Down the Thames Walker Art Gallery. English art, 15th, 19th, and 20th century English paintings, Italian primitives, Simone Martini’s Christ Discovered in the Temple Liverpool *Tate Gallery Liverpool Walker Art Gallery London Apsley House. Home of Lord Wellington, widely varied collection of paintings and art objects British Museum. Elgin Marbles (Parthenon), Lindisfarne Gospels, Rosetta Stone, Magna Carta, Egyptian sphinxes, and other ancient treasures from around the world *Courtauld Institute Galleries. Manet’s A Bar at the Folies-Bergère, Renoir’s La Loge, and van Gogh’s Self-Portrait with Bandaged Ear *Hayward Gallery. changing contemporary exhibitions *National Gallery. Italian masters, Rembrandt, Velasquez, Cezanne, Van Eyck, Botti- celli, Holbein’s The Ambassadors, Campin’s The Virgin and Child before a Fire-screen, van Gogh’s Sunflowers, Rubens’ The Judgment of Paris Victoria and Albert Museum. fine and applied arts, arms and armor, musical instruments, woodwork, sculpture National Portrait Gallery. portraits of important figures in English history Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley *Saatchi Collection. cutting-edge artwork Tate Gallery, Millbank, London. British artists from 15th century, Large collection of J.M.W. Turner, Picassos, Rothko, Stubbs, Constable, Blake, Gainsborough, Epstein, Moore *Tate Modern, Bankside. International modern art from 1900 to present Wallace Collection. art work, arms and armor, porcelain Manchester Manchester City Art Gallery. Dutch 17th century, sculpture, glass, furniture, pre- Raphaelite paintings, Turner Nottingham *City Art Gallery. Nottingham Castle Oxford Ashmolean Museum of Art and Archaeology. Minoan, Mycenaean and Cycladic, Egyp- tian collections, Bodleian Bowl, armor *Museum of Modern Art Salford *Salford Art Gallery and Museum Southampton *Southampton City Art Gallery St. Ives *Tate Gallery. artists from St. Ives, 20th century work from the Tate Gallery, London Windsor The Royal Collection, Windsor Castle. Agasse’s, The Nubian Giraffe, portraits of Royals

FINLAND Helsinki Ateneum Art Museum Finnish National Gallery. European and Finnish collection of old masters to present- day painters *Kiasma Museum of Contemporary Art 66 The Art Teacher’s Book of Lists

2–16. Continued

FRANCE Bayeux Musée de la Reine Mathilde. Bayeux Tapestry Chantilly Condé Museum, Chateau de Chantilly. Regence woodwork, Chantilly porcelain, Flem- ish and Italian Primitives, Memling, Clouet, Les Tres Riches Heures du Duc de Berry Colmar Musée d’Unterlinden. Grunewald’s The Crucifixion Grenoble *Centre National d’Art Contemporain de Grenoble Lyon *Musée d’Art Contemporaine Lyon Paris *Centre Georges Pompidou (Beaubourg). Modigliani, Utrillo, Vuillard, Derain, Delau- nay, Braque, Dufy, Leger, Matisse, Picasso’s Harlequin Louvre, Egyptian, Leonardo’s Mona Lisa, Whistler’s Arrangement in Grey and Black (Whistler’s Mother), Van Dyck’s Charles I of England, Holbein’s Portrait of Emmaus, Rembrandt’s Bathsheba Bathing, Nike of Samothrace, Venus de Milo, Code of Hammu- rabi, Frieze from the Parthenon, The Seated Scribe, I.M. Pei’s Pyramid entrance *Musée d’Art Moderne de la Ville de Paris. Changing exhibitions Musée de Cluny. small Gothic palace: tapestries, stained glass, other relics of the middle ages Musée des Arts Africaine et Océaniens. recently reopened collection of African art and Oceanic art Musée des Arts Decoratifs. interior design, furniture, toys, ceramics, tapestries Musée de l’Homme, Arts, et Civilisations: Africa, Oceania, *Musée D’Orsay. collection of French Impressionists, 19th century sculpture, photography, and applied arts, van Gogh collection *Musée Jeu de Paume. paintings, photography, sculpture Orangerie, Palais du Louvre. Monet’s Water Lilies, other Impressionist works Marseille *Musée Cantini Nantes *Musée des Beaux-Arts Nice *Musée d’Art Moderne et d’Art Contemporaine Rouen Musée des Beaux–Arts. Daubigny’s The Lock at Optevoz & Sons, Inc. Copyright © 2010 by John Wiley Saint-Etienne *Musée d’Art Moderne de Saint-Etienne Saint Paul *Maeght Foundation. 20th century French art, Braque, Chagall, Kandinsky, Miró, and de Vence Giacometti Strasbourg Museum of Fine Art. Tintoretto, el Greco, Goya, Rubens, Watteau

GERMANY Berlin Akademie der Kunste, Bildende Kunst Bode Museum. early Christian, Byzantine, and Egyptian art, Ravenna mosaics, Cran- ach’s Doomsday Charlottenburg Palace Museums. Head of Nefertiti, Guelph Treasure, Egyptian, Greek, and Roman antiquities, early Christian, Byzantine, and sculpture collection, European paintings, Cranach, Elsheimer, Ravenna Mosaics Dahlem Museum. collection of European and Far Eastern art, Durer, Cranach, Holbein, Van Eyck, Van der Weyden, Vermeer, Hals, Rembrandt Kaiser Friedrich Museum. Prussian Royal collections, sculpture, print, and drawing collections National Gallery. collection of Modern art, Renoir, Manet, Munch, Kokoschka, Klee, Beckmann Pergamon Museum. Greek and Roman antiquities, Pergamon Altar, Ishtar Gate, Facade of Mshatta Chapter 2 Museums and Educational Collections 67

2–16. Continued

GERMANY (cont.) Bremen Bremen Art Gallery. 15th–20th century European paintings, emphasis on 19th century French and German *Kunsthalle Bremen Brunswick Herzog Anton Ulrich Museum. Ducal collection of antiquities, European paintings, clocks, ceramics, carvings Cologne Wallraf-Richartz Museum. German, Dutch, Flemish primitives, Hals’ Hille Bobbe, Ger- man Expressionists *Museum Ludwig Koln Dresden Art Gallery of the Old Masters. High Renaissance and Baroque. Outstanding collection of old and new master paintings and sculpture Dusseldorf Art Museum of Dusseldorf Essen *Museum Folkwang. Van Gogh, Cezanne, Gauguin and Matisse, German Expression- ism, Abstract Expressionism, Art Informel, and New Figuration Frankfurt *Museum für Moderne Kunst Hamburg Hamburg Art Gallery Karlsruhe *Museum für Moderne Kunst Krefeld *Kaiser Wilhelm Museum Munich Neue Pinakothek, 19th century collection *Goetz Collection Munster *Westfallsches Landesmuseum Stuttgart *Staatsgalerie Stuttgart Wuppertal *Von der Heydt Museum

GREECE

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Athens Acropolis Museum. The Calf-Bearer, The Critius Boy, Parthenon fragments, Caryatids, The Rampin Rider Benaki Museum. Coptic textiles, Mycenean gold cups, gold jewelry National Museum of Athens. gold Death Mask (of Agamemnon?), Vaphio Cups, Funeral Stele, bronze Poseidon, Artemis from Delos Delphi Delphi Museum. Archaic sculpture from the Temple of Apollo, The Sphinx

HUNGARY Budapest Fine Arts Museum. Italian, Esterhazy Collection of European masterworks, Leonardo da Vinci’s Equestrian Statue, Rembrandt, Goya, Raphael, Giorgione

INDIA Baroda Baroda Museum and Picture Gallery. ancient and modern Indian and other Asian art and a small European collection Calcutta Asutosh Museum of Indian Art. Eastern India and Bengal collections, stone sculpture, textiles, scrolls, coins, seals, ivory Madras Government Museum. stone and bronze sculpture, wood carvings, metalwork, pottery, armor, coins and paintings Mumbai Prince of Wales Museum Fort. sculpture, ivories, Indian and European paintings New Delhi *National Gallery of Modern Art. contemporary Indian art West Bengal *Rabindra Shavan Archive 68 The Art Teacher’s Book of Lists

2–16. Continued

IRAN Teheran Archaeological Museum. Persian gold, sculpture and artifacts from Persepolis, carpets, silver, porcelain

IRAQ Baghdad National Museum of Iraq. Although closed in 2003 because of war, many priceless antiquities will be displayed upon formal reopening. Information and some photographs are available online

IRELAND Dublin National Gallery of Ireland. collection of Icons, Cranach’s Judith with the Head of Holerfernes, Sargent’s President Woodrow Wilson, Rembrandt’s Rest on the Flight to Egypt National Museum of Ireland. stone age antiquities, shrines, handicrafts *Irish Museum of Modern Art *Municipal Gallery of Modern Art

ISRAEL Jerusalem *Israel Museum, Hakirya, Jerusalem. Dead Sea Scrolls, Torah Scrolls and ornaments, Menorahs, contemporary Israeli artists

ITALY Bologna Pinacoteca Nazionale. Perugino’s The Virgin and Child with Saints Florence Bargello National Museum. Donatello’s David, Cellini, Bernini, Brunelleschi, Della Robbia ceramics Galleria Accademia. Michelangelo’s David, Slaves, Italian “Primitives,” other works by

Michelangelo & Sons, Inc. Copyright © 2010 by John Wiley Pitti Palace. Boboli gardens, Raphael, Titian, Tintoretto, Rubens, Van Dyck, Fra Filippo Lippi, Veronese, Brueghel, Velasquez Ufizzi Gallery. Medici collection. Uccello’s Battle of San Romano, van Der Goes’ Porti- nari Altarpiece, Raphael’s The Madonna of the Goldfish, and Botticelli’s Primavera and Birth of Venus, and The Medici Venus, Duccio’s The Rucellai Madonna Genoa Palazzo Bianco Gallery. Zurbaran, Gerard David, Rubens, Genoese painters from 15th to 17th centuries Milan Pinacotect Ambrosiana. Raphael’s Cartoon for the School of Athens, Breughel’s Daniel in the Lion’s Den Brera Picture Gallery. Mantegna’s The Dead Christ, Carvaggio’s Supper at Emmaus, Guardi, Bramante, Raphael’s The Betrothal of the Virgin Museum of Ancient Art, Castello Sforzesco. artwork by Michelangelo, Bellini Poldi Pezzoli Museum. Pollaiuolo, Botticelli, Bellini, Mantegna, Tiepolo, Murano glass collection, Limoges enamel, Persian Court Rug Naples Capodimonte National Museum and Gallery. Titian’s Danaë and the Shower of Gold, Brueghel’s Parable of the Blind Leading the Blind National Museum. sculptures, cameos, Farnese Cup, Farnese Bull (restored by Michel- angelo), treasures from Herculaneum and Pompeii Rome Borghese Gallery. Canova’s Paolina Borghese as Venus, Bernini’s Apollo and Daphne, Caravaggio’s St. Jerome, Raphael’s The Deposition, Cranach’s Venus and Cupid with a Honeycomb Chapter 2 Museums and Educational Collections 69

2–16. Continued

ITALY (cont.) Capitoline Museums. Michelangelo’s Staircase and Piazza, ancient Greek, Etruscan, and Italian vases, She-Wolf Suckling Romulus and Remus, The Dying Gaul, Titian’s Baptism of Christ *Galleria Nazionale d’Arte Moderna e Contemporanea National Museum of Rome. ancient art, frescoes from Villa of Livia, Roman sarcophagi, The Discus Thrower Vatican Museums. Michaelangelo’s Sistine Chapel, Last Judgment, Raphael’s School of Ath- ens, Ancient Sculpture: Apollo Belvedere, Laocoön Group, Giotto’s Stefanaschi Polyptych Villa Giulia National Museum. Etruscan art, sculptures from Veii, Sarcophagus of the Bride and Bridegroom Siena Palazzo Pubblico. Lorenzetti’s Allegory of Good Government Turin Civic Museum of Ancient Art, Palazzo Madama. Roman and Barbarian jewelry, The Turin Hours (Tres Belles Heures du Duc de Berry), Messina’s Portrait of an Unknown Man, Della Robbia Annunciation *Fondo Rivetti per l’Arte Varese *Villa Panza Varese. (working in conjunction with the Guggenheim) Venice Galleria dell’Accademia. Venetian painting from 14th–18th centuries, Giorgione’s The Tempest, Veronese’s The Feast in the House of Levi, Titian’s Presentation of the Virgin at the Temple, Bellini’s The Miracle of the True Cross near the San Lorenzo Bridge *Galleria Internazionale d’Arte Moderna di Ca’Pesaro *Peggy Guggenheim Collection

JAPAN Kagawa *Museum Marugame Hirai Nara Yamato Bunkakan Museum. Japanese National treasures, Japanese and Chinese painting, sculpture, ceramics

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Tokyo Bridgestone Museum of Art. Western Art: Cezanne, Renoir, De Chirico, Rouault, Rous- seau, Sisley, Manet *Contemporary Sculpture Centre National Museum of Tokyo. Japanese art from pre 551 B.C.–present, Japanese national treasures, Cinerary Urns, Figure of Armoured Man, Bronze Mirrors National Museum of Western Art. Rodin’s The Kiss, The Thinker, The Gates of Hell, Gauguin’s Two Little Breton Girls by the Sea, Monet’s Waterloo Bridge

KOREA Seoul National Central Museum of Korea. metallurgic art, ceramics, paintings, Buddhist paintings, also central Asian art

LEBANON Beirut Archaeological Museum of the American University of Beirut. archaeological finds from Middle Eastern cultures, Stone Age through Bronze and Iron Ages

MEXICO Mexico City *Modern Art Museum. Tamayo, O’Gorman, Camarena, Mexican paintings and sculpture National Museum of Anthropology. Mayan, Olmec, Teotihuacan, Toltec, Aztec, Jade mask, Aztec Calendar *Ministry of Education, Diego Rivera’s political murals (Rivera murals also at Palacio Nacional) 70 The Art Teacher’s Book of Lists

2–16. Continued

THE NETHERLANDS Amsterdam Rijksmuseum. Vermeer, Hals, Ruisdael, prints, Rembrandt’s The Night Watch, Hals’ The Merry Toper *Stedelijk Museum. modern art, mostly from 1950 to present *Vincent van Gogh Museum. 400 paintings, 200 drawings by van Gogh Groningen *Groninger Museum. Contemporary art The Hague Mauritshuis Royal Picture Gallery. Vermeer, Steen, Van Dyck, Van der Weyden, Rubens, Rembrandt, Hals, Memling Harlem Frans Hals Museum. Hals and other Haarlem School painters are featured here Otterlo *Kröller-Müller Rijksmuseum. Van Gogh drawings and paintings, Impressionists, Seurat, Moore, Hepworth, Mondrian, extensive sculpture garden Rotterdam *Boymans-Van Beuningen Museum. Bosch, Brueghel, Steen, Van Gogh’s Armand Roulin, Kandinsky, De Stael, Hubert and Jan van Eyck’s The Three Marys at the Sepul- chre, Hals’ Portrait of a Man Tilburg *De Pont Foundation

NEW ZEALAND Auckland Auckland City Art Gallery. European, Maori and other New Zealand paintings Auckland War Memorial Museum. Maori Meeting House, Drawn from Aztec Calendar, 1479, Museum of Archaeology, Storage House, War Canoe, wood and stone carvings Mexico City, Mexico *Waikato Museum of Art and History Wellington National Art Gallery. Australian and British artists, Hepworth’s Oval Form National Museum. Maori collection, European and New Zealand paintings Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley NORWAY Oslo *National Gallery. Norwegian paintings, Manet, Renoir, Russian icons, El Greco Munch Museum. large collection of Munch’s paintings including The Scream

POLAND Warsaw National Museum at Warsaw. Polish art, European, Egyptian and Greek art, Canaletto’s 26 Views of Warsaw The Royal Castle in Warsaw. Royal apartments, painting and decorative arts collection Krakow Wawelu Castle State Art Collections. Flemish tapestries, coronation sword, gold chalice, arms and armor, European paintings Lodz *Muzeum Sztuki w Lodzi. collection of Polish, West, and Central European, chiefly Czech artists, as well as contemporary art

PORTUGAL Lisbon Gulbenkian Museum. eclectic collection of Western and Eastern antiquities, paintings, ceramics, bronzes

ROMANIA Bucharest Art Museum of the Socialist Republic of Romania. 10th–18th century Romanian painting, sculpture, and decorative arts, Brancusi Chapter 2 Museums and Educational Collections 71

2–16. Continued

RUSSIA Moscow Kremlin Museums. Treasury (small room, great treasures) Pushkin Museum of Fine Arts. Western European paintings from 15th to 20th centuries, antiquities, foreign art and archaeology State Tretyakov Gallery. Russian art, icons, sculpture, miniatures St. Petersburg Hermitage Museum. Gold room contains magnificent Scythian Gold Objects, 6th– 4th century B.C. Pazyryk Tumuli objects, collection of old European masters, French Impressionists, Matisse’s Harmony in Red, De Hooch’s Woman and a Maid with a Pail in a Courtyard, 27 works by Rembrandt *State Russian Museum. collection of Russian art: painting, sculpture, folk art

SCOTLAND Edinburgh National Gallery of Scotland. Raphael, El Greco, Degas, Claude Lorraine, Tiepolo, Constable, Ramsay Royal Museum of Scotland. International collections, decorative arts, china and glass *Scottish National Gallery of Modern Art

SERBIA Belgrade National Museum of Serbia. Archaeological collection from prehistory, Serbian art, European collection

SLOVENIA Ljubljana National Gallery of Slovenia. Slovenian art from the 13th century to the early 20th century *Museum of Modern Art. Eastern European art from 2000+, as well as a collection of photography

SPAIN Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Barcelona Museo Pablo Picasso. some of Picasso’s finest artworks Bilbao Museo de Bellas Artes. Vasarely’s Pal-Ket *Guggenheim Museum Madrid *Fundacion Coleccion Thyssen–Bornemisza. Ghirlandaio’s Portrait of Giovanna Tornabuoni Museo Nacional del Prado. Rubens, Velazquez, El Greco, Brueghel, Goya, Zurbaran, Murillo, Bosch’s Garden of Earthly Delights, Durer’s Self-portrait with Gloves, Velas- quez’ Las Meninas, Baldung’s The Three Ages of Man and Death

SWEDEN Gothenburg Gothenburg Art Gallery. Northern European paintings, modern Swedish and other Scandinavian artists Stockholm *Modern Art Museum. Brancusi’s The Newborn Child, Calder’s The Four Elements, Picasso’s The Guitar Player, Kienholz’s The State Hospital, Rauschenberg Monogram, Matisse’s Moroccan Landscape National Museum. Royal collections, Swedish paintings, Durer’s Young Girl, Delac- roix’s The Lion Hunting, La Tour’s St. Jerome in Penitence, Raphael’s Adoration of the Shepherds in Rembrandt’s Conspiracy of Claudius Civilis, Rubens’ Bacchanale 72 The Art Teacher’s Book of Lists

2–16. Continued

SWITZERLAND Basle *Adolf Wolfli Foundation, Museum of Fine Arts Basle Fine Arts Museum. Holbein, Grunewald, Cranach, Rousseau, Klee’s Senecio, Gauguin, Marc, Miró *Fondation Ernst Beyeler Museum. Impressionists, Modigliani Berne Berne Museum of Fine Arts. Klee, Swiss works of art from 15th–20th centuries, early Italian paintings, Cubist art Geneva Musée d’Art et d’Histoire. Hodler’s Lake Thun, Witz’s The Miraculous Draught of Fishes *Musée d’Art Moderne et Contemporain Lausanne *Hermitage Foundation Zurich Fine Arts Museum. Munch’s Lueck Harbour, 100 works by Giacometti, including The Chariot Bronze, Toulouse Lautrec’s At the Bar, Rousseau’s Portrait of Pierre Loti *Kunsthaus Zurich. Zurich. old masters, Swiss artists, 20th century art

TAIWAN Taipei National Palace Museum. comprehensive collections of bronzes, porcelains, hanging scrolls covering 3,600 years

THAILAND Bangkok National Museum, Bangkok. Thailand’s religious, cultural, and archaeological treasures *Bhirasi Museum of Modern Art

TUNISIA Tunis National Museum of Bardo. Phoenician, Roman, early Christian and Moslem antiquities, Arab museum, Roman mosaics

TURKEY

Ankara Ankara Archaeological Museum, Ulus, Hittite Remains excavated in Turkey and & Sons, Inc. Copyright © 2010 by John Wiley Ephesus Istanbul Topkapi Palace Museum. Sultan’s treasury: the Topkapi Dagger, with its emerald handle, a golden cradle, the Throne of Mahmut I, a gold ceremonial throne, porcelain, mosaics, illuminated manuscripts Selcuk Ephesus Museum. Ephesus antiquities: Head of Eros, Roman Sun Dial, Mycenaean vases, sculptures

VENEZUELA Caracas Fine Arts Museum. Venezuelan art, 20th century Latin American sculpture, pre-Columbian and Egyptian art

WALES Cardiff National Museum of Wales. archaeology, art, geology, botany, Welsh and British painting, Richard Wilson CHAPTER 3 ARTISTS AND ART HISTORY 3–1. Quotations 3–2. Art and Culture, 35,000–500 BC 3–3. Art and Culture, 500 BC–AD 500 3–4. Art and Culture, AD 500–AD 1000 3–5. Art and Culture, 1000–1500 3–6. Art and Culture, 1500–1750 3–7. Art and Culture. 1750–1875 3–8. Art and Culture, 1875–1950 3–9. Art and Culture, 1950–Present 3–10. What Did It Sell For? 3–11. Timelines of Art History 3–12. Looking at Art and Talking About It 3–13. Looking at Sculpture 3–14. Art Appreciation Activities 3–15. Group Art Appreciation Activities 3–16. Aesthetic Discussions 3–17. Art Criticism Questions 3–18. Classicism and Romanticism in Art 3–19. Greek and Roman Gods, Goddesses, and Heroes 3–20. Seventy-Five Mythological Paintings 3–21. Fifty Famous Art Objects 3–22. Art History and Artists 3–23. Contemporary Artists 3–24. Famous Women Artists 3–25. African American Artists 74 The Art Teacher’s Book of Lists

3–1. Quotations

“Rembrandt painted about 700 pictures—of these, 3,000 are in existence.” WILLIAM BODE, 1845–1929, GERMAN ART HISTORIAN SPECIALIZING IN REMBRANDT

“What garlic is to salad, insanity is to art.” AUGUSTUS SAINT-GAUDENS, 1848–1907, AMERICAN (IRISH-BORN) SCULPTOR

“Be careful that you do not write or paint anything that is not your own, that you don’t know in your own soul.” EMILY CARR, 1871–1945, CANADIAN PAINTER

“A painter paints a picture with the same feeling as that with which a criminal commits a crime.” EDGAR DEGAS, 1834–1917, FRENCH POST-IMPRESSIONIST

“Art is either plagiarism or revolution.” PAUL GAUGUIN, 1848–1903. FRENCH POST-IMPRESSIONIST

“One doesn’t make art for other people, even though I am very concerned with the viewer.” ANISH KAPOOR, 1954, INDIAN ARTIST

“It is easy. You just chip away the stone that doesn’t look like David.” [explaining how he made his statue of David] MICHELANGELO BUONAROTTI, 1475–1564, ITALIAN PAINTER/SCULPTOR

“I hate flowers. I paint them because they’re cheaper than models and they don’t move.” GEORGIA O’KEEFFE, 1887–1986, AMERICAN PAINTER

“There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.” PABLO PICASSO, 1881–1973, SPANISH ARTIST

“Blessed are they who see beautiful things in humble places where other people see nothing.” CAMILLE PISSARRO, 1830–1903, FRENCH IMPRESSIONIST Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “I think of painting without subject matter as music without words.” JACKSON POLLOCK, 1912–1956, AMERICAN ABSTRACT EXPRESSIONIST

“We should comport ourselves with the masterpieces of art as with exalted personages—stand quietly before them and wait till they speak to us.” ARTHUR SCHOPENHAUER, 1788–1860, GERMAN PHILOSOPHER

3–10. What Did It Sell For?

Even in a so-so economy, art by famous artists is often purchased as an investment rather than because the purchaser loves it and must have it. Museums often de-access work in their collections to purchase a more important work or to balance a collection. Old Master paintings rarely are available at auction, as most are already in museums, but occasionally one found in an attic or barn or a private collection comes on the market. A few artists are listed here more than once for comparing the growth in the value of their work over time. Prices include commissions.

ARTIST YEAR SOLD PRICE AT AUCTION TITLE AND YEAR OF ARTWORK Bacon, Francis 1994 $ 353,500 Self Portrait-Diptych, 1977 Bacon, Francis 2008 86,300,000 Triptych, 1976 Basquiat, Jean-Michel 2007 14,600,000 Untitled, 1983–1984 Bellows, George 1995 2,862,500 Easter Snow, 1915 Bellows, George 2007 27,702,500 Green Point, 1913 Botero, Fernando 1996 670,000 La Casa de las Gamelas, 1973 Bourgeois, Louise 2008 4,554,190 Spider (sculpture), 2003 Brancusi, Constantin 1998 6,600,000 Sleeping Muse, bronze cast, 1920s Calder, Alexander 2000 4,100,000 Stegosaurus, 1973 Canaletto 2000 11,150,000 The Campo Santi Giovanni e Paolo, Venice, c. 1730 Cassatt, Mary 2007 6,200,000 Children Playing with a Dog, 1907 Cezanne, Paul 1997 50,000,000 Still Life, Flowered Curtain and Fruit, 1900 Close, Chuck 1999 1,200,000 Cindy II, 1988 Dali, Salvador 1995 3,522,500 Swans Reflection of the Elephants, 1937 Degas, Edgar 1996 11,882,500 Young Dancer at 14, sculpture, 1878–1881 Degas, Edgar 2009 19,000,000 Little 14-Year-Old Dancer (same as above) De Kooning, Willem 1996 15,600,000 Woman, 1949 De Kooning, Willem 2006 27,120,000 Untitled XXV, 1977

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Disney, Walt 1995 29,900 Celluloid from Cinderella, 1950 Doig, Peter 2009 11,259,000 Night Playground, 1997–1998 Duchamp, Marcel 1999 1,760,000 Fountain, (a “readymade” urinal), c. 1917 Fabergé 2007 18,500,000 Egg, 1902 Freud, Lucien 2005 7,320,000 Kate Moss, 2005 Gauguin, Paul 1995 28,692,370 Tahitiennes pres d’un Ruisseau, c. 1891 Gauguin, Paul 2006 40,300,000 Man With an Ax, 1891 Giacometti, Alberto 2000 14,300,000 Grande Femme Debout I, 1962 Giacometti, Alberto 2010 104.300,000 Walking Man 1, 1960 Hassam, Childe 1998 7,922,500 Afternoon on the Avenue, 1917 Hirst, Damien 2008 9,000,000 Fragments of Paradise, 2008 Homer, Winslow 1998 30,000,000 Lost on the Grand Banks, 1885 Johns, Jasper 1988 7,040,000 White Flag, 1955–1958 Johns, Jasper 2007 17,400,000 Figure 4, 1959 Kahlo, Frida 2006 5,616,000 Roots, 1943 Kandinsky, Wassily 1998 19,000,000 Composition V, 1911 Kirchner, Ludwig 2006 3,810,000 Berlin Street Scene, 1913–1914 Klimt, Gustave 2006 135,000,000 Portrait of Adele Bloch-Bauer I, 1907 Klimt, Gustave 2006 88,000,000 Portrait of Adele Bloch-Bauer II, 1912 Klimt, Gustave 2009 40,300,000 Birch Forest, 1903 84 The Art Teacher’s Book of Lists

3–10. Continued

ARTIST YEAR SOLD PRICE AT AUCTION TITLE AND YEAR OF ARTWORK Koons, Jeff 1998 $ 5,600,000 Michael Jackson and Bubbles, 1988 Koons, Jeff 2008 25,783,060 Balloon Flower (Magenta), 1995–2000 Kusama, Yayoi 2008 5,794,500 No. 2, 1959 Lawrence, Jacob 1992 62,500 Northbound, 1962 Lichtenstein, Roy 2008 16,256,000 In the Car, 1963 Manet, Edouard 1989 26,000,000 La Rue Mosnier aux Drapeaux, 1878 Mapplethorpe, Robert 1994 63,250 Calla Lily, photo, 1987 Matisse, Henri 2000 14,000,000 La Serpentine, sculpture, 1909 Mitchell, Joan 2007 6,966,260 Sans Titre, 1961 Mondrian, Piet 1998 40,000,000 Victory Boogie Woogie, 1944 Monet, Claude 2000 24,200,000 The Door in the Sun (Rouen Cathedral), 1894 Monet, Claude 2008 80,549,000 Le Bassin Aux Nymphéas, 1919 Munch, Edvard 1996 7,702,500 Girls on a Bridge, c. 1902 O’Keeffe, Georgia 2001 6,166,000 Calla Lilies with Red Anemone, 1928 Picasso, Pablo 1989 47,850,000 Yo Picasso, 1901 Picasso, Pablo 2008 95,200,000 Dora Marr, 1941 Picasso, Pablo 2004 104,200,000 Garçon a la Pipe, 1905 Picasso, Pablo 2010 106,500,000 Nude, Green Leaves and Bust, 1932 Pollock, Jackson 1989 10,500,000 Number 8, 1950 Pollock, Jackson 2006 140,000,000 No. 5, 1948 Pontormo, Jacopo da 1990 35,200,000 Portrait of Cosimo de Medici, 1518–1519 Prince, Richard 2009 8,455,000 Country Nurse, 2003 Rauschenberg, Robert 2008 14,601,000 Overdrive, 1962 Rembrandt van Rijn 2000 28,675,830 Portrait of a Lady, Aged 63, 1632 Renoir, Pierre-Auguste 1990 78,100,000 Au Moulin de la Galette, 1876 & Sons, Inc. Copyright © 2010 by John Wiley Rivera, Diego 1995 3,082,500 Ball in Tehuantepec, 1928 Rockwell, Norman 2006 15,416,000 Breaking Home Ties, 1954 Rothko, Mark 2000 14,300,000 Yellow over Purple No. 2, 1956 Rothko, Mark 2007 72,840,000 White Center (Yellow, Pink and Lavender on Rose), 1950 Rubens, Peter Paul 1989 5,000,000 A Forest at Dawn with a Deer Hunt, c. 1635 Rubens, Peter Paul 2002 76,700,000 Massacre of the Innocents, 1611 Sargent, John Singer 2004 23,528,000 Group with Parasols (A Siesta), 1908–1911 Schnabel, Julian 1999 321,500 Maria Callas No. 4, 1982 Seurat, Georges 1990 1,992,000 Casseur Arias de Pierres, 1882 Seurat, Georges 1999 35,200,000 Landscape, Island of La Grande Jatte, n.d. Smith, David 2005 23,800,000 Cubi XXVIII, sculpture, 1965 Turner, Joseph M.W. 2008 35,800,000 Giudecca, La Donna della Salute and San Giorgio, 1840 van Gogh, Vincent 1987 53,900,000 Irises, 1889 van Gogh, Vincent 1990 82,500,000 Portrait du Dr. Gachet, 1890 van Gogh, Vincent 2008 40,300,000 Madame Ginoux, 1890 Warhol, Andy 1998 17,500,000 Orange Marilyn, 1964 Warhol, Andy 2007 71,720,000 Green Car Crash, 1963 Wyeth, Andrew 2007 10,344,000 Ericksons, 1973 Copyright © 2010 by John Wiley & Sons, Inc. 3–11. Timelines of Art History TimelinesofArt 3–11. 3–11. Continued

3–12. Looking at Art and Talking About It

Because a museum visit is a relatively rare occasion for most classes, there are other ways to find images for students to discuss. This can be in the form of posters, images from the Internet made into a slideshow, DVDs, films, a CD, art books, postcards, overhead transparencies, or slides.

FORMAL ANALYSIS Divide into groups of three or four, and have each group select a poster to analyze.

LOOKING AT CONTEMPORARY ART • Hidden meaning? Could the artist be trying to comment on a social issue? What do you think is the meaning? • Medium. What is the medium used by the artist? Does the artwork have more than one medium? • Mood. Are there clues as to the mood or meaning? Perhaps the title or informational plaque may give an idea as to what the work is about. • Rhythm. How does the artist lead your eye through the painting? Is it done with bright color? moving line? repetition of shape or color? • Sensory properties. (elements of art) such as line, color, texture, value, form and space and the formal properties (principles of design) such as repetition, rhythm, variety, center-of-interest, and balance. Much contemporary art is quite large, or protrudes into space, unlike an ordinary painting. • Value differences. Squint through your eyelashes to see values. Where are the darkest, the lightest, the brightest areas? Consider the use of light and shadow. • Looking at portraits. Looking and being able to put into words what is seen may become an important component in nation-wide testing some day. • What is in the background? • Are there clues about the sitter’s status through background, clothing, jewelry, or objects seen nearby? • Does the portrait display an attitude: calm, arrogance, intelligence, humor? • Is there enough information about the subject that you could make up a story based on what is in the picture? For example, Vermeer’s Girl with a Pearl Earring inspired a novel and film. • Do you think the artist has tried to flatter the sitter, or would you consider the portrait not-so flattering, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley yet perhaps more revealing of the person’s inner personality? • Many artists have painted self-portraits. Do you think the artist painted what was perceived as his or her inner spirit?

Drawn from American Gothic, 1930, Grant Wood, The Art Institute of Chicago 88 The Art Teacher’s Book of Lists

3–13. Looking at Sculpture

Sculpture is an all-encompassing term that includes traditional sculpture such as carved wood or marble, ceramic sculpture, or cast bronze, as well as sculptures that do not neatly fall into a particular category. New contemporary art museums and sculpture gardens are being built around the world to house “tough art”— stuff that may not be fun to look at, but expresses something that the artist has to say and that people in turn react to. • Look at a sculpture from as many angles as you can. It will look completely different from each direction. • Notice the shape. Is it organic (open to interpretation as to whether the subject is human, animal, or plant life)? • Look at the use of space within, through, and surrounding the sculpture. This negative space could be perceived to be as important as the solid areas. • Do you see the use of geometry in figural sculpture? The human form is full of geometric triangles, such as legs spread wide, a hand placed on a hip, or a hand on the head. • Is there a focal point or emphasis? Is part of the surface shinier or more complex than the rest? Is every part of the sculpture as important as every other part? • Does it appear to balance (visually and literally)? Even if it is an environmental work, the use of space, light, texture, repetition, rhythm, and balance are important. • Consider whether a sculpture evokes a particular emotion such as joy, sadness, amusement, amazement, or revulsion.

3–14. Art Appreciation Activities

• Compare. Look at two images (such as churches or portraits) from different time periods or cultures side-by-side for comparison. Write things that are different and things that are the same and then analyze each according to medium, style, content, and the elements and principles of art. & Sons, Inc. Copyright © 2010 by John Wiley • Invent a history. Look at a painting or poster, then verbally invent a history; tell something about how the artist was feeling when it was painted, why the curator of a museum bought this particular painting rather than one you might like better, something about the subject. (For example, most of what is known about the Mona Lisa is speculation.) • Personal art collection. Begin your own “personal art collection” by mentally selecting three favorite works of art that would be yours if price and availability were no object. You can de-access, just as museums sometimes do, when you add a new favorite. It is interesting to keep track of changes, noting how your taste evolves. This is a great method for getting to sleep, as you think through artworks you have seen. • Renaissance geometry. Select a Renaissance reproduction and place tracing paper on top of it. Lightly trace the main groups, then use a ruler and compass to draw geometric figures for analyzing the composition. The Renaissance masters did love geometry! • Sculptural triangles. Look at photos of Classical Greek sculpture such as The Discobolus (Discus Thrower) and become aware of the triangles, the negative space, and the diagonals. With another sculpture, point out contrapposto (the S-curve), the way the weight rests on one foot, forcing the hip to be higher on that side. Try to do this yourself. Chapter 3 Artists and Art History 89

3–15. Group Art Appreciation Activities

• Art or non-art? Without telling the purpose, have people call out nouns of all kinds as one person writes on a board (such things as car, flower, sky, clouds, house, painting, etc.). Divide these into art and non-art. • Be a work of art. Each group of people will select a famous painting with figures, then mimic the poses in the artwork. Get back into a large group and have each group interpret their painting while others try to guess what it is. • Car aesthetics. Talk about the aesthetics of cars: Which old ones were the funniest? Which would students buy if money were no object? Which ones are considered “classic” cars? What are some exterior changes they would make in cars of today? Which colors do they consider really terrible for a car? Can a car be considered a work of art? • Diamante poem. Put a group of posters on the wall. Have each person write a diamante (diamond-shaped) poem about one poster; the person will then read the poem to the group and have them guess which poster it was about. A diamante poem is Line 1: a one-word equivalent of the picture Line 2: a two- or three-word action phrase Line 3: a simile or metaphor Line 4: a single-word summation • Find the myth. Try to find several paintings that are based on mythology, and have someone look up, then tell the myth that is behind the painting. • Is it art? Look around your immediate surroundings, identify something that everyone can agree is art. • Pair/Share. Two students analyze a group of objects and decide whether each is art, then present their opinions to the larger group for dissection and discussion. • Postcards. Share art postcards and reproductions among several groups of people. Sort these into two portions, giving a “name” to each group. Then they start over and divide the reproductions into four portions, again naming each portion. • Ugliest building in town. Each person should try to draw what he or she perceives as the “ugliest building in town.” Then talk about whether it should be torn down or saved and restored. Why? • Write your definition of what art is. Based on your definition, decide whether these items are “art”: a shell, a printed coffee mug, a photograph, a ragged pair of treasured jeans, a printed T-shirt, a film poster, a maga- Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley zine advertisement. Discuss what art is.

3–16. Aesthetic Discussions

The German philosopher Alexander Baumgarden said, “Aesthetics is the science of the beautiful.” Scary! The one thing I love about aesthetic discussions or ideas is that there is no right or wrong answer, just as there is no right or wrong in art itself. Viewers are entitled to decide whether something appeals to them or they would rather not waste their time looking at it. But. . . . If you can, have an aesthetic discussion that encourages people to think about what they are seeing. . . . To consider how other people might feel about the exact same artwork . . . to be able to express a “feeling. . . . Then you may have opened a new way of looking at the world of art and fostered a lifelong appreciation of the beautiful. Naturally, you might use only one of the suggestions below for a five-minute conversation or write one on the board for students to write their thoughts on art. Sometimes thinking and writing first contributes to an enthusiastic discussion. 90 The Art Teacher’s Book of Lists

3–16. Continued

GUIDELINES FOR AN AESTHETIC DISCUSSION • Avoid questions that contain their own answers. • Suggest people be open-minded to viewpoints different from their own. • Give wait time after asking a question and before moving on to the next one. • “What do you mean by that? Give me an example.” • Play off one person’s answer against another, for example: “Do you agree with him/her?” • Encourage people to play “devil’s advocate” by presenting counterarguments. • After an extended discussion, sometimes try to come up with a consensus. • Know when to quit and move on.

CONVERSATION STARTERS IN AN AESTHETIC DISCUSSION • Why is this one work of art by a well-known artist considered a masterpiece, when a hundred others exist by the same artist? • What distinguishes this artwork from others by the same artist? Color? Subject matter? Liveliness? • Can you think of another artist whose work looks almost like this? • Do you feel anything when you look at this work of art? • Does a work of art have to be beautiful? • Should we all agree on what is beautiful? • Identify something that anyone, anywhere, any time, can agree is art. • Do you think the artist needed any particular skill to create this artwork? • Do you think the artist had someone else do the physical work based on the artist’s design? Does it matter? (For example, Jeff Koons or Louise Nevelson had others construct the work.) • Can a “natural” object be considered a work of art? • Without an artist or designer to create it or recognize it, is there art? • Who decides what an artwork is? • If an artist says it is art, is it?( Examples are DuChamp’s “ready-made” Bottle Rack or his signed Urinal, which are now in museums.) • Is there a way we can tell what an artwork meant to the artist? & Sons, Inc. Copyright © 2010 by John Wiley • Can advertising provide an example of good art? Could propaganda? • If an object is manufactured in quantity (10,000 posters, for example), does that make it less an artwork than something that is one-of-a-kind? • Do preferences in art have anything to do with masculinity or femininity? What would be considered masculine characteristics? Which would be feminine? Would one be more or less feminine/masculine if one preferred one type of art to another? • Can a manufactured object be a work of art as one that is one-of-a-kind created by an artist? • Do you need to know the artist’s intention to appreciate the artwork? • Is a copy of a work of art as much a work of art as the original? If not, why not? Should it be identified as a reproduction? Or a copy? Should it be signed by the copy artist with his or her own name? • Might a work of art speak more to one segment of society than to another, yet still be a work of art? • What is the difference between an abstract painting made by an elephant or chimpanzee and one made by a human? • If an artwork is made from an unpleasant material (to some cultures), such as elephant dung or urine, or an animal preserved in formaldehyde, should it still be considered a work of art? • What is the difference between art and craft? • What is considered good taste? • What is considered art in your own culture? • What makes one thing beautiful and another similar item (such as a sofa) ugly? • Can an object or artwork people thought was ugly when it was new be considered beautiful in a later time period? Or the reverse . . . beautiful when new, ugly fifty years later? • In the future how will you decide for yourself whether something is art? Chapter 3 Artists and Art History 91

Houses at Auvers, 1890, Vincent van Gogh, oil on canvas, Museum of Fine Arts, Boston, bequest of John T. Spaulding © Museum of Fine Arts, Boston 92 The Art Teacher’s Book of Lists

3–17. Art Criticism Questions

Part of Discipline-Based Art Education is criticism. Too often, students think this means that people will say unkind things about their art. The purpose of criticism/analysis is to get students to look at their own art and that of other people (students and professionals) analytically. They should be able to talk about the composition using terms such as the elements and principles of art. A critique need not last very long. It can often be an effective way of concluding a project. Of course, a critique of a portfolio would be much more intensive. Here are some sample questions that can begin conversations about art.

FOR A FORMAL ANALYSIS OF A WORK OF ART BY A KNOWN ARTIST • Close your eyes. Keep them closed. When you open them, remember what the first thing is that you notice. Why did you see it first (color, size, location)? • Describe the colors. Are they bright? muted? grayed? garish? pretty? soft? pastel? clashing? • Do you feel an emotion when you look at this work of art? • Let’s talk about this picture in terms of the elements and principles. • Describe the edges found in this painting. Are they fuzzy? soft? hard? blurry? blended? no edges? • Show me variety in line in this picture. • Describe the lines. Are they thick? thin? curvy? • What emotion do you think the artist might have been feeling when it was created? • What kinds of shapes do you see here? Are they geometric or amorphous? • Which of the elements do you think is most dominant in this artwork? Line, shape, color, value, or texture? • Would you feel differently about this work if the artist had made a “statement” about what he or she was trying to express in this painting?

QUESTIONS FOR COMPARE-AND-CONTRAST EXERCISES Questions such as these are helpful for discussion of students’ own work, and might be part of a written self- assessment to be turned in with their work.

Talking About Their Own Work & Sons, Inc. Copyright © 2010 by John Wiley • Would someone be willing to talk about your own work? • If you could make one change in your own artwork, what would you do? • What would you have done if you’d had more time? • What were you trying to show through the style you used? • Can you think of an artist who influenced your artwork? • If you had to submit an “artist’s statement” about your work, what might you say?

Talking About Others’ Work • Which of these artworks uses line (shape, color, form, space) most effectively? • Which of these meets the goals of the project best? (A goal might have been variety, creativity, etc.) • Which one of these shows the greatest differences in value? The most contrast? • Does this remind you of the work of any artist whose work you have seen? • If you were a curator, and you could buy one of these artworks for the collection of your museum, which one would it be? Why? Chapter 3 Artists and Art History 93

3–18. Classicism and Romanticism in Art

Art does not develop independently of the time in which it is created, but often reflects the philosophies of writers, scientists, the church, and government. Throughout history, architecture, sculpture, and painting seem to go back and forth between periods of classicism and romanticism. “Classical” describes certain periods of Greek and Roman art. The term represents the best or most typical example of its kind, with excessive decoration removed, leaving the essence. In art it has come to mean the opposite of Romantic. Romantic art appeals to the emotions, and it is often characterized by energetic swirling lines and shapes. A new, perfect Greek temple would be considered classical, whereas its ruin might be considered romantic.

CHARACTERISTICS OF CLASSICAL ART balanced decorous rational calm detached serious clean outlines dignified simple conservative elegant symmetrical controlled formal traditional cool intellectual tranquil

PERIODS IN ART THAT ARE CONSIDERED CLASSICAL Classical Greek Art Early Renaissance Impressionism Hellenistic Greek Art High Renaissance Post Impressionism Roman Art Mannerism Cubism Late Gothic Art Neoclassical Art Abstraction International Style Realistic Art

CHARACTERISTICS OF ROMANTIC/EMOTIONAL Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley asymmetrical extreme emotions sad blurred outlines man not at center spiritual conveys a mood mysterious strong diagonals dynamic nature at center swirling emotional otherworldly expressive personal to the artist

PERIODS OR MOVEMENTS IN ART THAT ARE CONSIDERED ROMANTIC Early Christian Baroque Dadaism Byzantine Rococo Expressionism Migration Romanticism Fantasy Art Medieval Post-Impressionism Abstract Expression Romanesque Art Nouveau Gothic Fauvism 94 The Art Teacher’s Book of Lists

3–19. Greek and Roman Gods, Goddesses, and Heroes

The lives of Greek and Roman gods and goddesses were an important part of those cultures that explained natural, inexplicable phenomena such as weather, seasons, and natural disasters. The foibles, jealousies, and human qualities they attributed to their gods were interpreted in literature, paintings, vases, carvings, mosaics, and tapestries. The revival of Classicism during the Renaissance also allowed artists the opportunity to reveal more of the human form, and in addition tell a good story. This list is to help identify the players in Classical artworks.

THE BEGINNING Gaia Mother Earth Uranus (Coelus) the Sky: heaven, Mother Earth’s first husband, her son

THE TITANS AND TITANESSES (CHILDREN OF MOTHER EARTH AND THE SKY)

Coeus Oceanus Crius Phoebe Cronus (Saturn) Rhea Hyperion Tethys Iapetus Theia Mnemosyne Themis

THE OLYMPIANS Greek Name Roman Name Zeus (Jupiter) ruler of the gods, god of the sky; symbol: thunderbolt and lightning Hera (Juno) goddess of marriages, wife of Zeus Aphrodite (Venus) goddess of love and beauty Apollo (Apollo) god of the sun, truth (reason), archery, music, medicine, and prophecy Ares (Mars) god of war & Sons, Inc. Copyright © 2010 by John Wiley Artemis (Diana) goddess of the hunt, twin sister of Apollo, guardian of women Athene (Minerva) goddess of wisdom, daughter of Zeus and Metis Demeter (Ceres) goddess of the underworld/agriculture Hades (Pluto) ruler of the underworld Hermes (Mercury) messenger of the gods Hestia (Vesta) goddess of the family and home Pallas Athena (Minerva) goddess of wisdom and war, patroness of artisans Poseidon (Neptune) ruler of the sea; carried a magic trident Dione goddess of the oracle of Dodona, mother of Aphrodite by Zeus Eurynome loved by Zeus, mother of the Graces Leto consort of Zeus, mother of Apollo and Artemis Maia goddess of Spring, eldest daughter of Atlas Metis goddess of wisdom, first wife of Zeus

OTHER GODS Acacesius benefactor of mankind, deliverer from evil Achelous largest of the three thousand river gods Adonis a beautiful young man loved by Aphrodite, killed by a boar Amazons a strong, warlike tribe of women Amphitrite wife of Poseidon, goddess of the sea Chapter 3 Artists and Art History 95

3–19. Continued

Andromeda bride of Perseus Arachne young girl changed by Athena into a spider Argus Hera’s thousand-eyed watchman Asklepios (Aesculapius) god of healing Atlas (had superhuman strength), carried the world on his shoulders, Titan’s son Cassiopeia the mother of Andromeda, Queen of Ethiopia Circe a sorcerer Cyclopes one-eyed blacksmiths who made the thunderbolts Danae mother of Perseus Dionysus (Bacchus) god of wine Eos (Aurora) goddess of dawn Epimetheus (cousin of Zeus), slow-witted, brother of Prometheus Eros (Cupid) god of love Eurydice wife of Orpheus Fortuna goddess of fate (fortune) Hephaistos (Vulcan) god of fire Hygeia goddess of health Linus Heracles’ music teacher Medea a sorcerer Menoetius arrogant, brutal, evil man Narcissus fell in love with his own reflections Nike (Victoria) goddess of victory Orpheus brought the joy of music to earth Pan (Faunus) god of the shepherds, half-human/half-goat Pandora when she opened the box, she released all the plagues of the world Paris a prince of Troy, his judgment was the cause of the Trojan War Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Persephone (Proserpine) goddess of the underworld, daughter of Demeter Priapus god of fertility Prometheus clever cousin of Zeus Psyche goddess of the soul Triton son of Poseidon

ZEUS’ WIVES AND LOVES ROMAN NAME Alcmene mother of Heracles and daughter Semele Demeter (Ceres) mother of Persephone Eruynome mother of the Three Graces: Aglaia, Euphrosyne, Thalia Europa sister of Cadmus, the mother of famous sons such as King Minos Harmonia first Queen of Thebes, wife of Cadmus Hera (Juno) mother of Ares, Hebe, Eileithyia (Hephaestus, not Zeus’ daughter) Io mother of Epaphus Leto (Latona) mother of Artemis and Apollo Maia mother of Hermes Metis Zeus swallowed her before she could give birth, Zeus’ first wife Mnemosyne associated with memory, mother of the nine Muses Semele mother of Dionysus Themis mother of the “Hours” 96 The Art Teacher’s Book of Lists

3–19. Continued

HEROES (HALF-HUMAN/HALF-DIVINE) Atalanta female hero who hunted with other heroes for the Calydonian boar Actaeon Artemis changed him into a stag when he observed her bathing Bellerophon ordered to kill the fire-breathing monster (the Cimera), mounted on Pegasus Cadmus founder of the city of Thebes, brother of Europa Deucalion and Pyrrha sole survivors of the flood that Zeus brought to destroy a wicked world Heracles (Hercules) completed twelve tasks to atone for the crime his father (Zeus) committed Io female ancestor (with Zeus) of Heracles Jason leader of the heroes of the ship “Argo” in search of the Golden Fleece Oedipus unknowingly killed his father and married his mother Peleus father of Achilles Perseus killed Medusa, one of the Gorgons Terminus god of boundaries Theseus kin of Heracles, King of Athens, sailed with Jason on the “Argo”

HEROES OF THE TROJAN WAR Ulysses Odysseus Achilles greatest of the Greek warriors Aeneas forefather of the Romans Agamemnon commander of the Greeks, brother-in-law of Helen Ajax second to Achilles in valor and beauty Hector enemy of Achilles Menelaus brother of King Agamemnon Odysseus king of Ithaca, invented the Trojan Horse Patroclus loyal friend of Achilles, killed in his stead Priam King of Troy Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

THREE FURIES (PUNISHED THOSE WHO ESCAPED JUSTICE) Alecto Megara Tisiphone

THREE FATES (SPUN THE THREADS OF HUMAN DESTINY) Atropos (Morta) Clotho (Nona) Lachesis (Decuma)

THREE GRACES (GODDESSES OF THE SOCIAL ARTS) Aglaia Euphrosyne Thalia

THREE HOURS (IN CHARGE [OF TIME] OF LIFE AND DEATH) Thallo Auxo Carpo Chapter 3 Artists and Art History 97

3–19. Continued

NINE MUSES (SISTERS, DAUGHTERS OF ZEUS) Calliope, muse of epic poetry, Melpomene, muse of tragedy chief of the muses Polyhymnia, muse of sacred poetry, mime Clio, muse of history Terpsichore, muse of dance Erato, muse of love poetry Thalia, muse of comedy Euterpe, muse of lyric poetry Urania, muse of astronomy

GORGONS (HALF-HUMAN/HALF-BEAST SISTERS WITH SNAKES FOR HAIR) Euryale Medusa Stheno

MYTHICAL CREATURES Centaur half horse/half man Cerberus three-headed underworld watchdog Chimera three-headed fire-breathing monster Harpies birds with women’s heads Hydra nine-headed monster Minotaur half bull/half man Nymphs female spirits of nature Satyr half goat/half man Sirens singers who lure sailors to die Sphinx half lion/half human Typhon fire-breathing monster Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley SPECIAL LOCATIONS IN MYTHOLOGY River Styx underworld river of the dead Mount Olympus home of the Gods Cythera the island where Aphrodite was washed ashore Elysian Fields land of the dead

Detail drawn from Achelous and Hercules, 1947, Thomas Hart Benton, National Museum of American Art, Washington, D.C. 98 The Art Teacher’s Book of Lists

3–20. Seventy-Five Mythological Paintings

Mythological subjects allowed artists to paint such scenes as The Birth of Venus or The Judgement of Paris. The story was known by many, the setting was entirely from the artist’s imagination, and the subject matter was acceptable in society. Angelica, 1819, Jean-Auguste-Dominique Ingres, Museu de Arte, Sao Paulo, Brazil Apollo and Daphne, 1664, Nicolas Poussin, Louvre, Paris, France Apollo Pursuing Daphne, c. 1755–1760, Giambattista Tiepolo, National Gallery, Washington, D.C. United States Artemis and a Swan, c. 480–450 BC, Pan Painter, Hermitage, St. Petersburg, Russia Ascanius Shooting the Stag, 1682, Claude Lorraine, Ashmolean Museum, Oxford, U.K. Atalanta and Meleager, c. 1628, Jacob Jordaens, Prado, Madrid, Spain Bacchanal, 1630, Peter Paul Rubens, Nationalmuseum, Stockholm, Sweden Bacchus and Ariadne, 1523, Titian, National Gallery, London, England Calumny of Apelles, c. 1495, Sandro Botticelli, Ufizzi, Florence, Italy Cupid Complaining to Venus, c. 1530, Lucas Cranach, National Gallery, London, U.K. Diana after her Bath, 1742, François Boucher, Louvre, Paris, France Diana and Actaeon, 1556–1559, Titian (Tiziano Vecellio), National Gallery of Scotland, Edinburgh Diana and Her Nymphs, 1635–1640, Peter Paul Rubens, Prado, Madrid, Spain Drunken Silenus, c. 1620, Anthony van Dyck, Gemaldegalerie, Dresden, Germany Flora, 1561, Quentin Metsys, Nationalmuseum, Stockholm, Sweden Ganymede, 1635, Rembrandt, Gemaldegalerie, Dresden, Germany Ganymede, c. 1534, Antonio Corregio, Kunsthistoriches Museum, Vienna, Austria Garden of Love, 1632–1634, Peter Paul Rubens, Prado, Madrid, Spain Io, c. 1534, Antonio Corregio, Kunsthistoriches Museum, Vienna, Austria Judgement of Paris, c. 1528, Lucas Cranach the Elder, Staatliche Kunsthalle, Karlsruhe, Germany Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley La Primavera, c. 1475–1478, Sandro Botticelli, Uffizi, Florence, Italy Landscape with Orpheus and Eurydice, 1650, Nicolas Poussin, Louvre, Paris, France Landscape with the Nymph Egeria, 1669, Claude Gelee (Lorraine), Museo Nationale de Capodimonte, Naples, Italy Laocoön, c. 1608, El Greco, National Gallery of Art, Washington, D.C., United States Leda and the Swan, c. 1534, Antonio Corregio, Staatliche Museen Dahlem, Berlin, Germany Leda, 1580–1585, Tintoretto (Jacopo Robusti), Uffizi, Florence, Italy Mars and Venus United by Love, c. 1570, Paolo Veronese, Metropolitan Museum of Art, New York City, United States Mars, c. 1660, Giovanni Guercino, Apsley House, London, U.K. Mercury and Argus, 1635–1638, Peter Paul Rubens, Gemaldegalerie, Dresden, Germany Midas and Bacchus, c. 1625, Nicolus Poussin, Alte Pinakothek, Munich, Germany Nymph and Shepherd, 1570–1575, Titian, Kunsthistoriches Museum, Vienna, Austria Nymph of the Source, after 1537, Lucas Cranach the Elder, National Gallery, Washington, D.C., United States The Allegory of Painting, 1725–1730, Giovanni Pelligrini, Accademia, Venice, Italy Pallas and Centaur, c. 1482, Sandro Botticelli, Uffizi, Florence, Italy Pardo Venus, 1560, Titian, Louvre, Paris, France Primavera, c. 1477, Sandro Botticelli, Uffizi, Florence, Italy Rape of Europa, 1607–1608, Cavalier d’Arpino, Villa Borghese, Rome, Italy Chapter 3 Artists and Art History 99

3–20. Continued

Rape of Europa, 1740–1750, Francesco Zuccarelli, Accademia, Venice, Italy Rinaldo Abandoning Armida, 1745, Giambattista Tiepolo, Art Institute of Chicago, Chicago, Illinois, United States Sacred and Profane Love, c. 1514, Titian, Villa Borghese, Rome, Italy Salmacis and Hermaphroditus, c. 1590, Bartholomeus Spranger, Kunsthistoriches Museum, Vienna, Austria Saskia as Flora, 1635, Rembrandt, National Gallery, London, U.K. Saturn Devouring his Children, 1819–1823, Francisco de Goya, Prado, Madrid, Spain Saturn, 1636–1637, Peter Paul Rubens, Prado, Madrid, Spain Sleeping Venus, 1944, Paul Delvaux, Tate, London, U.K. Tempest, 1506–1508, Giorgione, Accademia, Venice, Italy The Bathers, c. 1765–1770, Jean-Honore´ Fragonard, Louvre, Paris, France The Birth of Venus, 1636–1638, Peter Paul Rubens, Musees Royaux des Beaux-Arts, Brussels, Belgium The Birth of Venus, c. 1480–1485, Sandro Botticelli, Uffizi, Florence, Italy The Departure from Cythera, 1717, Jean-Antoine Watteau, Louvre, Paris, France The Fall of Icarus, 1567–1578, Pieter Bruegel the Elder, Musees Royaux des Beaux-Arts, Brussels, Belgium The Fall of Icarus, 1636–1638, Peter Paul Rubens, Musees Royaux des Beaux-Arts, Brussels, Belgium The Fall of Icarus, c. 1608, Carlo Saracini, Museo Nationale di Capodimonte, Naples, Italy The Feast of the Gods, 1514, Giovanni Bellini, National Gallery of Art, Washington, D.C., United States The Flaying of Marsyas, 1630, Jose´ de Ribera, Musees Royaux des Beaux-Arts, Brussels, Belgium The Intervention of the Sabine Women, 1797, Jacques Louis David, Louvre, Paris, France The Judgement of Paris, 1632–1635, Peter Paul Rubens, National Gallery, London, U.K. The Kingdom of Flora, 1631, Nicolas Poussin, Gemaldegalerie, Dresden, Germany The Rape of Proserpina, 1628–1629, Rembrandt, Staatliche Museen Dahlem, Berlin, Germany Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley The Rape of the Sabine Women, 1626–1637, Nicolas Poussin, Metropolitan Museum of Art, New York City, United States The Spinners, c. 1657, Diego Velasquez, Prado, Madrid, Spain The Three Graces, 1638–1640, Peter Paul Rubens, Prado, Madrid, Spain The Toilet of Venus, 1806, Diego Velasquez, National Gallery, London, U.K. The Triumph of Venus, 1740, François Boucher, Nationalmuseum, Stockholm, Sweden Venus and Adonis, 1553, Titian, Prado, Madrid, Spain Venus and Adonis, c. 1550–1575, Paolo Veronese, Prado, Madrid, Spain Venus and Cupid with an Organist, 1545–1548, Titian, Prado, Madrid, Spain Venus and Cupid, 1509, Lucas Cranach the Elder, Hermitage, St. Petersburg, Russia Venus and Mars, 1485–1490, Sandro Botticelli, National Gallery, London, U.K. Venus and Mars, 1498, Piero di Cosimo, National Gallery, London, U.K. Venus Consoling Love, 1751, François Boucher, National Gallery, Washington, D.C., United States Venus with a Mirror, 1488–1490, Titian, National Gallery, Washington, D.C., United States Venus with Mercury and Cupid, mid-1520s, Coreggio, National Gallery, London, U.K. Venus, Cupid, Folly, and Time, c. 1540, Agnolo Bronzino, National Gallery, London, U.K. Youthful Bacchus, c. 1589, Caravaggio, Uffizi, Florence, Italy 100 The Art Teacher’s Book of Lists

3–21. Fifty Famous Art Objects

This list could include thousands of three-dimensional art objects (including rare books), but is a representative list of objects that are mostly in museums and considered to be outstanding examples of fine crafts and sculpture.

ARTIST(S) UNKNOWN Pergamon Altar of Zeus, 180 BC, Berlin, Germany Ram Caught in a Thicket, c. 2600 BC, Ur, British Museum, Animal Head from the Oseberg Ship-Burial, c. AD 825, U niversity of Antiquities, Oslo, Norway London, U.K. Rosetta Stone, 196 BC, British Museum, London, U.K. Benin Bronze Panel, c. AD 1500, British Museum, London, U.K. Sarcophagus of Djedkhonsouioufankh (mummy cover), c. 60–525 BC, Louvre, Paris, France Book of Kells, AD 8th century, Trinity College, Dublin, Ireland Scythian Stag, Scythian Panther, c. 7th–6th century BC, Her- Bulls Head on a Harp, 2500 BC, Egyptian Museum, Cairo, mitage, St. Petersburg, Russia Egypt Stone Calendar, pre-Columbian, Museum of Archaeology, Chalice of Abbot Suger, c. 1140, National Gallery, Washing- Mexico City, Mexico ton, D.C., United States Studley Bowl, c. 1400, Victoria and Albert Museum, Code of Hammurabi. c. 1930–1888 BC, Louvre, Paris London, U.K. Court of the Emperor Justinian (mosaic), AD 6th century, Sutton Hoo Treasure, 7th Century, British Museum, San Vitale, Ravenna, Italy L ondon, U.K. Court of the Empress Theodora (mosaic), AD 6th century, Throne of Tutankhamen, Egyptian, c. 1350 BC, Egyptian San Vitale, Ravenna, Italy Museum, Cairo, Egypt Cross of Princely Crowns, 13th and 15th centuries, Wawel Trojan Gold Diadem, Bronze age, Pushkin Museum, Cathedral, Cracow, Poland M oscow, Russia Crown of the Holy Roman Empire, c. AD 962, Kunsthisto- Turquoise Throne of Murat III, Topkapi Palace, Istanbul, risches Museum, Vienna, Austria Turkey BC AD Dead Sea Scrolls, c. 100 – 68, Israel Museum, Hakirya, Vaphio Cups, c. 1500 BC, National Museum, Athens, Greece Israel The Wilton Diptych, c. 1395, National Gallery, London, U.K. Emerald Topkapi Dagger, 1746–1747, Ottoman, Topkapi Palace Museum, Istanbul, Turkey KNOWN ARTISTS Feather Crown of King Montezuma, c. 1500, Ethnological Cellini, Benvenuto, Saltcellar, 1539–1564, Museum of Art Museum, Vienna, Austria

History, Vienna, Austria & Sons, Inc. Copyright © 2010 by John Wiley Gold Beaker, 1200–1000 BC, Archaeological Museum, Tehe- Euphronios (painter)/Euxitheos (potter), Red-Figured Calyx- ran, Iran krater: Sleep and Death Lifting the Body of Sarpedon, c. Gold Crown with Two Pendants, 5th to 6th century, National 515 BC, Villia Giulia, Rome, Italy Museum of Korea, Seoul, Korea Fabergé, Peter Carl, Easter Egg, 1912, Museum of Fine Arts, Gold Mask of King Tutankhamen, 1362–1253 BC, Egyptian Richmond, Virginia, United States Museum, Cairo, Egypt Gutenberg, Johannes, Gutenberg Bible, 1456, British Guelph Treasure, c. 1579, Berlin, Germany (also Cleveland, Museum, London, U.K. Ohio, United States) Limbourg Brothers, Les Tres Riches Heures du Jean, Duc de Imperial Crown (Crown of Otto), School of Reichenau, Berry, 1413–1416, Musée Condé, Chantilly, France c. 962, Museum of Art History, Vienna, Austria Martinez, Maria, and Julian Martinez, Black Vase, 1929, The Lady with the Unicorn Tapestries, 1509–1515, Cluny Indian Art Center of California, Studio City, United States Museum, Paris, France Ordhi, Muwajd el, Celestial Globe, c. 1279, The Municipal Lindisfarne Gospels, c. AD 698, British Museum, London, U.K. Mathematics Room, Dresden, Germany Mask of Agamemnon, 1580–1550 BC, National Museum of Queen Mathilde and her attendants, Bayeux Tapestry, end Athens, Greece of 11th century, Bayeux, France North Transept Rose Window, c. 1230, Notre Dame de Char- Revere, Paul, Liberty Bowl, 1768, Boston Museum of Fine tres, Chartres, France Arts, United States Order of the Golden Fleece, c. 15th century, Residence Pal- Reimer, Hans, St. George and the Dragon, c. 1590, Resi- ace, Munich, Germany dence Palace, Munich, Germany Pala d’Oro (golden altar), 976–1209, Cathedral of St. Mark, Stradivari, Antonio, Violin, 1644–1737, Metropolitan Venice, Italy Museum of Art, New York City, United States Palette of King Narmer, c. 3000 BC, Egyptian Museum, Vyner, Robert, Crown of St. Edward, 1667, Crown Jewels of Cairo, Egypt England, London, U.K. Chapter 3 Artists and Art History 101

3–22. Art History and Artists

In this extensive overview of art history, artworks have been listed following some artists’ names to give a sense of the time period and style. This list is a consolidation of several lists from other books, including an overview of American art. Prehistory simply means that there was no written history. The Chinese, Egyptian, Indian, Mesopota- mian, and Sumerian civilizations developed in the great river valleys from 35,000 to 15,000 BC.

THE HISTORIC PERIOD OF WESTERN ART (c. 4000 to 2000 BC) This period began in the ancient Near East (Sumeria, Babylonia, and Assyria) and moved from Egypt through Greece, to Southern Europe, then Northern Europe, and eventually to the Americas.

EGYPTIAN ART (c. 4000 to 332 BC) Egyptian art was unified, meaning that paintings and sculpture complemented the architecture for which they were specifically designed. The discovery of the Rosetta Stone in 1799 by archaeologists allowed Egyptian Hieroglyphs to be accurately translated. King Tutankhamen’s Tomb, found in 1922, provided a much more complete view of the life of the Pharaohs.

GREEK ART (1500 to 20 BC) Greek art evolved from stiff, rigid human forms to classical sculptures such as the Discus Thrower and architecture found on the Acropolis. Throughout the centuries, Neo-Classical revivals based on Greek and Roman art continue to surface in painting, sculpture, and architecture. Greek vases show us how sophisticated Greek paintings might have been (had any survived). Greek influence spread to Italy, where it greatly impacted the development of Etruscan and Roman art.

ETRUSCAN, ROMAN, AND EARLY CHRISTIAN ART (c. 750 BC to AD 400) The Roman Empire fell in AD 476, but its influence was widespread, as Romans occupied Egypt and North Africa, Great Britain, and portions of Northern and Southern Europe. Roman sculpture reflected the Greek influence, and wall paintings probably were similar to those of the Greeks. Roman architecture gave us such

THE BYZANTINE EMPIRE (AD 323 to AD 1453) The Byzantine Empire began with the move of Roman Emperor Constantine to modern-day Istanbul in 323 (first called Byzantium, then Constantinople). Byzantine church decoration was notable for rich mosaics made of brilliantly colored pieces of glass. The mosaic figures were stiff; frontal, with large staring eyes, unsmiling features, and long, narrow faces. Byzantine religious paintings on wooden panels (icons) were usually placed against gold backgrounds.

THE MIDDLE AGES (c. 5TH to 13TH CENTURIES) The Middle Ages (sometimes referred to as the Dark Ages) was the time between classical antiquity and “modern” times. This period was primarily notable for manuscript illumination, grave goods (such as elaborately carved burial ships for Northern kings), carved ivory book covers, beautiful metalwork reliquaries (to house the relics of saints), and jewelry. Queen Matilda and her court Bayeux Tapestry, 1073, Bayeux, France Palace Chapel of Charlemagne, 792, Aachen, Germany artist unknown, Lindisfarne Gospels, c. 700, British Library, London artist unknown, The Book of Kells, c. 760–820, Trinity College, Dublin artist unknown, The Gospel Book of Charlemagne, c. 800–810, Kunsthistorisches Museum, Vienna Gislebertus, The Last Judgment (sculpture), 1125, Cathedral of St. Lazare, Autun, France 102 The Art Teacher’s Book of Lists

3–22. Continued

THE ROMANESQUE PERIOD (c. AD 1000 to 1150) An intense period of church building commenced in approximately 1100, when large churches were needed to accommodate great groups of people making pilgrimages across Europe to Santiago de Compostelo in Spain. Stained glass, stone carving, manuscript illumination, jewelry, and reliquaries decorated the churches, which featured vaulted ceilings and long naves, traces of the Roman marketplace. artist unknown, St. Luke Washing the Feet of Peter, Gospel Book of Otto III, c. 1000, Bavarian State Library, Munich artist unknown, Virgin and Child Enthroned, c. 1130, Metropolitan Museum of Art, New York City

GOTHIC ART (c.1100 to 1400) Gothic art came to its glory through its beautiful churches, with their heaven-reaching spires and glowing stained-glass windows. The flying buttress (exterior support) was perfected, allowing churches to rise to previously unknown heights. Gothic churches are recognized by the use of ribbed vaults, pointed arches and windows, a high nave and clerestories with jewel-like stained glass. Carvings, jeweled reliquaries, paintings, and sculpture reflected the Eastern influence (brought back by the Christian Crusaders from their travels to the Middle East).

PRE-RENAISSANCE (LATE GOTHIC) (c. 1250 to 1470) Art in this period was primarily religious and created to decorate churches and instruct a population that was basically illiterate. Artists were no longer unknown craftspersons, but became famous for their work. Illuminated manuscripts and portraits were produced with the patronage of the church and the aristocracy. As artists traveled and were influenced by their peers in other countries, a period of International Style developed that lasted from about 1400 to 1550. artist unknown, Belleville Breviary, c. 1323–1326, Bibliotheque Nationale, Paris artist unknown, Wilton Diptych, c. 1395, National Gallery, London

Italy Angelico, Fra, c. 1387–1455

Bellini, Jacopo, c. 1400–1470, The Doge, c. 1501, National Gallery, London & Sons, Inc. Copyright © 2010 by John Wiley Castagno, Andrea del, c. 1421–1457 Cimabue, c. 1240–1302, (Cenni di Peppi), The Madonna of the Angels, c. 1275, Louvre, Paris Duccio di Buoninsegna, died c. 1319 Giotto di Bondone, c. 1266–1337, Arena Chapel, 1305–1306, Padua Gozzoli, Benozo, c. 1420–1497 Lippi, Fra Filippo, c. 1406–1469 Lorenzetti, Ambrogio, c. 1290–1348, Good Government in the City, 1338–1340, Palazzo Pubblico, Sienna Martini, Simone, c. 1284–1344, Christ Carrying the Cross, c. 1340, Louvre, Paris Pollaiuolo, Antonio del, 1432–1498, Battle of Naked Men, 1465, Metropolitan Museum of Art, New York City Uccello, Paolo, 1397–1475, Battle of San Romano, 1327, Uffizi Gallery, Florence

NORTHERN RENAISSANCE (1350 to 1600) Northern Renaissance art was sometimes considered Late Gothic or Proto-Renaissance. Elongated, stylized figures, luxurious fabrics, and crowded scenes were featured in [mostly] religious paintings. Europe was recov- ering from the Black (Bubonic) Plague of 1348. Primary patrons were the church, middle-class merchants, and the aristocracy.

Germany Altdorfer, Albrecht, c. 1480–1538, The Battle of Issus, 1529, Alte Pinakothek, Munich, Germany Cranach, Lucas, the Elder, 1472–1553, The Judgement of Paris, c. 1528, Museum of Modern Art, New York City Dürer, Albrecht, 1471–1528, Self Portrait, 1500, Alte Pinakothek, Munich, Germany Chapter 3 Artists and Art History 103

3–22. Continued

Grunewald, Matthias, c. 1470–1530, Crucifixion, 1524, Badische Kunsthalle, Karlsruhe Holbein, Hans, the Younger, 1497–1543, The Ambassadors, 1533, National Gallery, London Schongauer, Martin, c. 1450–1491

The Netherlands (Flemish and Dutch) Bosch, Hieronymus, c. 1450–1516, Garden of Earthly Delights, 1500, The Prado, Madrid Brueghel, Pieter, c. 1525–1569, Hunters in the Snow, 1565, Kunsthistorisches Museum, Vienna; The Blue Cloak (Netherlandish Proverbs), 1599, State Museum, Berlin Campin, Robert, 1375–1444, (Master of Flemalle?), Merode Altarpiece, 1425–1428, Cloisters Collection, Met- ropolitan Museum of Art, New York City Goes, Hugo van der, c. 1440–1482, Portinari Altarpiece, 1476, Uffizi Gallery, Florence Limbourg brothers—Paul, Herman, and Jean, active 1380–1416, Tres Riches Heures du Jean, Duc de Berry, 1413–1416, Musée Conde, Chantilly, France Massys, Quentin, 1425–1530 Memling, Hans, c. 1430–1494, Shrine of St. Ursula, c. 1430, St. Jan’s Hospice, Bruges, Belgium Weyden, Rogier van der, c. 1399–1464, Descent from the Cross, 1435, The Prado, Madrid van Eyck, Jan, c. 1390–1441, The Mystic Lamb Altarpiece, 1432, Church of St. Bavo, Ghent, Belgium; Giovanni Arnolfini and His Bride, 1434, National Gallery, London

ITALIAN RENAISSANCE (1450 to 1520) The Renaissance actually began with the Arena Chapel Frescoes of Giotto in 1305, which were based on real people who showed emotion and whose clothing appeared to cover human forms. Giants of art such as da Vinci, Michelangelo, Raphael, and Botticelli created enduring masterpieces during this “rebirth.” Renaissance art was based on the principles developed by the Greeks. The age of Humanism had arrived. Renaissance philosophers, writers, scientists, and artists based their principles on science and mathematics as they knew them. Leonardo da Vinci felt that even the human form might be based on geometric principles. Renaissance architecture displayed geometric forms and symmetry.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Alberti, Leon Battista, 1404–1472, S. Andrea, 1470, Mantua, Italy Botticelli, Sandro, 1445–1510, Madonna of the Magnificat, c. 1483, Uffizi, Florence; Birth of Venus, c. 1480, Uffizi Gallery, Florence; Primavera, 1477–1478, Uffizi Gallery, Florence Brunelleschi, Filippo, 1377–1446, Dome, c. 1446–c. 1461, Duomo, Florence Donatello (Donato di Niccolo), c. 1386–1466, David, c. 1425, Venice, Italy Francesca, Piero Della, 1420–1492, Discovery and Proving of the True Cross, c. 1460, St. Francesco, Arezzo, Italy Ghiberti, Lorenzo, 1378–1455, Gates of Paradise (Baptistry Doors), c. 1404–1424, Florence Ghirlandaio, Domenico, 1449–1494, An Old Man and His Grandson, c. 1480, Louvre, Paris Giorgione (Giorgio da Castelfranco), 1477–1510, Pastoral Concert, c. 1510, Louvre, Paris Leonardo da Vinci, 1452–1519, 1503–1506, Louvre, Paris; Last Supper, 1495–1498, Sta. Maria delle Grazie, Milan Lotto, Lorenzo, 1480–1556 Mantegna, Andrea, 1431–1506, St. Sebastian, c. 1455–1460, Kunsthistorisches Museum, Vienna Masaccio, Tommaso, c. 1401–1428, Holy Trinity with the Virgin and St. John, 1425, Sta. Maria Novella, Flor- ence; The Tribute Money, 1427, Santa Maria del Carmine, Florence Michelangelo (Buonarotti), 1475–1564, Holy Family, 1506, Ufizzi Gallery, Florence; Sistine Chapel, 1508–1512, Vatican, Rome Perugino, Pietro, c. 1450–1523, Delivery of the Keys, 1482, Vatican, Rome Raphael Sanzio, 1483–1520, Madonna of the Chair, 1515–1516, Pitti Palace, Florence; School of Athens, 1510–1511, Stanza della Segnatura, Vatican, Rome; The Alba Madonna, c. 1508–1511 Verrocchio, Andrea del, 1435–1488 104 The Art Teacher’s Book of Lists

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MANNERISM (1525 to 1600) Mannerism closely followed the High Renaissance. Artists chose to depart from the faithfulness to nature that characterized the Renaissance, and instead elongated and distorted the human figure, using harsh, vivid colors for emotional impact. El Greco was one of the masters of this period. France Clouet, Jean, c. 1485–1541 Clouet, François, c. 1510–1572 Italy Anguissola, Sofonisba, c. 1527–1625, Self-portrait, c. 1556, Museum of Fine Arts, Boston Bronzino, Agnolo, 1503–1572 Arcimboldo, Giuseppe, 1527–1593, Winter, 1563, Kunsthistorisches Museum, Vienna Cellini, Benvenuto, 1500–1571, Saltcellar of Francis 1, Kunsthistorisches Museum, Vienna Palladio, Andrea, 1508–1580, architect Pontormo (Jacopo Carucci), 1494–1556/1557 Tintoretto, Jacopo, 1518–1594 Titian (Tiziano Vecellio), c. 1485–1576, Bacchus and Ariadne, c. 1560, National Gallery, London Vasari, Giorgio, 1511–1574 Veronese, Paolo, 1528–1588 Spain El Greco (Domenikos Theotocopoulos), 1541–1614, b. Greece, A View of Toledo, c. 1600, Metropolitan Museum of Art, New York City; The Burial of the Count of Orgaz, 1586, Santo Tomé, Toledo, Spain

AMERICAN COLONIAL PAINTERS (1564 to 1750) In this period of formation, paintings were done by European-trained artists who had immigrated to the new country. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Feke, Robert, c. 1705–c. 1750, Family of Isaac Royall, 1741, Harvard Law School, Boston; Self Portrait (date unknown), Museum of Fine Arts, Boston Greenwood, John, 1727–1792, Sea Captains Carousing in Surinam, c. 1752–58, Saint Louis Art Museum Smibert, John, The Bermuda Group, 1729, Yale University Art Gallery, New Haven, Connecticut White, John, Indians Fishing, 1585, British Museum, London

BAROQUE ART (1590 to 1750) Baroque art developed almost as a reaction to the discipline of Renaissance art and was intended to appeal to the emotions of the viewer. It was everything the Renaissance was not, in painting, sculpture, and architecture. In place of geometrically developed composition, Baroque paintings were notable for swirling strokes, strong diagonals, brilliant coloration, dramatic contrasts, and emotional intensity. Flanders Brueghel Jan, 1568–1625, Large Bouquet of Flowers in a Wooden Tub, c. 1606, Kunsthistorisches Museum, Vienna Jordaens, Jacob, 1593–1678 Rubens, Peter Paul, 1577–1640, Henry the IV Receiving the Portrait of Maria de Medici, 1621–1625, Louvre, Paris; Garden of Love, c. 1638, Prado Museum, Madrid Teniers, David, the Younger, 1610–1690 France Le Nain, Louis, 1593–1648 Lorrain, Claude, 1600–1682 Chapter 3 Artists and Art History 105

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Poussin, Nicolas, 1594–1665, Holy Family on the Steps, 1648, National Gallery of Art, Washington, D.C. Tour, Georges de la, 1593–1652, Newborn, 1630, Musée des Beaux-Arts, Rennes, France Watteau, Jean-Antoine, 1684–1721, A Pilgimage to Cythera, 1717, Louvre, Paris Germany Elsheimer, Adam, 1578–1610

Italy Bernini, Gianlorenzo, 1598–1680, Ecstasy of St. Theresa, 1625, St. Peter’s Cathedral, Rome; Four Rivers Foun- tain, 1648, Piazza Navona, Rome Caravaggio, Michelangelo da, 1571–1610, Calling of Saint Matthew, c. 1599–1600, S. Luigi dei Francesi Carracci, Annibale, 1560–1609 Francesi, Rome; Bacchus, 1589, Ufizzi Gallery, Florence, Italy Gentileschi, Artemisia, c. 1565–1647, Judith with the Head of Holofernes, c. 1625, Detroit Institute of Art Reni, Guido, 1575–1642 The Netherlands Ast, Balthasar van der, 1594–1657, Flowers, 1622, Saint Louis Art Museum Avercamp, Hendrick, 1585–1634 Berckheyde, Gerrit, 1638–1698, Haarlem, 1638, Rijksmuseum, Amsterdam Claesz, Pieter, 1590–1661, Still Life, 1643, Saint Louis Art Museum Cuyp, Aelbert, 1620–1691 de Hooch, Pieter, 1629–1684, A Country Cottage, c. 1665, Rijksmuseum, Amsterdam Hals, Frans, 1580–1666, The Women Regents of the Old Men’s Almshouse, c. 1664, Frans Halsmuseum, Haarlem Heda, Willem Claez, 1594–1680/2, Still Life, 1634, Boymans-van Beuningen Museum, Rotterdam; Still Life, c. 1648, Fine Arts Museum of San Francisco

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Heem, Jan Davidsz De, 1606–1683 Heyden, Jan van Der, 1637–1712, View of the Martelaarsgracht in Amsterdam, 1637, Rijksmuseum, Amsterdam Hobbema, Meindert, 1638–1709 Honthorst, Gerrit von, 1590–1656 Leyster, Judith, 1609–1660, Boy with Flute, 1630, National Museum, Stockholm Potter, Paulus, 1625–1654 Rembrandt Harmenz van Rijn, 1606–1669, The Night Watch, 1642, Rijksmuseum, Amsterdam; The Anatomy Lesson of Dr. Tulp, 1632, Rijksmuseum Ruisdael, Jacob van, 1628–1682, View of Haarlem, c. 1670, Mauritshuis, The Hague Saenredam, Pieter, 1597–1662 Steen, Jan, 1626–1679, The World Upside Down, c. 1663, Kunsthistorisches Museum, Vienna van Dyck, Anthony, 1599–1641, Portrait of Charles I in Hunting Dress, 1635, Louvre, Paris van Hemesen, Caterina, 1527–1587 Vermeer, Jan, 1632–1675, Allegory of the Art of Painting, 1666, Kunsthistorisches Museum, Vienna; View of Delft, c. 1662, Mauritshuis, The Hague Spain Murillo, Bartolomé, 1617–1682 Ribera, Jose de (Jusepe), 1591–1652 Velazquez, Diego, 1599–1660, Las Meninas, 1656, Prado Museum, Madrid; The Surrender of Breda, 1634, Prado Museum, Madrid 106 The Art Teacher’s Book of Lists

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ROCOCO ART (1700 to 1800) Rococo applies to the decorative arts of the time of Louis XV of France. It featured designs based on naturalistic forms such as plants, rocks, shells, and flowers. A term that is still in use today, it has come to mean the excessive use of ornament in the decorative arts. England Gainsborough, Thomas, 1727–1788 Hogarth, William, 1697–1764 Raeburn, Sir Henry, 1756–1823 Reynolds, Sir Joshua, 1723–1792, Mrs. Siddons as the Tragic Muse, 1789, Dulwich Picture Gallery, London France Boucher, François, 1703–1770, Beautiful Country Woman, c. 1732, Norton Simon Museum, Pasadena, California Chardin, Jean-Battiste-Simone, 1699–1779 de la Tour, Maurice Quentin, 1704–1788 Falconet, Etienne-Maurice, 1716–1791 Fragonard, Jean-Honore´, 1732–1806, The Swing, 1767, Wallace Collection, London Watteau, Jean-Antoine, 1684–1721, Pilgrimage to the Island of Cythera, 1717, Louvre, Paris Italy Bellotto, Bernardo, 1720–1780, Entrance to the Grand Canal, Venice, c. 1745, Fitzwilliam Museum, Cambridge, U.K. Canaletto, Giovanni Antonio Canal, 1697–1768, The Stonemason’s Yard, c. 1727, National Gallery, London Tiepolo, Giambattista, 1696–1770, Apollo Conducting Beatrice of Burgundy to Frederick Barbarossa, 1751 (ceiling fresco), Residenz, Würzburg, Germany

AMERICAN REVOLUTIONARY PERIOD (1765 to 1800) History was being made and recorded in this new country. Wealthier people could afford to pay artists for portraits, and there was a market for historical paintings. Gentlemen were their own architects, as this was not

yet recognized as a separate profession. & Sons, Inc. Copyright © 2010 by John Wiley Copley, John Singleton, 1738–1815, Paul Revere, 1768–1770, Museum of Fine Arts, Boston; Watson and the Shark, 1782, Detroit Institute of the Arts Peale, Charles Willson, 1741–1827, Exhuming the Mastodon, 1806–1808, Peale Museum/Maryland Historical Society, Baltimore; The Staircase Group, 1795, Philadelphia Museum of Art Pratt, Matthew, 1734–1805, The American School, 1765, Metropolitan Museum of Art, New York City Revere, Paul, 1735–1818, The Bloody Massacre, 1770, Library of Congress, Washington, D.C. Stuart, Gilbert, 1755–1828, George Washington, 1796, Museum of Fine Arts, Boston; The Skater, 1782, National Gallery of Art, Washington, D.C. Trumbull, John, 1756–1843, Death of General Mercer at the Battle of Princeton, 1777, Yale University Art Gal- lery, New Haven, Connecticut; The Declaration of Independence, 1786–1794, Yale University Art Gallery, New Haven, Connecticut; The Surrender of Cornwallis at Yorktown, 1817–1820, United States Capitol, Washington, D.C. West, Benjamin, 1738–1820, Penn’s Treaty with the Indians, 1772, Pennsylvania Academy of the Fine Arts, Philadelphia; The Death of General Wolfe, 1771, Royal College, London, and National Gallery of Canada, Ottawa

THE “ISMS” Neoclassicism, Romanticism, Realism, Impressionism, Art Nouveau, Post-Impressionism, Symbolism, and Expressionism were the first of the many “isms” to emerge after the Renaissance. Trends in the world of painting, sculpture, and architecture seemed to swing from naturalistic (romantic) to classical (restrained) and back again to naturalistic. Painters and sculptors reflected ideas of the writers and philosophers of the time. Chapter 3 Artists and Art History 107

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NEO-CLASSICISM (1770 to 1820) Neoclassicism was a movement to recreate the ideals of Greece and Rome and a reaction against the excesses of the Rococo style. England Stubbs, George, 1724–1806, Horse Attacked by a Lion, 1762, Yale Center for British Art, New Haven, Connecticut France Canova, Antonio, 1757–1822 David, Jacques-Louis, 1748–1825, Coronation of Napoleon and Josephine, 1805–1807, Louvre, Paris; The Death of Marat, 1793, Museés Royaux, Brussels, Belgium Ingres, Jean-Auguste Dominique, 1780–1867, Comtesse d’Haussonville, 1845, Frick Collection, New York City Vigée-LeBrun, Elizabeth, 1755–1842, Marie-Antoinette, 1787, Chateau de Versailles, France Italy Piranesi, Giovanni Battista, 1720–1778

ROMANTICISM (1800 to 1850) Romanticism was a reaction against Neo-Classicism, and was closely related to contemporary music and literature. Art of this period might tell a story or commemorate a historic event, emphasizing personal expression and imagination. England Blake, William, 1757–1827 Constable, John, 1776–1837, Stoke-by-Nayland, 1844, Art Institute of Chicago Gainsborough, Thomas, 1727–1788 Turner, J.M.W., 1775–1851, Rain, Steam, and Speed, 1844, National Gallery, London; The Slave Ship, 1840,

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Museum of Fine Arts, Boston France Corot, Jean Baptiste, 1796–1875 Delacroix, Eugene, 1798–1863, Greece on the Ruins of Missolonghi, 1826, Musée des Beaux-Arts, Bordeaux, France; Liberty Leading the People, 1830, Louvre, Paris Gericault, Theodore, 1791–1834, Mounted Officer of the Imperial Guard, 1812, Louvre, Paris Millet, Francois, 1814–1875 Moreau, Gustave, 1826-1898 Germany Friedrich, Caspar David, 1774–1840, The Sea of Ice, 1824, Kunsthalle, Hamburg, Germany Spain Goya, Francisco, 1746–1828, The Third of May 1808, 1814–1815, Prado, Madrid

HUDSON RIVER SCHOOL (AMERICA, c. 1825 to 1875) This was a group of painters whose work reflected their pride in the beauty and grandeur of the American landscape. The second generation of this “school” were sometimes called “luminist artists” because of their treatment of light. Church, Frederick Edwin, 1826–1900 Cole, Thomas, 1801–1848, View from Mount Holyoke, Massachusetts, after a Thunderstorm; The Oxbow, 1836, Metropolitan Museum of Art, New York City 108 The Art Teacher’s Book of Lists

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Cropsey, Jasper Francis, 1823–1900, Autumn on the Hudson River, 1860, National Gallery of Art, Washington, D.C. Doughty, Thomas, 1793–1856 Durand, Asher, 1796–1886, Kindred Spirits, 1849, New York Public Library, New York City; Shandaken Ridge, Kingston, New York, New York Historical Society, New York City Fisher, Alvan, 1792–1863 Inman, Henry, 1802–1846 Kensett, John F., 1816–1872, White Mountain Scenery, 1859, New York Historical Society, New York City Morse, Samuel F. B., 1791–1872 Inness, George, 1825–1894

ROCKY MOUNTAIN SCHOOL AND WESTERN PAINTERS (AMERICA, c. 1800 to 1890) These terms were applied to Western artists who painted views of the frontier and Rocky Mountains in a similar manner to the Hudson River School. Western painters illustrated frontier life, including Indian scenes, landscape, and army life. Bierstadt, Albert, 1830–1902 Catlin, George, 1796–1872, Buffalo Bull’s Back Fat, Head Chief, Blood Tribe, 1832, American Museum, Wash- ington, D.C.; Tal-lee, a Warrior of Distinction, 1834, American Museum, Washington, D.C. Eastman, Seth, 1808–1875, Travelling Tents of the Sioux Indians Called a Tepe, 1847–1849, Saint Louis Art Museum King, Charles Bird, 1785–1862, Young Omahaw, War Eagle, Little Missouri, and Pawnees, 1821, Smithsonian Institution, Washington, D.C. Remington, Frederic, 1861–1909 Russell, Charles M., 1864–1926 Wimar, Charles F., 1828–1862, Chief Billy Bowlegs, 1861, Saint Louis Art Museum; The Buffalo Dance, 1860, Saint Louis Art Museum Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Teaching a Mustang Pony to Pack Dead Game, c. 1890, Frederic Remington, oil on canvas, The Nelson-Atkins Museum of Art, Kansas City, Missouri, purchase: acquired through the generosity of the Union Pacific Foundation, photograph by Jamison Miller Chapter 3 Artists and Art History 109

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REALISM (1850 to 1880) In place of lofty subjects such as mythology, history or religion, Realistic painters preferred subjects of everyday, modern life. A variety of personal styles emerged. France Courbet, Gustave, 1819–1877, Burial at Ornans, 1849, Musée d’Orsay, Paris Daumier, Honoré, 1808–1879, The Third Class Carriage, c. 1850, Metropolitan Museum of Art, New York City Fantin-Latour, Henri, 1836–1904, Asters and Fruit on a Table, 1868, Metropolitan Museum of Art, New York City Germany Friedrich, Caspar David, 1774–1880 Japan Hiroshige, Ando, 1797–1858, Sudden Shower at Ohashi Bridge at Ataka, 1857, Fitzwilliam Museum, Cam- bridge, England Hokusai, Katsushika, 1760–1849, The Great Wave of Kanagawa, 1831, British Museum, London

AMERICAN REALISTIC PAINTINGS (c. 1800 to 1900) These painters recorded daily life of an emerging nation and its leaders. Photography was invented mid- century, so story illustrations, historical moments, portraiture, landscapes and animals discovered during exploration, and portraits painted of Native Ameri- cans were all subjects that viewers appreciated. Allston, Washington, 1779–1843, The Rising of a Thunderstorm at Sea, 1804, Museum of Fine Arts, Boston Beaux, Cecelia, 1855–1942, Sita and Sarita, c. 1921, Corcoran Gallery, Washing- ton, D.C. Bingham, George Caleb, 1811–1879, Fur Traders Descending the Missouri, 1845, Metropolitan Museum of Art, New York City; Raftsmen Playing Cards, 1847, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Saint Louis Art Museum Currier, Nathaniel, and Ives, James M., active 1835–1907, Volunteer Crossing the Finish Line, 1887, Metropolitan Museum, New York City Drawn from The Verdict of the Eakins, Thomas, 1844–1916, The Gross Clinic, 1875, Jefferson Medical College, People, 1854/55, George Caleb Philadelphia Bingham, The Saint Louis Art Homer, Winslow, 1836–1910, The Croquet Game, 1866, Chicago Art Institute; The Museum, St. Louis, Missouri Morning Bell, c. 1866, Yale University Art Gallery, New Haven, Connecticut; Prisoners from the Front, 1866, Metropolitan Museum of Art, New York City Leutz, Emanuel Gottlieb, 1816–1868, b. Germany, Washington Crossing the Delaware, 1851, Metropolitan Museum of Art, New York City Parrish, Maxfield, 1870–1966 Quidor, John, 1801–1881, The Legend of Ichabod Crane, c. 1828, Yale University Art Gallery, New Haven, Connecticut; The Return of Rip Van Winkle, c. 1849, National Gallery of Art, Washington, D,C. Ryder, Albert Pinkham, 1847–1917, Moonlit Landscape, 1819, Museum of Fine Arts, Boston Saint-Gaudens, Augustus, 1848–1907, sculptor, b. Ireland Sargent, John Singer, 1856–1925, Madame X, 1884, Metropolitan Museum of Art, New York City; Mrs. Drawn from Raftsmen Playing Cards, 1847, George Caleb George Swinton, 1896, Chicago Art Institute; Por- Bingham trait of Lady Agnew, c. 1892–1893 110 The Art Teacher’s Book of Lists

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Tanner, Henry Ossawa, 1859–1937, The Banjo Lesson, c. 1893, Hampton Institute, Hampton, Virginia Whistler, James Abbott McNeill, 1834–1903, Arrangement in Gray and Black, No. 1: The Artist’s Mother, 1871, Louvre, Paris; c. 1874, The Detroit Institute of Arts

BARBIZON SCHOOL (FRANCE, 1840s) This group of landscape painters took their name from the village of Barbizon near Fontainebleau, where they settled and painted. They preferred to paint in their studios, as opposed to the Impressionists, who painted outdoors whenever possible.

Daubigny, Charles-Francois, 1817–1878 Drawn from George Washington Crossing the Delaware, 1851, Diaz, Narcisse Virgile, 1807–1876 Emanuel Leutz, Metropolitan Museum of Art, New York City Dupré, Jules, 1811–1889 Jacque, Charles-Emile, 1813–1894 Millet, Jean Francois, 1814–1875, The Sower, c. 1850, Museum of Fine Arts, Boston; The Gleaners, 1857, Musée d’Orsay, Paris Rousseau, Theodore, 1812–1867, The Forest at Fontainebleau: Morning, 1850, Wallace Collection, London Troyon, Constant, 1810–1865

PRE-RAPHAELITE BROTHERHOOD (ENGLAND, 1848 to 1910) A group of young English painters adopted this name in the hopes of recapturing a simpler time (before Raphael/academic training). Their work reflected nature in minutely detailed landscapes and allegories. Brown, Ford Madox, 1821–1893 Collinson, James, 1825–1881 Hunt, William Holman, 1827–1910 Millais, John Everett, 1829–1896, Ophelia, c. 1851, Tate Gallery, London

Rossetti, Dante Gabriel, 1828–1882, Prosperine, 1871, Ashmolean Museum, Oxford, U.K. & Sons, Inc. Copyright © 2010 by John Wiley Rossetti, W. M., 1829–1919 Stephens, F. G., 1828–1907 Strudwick, John Melhuish, 1849–1937 Woolner, Thomas, 1825–1892

IMPRESSIONISM (1870 to 1905) Impressionism is a very short time period in the history of art, yet is one of the most popular movements of all time. The name of the group itself was used derisively by a critic to describe Monet’s painting, Impression Sunrise. Although techniques and subjects varied within the group, the emphasis was on an outdoor painting technique that shows the changing effects of light and color.

France Boudin, Eugene, 1824–1898, The Beach at Trouville, 1863, Ittleson Collection, New York City Cassatt, Mary, 1845–1926, La Loge, c. 1882, National Gallery of Art, Washington, D.C.; Lady at the Tea Table, 1885, Metropolitan Museum of Art, New York City Degas, Edgar, 1834–1917, Singer with Glove, 1878, Fogg Art Museum, Harvard University, Cambridge, Mas- sachusetts; Little Dancer, Aged 14 (sculpture), c. 1879, Saint Louis Art Museum Manet, Edouard, 1832–1883, Dejeuner sur l’Herbe, (Luncheon on the Grass), 1863, Louvre, Paris; Le Moulin de la Galette, 1876, Louvre, Paris; The Fifer, 1866, Louvre, Paris Monet, Claude, 1840–1926, Madame Gaudibert, 1868, Louvre, Paris; Rouen Cathedral in Fall Sunlight, 1892–1893, Museum of Fine Arts, Boston; Impression Sunrise-Le Havre, 1872, Musée Marmottan, Paris; The River, 1868, Art Institute of Chicago Chapter 3 Artists and Art History 111

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Morisot, Berthe, 1841–1895, The Artist’s Daughter, Julie, with her Nanny, c. 1884, Minneapolis Institute of the Arts Pissarro, Camille, 1830–1903, The Orchard, 1877, Louvre, Paris Renoir, Auguste, 1841–1919, The Luncheon of the Boating Party, c. 1881, Phillips Collection, Washington, D.C.; The Bathers, 1887, Philadelphia Museum of Art Rouault, Georges, 1871–1958, The Old King, 1937, Museum of Art, Carnegie Institute, Pittsburgh

Germany Corinth, Lovis, 1858–1925 Liebermann, Max, 1847–1935

Spain Sorolla y Bastida, Joaquin, 1863–1923

POST-IMPRESSIONISM (c. 1886 to 1920) Post-Impressionist artists continued to experiment with Impressionistic observations of light, color, and form, but such developments as Pointillism (Seurat and Signac), rough surface application of paint (van Gogh), and common subject matter (Toulouse-Lautrec), were a dramatic departure from centuries of tradition.

Australia Roberts, Tom, 1856–1931, b. England

France Bazille, Fred, 1841–1870 Bonnard, Pierre, 1867–1947 Caillebotte, Gustave, 1848–1894, Paris Street, Rainy Day, 1877, Art Institute of Chicago Cezanne, Paul, 1839–1906, Mont Ste. Victoire, 1885–1887, Courtauld Institute Galleries, London; Self-Portrait, 1877, Bayerische Staatsgemalde Collection, Munich; The Woman with a Coffee Pot, 1890–1894, Louvre, Paris Gauguin, Paul, 1848–1903, Vision After the Sermon, 1888, National Gallery of Scotland, Edinburgh; The Day

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley of the God, 1894, Art Institute of Chicago Matisse, Henri, 1869–1954, Decorative Figure Against an Ornamental Background, 1925, Musée National d’Arte Moderne, Paris; Lady in Blue, 1937, collection of Mrs. John Wintersteen, Philadelphia Rodin, Auguste, 1840–1917, The Thinker, 1880, Nelson-Atkins Museum of Art, Kansas City, Missouri Rousseau, Henri, 1844–1910, The Dream, 1910, Museum of Modern Art, New York City; Tropical Storm with a Tiger, 1891, National Gallery, London Seurat, Georges, 1859–1891, Bathers at Asnieres, 1883–1884, National Gallery, London; Woman with Parasol, 1884, Emil G. Buehrle Collection, Zurich; Sunday Afternoon on the Island of La Grande Jatte, 1884–1886, Art Institute of Chicago Signac, Paul, 1863–1935, Portrait of Félix Fénéon Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Colors, 1890, Museum of Modern Art, New York City Sisley, Alfred, 1839–1899 Toulouse-Lautrec, Henri, 1864–1901, Le Divan Japonais, 1892, Bibliothèque Nationale, Paris Utrillo, Maurice, 1883–1955 Vuillard, Edward, 1868–1940

The Netherlands van Gogh, Vincent, 1863–1890, The Starry Night, 1888, Museum of Modern Art, New York City; The Bedroom at Arles, 1889, Art Institute of Chicago

Norway Munch, Edvard, 1863–1944, Melancholy, c. 1891, National Gallery, London; The Scream, 1893, National Gallery, Oslo 112 The Art Teacher’s Book of Lists

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AMERICAN IMPRESSIONISM (1895 to 1920) American Impressionism began a little later than French Impressionism and lasted into the 20th century. In paintings of such Impressionists as “The Ten,” forms were more solid in appearance, and there was less con- cern with light. Benson, Frank, 1862–1951, Sunlight, 1909, Indianapolis Museum of Art Cassatt, Mary, 1845–1926, The Bath, 1891, Art Institute of Chicago Hassam, Childe, 1859–1935, Allies Day, May 1917, 1917, National Gallery of Art, Washington, D.C. Paxton, William, The Front Parlor, 1913, Saint Louis Art Museum Tarbell, Edmund, Across the Room, 1899, Metropolitan Museum of Art, New York City

SYMBOLISM (FRANCE, 1880s and 1890s) Symbolist painters, writers, and poets attempted to represent the mystical and occult in their art. Though they favored peasant scenes, favorite subjects were death, disease, and sin. Gauguin, Paul, 1848–1903, The Day of The God, 1894, Art Institute of Chicago Moreau, Gustave, 1826–1898 Puvis de Chavanne, Pierre, 1824–1898 Redon, Odilon, 1840–1916, Ophelia Among the Flowers, 1905–1908, National Gallery, London

ART NOUVEAU (c. 1880 to 1910) Art Nouveau was an asymmetrical decorative style used in architecture, jewelry, clothing, and illustration that featured sinuous forms based on natural objects. Austria Klimt, Gustave, 1862–1918, Portrait of Adele Bloch-Bauer 1, 1907, Neue Galerie, New York City Belgium Ensor, James, 1860–1949, Christ’s Entry into Brussels, 1888, J. Paul Getty Museum, Los Angeles Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Czech Republic Mucha, Alphonse, 1860–1939, Sarah Bernhardt as Medea, 1898, Mucha Trust, Prague, Czech Republic England Beardsley, Aubrey, 1872–1898, Salome with her Mother, Herodias, 1894, private collection Waterhouse, John William, 1849–1917, b. Rome United States LaFarge, John, 1835–1910 Tiffany, Louis Comfort, 1848–1933

NABIS (FRANCE, 1890s) The Nabis (translates as “Prophet” in Hebrew) adopted Gauguin’s emotional use of color and distortion of line as a reaction against the naturalistic colors of the Impressionists. Bernard, Emile, 1868–1941 Bonnard, Pierre, 1867–1947 Denis, Maurice, 1870–1943 Gauguin, Paul, 1848–1903 Maillol, Aristide, 1861–1944, Profile of a Young Woman, 1890, Musée Hyacinthe Rigaud, Perpignan, France Serusier, Paul, 1863–1927 Vuillard, Edward, 1868–1940 Chapter 3 Artists and Art History 113

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THE TEN (AMERICA, 1898 to 1918) Most of this group of painters had studied in Europe and reflected the popularity of Impressionism in Paris. Their first exhibition, “Ten American Painters,” was in 1898, and they continued to show together for twenty years. Benson, Frank W., 1861–1951 Chase, William Merrit, 1849–1916 (a replacement for when Twachtmann died) De Camp, Joseph R., 1858–1923 Dewing, Thomas W., 1851–1938 Hassam, Childe, 1859–1935, The Union Jack, New York, April Morn, 1918, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Metcalf, Willard L., 1853–1925 Reid, Robert, 1862–1929 Simmons, Edward, 1852–1931 Tarbell, Edmund C., 1862–1938 Twachtmann, John Henry, 1853–1902 Weir, J. Alden, 1852–1919

THE EIGHT (THE ASHCAN SCHOOL) (1900 to 1920) They began as the “Philadelphia Realists” (where most of them had been newspaper artists), then moved to New York, and became the “New York Realists.” Their paintings depicted daily life in the American urban environment, specializing in people on crowded streets and at the park, theaters, and entertainment spectacles. Davies, Arthur B., 1862–1928 Glackens, William, 1870–1938, Hammerstein’s Roof Garden, 1901, Whitney Museum of American Art, New York City; The Green Car, 1910, Metro- politan Museum of Art, New York City

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Henri, Robert, 1865–1929, Snow in New York, 1902, National Gallery of Art, Washington, D.C.; The Masquerade Dress, 1911, Metropolitan Museum of Art, New York City Lawson, Ernest, 1873–1939 Luks, George, 1866–1933, Mrs. Gamely, 1930, Whitney Museum of American Art, New York City Prendergast, Maurice, 1859–1924, Central Park, 1908–1910, Metropolitan Museum of Art, New York City Shinn, Everett, 1873–1958 Sloan, John, 1871–1951, Hairdresser’s Window, 1907, Wadsworth Atheneum, Drawn after Snow in New York, 1902, Robert Henri, National Hartford, Connecticut; Sunday, Women Drying Their Hair, 1912, Addison Gallery of Art Gallery of American Art, Phillips Academy, Andover, Massachusetts

PHOTO SECESSION (1905 to 1917) This movement was founded by photographer Alfred Stieglitz. Exhibitions in his Gallery 291 spearheaded the modern movement in the United States. Dove, Arthur, 1880–1946 Hartley, Marsden, 1877–1943 Marin, John, 1870–1953 O’Keeffe, Georgia, 1887–1986 Steichen, Edward, 1879–1973 Stieglitz, Alfred, 1864–1946 114 The Art Teacher’s Book of Lists

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FAUVISM (1905 to 1907) The “Wild Beasts” (literal translation of Fauves) interpreted their world in wildly unrealistic and clashing colors. Bright red trees, yellow faces were featured. Several Post-Impressionists were also considered Fauve.

Belgium Dongen, Kees van, 1877–1968 Vlaminck, Maurice, 1876–1958, View of the Seine, 1906, Hermitage, St. Petersburg, Russia

France Braque, Georges, 1882–1963 Derain, André, 1880–1954, Pool of London, 1906, Tate Gallery, London Dufy, Raoul, 1877–1953 Matisse, Henri, 1869–1954, The Green Stripe (Mme Matisse), 1905, Royal Museum of Fine Arts, Copenhagen Rouault, Georges, 1871–1958

Germany Heckel, Erich, 1883–1970

CUBISM (1907 into 1920s) Picasso, Braque, and Gris were the founders of Cubism, in which the appearance of a real subject is frag- mented and reassembled to show different aspects. It was inspired by African art and late Cezanne paintings.

France Archipenko, Alexander, 1887–1964, b. Ukraine Braque, Georges, 1882–1963, Le Portugais (the Immigrant), 1911, Kunstmuseum, Basel, Switzerland Delaunay, Robert, 1885–1941 Delaunay, Sonia, 1885–1979

Duchamp, Marcel, 1887–1968, Nude Descending a Staircase #2, 1912, Philadelphia Museum of Art & Sons, Inc. Copyright © 2010 by John Wiley Duchamp-Villon, Raymond, 1876–1918, Large Horse, 1914, Museum of Mondern Art, New York city Leger, Fernand, 1881–1955, The Mechanic, 1920, National Gallery, Montreal, Canada Lipchitz, Jacques, 1891–1973 Villon, Jacques, 1875–1963

Spain Gris, Juan, 1887–1927 Picasso, Pablo, 1881–1973, Les Demoiselles d’Avignon, 1907, Museum of Modern Art, New York City; Guer- nica, 1937, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

FUTURISM (1908 to 1918) Futurist/Cubist painting was primarily an Italian movement in which painters attempted to show the speed and energy of modern life. Italy Balla, Giacomo, 1871–1958 Boccioni, Umberto, 1882–1916, States of Mind, The Farewells, 1911, Museum of Modern Art, New York City; Unique Forms of Continuity in Space (bronze), 1912–1913, MoMA, New York City Carra, Carlo, 1881–1966 Severini, Gino, 1883–1966 Chapter 3 Artists and Art History 115

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United States Feininger, Lyonel, 1871–1956 Stella, Joseph, 1877–1946, Battle of Lights, Coney Island, 1914, Yale University Art Gallery, New Haven, Con- necticut; Brooklyn Bridge, 1917, Yale University Art Gallery, New Haven, Connecticut

PRECISIONIST PAINTERS (AMERICA, 1915 to present) Precisionist painters are sometimes called Cubist-Realists or the Immaculates. Their paintings are frequently based on photography, transforming cities, the industrial landscape and machinery to flattened shapes and strong shadows, stripped of detail almost to the point of abstraction. A few painters attempt to show the pace and movement of American cities with fractured prisms of light. Feininger, Lyonel, 1871–1956, Regler Church, Erfurt, 1930, Museum of Fine Arts, Boston Sheeler, Charles, 1883–1965, Classic Landscape, 1931, Saint Louis Art Museum Stella, Joseph, 1877–1946, The Bridge, 1920–1922, Newark Museum, Newark, New Jersey

DADA (1916 to 1922) The Dada movement began in France as a revolt against World War I. The name Dada (a French child’s word for hobby horse) represented the nonsensical nature of its art. It fostered creativity by rebelling against traditional forms of logic, art, and culture. France Arp, Jean, 1887–1966 Brancusi, Constantin, 1876–1957, b. Romania Duchamp, Marcel, 1887–1968, Fountain, 1917, New York Independents Show, collection of Louise and Walter Arensberg; Nude Descending a Staircase, 1912, Philadelphia Museum of Art Picabia, Francis, 1879–1953 Germany

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Grosz, George, 1893–1959 Schwitters, Kurt, 1887–1948 United States Ray, Man, 1890–1977, Metronome (Object to be Destroyed), 1957, Kunsthalle Hamburg, Germany

SURREALISM (1914 to 1940s) Surrealism literally translates as “above reality.” The movement, which features unrealistic or fantastic images, began in France, inspired by the stream-of-consciousness writings of André Breton. Freud’s theories of the unconscious existed at this same time period. Belgium Delvaux, Paul, 1897–1994 Magritte, Rene´, 1898–1967, The Human Condition, 1933, National Gallery of Art, Washington, D.C. Tanguy, Yves, 1900–1955 England Carrington, Leonora, 1917 France Duchamp, Marcel, 1887–1968, The Large Glass, 1915, Philadelphia Museum of Art Dubuffet, Jean, 1901–1985 Redon, Odilon, 1840–1916 116 The Art Teacher’s Book of Lists

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Germany Ernst, Max, 1891–1975, Elephant of the Celebes, 1921, Museum of Modern Art, New York City Italy Chirico, Giorgio di, 1888–1978, Nostalgia of the Infinite, 1913, Museum of Modern Art, New York City; The Disquieting Muses, 1916, Gianni Mattioli Foundation, Milan Mexico Kahlo, Frida, 1907–1954, The Two Fridas, 1939, Museo de Arte Moderno, Mexico City The Netherlands Escher, Maurits C., 1898–1972 Russia Chagall, Marc, 1887–1985, I and the Village, 1911, Museum of Modern Art, New York City; Self Portrait with Seven Fingers, 1912, Stedelijk Museum, Amsterdam Tchelitchew, Pavel, 1898–1957 Spain Dali, Salvador, 1904–1988, The Persistence of Memory, 1931, Museum of Modern Art, New York City; Old Age, Adolescence, Infancy (The Three Ages), 1940, Salvador Dali Museum, St. Petersburg, Florida Miró, Joan, 1893–1983, Harlequin’s Carnival, c. 1925, Albright Knox Art Gallery, Buffalo, New York Switzerland Giacometti, Alberto, 1901–1966, Cat, 1954, Metropolitan Museum of Art, New York City

AMERICAN MODERNISM (1920s and 1930s) The work exhibited by the modernists demonstrated perfectly that there was no right or wrong way to do art. Most of the artwork had a recognizable subject, but many artists interpreted the subject abstractly, while others simplified the subject to its essence. Each artist communicated in a highly personal style. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Davis, Stuart, 1894–1964, House and Street, 1931, Whitney Museum of American Art, New York City Demuth, Charles, 1883–1935, Acrobats, 1919, Museum of Modern Art, New York City; I Saw the Figure Five in Gold, 1928, Metropolitan Museum of Art, New York City Dove, Arthur, 1880–1946, Fog Horns, 1929, Colorado Springs Fine Arts Center Hartley, Marsden, 1877–1943 Hofmann, Hans, 1880–1966 Kuhn, Walt, 1880–1949 O’Keeffe, Georgia, 1887–1986, New York Night, 1928–1929, Nebraska Art Association, Sheldon Gallery, Lincoln, Nebraska Tobey, Mark, 1890–1976

AMERICAN SCENE PAINTING, REGIONALISM (1920s and 1930s) Scene painters of this time period were recording what they saw around them. Some of these works were referred to as “The Ashcan School” because of their stark realism. The works of many of these artists were not greatly appreciated in their time, but are becoming recognized as the national treasures that they are. Bellows, George, 1882–1925, Cliff Dwellers, 1913, Los Angeles County Museum of Art; Stag at Sharkey’s, 1909, Cleveland Museum of Art Benton, Thomas Hart, 1889–1975 Burchfield, Charles, 1893–1967, The Sphinx and the Milky Way, 1946, Munson-Williams-Proctor Institute, Utica, New York Chapter 3 Artists and Art History 117

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Curry, John Steuart, 1897–1946 Gwathmey, Robert, 1903–1988 Jones, Joe, 1909–1963 Marin, John, 1870–1953, Maine Islands, 1922, Phillips, Washington, D.C. Moses, Anna Mary (Grandma), 1860–1961 Rockwell, Norman, 1894–1978 Soyer, Isaac, 1907–1981 Soyer, Moses, 1899–1974 Soyer, Raphael, 1899–1987 Wood, Grant, 1892–1942 Wyeth, Andrew, 1917–2009 Drawn from Quilting Bee, 1950, Anna Mary GERMAN EXPRESSIONISM (1910 to 1932) (Grandma) Moses German Expressionism emerged about the same time as French Fauvism, but relied even more on distortion and exaggeration. Baumeister, Willi, 1889–1955 Beckmann, Max, 1844–1950 Corinth, Lovis, 1858–1925 Dix, Otto, 1891–1969 Grosz, George, 1893–1959 Heckel, Erich, 1883–1970, Lake Near Moritzburg, 1909, National Museum of Wales, Cardiff Kollwitz, Käthe, 1867–1945, March of the Weavers, 1897, Stadtmuseum, Munich, Germany Meidner, Ludwig, 1884–1966 Modersohn-Becker, Paula, 1876–1907 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley DIE BRÜCKE (GERMANY, 1905 to 1913) The movement’s founders considered their work a bridge between the past and the future. It featured bright, unrealistic colors, similar to those of the Fauves. Bleyl, Fritz, 1880–1966 Kirchner, Ernst, 1880–1938, Self Portrait with a Model, 1907, Kunsthalle, Hamburg, Germany Nolde, Emil, 1867–1956 Pechstein, Max, 1881–1955 Schmidt-Rottluff, Karl, 1884–1976

DER BLAUE REITER (GERMANY, 1911 to 1914) The Blaue Reiter Group was considered the high point of German Expressionism. The name of the group came from a Kandinsky painting, and was used for a collection of writings and an exhibition. Their work was an attempt to show their spirituality through symbolism. Kandinsky, Wassily, 1866–1944, Der Blaue Reiter, 1909, Pompidou Centre, Paris Macke, August, 1887–1914 Marc, Franz, 1880–1916, The Red Bull, 1912, Pushkin Museum, Moscow Münter, Gabriele, 1877–1962 von Jawlensky, Alexei, 1864–1941, b. Russia 118 The Art Teacher’s Book of Lists

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CONSTRUCTIVISM (RUSSIA, c. 1913 to c. 1922) This largely Russian movement shared a philosophy that artworks should reflect modern technology, with sculpture constructed using such industrial materials as plastic and glass. Gabo, Naum, 1890–1977, Linear Construction in Space Number 1, 1944–1945, University of Cambridge, England Lissitzky, El, 1890–1941, Construction Proun 2, c. 1920, Philadelphia Museum of Art Malevich, Kasimir, 1878–1935 Pevsner, Anton, 1886–1962 Popova, Lyubov, 1889–1924 Rodchenko, Alexander, 1891–1956 Tatlin, Vladimir, 1885–1953

DE STIJL (NETHERLANDS, 1917) Piet Mondrian’s and Theo van Doesburg’s art reflected the theory that art should reflect the mystery of the universe. Their work was primarily composed of geometric shapes and lines. Mondrian, Piet, 1872–1944 Rietveld, Gerrit Thomas, 1888–1964 van Doesburg, Theo, 1883–1931

FEDERAL ARTS PROJECTS (AMERICA, 1933 to 1943) During the Depression, the federal government formed a number of different agencies to provide work for artists. Among these were PWAP (Public Works of Art Project), the WPA (Works Progress Administration), and the FSA (Farm Security Administration).

BAUHAUS (GERMANY, c. 1919 to 1933) The Bauhaus center of modern design was founded in Weimar, Germany, to further the ideals of its found-

ers that the craftsman-designer could be involved in industrial mass production to create affordable art and & Sons, Inc. Copyright © 2010 by John Wiley architecture. Bayer, Herbert, 1900–1985 Breuer, Marcel, 1902–1981 Gropius, Walter, 1883–1969 Kandinsky, Wassily, 1866–1944, b. Russia Klee, Paul, 1879–1940, Red Balloon, 1922, Guggenheim Museum, New York City Mies van der Rohe, Ludwig, 1886–1969 Moholy-Nagy, Laszlo, 1895–1946

THE AMERICAN BAUHAUS (CHICAGO, 1938) When the Nazis closed the Bauhaus School in Dessau, Germany, in 1933, many Bauhaus artists were displaced and immigrated to the United States. These professors established a short-lived American Bauhaus in Chicago in 1938. Albers, Josef, 1888–1976 Feininger, Lyonel, 1871–1956 Gropius, Walter, 1883–1969 Hofmann, Hans, 1880–1966 Maholy-Nagy, Lázló, 1895–1946 Mies van der Rohe, Ludwig, 1886–1969 Chapter 3 Artists and Art History 119

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REALISM AND FIGURATIVE PAINTING (1920 to 1940) In the countries where this style dominated, the artists were simply presenting naturalistic representations of what they saw.

Mexico Orozco, José Clemente, 1883–1949, The Spanish Conquest of Mexico (mural), 1938–1939, Hospicio Cabanas, Guadalajara, Mexico Rivera, Diego, 1886–1957, The Great City of Tenochtitlan, 1945, Palacio Nacional, Mexico City Siqueiros, David A., 1896–1974 Tamayo, Rufino, 1899–1991

SOCIAL REALISM (UNITED STATES, early 1930s to 1940) The Social Realists used their art to comment on the plight of poor or oppressed Americans. In 1936 they formed an Artists’ Congress for the purpose of fighting fascism, social inequities, and economic depression through their art. Beaux, Cecelia, 1863–1942 Bellows, George, 1882–1925, Cliff Dwellers, 1913, Los Angeles County Museum of Art Burchfield, Charles, 1893–1967 Evergood, Phillip, 1901–1975 Gorky, Arshile, 1904–1948, The Artist and His Mother, 1926–1929, Whitney Museum of American Art, New York City Hirsch, Stefan, 1899–1964 Hopper, Edward, 1882–1967, Nighthawks, 1942, Art Institute of Chicago; Early Sunday Morning, 1930, Whitney Museum of American Art, New York City Kane, John, 1860–1932 Lawrence, Jacob, 1917–2000 Levine, Jack, 1915 Marin, John, 1870–1953 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Marsh, Reginald, 1898–1954, Twenty-Cent Movie, 1936, Whitney Museum of American Art, New York City Moses, Anna Mary (Grandma), 1860–1961 Pippin, Horace, 1888–1946 Rockwell, Norman, 1894–1978 Shahn, Ben, 1898–1969, The Passion of Sacco and Vanzetti, 1931–1932, Whitney Museum of American Art, New York City

HARLEM RENAISSANCE (AMERICA, 1916 to 1940) During the Harlem Renaissance, African American artists in all the art forms received recognition. Writers, musicians, painters, sculptors, dancers, and actors portrayed the African American experience in their art, with far-reaching results. Many young African American artists were recruited to paint murals by the government during the depression.

Alston, Charles, 1907–1977 Fuller, Meta Vaux Warrick, 1877–1968 Barthé, Richmond, 1901–1989 Hayden, Palmer, 1890–1973 Bearden, Romare, 1914–1988 Johnson, Malvin Gray, 1896–1934 Biggers, John, 1924–2001 Johnson, Sargent Claude, 1887–1967 Crichlow, Ernest, 1914–2005 Johnson, William H., 1901–1970 Crite, Allan Rohan, 1910–2007 Jones, Lois Mailou, 1905–1998 Delaney, Beauford, 1901–1971 Knight, Gwendolyn, 1913–2005 Douglas, Aaron, 1898–1979 Lawrence, Jacob, 1917–2000 120 The Art Teacher’s Book of Lists

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Lewis, Samella, 1924 Thrash, Dox, 1892–1965 Motley, Archibald, Jr., 1891–1981 Woodruff, Hale, 1900–1980 Savage, Augusta, 1892–1962 Zee, James Van Der, 1886–1983

THE SPIRAL GROUP (AMERICA, 1963 to 1966) The Spiral Group, founded in 1963 by Romare Bearden and Norman Lewis, deals with gaining respect and recognition for the unique characteristics of African American art. Alston, Charles, 1901–1977 Mayhew, Richard, 1924 Amos, Emma, 1938 Miller, Earl, 1930 Bearden, Romare, 1911–1988 Porter, James A., 1905–1970 Douglass, Calvin, 1931 Prophet, Nancy Elizabeth, 1890–1960 Ferguson, Perry, no date Sebree, Charles, 1914–1985 Gammon, Reginald, 1921–2005 Simpson, Merton, 1928 Hines, Felrath, 1918–1993 Tanner, Henry Osawa, 1859–1937 Hollingsworth, Alvin, 1928–2000 Woodruff, Hale, 1900–1980 Lewis, Norman, 1909–1979 Yeargans, James, no date Majors, William, 1930–1982

MODERNISM (AVANT-GARDE) (c. 1920 to 1945) In Modernism it appeared rules were made to be broken, and color, form, and reality were all distorted to reflect the artists’ viewpoint. The Armory Show in New York in 1913 brought European trends to America, effectively ending the naturalistic trends of the Hudson River School and the Ashcan School (naturalism at its most romantic—and its most brutal). Austria Klimt, Gustav, 1862–1918, The Kiss, 1907, private collection

Kokoschka, Oskar, 1886–1980, Self-Portrait, 1913, Museum of Modern Art, New York City & Sons, Inc. Copyright © 2010 by John Wiley Schiele, Egon, 1890–1918, Seated Woman, Back View, 1917, Metropolitan Museum, New York City England Sutherland, Graham, 1903–1980, A Path in the Woods, 1958, Norwich Museum Italy Modigliani, Amadeo, 1884–1920, Gypsy Woman with Baby, 1919, National Gallery of Art, Washington, D.C. The Netherlands Mondrian, Piet, 1872–1944, Composition in Line and Color, 1913, Rijksmuseum, Otterlo, The Netherlands United States Davies, Arthur B., 1862–1928, Intermezzo, 1915, Graham Gallery, New York City Davis, Stuart, 1894–1964, Report from Rockport, 1940, Collection Mr. & Mrs. Milton Lowenthal, New York City Demuth, Charles, 1883–1935, Buildings, Lancaster, 1930, Whitney Museum of American Art, New York City; I Saw the Figure 5 in Gold, 1928, Metropolitan Museum of Art, New York City Dove, Arthur, 1880–1946, Nature Symbolized—Connecticut River, 1911, Estate of Edith Halpert Hopper, Edward, 1882–1967, Nighthawks, 1942, Art Institute of Chicago Morgan, Russell, 1886–1953, Four Part Synchromy No. 7, 1914–1915, Whitney Museum of American Art, New York City Weber, Max, 1881–1961, Chinese Restaurant, 1915, Whitney Museum of American Art, New York City; Rush Hour, New York, 1915, National Gallery of Art, Washington, D.C. Chapter 3 Artists and Art History 121

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HAPPENINGS (late 1950s) Happenings (performance art) sometimes involved the audience and art or found objects. These spontaneous theatrical presentations were usually nonverbal, and often unplanned. Many of the same artists who participated in performance art went on to produce artwork of greater permanence. Dine, Jim, 1935 Grooms, Red, 1937 Kaprow, Allan, 1927–2006 Oldenburg, Claes, 1929 Whitman, Robert, 1935

POP ART (1945 to 1965) Pop artists chose banal consumer products or ordinary objects (such as the Campbell soup can or a target) to use as themes for their paintings. They often directly copied advertising techniques such as the Benday dot or comic book styles. England Blake, Peter, 1932, Just What Was It That Made Yesterday’s Homes So Different, So Appealing? 1959, Kunsthalle Hamburg, Germany Hamilton, Richard, 1922 Italy Fontana, Lucio, 1899–1968 Mazoni, Piero, 1933–1963 Switzerland Oppenheim, Meret, 1913–1985, b. Germany United States Bontecou, Lee, 1931 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Bengston, Billy Al, 1934 Diebenkorn, Richard, 1922–1993 Dine, Jim, 1935

Escobar, Marisol, 1930 Drawn from Black and White Goode, Joe, 1937 Numerals, Figure 7, Jasper Johns Indiana, Robert, 1928 Johns, Jasper, 1930, Target with Four Faces, 1955, Museum of Modern Art, New York City; Three Flags, 1958, Whitney Museum of American Art, New York City Kitaj, R. B., 1932–2007 Lichtenstein, Roy, 1923–1997, Dreaming Girl, 1963, Museum of Modern Art, New York City Oldenburg, Claes, 1929, and Coosje van Bruggen, 1942–2009, Spoonbridge and Cherry, 1985–1988, Walker Art Center, Minneapolis Ramos, Mel, 1935, Tiger Girl, 1964, Kresge Art Museum at Michigan State University Rauschenberg, Robert, 1925–2008, Monogram, 1955–1959, Moderna Museet, Stockholm; Retroactive I, 1964, Wadsworth Atheneum, Hartford, Connecticut Rosenquist, James, 1933 Ruscha, Edward, 1937 Tooker, George, 1920, The Subway, 1950, Whitney Museum of American Art, New York City Warhol, Andy, 1930–1987, Marilyn Diptych, 1962, Tate Gallery, London; Campbell’s Soup Can, 1962, Saatchi Collection, London Wesselmann, Tom, 1931–2004 122 The Art Teacher’s Book of Lists

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Still Life No. 24, 1962, Tom Wesselmann, acrylic polymer on board, Nelson-Atkins Art Museum, Kansas City, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Missouri, Gift of the Guild of the Friends of Art, © Estate of Tom Wesselmann/Licensed by VAGA, New York, New York

COLOR FIELD PAINTING (1950 to 1960s) Loosely applied colored stains on giant canvases might be typical for some Color Field artists, while others, such as Ellsworth Kelly, worked in tightly controlled colors. United States Francis, Sam, 1923–1994 Frankenthaler, Helen, 1928, Mountains and Sea, 1952, National Gallery of Art, Washington, D.C. Liberman, Alexander, 1912–1999 Louis, Morris, 1912–1962, Blue Veil, 1958–1959, Harvard University Art Museums, Cambridge, Massachusetts Newman, Barnett, 1905–1970 Noland, Kenneth, 1924–2010, Horizontal Stripes (III-27), 1978, MoMA, New York City Rothko, Mark, 1903–1970 Stella, Frank, 1936, Concentric Squares, 1966, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Still, Clyfford, 1904–1980 Chapter 3 Artists and Art History 123

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OP ART (1960s) Op Art plays with the eye. Artists used devices such as high contrast, moiré patterns, geometric shapes, and vibrant colors to create optical illusions of movement. England Riley, Bridget, 1931, Achaean, 1981, Tate Gallery, London France Vasarely, Victor, 1908–1997, Arcturus II, 1966, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Israel Agam, Yaacov, 1928 United States Anuszkiewicz, Richard, 1930 Davis, Ron, 1937 Poons, Larry, 1937

FUNK ART (1950 to 1960s) Funk Art originated in the San Francisco Bay area. Although painters founded the movement, sculptural techniques and assemblage soon took over. Taboo subjects and materials that would not normally be considered suitable for art became art. Arneson, Robert, 1930–1992 DeForest, Roy, 1930–2007

ARTE POVERA (c. 1969) This largely Italian movement used junk objects in composition, a form of rebellion against materialism.

ABSTRACT EXPRESSIONISM (1945 to 1970) As the name implies, artists of this period expressed their emotions energetically and visibly in their artwork. Frequently there was no subject at all (as in Jackson Pollock’s work), but other artists allowed you to see abstracted reality. England Bacon, Francis, 1909–1992, b. Ireland, Head Surrounded by Sides of Beef, 1954, Art Institute of Chicago Hepworth, Barbara, 1903–1975, sculptor Moore, Henry, 1898–1986, sculptor/graphics France Dubuffet, Bernard, 1901–1985, Armchair, 1966, Art Institute of Chicago Soutine, Chaim, 1893–1943, b. Lithuania, Madeleine Castaing, 1929, Metropolitan Museum of Art, New York City Germany Bill, Max, 1908–1995 Italy Burri, Alberto, 1915–1995 Modigliani, Amadeo, 1884–1920, Boy in Short Pants, 1918, Dallas Museum of Art 124 The Art Teacher’s Book of Lists

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The Netherlands Appel, Karel, 1921–2006, Parrot Woman with Bird, 1963, Hirshhorn Museum, Washington, D.C. Mondrian, Piet, 1872–1944, Broadway Boogie Woogie, 1942–1943, MoMA, New York City

Romania Brancusi, Constantin, 1876–1957, Mademoiselle Pogany (bronze), c. 1920, Pompidou Centre, Paris

Russia Archipenko, Alexander, 1887–1964 Kandinsky, Wassily, 1866–1944, Composition VII, Tretyakov Gallery, Moscow Lissitsky, El, 1890–1941 Malevich, Kasimir, 1878–1935

Spain Tapies, Antoni, 1923

Switzerland Giacometti, Alberto, 1901–1966, Caroline, 1962, Kunstmuseum, Basel, Switzerland

United States Avery, Milton, 1893–1965 Baziotes, William, 1912–1963 Calder, Alexander, 1898–1976 Cornell, Joseph, 1903–1972, Soap Bubble Set, 1948, Art Institute of Chicago Davis, Stuart, 1894–1964 de Kooning, Elaine de, 1920–1989 de Kooning, Willem, 1904–1997, Woman I, 1950–1952, Museum of Modern Art, New York City Diebenkorn, Richard, 1922–1993, Cityscape 1, 1963, San Francisco Museum of Modern Art & Sons, Inc. Copyright © 2010 by John Wiley Francis, Sam, 1923–1994 Gorky, Arshile, 1904–1948 Gottlieb, Adolph, 1903–1974 Graves, Morris, 1910–2001 Guston, Philip, 1913–1980, Legend, 1977, Museum of Fine Arts, Houston Held, Al, 1928–2005 Hofman, Hans, 1880–1966, The Veil in the Mirror, 1952, Museum of Modern Art, New York City Kelly, Ellsworth, 1923 Kline, Franz, 1910–1962, Mahoning, 1956, Whitney Museum of American Art, New York City Krasner, Lee, 1908–1984 LeWitt, Sol, 1928–2007 Martin, Agnes, 1912–2004, b. Canada Motherwell, Robert, 1915–1991 Nevelson, Louise, 1900–1988, Tropical Garden II, 1957–1959, Pompidou Centre, Paris Newman, Barnett, 1905–1970 Noland, Kenneth, 1924–2010 Olitski, Jules, 1922–2007, b. Ukraine Pollock, Jackson, 1912–1956, Autumn Rhythm (Number 20), 1950, Metropolitan Museum of Art, New York City Reinhardt, Ad, 1913–1967 Chapter 3 Artists and Art History 125

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Rivers, Larry, 1923–2002 Rothko, Mark, 1903–1970, Centre Triptych for the Rothko Chapel, 1966, Rothko Chapel, Houston Smith, David, 1906–1965, sculptor Stella, Frank, 1936, Hockenheim, 1982, Philadelphia Museum of Art, Pennsylvania; A Bower in the Arsacides, 1993, Addison Gallery of American Art, Andover, Massachusetts Still, Clyfford, 1904–1980 Thomas, Alma, 1891–1978 Tobey, Mark, 1890–1976

SUPERREALISM (1967 to 1977) Artists had as their subject the everyday environment as seen through the eye of a camera. Photorealist artists tended to specialize, with one doing signs, another faces, or another still-lifes. England Morley, Malcolm, 1931, Wall Jumpers, Musée d’Art Moderne et Contemporain de Strasbourg, France United States Bechtle, Robert, 1932 Close, Chuck, 1940, Fanny/Fingerpainting, 1985, National Gallery of Art, Washington, D.C.; Keith, 1970, Saint Louis Art Museum Eddy, Don, 1944 Estes, Richard, 1932, Prescriptions Filled (Municipal Building), 1983, Private Collection; Times Square at 3:53 pm, Winter, 1985, Private Collection Flack, Audrey, 1931, Marilyn (Vanitas), 1977, University of Arizona Museum of Art, Tucson Hanson, Duane, 1925–1996, sculptor

CONTEMPORARY REALISM (late 1960s to present) The majority of the Contemporary Realists are figural artists, but with a difference! Each has a distinctly rec- Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley ognizable style. England Freud, Lucian, 1922, b. Germany, Girl with Beret, 1951, Manchester Art Gallery, England Hockney, David, 1937, Sunbather, 1966, Ludwig Museum, Cologne, Germany; The Collectors, 1968, The Art Institute of Chicago United States Fish, Janet, 1938, Eight Water Glasses Under Fluorescent Light, 1974, Private Collection, New York City Fischl, Eric, 1948, Master Bedroom (Her Master’s Voice), 1983, Museum of Contemporary Art, Los Angeles Close, Chuck, l940, Linda, 1975–1976, Akron Art Museum, Ohio Katz, Alex, 1927, Ada and Vincent in the Car, 1972, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Murphy, Catherine, 1946 Neel, Alice, 1900–1984, Andy Warhol, 1970, Whitney Museum of American Art, New York City; Red Grooms and Mimi Gross, No. 2, 1967, Robert Miller Gallery, New York City Pearlstein, Philip, 1924, Model in Green Kimono, 1979, Fine Arts Museums of San Francisco Segal, George, 1924–2000, sculptor Trova, Ernest, 1927–2009, sculptor Wyeth, Andrew, 1917–2009, Christina’s World, 1948, Museum of Modern Art, New York City Wyeth, Jamie, 1946, Portrait of Pig, 1970, Brandywine River Museum, Chadd’s Ford, Pennsylvania 126 The Art Teacher’s Book of Lists

3–22. Continued

ENVIRONMENTAL ART (1964 to present) Environmental Art, sometimes called Earth or Land Art, began when artists used a “new” medium—piles of rocks or dirt to form installations in galleries. The materials might be shaped by chance (such as a heap of sand) or by an artist (a circle of rocks arranged on a museum floor). Ultimately, artists went to out-of-the-way places to create their (often impermanent) artworks. Some of the work exists today solely in films, photographs, drawings, and prints. England Goldsworthy, Andy, 1956 Long, Richard, 1945, Chalk Pebbles Ellipse, 2000, Pulitzer Foundation for the Arts, St. Louis, Missouri The Netherlands Dibbets, Jan, 1941 United States Aycock, Alice, 1946 Chin, Mel, 1951 Christo (Javacheff), 1935, b. Bulgaria, and Jeanne-Claude Guillebon, 1935–2009, b. France, Wrapped Reich- stag, 1995, Berlin, Germany; The Gates, Project for Central Park, 2003, Guggenheim Museum (drawings), New York City DeMaria, Walter, 1935, Lightning Field, 1977, New Mexico Harrison, Newton, 1932 Heizer, Michael, 1944 Holt, Nancy, 1938 Johanson, Patricia, 1940 Keinholz, Ed, 1927–1994 Keinholz, Nancy, 1943 Kelly, Mary, 1941 Lin, Maya, 1960 & Sons, Inc. Copyright © 2010 by John Wiley Oppenheim, Dennis, 1938 Pepper, Beverly, 1924 Roloff, John, 1947 Smithson, Robert, 1938–1973, Spiral Jetty, 1970, Great Salt Lake, Utah Turrell, James, 1943

FEMINIST ART (late 1960s to present) These women are the pioneers in a movement of women artists who concentrate on combined “female” subjects or materials to make a statement about role of women in society. Baca, Judith, 1946 Bourgeois, Louise, 1911–2010, b. France Chase-Riboud, Barbara, 1939 Chicago, Judy, 1939, The Dinner Party, 1974–1979, Brooklyn Museum, New York Flack, Audrey, 1931 Frank, Mary, 1933 Graves, Nancy, 1940–1995 Chapter 3 Artists and Art History 127

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Hamilton, Ann, 1956 Holzer, Jenny, 1950 Kruger, Barbara, 1945, Untitled (Your Comfort is My Silence), 1981, Daros Exhibitions, Zurich, Switzerland Levine, Sherri, 1947 Messager, Annette, 1943, b. France Ringgold, Faith, 1930 Saar, Betye, 1926 Schapiro, Miriam, 1923, b. Canada Sherman, Cindy, 1954 Smith, Kiki, 1954 Walker, Kara, 1969

MINIMALISM (1960s and 1970s) “Minimal” art was a term that applied to a number of art movements, including Op Art, Color Field Painting, Serial Imagery (related works in a series), Hard-Edge painting, and the shaped canvas. It sometimes featured the use of high-tech materials such as neon, plastic, and metals. Artworks were stripped to the essence, pur- posely devoid of any “artist’s touch.” Andre, Carl, 1935, Fall, 1968, New York, Guggenheim Museum, New York City Bell, Larry, 1939 Flavin, Dan, 1933–1996, Untitled (to Jan and Ron Greenberg), 1972–1973, Dan Flavin Art Institute, Bridgehampton, New York Judd, Donald, 1928–1994, Untitled, 1980, Tate, London Marden, Brice, 1938 Martin, Agnes, 1912–2004 Rothko, Mark, 1903–1970 Serra, Richard, 1939, Joe, 2000, Pulitzer Foundation, St. Louis, Missouri Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

NEO-EXPRESSIONISM (1978 to 1986) Artworks are generally large and feature a roughly handled surface such as Julian Schnabel’s embedded broken china. The subject matter (sometimes) is based on the human form or other recognizable symbols.

Germany Baselitz, Georg, 1938 Kiefer, Anselm, 1945

Italy Chia, Sandro, 1946 Clemente, Francesco, 1952

United States Basquiat, Jean-Michel, 1960–1988 Fischl, Eric, 1948 Rothenberg, Susan, 1945, Mondrian Dancing, 1985, Saint Louis Art Museum; Holding the Floor, 1985, Sperone Westwater Gallery, New York City Schnabel, Julian, 1951 128 The Art Teacher’s Book of Lists

3–22. Continued

NEW MEDIA (1970 to present) Installation or conceptual art allows the artist to create artwork that can be photographed, moved, destroyed, or taken down and reassembled elsewhere. Advances in electronic media and film allow the artist to film interactions between individuals or groups of people. Traditional artistic materials may be part of an installation, but sculptors and painters continually develop amazing ways to assemble and use ordinary objects.

England United States Gilbert and George Aitken, Doug, 1968 (Gilbert Proesch), 1943 Allen, Terry, 1943 (George Passmore), 1942 Barney, Matthew, 1967 McQueen, Steve 1969 Borofsky, Jonathan, 1942 Emin, Tracey, 1963 Graham, Dan, 1942 Taylor-Wood, Sam, 1967 Hill, Gary, 1951 Wearing, Gillian, 1963 Hiller, Susan, 1940 Holzer, Jenny, 1950 Germany Kelley, Mike, 1954 Beuys, Joseph, 1921–1986 Lucier, Mary, 1944 Froese, Dieter, 1937–2006 Nauman, Bruce, 1941 Trockel, Rosemary, 1952 Ousler, Tony, 1957 Japan Paik, Nam June, 1932–2006 Mori, Mariko, 1967 Smith, Kiki, 1954 Thater, Diana, 1962 The Netherlands Viola, Bill, 1951 Dibbets, Jan, 1941

Switzerland

3–23. Contemporary Artists

Contemporary art is generally defined as that being produced by living artists, on the cutting edge. Because it takes most artists time to gain recognition, they are seldom featured in museums before they are in their for- ties. Installation and conceptual artists are found in List 3–22. New concepts in art that are being explored by some of these artists are time, space, performance, hybrid- ity (combination of two or more different things), and appropriation (such as Roy Lichtenstein’s use of Walt D isney characters or Sherrie Levine’s bronze urinals based on Duchamp’s Fountain—a purchased urinal which he signed and called art). With a few exceptions, these are living artists. The international nature of contemporary art lures many of these artists to live in countries far from where they were born.

AFRICA Cragg, Tony, 1945, sculptor Deacon, Richard, 1949, sculptor Alexander, Jane, 1959, South Africa Doig, Peter, 1959, b. Scotland Anatsui, El, 1944, Ghana Emin, Tracey, 1963 Boghossian, Alexander Skunder, 1937–2003, Ethiopia Flanagan, Barry, 1941, b. Wales Khalil, Mohammed, 1936, Sudan Freud, Lucian, 1922 Konaté, Abdoulaye, 1953, Mali Gilbert and George LeHoulleur, Monique, n.d. Ivory Coast Gilbert Proesch, 1943 Malangatana, Valente Ngwenya, 1936, Mozambique George Passmore, 1942 Onobrakpeya, Bruce, 1932, Nigeria Goldsworthy, Andy, 1956 Samba, Chéri, 1956, Democratic Republic of Congo Gormley, Antony, 1950 Takawira, Lazarus, 1952, Zimbabwe Hatoum, Mona, 1952, b. Lebanon Tessema, Tesfaye, 1952, b. Ethiopia Hirst, Damien 1965 BRAZIL Hockney, David, 1937 Clark, Lygia, 1920–1988 Kapoor, Anish, 1954, b. India Muniz, Vik, 1961 Ritchie, Matthew, 1964 Whiteread, Rachel, 1963 CANADA Wilson, Jane and Louise, 1967 (twins) Wall, Jeff, 1946 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley FRANCE CHINA Alechinsky, Pierre, 1927, b. Belgium Cai Guo-Qiang, 1957 Boltanski, Christian, 1944 Lin, Maya Ling, 1959 Balthus (Balthasar Klossowski de Rola), 1908–2001 Liu Ye, 1964 Calle, Sophie, 1953 Liu Xiaodong, 1963 Huyghe, Pierre, 1962 Wenda Gu, 1955 Klein, Yves, 1928–1962 Xu Bing, 1955 de St. Phalle, Niki, 1930–2002 Yue Minjun, 1962 GERMANY Zao Wu-Ki, 1921 Zeng Fanzhi, 1964 Baselitz, Georg, 1938 Zhang Huan, 1965 Beuys, Joseph, 1921–1986 Zhang Xiogang, 1958 Gursky, Andreas, 1955 Zhou Chunya, 1955 Haack, Hans, 1936 Herring, Oliver, 1964 COLOMBIA Hesse, Eva, 1936–1970 Botero, Fernando, 1932 Horn, Rebecca, 1944 Horn, Roni, 1955 ENGLAND Immendorff, Jörg, 1945–2007 Auerbach, Frank, 1931, b. Germany Keinholz, Edward, 1927–1994 Blake, Peter, 1932 Kiefer, Anselm, 1945 Chapman, Jake and Dinos, 1966 and 1962 Kippenberger, Martin, 1953–1997 130 The Art Teacher’s Book of Lists

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Polke, Sigmar, 1941 Antin, Eleanor, 1935 Richter, Gerhard, 1932 Antoni, Janine, 1964 Ruff, Thomas, 1958 Applebroog, Ida, 1929 Artschwager, Richard, 1924 ITALY Atlas, Charles, 1958 Boetti, Alighiero, 1940–1994 Baldessari, John, 1931 Burri, Alberto, 1915–1995 Barney, Matthew, 1967 Chia, Sandro, 1946 Bartlett, Jennifer, 1941 Clemente, Francesco, 1952 Basquiat, Jean-Michel, 1960–1988 Cucchi, Enzo, 1950 Beecroft, Vanessa, 1969 Benglis, Linda, 1941 JAPAN Bickerton, Ashley, 1959 Funakoshi, Katsura, 1950 Boltanski, Christian, 1944 Kunioshi, Yasuo, 1893–1953 Borofsky, Jonathan, 1942 Kusama, Yayoi, 1929 Botero, Fernando, 1932, b. Colombia Mori, Mariko, 1967 Bourgeois, Louise, 1911–2010, b. France Morimura, Yasumasa, 1951 Bradford, Mark, 1961 Murikami, Takashi, 1963 Brooks, Ellen, 1946 Nara, Yoshimoto, 1959 Brown, Joan, 1938–1990 Noguchi, Isamu, 1904–1988 Brown, Trisha, 1936 Sugimoto, Hiroshi, 1948 Casebere, James, 1953 KOREA Celmins, Vija, 1938, b. Latvia Chapman, Jake and Dinos, 1966 and 1962 Cho Duck-Hyun, 1957 Charles, Michael Ray, 1967 Kim Whanki, 1913–1974, Korean-American Chin, Mel, 1951 Kim, Jong-Hak, 1954 Christo (Javacheff), 1935, b. Bulgaria, and Guillebon, Lee, Nikki S., 1970 Jeanne-Claude, 1935–2009, b. France Suh, Do-Ho, 1962

Close, Chuck, 1940 & Sons, Inc. Copyright © 2010 by John Wiley MEXICO Coyne, Petah, 1953 DeForest, Roy, 1930–2007 Kahlo, Frida, 1907–1954 Dion, Mark, 1961 Orozco, Gabriel, 1962 Divola, John, 1949 PORTUGAL Estes, Richard, 1936 Fairey, Shepard, 1969 Rego, Paula, 1935 Feodorov, John, 1960 RUSSIA Fischl, Eric, 1948 Kabakov, Ilya, 1933 Fish, Janet, 1938 Shutov, Sergei, 1955 Flavin, Dan, 1933–1996 Ford, Walton, 1960 UNITED STATES Frey, Viola, 1933–2004 Abramovic, Marina, 1946 Gallagher, Ellen, 1965 Acconci, Vito, 1940 Gantz, Joe, 1954 Adams, Robert, 1937 Gillespie, Gregory, 1936–2000 Ali, Laylah, 1968 Golub, Leon, 1922–2004 Allora and Calzadilla Allora, Jennifer, 1974, Calzadilla, Gonzales-Torres, Felix, 1957–1996 Guillermo, 1972 Gornik, April, 1953 Anderson, Laurie, 1947 Groover, Jan, 1943 Andre, Carl, 1935 Hamilton, Ann, 1956 Andrews, Benny, 1971 Hancock, Trenton, 1974 Chapter 3 Artists and Art History 131

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Haring, Keith, 1958–1990 Pittman, Lari, 1952 Hartigan, Grace, 1922–2008 Prince, Richard, 1949 Hawkinson, Tim, 1960 Puryear, Martin, 1941 Herrera, Arturo, 1959, b. Venezuela Rauschenburg, Robert, 1925–2008 Hockney, David, 1937, b. England Ringgold, Faith, 1930 Holzer, Jenny, 1950 Ritchie, Matthew, 1964, b. England Horn, Roni, 1955 Rothenberg, Susan, 1945 Jaar, Alfredo, 1956, b. Chile Ryman, Robert, 1930 Judd, Donald, 1928–1994 Salle, David, 1952 Kasten, Barbara, 1936 Samaras, Lucas, 1936 Kelley, Mike, 1954 Scharf, Kenny, 1958 Koons, Jeff, 1955 Schnabel, Julian, 1957 Korot, Beryl, 1945 Scholder, Fritz 1937–2005 Kosuth, Joseph, 1945 Schoor, Collier, 1963 Kruger, Barbara, 1945 Serra, Richard, 1939 Lê, An-My, 1960 Serrano, Andres, 1950 Levine, Sherrie, 1947 Sherman, Cindy, 1954 Lichtenstein, Roy, 1923–1997 Siena, James, 1958 Liebowitz, Annie, 1949 Sikander, Shazia, 1969, b. Pakistan Lin, Maya, 1959 Simmons, Laurie, 1949 Manglano-Ovalle, Iñigo, 1961, b. Spain Simpson, Lorna, 1960 Mangold, Robert, 1957 Skoglund, Sandy, 1946 Mann, Sally, 1951 Smith, David, 1906–1965 Marden, Brice, 1938 Smith, Kiki, 1954, b. Germany Marshall, Kerry James, 1955 Smith, Tony, 1912–1980 McElheny, Josiah, 1966 Spero, Nancy, 1926–2009 McGee, Barry, 1966 Stella, Frank, 1936 Stockholder, Jessica, 1959 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Mitchell, Joan, 1926–1992 Morris, Robert, 1931 Sullivan, Catherine, 1968 Murphy, Catherine, 1946 Tansey, Mark, 1949 Thiebaud, Wayne, 1920 Murray, Elizabeth, 1940–2007 Turrell, James, 1942 Nauman, Bruce, 1941 Tuttle, Richard, 1941 Neshat, Shirin, 1957, b. Iran Twombly, Cy, 1929 Nicosia, Nic, 1951 Vallance, Jeffrey, 1955 Nilsson, Gladys, 1940 von Rydingsvard, Ursula, 1942, b. Germay Nutt, Jim, 1938 Walker, Kara, 1969 Oldenburg, Claes, 1929 and Coosje van Bruggen, 1942–2009, Wegman, William, 1943 b. The Netherlands Wilson, Fred, 1954 On Kawara, 1932, b. Japan Witkin, Joel-Peter, 1939 Opie, Catherine, 1961 Wodiczko, Krzystof, 1943, b. Poland Oppenheim, Dennis, 1938 Wofford, Philip, 1935 Osorio, Pepón, 1955, b. Puerto Rico Zittel, Andrea, 1965 Ousler, Tony, 1957 Paschke, Ed, 1939–2004 Peterman, Dan, 1960 OTHER COUNTRIES Pettibon, Raymond, 1957 Botero, Fernando, 1932, b. Colombia Peyton, Elizabeth, 1965 Elmgreen and Dragset Elmgreen, Michael, 1962, Danish Pfaff, Judy, 1946 Dragset, Ingar, 1968, Norwegian Pfeiffer, Paul, 1966 Jaar, Alfredo, 1956, Chile 132 The Art Teacher’s Book of Lists

3–24. Famous Women Artists

This list is of well-known women in all fields of art such as painting, sculpture, photography, crafts, and architecture.

BELGIUM Peeters, Clara, 1594–1657

BRAZIL Lygia Clark, 1920–1988

CANADA Carr, Emily, 1871–1945 Rockburne, Dorothea, 1934

ENGLAND

Beauclerk, Diana, 1734–1808 Drawn from Maman, 2000, Louise Blackadder, Elizabeth, 1931, b. Scotland Bourgeois, Tate Modern, London Emin, Tracey, 1963 Cameron, Julia Margaret, 1815–1879 Carrington, Leonora, 1917, b. Mexico Horn, Rebecca, 1944 Duckworth, Ruth, 1919–2009 Kollwitz, Käthe, 1867–1945 Greenaway, Kate, 1846–1901 Modersohn-Becker, Paula, 1876–1907 Hepworth, Barbara, 1903–1975 Munter, Gabriele, 1877–1962 John, Gwen, 1876–1939 ITALY Potter, Beatrix, 1866–1943 Riley, Bridget, 1931 Anguissola, Sofonisba, 1532–1625 Whiteread, Rachel, 1963 Beecroft, Vanessa, 1969 Wilson, Jane, 1967 Carriera, Rosalba, 1675–1757 & Sons, Inc. Copyright © 2010 by John Wiley Wilson, Louise, 1967 Fontana, Lavinia, 1552–1614 Gentileschi, Artemisia, 1593–1652 FRANCE Beaux, Cecilia, 1863–1942 MEXICO Bonheur, Rosa, 1822–1899 Iturbide, Graciela, 1942 Chanel, Coco, 1883–1971 Kahlo, Frida, 1907–1954 Claudel, Camille, 1864–1943 Delaunay, Sonia, 1885–1979, b. Russia THE NETHERLANDS Laurencin, Marie, 1885–1956 Leyster, Judith, 1609–1660 Messager, Annette, 1943 Morisot, Berthe, 1841–1895 PORTUGAL Potter, Beatrix, 1866–1943 Rego, Paula, 1935 Saint-Phalle, Niki de, 1930–2002 RUSSIA Valadon, Suzanne, 1865–1938 Vigée-Lubrun, Marie Louise Elizabeth, 1755–1842 Goncharova, Natalia, 1881–1962 Popova, Lyubov, 1889–1924 GERMANY Becher, Hilla, 1934 SCOTLAND Hoch, Hannah, 1889–1978 Redpath, Anne, 1895–1965 Chapter 3 Artists and Art History 133

3–24. Continued

SWITZERLAND Hartigan, Grace, 1922–2008 Bailly, Alice, 1872–1938 Hesse, Eva, 1936–1970, b. Germany Kauffman, Angelica, 1741–1807 Holt, Nancy, 1938 Oppenheim, Meret, 1913–1985, b. Germany Holzer, Jenny, 1950 Taeuber-Arp, Sophie, 1889–1943 Hosmer, Harriet, 1830–1908 Hu, Mary Lee, 1943 UNITED STATES Hurd, Henriette Wyeth, 1907–1997 Abakanowicz, Magdalena, 1930, b. Poland Jacobi, Lotte, 1896–1990 Abbott, Berenice, 1898–1991 Jaudon, Valerie, 1945 Albers, Anni, 1899–1994, b. Germany Jones, Lois Mailou, 1905–1998 Applebroog, Ida, 1929 Kasebier, Gertrude, 1852–1934 Arbus, Diane, 1923–1971 Kent, Corita, 1918–1986 Attie, Dotty, 1938 Kozloff, Joyce, 1942 Aycock, Alice, 1946 Krasner, Lee, 1908–1984 Baca, Judith Francisca, 1946 Kruger, Barbara, 1945 Bartlett, Jennifer, 1941 Kunc, Karen, 1949 Beaux, Cecilia, 1855–1942 Lange, Dorothea, 1895–1965 Bontecou, Lee, 1931 Lavenson, Alma, 1897–1989 Bourgeois, Louise, 1911–2010, b. France Lazzell, Blanche, 1878–1956 Bove, Carol, 1971, b. Switzerland Leibovitz, Annie, 1949 Bourke-White, Margaret, 1904–1971 Levine, Sherrie, 1947 Brown, Joan, 1938–1990 Levitt, Helen, 1913–2009 Butterfield, Deborah, 1949 Lewis, Edmonia, 1843–c.1911 Cassatt, Mary, 1844–1926 Lewis, Lucy, 1897–1992 Catlett, Elizabeth, 1915 Lewis, Samella, 1924

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Chase-Riboud, Barbara, 1939 Lin, Maya, 1959 Chicago, Judy, 1939 Mangold, Sylvia Plimack, 1938 Cordero, Helen, 1915–1994 Mark, Mary Ellen, 1940 Cunningham, Imogen, 1883–1975 Martin, Agnes, 1912–2004 Daw, Leila, 1940 Martinez, Maria Montoya, 1887–1980 de Kooning, Elaine, 1918–1989 Matthiasdottir, Louisa, 1917–2000, b. Iceland Donavan, Tara, 1969 Mendieta, Ana, 1948–1985, b. Cuba Fish, Janet, 1938 Mitchell, Joan, 1926–1992 Flack, Audrey, 1931 Morgan, Julia, 1872–1957 Frank, Mary, 1933 Moses, Anna Mary (Grandma), 1860–1961 Frankenthaler, Helen, 1928 Murphy, Catherine, 1946 Frey, Viola, 1933–2004 Murray, Elizabeth, 1940–2007 Fuller, Meta Vaux Warrick, 1877–1968 Nampeyo, 1860–1842 Gilpin, Laura, 1891–1979 Natzler, Gertrud Amon, 1908–1971 Goldin, Nan, 1953 Neel, Alice, 1900–1984 Gornik, April, 1953 Nevelson, Louise, 1899–1988 Goodacre, Glenna, 1939 Nilsson, Gladys, 1940 Graves, Nancy, 1940–1995 O’Keeffe, Georgia, 1887–1986 Hamilton, Ann, 1956 Ono, Yoko, 1933, b. Japan Hammond, Jane, 1950 Peale, Anna Claypoole, 1791–1878 134 The Art Teacher’s Book of Lists

3–24. Continued

Peale, Sarah Miriam, 1800–1885 Stout, Renee, 1958 Perry, Lilla Cabot, 1848–1933 Stephens, Alice Barber, 1858–1932 Peyton, Elizabeth, 1965 Tafoya, Margaret, 1904–2001 Pfaff, Judy, 1946 Tanning, Dorothea, 1910 Pindell, Howardena, 1943 Thomas, Alma, 1891–1978 Pinney, Eunice, 1770–1849 Ulmann, Doris, 1884–1934 Prophet, Nancy Elizabeth, 1890–1960 Vonnoh, Bessie Potter, 1872–1955 Ringgold, Faith, 1930 Von Rydingsvard, Ursula, 1942, b Germany Rothenberg, Susan, 1945 Walker, Kara, 1969 Saar, Alison, 1956 Walking Stick, Kay, 1935 Saar, Betye, 1926 Weems, Carrie Mae, 1953 Savage, Augusta, 1892–1962 Whitney, Gertrude Vanderbilt, 1878–1942 Schapiro, Miriam, 1923, b. Canada Wildenhain, Marguerite, 1896–1985 Sherman, Cindy, 1954 Simpson, Lorna, 1960 Wilke, Hannah, 1940–1993 Skoglund, Sandy, 1946 Willson, Mary Ann, 1810–c.1840 Smith, Jaune Quick-to-See, 1940 Wood, Beatrice, 1893–1998 Smith, Kiki, 1954, b. Germany Wright, Patience Lovell, 1725–1786 Spencer, Lilly Martin, 1822–1902 Wyeth, Henriette, 1907–1997 Spero, Nancy, 1926–2009 Zeisler, Claire, 1903–1991 Steir, Pat, 1940 Zorach, Marguerite Thompson, 1887–1968 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Chapter 3 Artists and Art History 135

3–25. African American Artists

This list includes sculptors, painters, architects, and folk artists. • Alston, Charles H., 1901–1977, The Family, 1955, Whitney Museum of American Art, New York City • Amos, Emma, 1938 • Andrews, Benny, Black, 1971, collection of the artist • Bailey, Radcliffe, 1968 • Bannister, Edward Mitchell, 1826–1901, Landscape, 1882, Museum of Art, Rhode Island School of Design; Sabin Point, Narragansett Bay, 1885, Brown University, Providence, Rhode Island • Barnes, Ernie, 1938–2009 • Barthé, Richmond, 1901–1989, The Boxer, 1942, Metropolitan Museum of Art, New York City • Basquiat, Jean Michel, 1960–1987 • Bearden, Romare, 1912–1988, The Intimacy of Water, 1973, Saint Louis Art Museum; The Prevalence of Ritual: Baptism, 1964, Hirshhorn Museum and Sculpture Garden, Washington, D.C. • Biggers, John T., 1924–2001, Shotguns, Third Ward, 1987, mural, Christia V. Adair Park, Harris County, Texas; Starry Crown, 1987, Dallas Museum of Art • Blayton-Taylor, Betty, 1937, Improvisation # 5, 1977, Collection of the artist • Bradford, Mark, 1961 • Brown, Everald, 1917–2003, Instrument for Four People, 1986, National Gallery of Jamaica, Kingston Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Mound Magician, 1997, Radcliffe Bailey, paint, canvas, paper, wood, cardboard, cloth, Plexiglas, baseballs, feathers, and other media on plywood. Gift of the Unus Foundation and Marc and Elizabeth Wilson in honor of John J. “Buck” O’Neil, Nelson-Atkins Museum of Art © 1997 Radcliffe Bailey 136 The Art Teacher’s Book of Lists

3–25. Continued

• Brown, Grafton Tyler, 1841–1918, Grand Canyon of the Yellowstone from Hayden Point, 1891, The Oak- land Museum, Oakland, California • Burke, Selma, 1900–1995 • Catlett, Elizabeth, 1919, Malcolm X Speaks for Us, 1969, Museum of Modern Art, New York City; Share- cropper, 1968, National Museum of American Art, Washington, D.C. • Chaplin, John G., 1828–1907 • Crichlow, Ernest, 1914–2005 • Colescott, Robert H., 1925–2009, Emergency Room, 1989, Museum of Modern Art, New York • Conwill, Houston, 1947, Installation, 1995, Bernstein Associates, Mt. Vernon, New York • Cortor, Eldzier, 1916, Southern Gate, 1942–1943, National Museum of American Art, Washington, D.C. • Craig, Burlon (B.B.), 1914–2002 • Crite, Alan Rohan, 1910–2007, Harriett and Leon, 1941, The Boston Atheneum • DeCarava, Roy, 1919–2009 • Delaney, Beauford, 1901–1979 • Delaney, Joseph, 1904–1991 • Dial, Thornton, Jr., 1953 • Douglas, Aaron, 1899–1979, The Negro in the African Setting: Panel 1, 1934, collection of The New York Public Library, New York City; The Creation, 1935, The Howard University Gallery of Art, Washington, D.C. • Driskell, David, 1931 • Duncanson, Robert Stuart, 1817–1872, The Blue Hole, Flood Waters, Little Miami River, 1851, Cincinnati Art Museum; The Land of the Lotus-Eaters, c. 1861, His Majesty’s Royal Collection, Stockholm • Edmondson, William, 1882–1951, Turtle, 1940, collection of Mr. and Mrs. Robert L. Gwinn • Evans, Minnie, 1892–1987, Design Made at Arlie Gardens, 1967, National Gallery of American Art, Wash- ington, D.C. • Ferguson, Amos, 1920–2009, b. Haiti, Polka Dot Junkanoo, 1984, collection of Geoffrey Holder; Untitled (Mermaid), 1983, International Folk Art, Museum of New Mexico, Santa Fe Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Flemister, Frederick C., 1916 • Fuller, Meta Vaux Warrick, 1877–1968, Richard B. Harrison as “De Lawd,” c. 1935, Howard University Gallery of Art, Washington, D.C. • Gammon, Reginald, 1921–2005 • Gilliam, Sam, 1933 • Grigsby, Eugene, Jr., 1918 • Hathaway, Isaac Scott, 1874–1967 • Hayden, Palmer Cole, 1890–1973, John Henry on the Right, Steam Drill on the Left, 1947, collection of Museum of African Art, Los Angeles • Hunt, Richard, 1935 • Hunter, Clementine, 1887–1988 • Johnson, Malvina Gray, 1896–1934, Self-Portrait, 1934, National Museum of American Art, Smithsonian Institution, Washington, D.C. • Johnson, Sargent Claude, 1888–1967, Forever Free, 1935, San Francisco Museum of Modern Art; Mask, 1935, San Francisco Museum of Modern Art • Johnson, William H., 1901–1970, Young Man in a Vest, c. 1939–1940, National Museum of American Art, Washington, D.C.; Street Musicians, c. 1940, Oakland Museum of Art, Oakland, California • Johnston, Joshua, 1765–1830, Portrait of a Cleric, c. 1805, Bowdoin College Museum of Art, Brunswick, Maine • Jones, Benjamin, 1941, Stars II (15 elements), 1983, collection of the Newark Museum, Newark, New Jersey Chapter 3 Artists and Art History 137

3–25. Continued

• Jones, Lois Mailou, 1905–1998, Parade des Paysans, 1965, collection of Max Robinson, Washington, D.C.; Symbols d’Afrique II, 1983, collection of the artist • Lawrence, Jacob, 1917–2000, Builders #1, 1972, Saint Louis Art Museum; Migrants Cast Their Ballots, 1974, Saint Louis Art Museum; The Migration of the Negro, Panel 1, 1940–1941, Phillips Collection, Wash- ington, D.C.; Jukebox, 1946, Detroit Institute of Arts • Le Va, Barry, 1941 • Lewis, Mary Edmonia, 1845–1911, Hagar, 1869, National Museum of American Art, Washington, D.C. • Lewis, Norman, 1909–1983, Yellow Hat, 1936, collection of Ouida B. Lewis, New York • Lewis, Samella, 1924, Boy With a Flute, 1968, collection of the artist • Locke, Alain Leroy, 1886–1954 • Loving, Al, 1935–2005 • Marshall, Kerry James, 1955 • Mitchell, Dean Lamont, 1957 • Moorhead, Scipio, active 1770s • Motley, Archibald J., Jr., 1891–1980, Chicken Shack, 1936, Harmon Foundation Collection, the National Archives, Washington, D.C. • Olugebefola, Ademola, 1941 • Oubre, Hayward, 1916–2006 • Parks, Gordon, 1913–2006 • Parks, James Dallas, 1907 • Pigatt, Anderson, 1928, Caught in the Middle Earth, 1970, New York Public Library, New York City • Pindell, Howardena, 1943, Autobiography: Water/Ancestors, Middle Passages/Family Ghosts, 1988, The Wadsworth Atheneum, Hartford, Connecticut • Pippin, Horace, 1888–1946, The Holy Mountain, 1944, Hirshhorn Museum and Sculpture Garden, Wash- ington, D.C.; John Brown Going to His Hanging, 1942, The Pennsylvania Academy of the Fine Arts, Philadelphia • Porter, Charles Ethan, 1847–c.1923 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Porter, James A., 1905–1971, Woman Holding a Jug, 1930, Fisk University, Nashville, Tennessee • Primus, Nelson A., 1842–1916, Lizzie May Ulmer, 1876, Connecticut Historical Society, Hartford, Connecticut • Prophet, Nancy Elizabeth, 1890–1960, Congolais, 1931, Whitney Museum of Art, NewYork City • Purifoy, Noah, 1917–2004 • Puryear, Martin, 1941 • Reid, Robert, 1924–2002 • Ringgold, Faith, 1930 • Rogers, Sultan, 1922–2003, Man in Striped Necktie, 1988, University of Mississippi, Oxford, Mississippi; Walking Stick, 1985, University of Mississippi, Oxford, Mississippi • Saar, Alison, 1956, Terra Firma, 1991, Santa Barbara Museum of Art • Saar, Betye, 1926, The Liberation of Aunt Jemima, 1972, University Art Museum, University of California, Berkeley • Saunders, Raymond Jennings, 1934, Jack Johnson, 1971, The Pennsylvania Academy of Fine Arts, Philadelphia • Savage, Augusta, 1892–1962, Gamin, 1929, The New York Public Library, New York City • Scott, William Edouard, 1884–1964, When the Tide Is Out, c. 1931, Harmon Foundation Collection, the National Archives, Washington, D.C. • Searles, Charles, 1937–2004, Dancer Series, 1976, collection of Dr. and Mrs. Maurice Clifford, Philadelphia • Simpson, Lorna, 1960 138 The Art Teacher’s Book of Lists

3–25. Continued

• Sleet, Moneta, Jr., 1926–1966 • Stout, Renee, 1958, Fetish #1, 1988, Dallas Museum of Art • Tanner, Henry Ossawa, 1859–1937, Banjo Lesson, 1893, Hampton University Museum Collection, Hamp- ton, Virginia; The Thankful Poor, 1894, collection of Dr. William and Dr. Camille Cosby • Thomas, Alma W., 1896–1978, Light Blue Nursery, 1968, National Museum of American Art, Washington, D.C.; Three Red Hats, 1964, National Museum of American Art, Washington, D.C. • Van Der Zee, James, 1886–1983, Evening Attire, 1922, Smithsonian American Art Museum, Washington, D.C. • Walker, Kara, 1969 • Ward-Brown, Denise, 1953 • Weems, Carrie Mae, 1953 • White, Charles, 1918–1979, Take My Mother Home, 1957, collection of Dr. Richard Simms, Harbor City, California • Williams, Pat Ward, 1949 • Williams, William T., 1941 • Williamson, Philomena, 1952 • Wilson, Edward N., 1925, Jazz Musicians, 1982–1984, Douglass High School, Baltimore, Maryland • Wilson, Ellis, 1899–1977, Field Workers, date unknown, National Museum of American Art, Smithsonian Institution, Washington, D.C.; Haitian Funeral Procession, c. 1950, S. Amistad Research Center, Tulane University, New Orleans, Louisiana • Wilson, Fred, 1954, Guarded Men, 1991, Whitney Museum of American Art, New York City • Wilson, John Woodrow, 1922 • Woodruff, Hale A., 1900–1980, The Mutiny Aboard the Amistad, 1839, 1938–1939, from the Amistad Mutiny Mural, Talladega College, Talladega, Alabama Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley CHAPTER 4 DIVERSE CULTURES Introduction: Having a Multicultural Art Program 4–1. Quotations 4–2. North American Timeline 4–3. Native American Timeline 4–4. Mexico, Central, and South American Timeline 4–5. African Timeline 4–6. Middle Eastern Timeline 4–7. Oceanic Timeline 4–8. Asian Timeline 4–9. International Holidays 4–10. National and Religious Holidays in Countries Around the World 4–11. Religious Holidays and Festivals in Various Cultures 4–12. Heritage Months in the United States 4–13. Body Art 4–14. Universal Symbols 4–15. Universal Arts and Crafts 4–16. Arts and Crafts Projects from Many Cultures 4–17. Native American Artists 4–18. Native American Craft Specialties by Region 4–19. Rock Art Sites to Visit 4–20. Famous Hispanic Artists 4–21. Famous Middle Eastern Artists 4–22. Well-Known Artists from Oceania 4–23. Asian Artists 4–24. Japanese Historical Periods 4–25. Chinese Dynasties 140 The Art Teacher’s Book of Lists

Introduction: Having a Multicultural Art Program

As the world becomes smaller through migration and improved communication, it is important for teachers and students to become sensitive to cultural influences that form everyone’s life. An art program needn’t be built around such cultures, but the sensitive teacher should be aware of the impact of ethnicity, history, and religion on many students. As a teacher you have the opportunity to foster pride in a particular heritage through awareness and respect for special celebrations that are important to your students and their families. Learning about the background of a culture or an art form gives meaning to what the students do in class. An effort has been made to include cultures from around the world in this book. Names of countries and boundaries evolve over time. An effort has been made to give contemporary location names although an area might have had an entirely different name two thousand or two hundred or even two years ago.

4–1. Quotations

“A glass pitcher, a wicker basket, a tunic of coarse cloth. Their beauty is inseparable from their function. Handicrafts belong to a world existing before the separation of the useful and the beautiful.” OCTAVIO PAZ, 1914–1998, MEXICAN WRITER, POET, AND DIPLOMAT

“All art is an individual’s expression of a culture. Cultures differ, so art looks different.” HENRY GLASSIE, 1941, AUTHOR, THE SPIRIT OF FOLKLORE

“There is more fine abstract design in Navajo rugs than in all these modern paintings.” TEDDY ROOSEVELT, 1858–1919, 26TH U.S. PRESIDENT, SPEAKING OF THE 1913 ARMORY SHOW

“Folk art is learned at the knee and passed from generation to generation, or through established cultural community traditions.” THE NATIONAL ENDOWMENT FOR THE ARTS Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “I never knew I was a surrealist till Andre Breton came to Mexico and told me I was.” FRIDA KAHLO, 1907–1954, MEXICAN PAINTER

“A primitive artist is an amateur whose work sells.” GRANDMA MOSES (ANNA MARY MOSES), 1860–1961, AMERICAN “PRIMITIVE” PAINTER

“Everything made by man’s hands has form, which must be either beautiful or ugly.” WILLIAM MORRIS, 1834–1896, ENGLISH CRAFTSMAN AND DESIGNER Copyright © 2010 by John Wiley & Sons, Inc. 4–2. North AmericanTimeline North 4–2. –. NativeAmericanTimeline 4–3.

4–9. International Holidays

Everybody loves a holiday! People all over the world observe the birth or death of religious or political leaders, celebrate with spring and thanksgiving festivals, or honor their ancestors on special holidays. Use the Internet to find a treasure trove of information. Simply type (for example) “Mexican holidays.” Of course, nothing is better than finding information about celebrations first-hand from a student, parent, or community member. These holidays, using the Gregorian calendar, are based on tradition or religion. They are celebrated in many countries throughout the world. January 1. New Year’s Day February 14. Valentine’s Day March 17. St. Patrick’s Day April 1. April Fool’s Day April 22. Earth Day. International Earth Day is celebrated on the March equinox. May 1. May Day. Worldwide celebrations of International Labor Day December 6. St. Nicholas Day December 25. Christmas Day

Papier maché Rooster, 2007, Vicente Vasquez, Oaxaca, Mexico, Courtesy, Salt of the Earth Gallery, St. Louis, Missouri

National holidays are observed when government offices and schools are closed to commemorate the birthday of a national leader, the independence day of the nation, or a day when most of the nation has a religious celebration. Dates may vary, sometimes to take advantage of a long weekend, or because a lunar-solar calendar is the basis for setting the date.

AUSTRALIA January 26. Australia Day. Originated in 1935

CANADA May. Victoria Day. (Monday before May 25). Queen Victoria’s birthday July 1. Canada Day. Local celebrations across Canada. Orig- inated in 1879 as Dominion Day. August. August Civic Holiday. October. Thanksgiving Day. (2nd Monday of October) December 26. Boxing Day. A day to visit friends and family Chinese Paper Cuttings

CHINA’S OFFICIAL HOLIDAYS Chinese holidays vary from year to year because they are based on lunar and solar calendars (dates following the appearance of the full moon). Chapter 4 Diverse Cultures 149

4–10. Continued

January. Chinese New Year. This fifteen-day festival features cleaning house, painting doors and windows, decorating with red, and preparing special foods. April. Qing Ming Jie Festival (Tomb Sweeping Day). Visits are made to ancestral gravesites; celebration of spring; features kite flying in some parts of the world. June. Dragon Boat Festival. Boat races, Traditional food includes sticky rice dumplings wrapped in bamboo leaves. September. Mid-Autumn Festival (Full-Moon Festival). Fruits and “moon-cakes” are special foods, lanterns are lit to watch the “harvest” moon. October 1. National Day. Founding of the People’s Republic of China in 1949

CHINA’S RELIGIOUS OBSERVANCES January. New Year is the first full moon day in January for Mahayana Buddhists. February. Parinirvana (celebration of Buddha’s death when he reached Nirvana at age 80) May 2. Wesal (Buddha’s birthday) October. Chung Yeung Festival. Paper money is burned to make offerings to ancestors and the dead.

INDIA India has a huge number of religious holidays that are celebrated by diverse religious groups such as Hindu, Buddhist, Sikh, Jain, Islamic, and Christian. The Hindu holidays listed here are considered by the government as public holidays, and students are given a day off from school.

India’s National Holidays January 26. Republic Day August 15. Independence Day October 2. Gandhi Jayanti. Birthday of the “Father of the Nation,” Mahatma Gandhi

India’s Religious Holidays January 14 or 15. Pongal (harvest festival). Celebrates the new solar year; special food, kite-flying in some Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley regions. March or early April. Holi (Spring Festival of Colors). Commemorates the death of Holika. People throw colored powders at each other and sprinkle colored liquids on people. September/October. Dussehra. Houses and shops are decorated with flower studded strings; fireworks are lit in the evening. October/November. Diwali (Festival of Lights). Celebrated by several religions

JAPAN Japan has thirteen official holidays when banks, schools, and government offices are closed. Many national holidays have been shifted to Mondays to give a long weekend (The Happy Monday system).

Japan’s National Holidays February 11. National Foundation Day. Celebrates the day Emperor Jimmu ascended the throne in 660 BC

Japan’s Festivals January 1–3. New Year celebrations. Preparatory house cleaning, visits to Buddhist temples and Shinto Shrines, kite flying March 3. Doll Festival. A day to honor girls May 5. Children’s Day. (formerly Boy’s Day). Fish kites are flown to recognize children. July 7. Tanabata (Star Festival) July/August 15. Bon Festival (Feast of Lanterns). A day to recognize ancestors 150 The Art Teacher’s Book of Lists

4–10. Continued

MEXICO The Mexican holiday system includes statutory holidays that allow workers a day off with pay. Civic holidays are observed (such as independence), but business and government go on as usual. Festivals such as All Saints’ Day may or may not be official holidays.

Mexico’s National Holidays February 5. Constitution Day. Constitution of 1917 February 24. Flag Day March 21. Birth of Benito Juarez May 5. Cinco de Mayo. Commemorates victory over the French army in Puebla, 1862 September 16. Mexican Independence Day. Hildalgo’s call for Mexican independence November 20. National Holiday with parades and fireworks celebrating Revolution of 1910

Mexico’s Religious Holidays January 6. Three King’s Day. Traditional day to exchange gifts, and shoes are filled with candy for children January/February. Carnaval. Five-day celebration before Lent May. Mother’s Day. National holiday November 1 and 2. Dia de los Muertos (Day of the Dead). Celebrated by creating altars with flowers, foods, candles, and symbols and visits to cemeteries December 12. Dia de Nuestra Señora de Guadalupe. Mexico’s patron saint appeared in a vision to Juan Diego. Parades and special foods celebrate this national holiday. & Sons, Inc. Copyright © 2010 by John Wiley

NEW ZEALAND New Zealand’s Religious Holidays Katrina figure, ceramic, 14 inches, collection of Dr. and Mrs. Stephen March/April. Easter. Celebrates the resurrection of Christ Kunz December 25. Christmas Day December 26. Boxing Day. A time to exchange gifts with friends and family

New Zealand’s National Holidays January 1 and 2. New Year’s holiday February 6. Waitangi Day. Commemorates an 1840 treaty between the British Crown and Maori chiefs at Waitangi April 25. ANZAC Day. Honors Australian and New Zealand troops who landed at Anzac Cove and were lost in the campaign in 1915–1916 at Gallipoli, Turkey, during World War I. June (first Monday). Queen’s Birthday October (fourth Monday). Labour Day

UNITED KINGDOM The United Kingdom has official holidays and other times that are celebrated, although not official holidays. This might include Shrove Tuesday (“Pancake Tuesday” before Lent) and Guy Fawkes’ Day. Chapter 4 Diverse Cultures 151

4–10. Continued

Although Ireland already has St. Patrick’s Day, there are many in the countries that make up the United Kingdom that would like a national holiday for their “patron saints.” These would be: Wales (St. David’s Day), Scotland (St. Andrew’s Day), and England (St. George’s Day).

U.K. National Holidays January 1. New Year’s Day January 25. Burns Day. Honors Robert Burns (not an official holiday) May 1. May Day Bank Holiday (Queen’s Birthday) Spring Bank Holiday (Victoria Day) July 12. Orangeman’s Day (Northern Ireland only), commemorates the Prot- estant victory in the Battle of the Boyne November 5. Guy Fawkes Day. Guy Fawkes and others tried to blow up Parliament in 1605. December 26. Boxing Day. Boxes were filled with gifts and money for ser- vants. Today, time spent with family and friends

U.K. Religious Holidays March/April. Good Friday March/April. Easter August. Summer Bank Holiday December 1. Bank holiday in lieu of St. Andrew’s Day (Scotland) December 25. Christmas Day

UNITED STATES Drawn from Whirligig entitled “America,” c. 1895–1965, Frank As with many other countries, special days are not always days off work or Memkus, The Art Institute of Chicago Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley school, but simply observed by some segments of society. Many are just for the enjoyment of children. The U.S.A. is composed of a variety of ethnic groups that celebrate national holidays, as well as special festivals that are part of their original culture. These festivals are usually open to the public and give everyone a chance to see celebrations from other cultures.

U.S. National Holidays January 1. New Year’s Day January (Third Monday). Martin Luther King Jr. Day February 2. Ground Hog Day (not an official holiday). Tradition says that if the ground hog sees his shadow there will be six more weeks of winter. February. Presidents’ Day (third Monday). To celebrate Abraham Lincoln’s (February 12) and George Washing- ton’s (February 22) birthdays. February 14. St. Valentine’s Day (not an official holiday) May. Memorial Day (Last Monday) June 14. Flag Day July 4. Independence Day September. Labor Day (First Monday) October. Columbus Day (Second Monday) October 31. Halloween. A secular observance; an opportunity to dress in costume November 11. Veterans’ Day. To honor all U.S. veterans 152 The Art Teacher’s Book of Lists

4–10. Continued

November. Thanksgiving Day (Fourth Thursday). A family harvest celebration to commemorate the original feast of Pilgrims and Native Americans; observed by most U.S. citizens, regardless of religious or non-religious beliefs

U.S. Religious Holidays March/April. Easter December 25. Christmas

AFRICAN AMERICAN CELEBRATIONS January 19. Martin Luther King Jr.’s Birthday February. National Black History Month June 19. Juneteenth. Commemorates the Emancipation Proclamation and the ending of slavery in the U.S., 1865 December 26–January 1. Kwanzaa. Seven-day celebration begun in 1966, based on seven principles of African culture: unity; self-determination; collective work; cooperative economics; purpose; creativity; and faith

NATIVE AMERICAN CELEBRATIONS Native American tribes/nations celebrate their different religions in different ways. All have in common that they celebrate nature and the seasons of the year. These celebrations might involve “corn dances” and other food-related ceremonies. March/August. Pow Wows. Celebrations feature singing, dancing, drummers August. United Tribes International Pow Wow. This is the last of country-wide Pow Wows held during the summer that are “religious or war celebrations.” November (Fourth Friday, the day after Thanksgiving). Native American Heritage Day. This holiday offers an opportunity for others to learn about the 184 recognized tribes of Native Americans (American Indians). Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Storyteller Doll Chapter 4 Diverse Cultures 153

4–11. Religious Holidays and Festivals in Various Cultures

Although people move and are not always able to celebrate with families, many of these religious observances remain part of their culture.

BUDDHIST RELIGIOUS HOLIDAYS February 15. Parinirvana. Celebration of Buddha’s death when he reached Nirvana at age 80 March 2. Makha Puja. This date commemorates a sermon given by Buddha. May 2. Wesal. Buddha’s birthday

CHRISTIAN (CATHOLIC/PROTESTANT) RELIGIOUS HOLIDAYS February. Mardi Gras. Carnival festivities before beginning of Lent February/March. Ash Wednesday. Wednesday before beginning of Lent March/April. Palm Sunday. The Sunday before Easter. Christ’s entrance to Jerusalem March/April. Good Friday. The death of Christ March/April. Easter. The resurrection of Jesus November 1. All Saints Day. Feast day to honor all saints November 2. All Souls Day December 6. St. Nicholas Day December 25. Christmas. Birth of Jesus

HINDU RELIGIOUS HOLIDAYS Many of these Hindu religious celebrations are public holidays. In India, differing celebrations are held by people of other religions on the same day.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley January 14 or 15. Pongal (harvest festival). Celebrates the new solar year March. Hindu New Year March or early April. Holi (Spring Festival of Colors). Commemorates the death of the mythological character Holika September/October. Dussehra. Houses and shops are decorated with flower-studded strings to celebrate the triumph of good over evil. October/November. Diwali (Festival of Lights)

ISLAMIC RELIGIOUS OBSERVANCES The Islamic calendar, based on a lunar and solar calendar, is used for religious purposes and dates vary from year to year. The Gregorian calendar is used for civil purposes. August. Ramadan. Month of daylight fasting, charitable giving, and peace-making September. Eid al-Fitr (Festival of Fast-Breaking). Three-day celebration at the end of Ramadan December. Hajj. Pilgrimage to Mecca December. Eid al-Adha (Festival of Sacrifice). The day following Hajj December. Islamic New Year 154 The Art Teacher’s Book of Lists

4–11. Continued

JEWISH RELIGIOUS OBSERVATIONS Jewish religious days vary yearly on the Gregorian calendar, even though they are always celebrated on the same day on the Jewish calendar. It is based on a twelve-month lunar calendar with an extra month occasionally added (a leap year). February/March. Purim. Commemorates the saving of the Persian Jewish community from death March/April. Passover. Celebrating the Exodus of Israelites from Egypt September/October. Rosh Hashanah (Jewish New Year) September/October. Yom Kippur (Day of Atonement). A day of fasting and prayer September/October. Sukkot. A seven-day feast that commemorates the divine protection the Jews received during their wanderings in the wilderness November/December. Hanukkah (Festival of Lights). Commemorates the retaking of the Temple in Jerusalem in the 2nd century BC. A candle is lit for each day of the eight-day celebration.

MORMON SPECIAL DAYS March/April. Easter. Resurrection of Christ April 6. Founding of the Latter-Day Saints church in New York, 1830 May 15. Celebration of John the Baptist’s visit to founder Joseph Smith, 1829 July 24. Pioneer Day. Celebrates the arrival of Mormons into Salt Lake Valley, 1847 December 25. Birth of Christ Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Chapter 4 Diverse Cultures 155

4–12. Heritage Months in the United States

These months have been designated in the United States to recognize specific groups, sometimes based on gender, age, or the national heritage of specific cultures.

February African American History Month March Greek American Heritage Month Irish American Heritage Month Spiritual Wellness Month Women’s History Month May Jewish American Heritage Month Asian Pacific American History Month Older Americans Month June Caribbean American Heritage Month Gay Lesbian Pride Month Flag Day. June 14 Juneteenth (Emancipation Day, abolition of slavery) September 15–October 15 Hispanic/Latino Heritage Month October German American Heritage Month Italian American Heritage Month Polish American Heritage Month National Disability Employment Awareness Month November National American Indian Heritage Month

Humans have always temporarily or permanently transformed their bodies to conform to what is perceived as beautiful in a given time period or culture. Historically, permanent and temporary changes (painting, piercing, scarring, tattooing, and shaping) celebrated rituals such as weddings, funerals, and coming-of-age ceremonies. A frozen human found in Austria from 5,300 years ago had seven tattoos located on various joints such as knees and hands (one assumes for improving aches and pains).

PERMANENT TRANSFORMATION OF THE HUMAN FORM • Binding with sinews below the knees. This was done to enhance the size of the calves, a mark of beauty to some Amazon tribes. • Body building. The popularity of the gymnasium attests to the consciousness of today’s society for perfect abs, firm muscles, and other visible signs of a healthy body. • Body tattoos. The tattooing tradition, a permanent discoloration of the skin, is found in almost every ancient culture from Native Americans to Egyptians, Greeks, and Romans. The Maori tattooed facial designs (moko) that sometimes covered the entire face or sometimes only the chin. Yoruba women had nine different tattooing patterns that matched the patterns in their clothing. Tattoos in contemporary society are applied anywhere and everywhere! Because of danger transmitting diseases such as AIDS, hepatitis B, and hepatitis C, New York State and others prohibit tattoos for anyone under the age of eighteen. • Bound feet. Chinese women bound their feet to make them tiny (they were referred to as Lotus Buds by ancient Chinese). Fortunately, this very painful and disfiguring practice was outlawed in 1949. 156 The Art Teacher’s Book of Lists

4–13. Continued

• Cosmetic surgery. This form of body art can also be used to repair some of nature’s oversights such as a cleft palette. Noses, ears, mouths, and breasts are also changed as people are surgically enhanced to conform to what they perceive as young or beautiful. • Fat. Being fat was desirable to demonstrate prosperity or fertility in some cultures (think of the Venus of Willendorf) or to denote leadership in some societies. Today, getting rid of excess fat is done through diet and exercise or through surgical means. • Misshapen heads. Some cultures wrapped their infants’ heads to shape them to that culture’s idea of beauty, resulting in some that appear flattened or shaped like cones (these are seen in ancient Meso-American, and South American sculptures). • Piercing. Plugs (labrets) put in the pierced lower lip and ear lobes, gradually increasing the size to make an opening several inches in size (seen in South American and Island cultures). In modern society, piercing is used almost anywhere on the body: ears, tongue, lip, nose, eyebrows, navel, and elsewhere. Materials used are gold and silver, ivory, bone, wood, and diamonds. • Scarification. Making cuts in the skin in patterns and treating the cuts with ash or clay to cause them to form raised scars was often a rite of passage in a number of cultures. • Tiny waists. Wearing tightly laced corsets to make waists tiny (Victorian ladies, and in some cultures today)! Extreme measures included removing ribs to minimize the waist.

TEMPORARY CHANGES • Face painting. Modern makeup might be considered in this category. Outlining eyes with Kohl and other eye makeup goes back to the Egyptians (think Cleopatra). Beauty spots (small dark spots) have been popular over time. • Facial hair. Beards of all styles have always been popular. Some cultures braided them, wore beards (Van Dyke) or mustaches (Fu Manchu). Egyptian Queen Hatshepsut even wore a braided beard “wig.” • Hair styles. From shaven heads to afros to mohawks, multi-colored hair, permanents, and braiding, there isn’t much left for experimenting. The wonderful thing about all these experiments is that hair will usually grow out. • Henna. This temporary dye, made from finely ground leaves, is used to color hair or skin. The technique of Mehndi, used even in modern times, is to create painted henna designs on the hands and feet of a bride,

signifying the movement from one stage of life to another. It is a popular art form among young women. & Sons, Inc. Copyright © 2010 by John Wiley • Jewelry. Judging from ancient pieces seen in museums, humans of both sexes have always worn jewelry. Some pins were not just adornment, but served the practical purpose of holding clothing together. Decorative buttons served the same purpose until the advent of Velcro and the zipper. Jewelry today is made from plastic, metal, paper, precious stones, rocks, or anything that can be attached in some fashion to the human form. • Theatrical makeup. Japanese Kabuki actors had specific designs for specific characters (blue was for the villain, red for the hero). • War paint. Ritual face and body painting with clay and minerals mixed with oils and fat was often preparation for a war. Modern warriors apply less colorful pigment as camouflage, as has been done in cultures throughout the world. Though not used today, Kaolin (white clay) face painting is found on ancient masks and statuary.

King Tawhiao. The Second Maori King, 1882, Gottfried Lindauer, oil on canvas. The Auckland Art Gallery, Toi o Tãmaki, New Zealand, gift of Mr. H. E. Partridge. King Tawhiao led a deputation of Maori people to England in 1884 in an unsuccessful attempt to “petition Queen Vic- toria over the dishonoured Treaty of Waitangi.” Copyright © 2010 by John Wiley & Sons, Inc. the world.Somearereligious,manyforgoodluck,somesymbolizestrengthorcourage. Although youmaybeawareofthesymbolsinyourownculture,thislistincludesfoundaround 4–14. Universal Symbols 158 The Art Teacher’s Book of Lists

4–15. Universal Arts and Crafts

The similarities between art forms throughout the world are as striking as the differences. When cultures evolved, whether in the Indus Valley, Africa, or Meso-America, materials that were near at hand were adapted for use to build homes, make clothing, to form storage and cooking vessels, and to create articles used in religious ceremonies. Basketry, weaving, ceramics, and jewelry, mask-making, sculpture, and painting evolved in each culture, yet patterns appear universal. This list includes many of the art forms developed throughout various cultures. architecture designs painted and carved gourds basketry paper cutting batik paper flowers beading papier maché bookbinding papermaking bronze casting porcelain calligraphy pottery cast iron puppetry ceramics quilling collage quilt making copper enameling repoussé decoupage rosemahling doll making scrimshaw fabric block printing silk screening folk painting stenciling furniture textiles & Sons, Inc. Copyright © 2010 by John Wiley gem cutting tie dye glassware tin wares jewelry tole painting lamps toys leatherwork weathervanes macramé weaving marbleizing wheat weaving mask making whittling metalwork wood carving musical instrument making woodcraft needlework Chapter 4 Diverse Cultures 159

4–16. Arts and Crafts Projects from Many Cultures

Arts and crafts were virtually interchangeable in most cultures, as people adapted materials that were at hand for practical purposes such as gathering, storing, and preparing food. They fashioned garments or jewelry to wear or created beautiful objects for worship or to be used in the afterlife. In today’s world, artisans continue to take pride in handmade objects. These are not needed strictly for existence and are now appreciated as fine artworks. These teaching suggestions may be adapted for most levels to give students an appreciation of a culture they might be studying.

AFRICA • Adinkra cloth. This African method of printing cloth was done with stamp designs cut from gourds. Use carved art gum erasers to make printing blocks, and print one large cloth with a variety of designs. Or do individual paper or T-shirt designs with repeated stamping. • Masks of papier maché or plaster cloth may be formed over balloons, clay molds, or an egg-shaped, taped wad of paper. Make the basic face, then add cut-out cardboard shapes to make appropriate headdresses on top, securing them firmly before covering with additional paper or Paris-craft strips. Aluminum foil can be shaped and attached as a base for hair, a beard, or other distinctive features.

DENMARK • Danish porcelain annual plates. These are issued each year by Royal Copenhagen, featuring a new blue and white winter scene. Encourage students to work within a circular format, designing a scene that reminds them of the winter holiday season. It might include snow and pine trees, but if they prefer palm trees and the beach, as long as it is painted in values of blue and white, it qualifies as an annual plate design.

CHINA • Calligraphy. Paint Chinese “sayings” with watercolor on rice paper or hand-made paper. Mount the paper on a vertical length of wallpaper with dowels on each end to make a scroll. • Cut-paper designs (Hua Yang). Shiny red paper can be folded in half vertically and scissors used to cut an identical design from Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley both sides. A paper-punched hole near an “open” spot allows scissors to be inserted for cutting neatly. Appropriate subjects are roosters, butterflies, trees, or flowers. • Cloisonné. This Chinese method of separating colored enamel with silver or copper (to be fired in a kiln) may be imitated by painting shapes on gold wrapping paper with acrylic paint, allowing the gold paper to show through the spaces.

FRANCE • Silhouette. The profile view of a head, usually cut from black paper, was a popular Victorian form of producing an image. This was before photography was common. It can be easily done by placing a lamp behind the subject to “project” the outline onto the wall and outlining with chalk onto black paper. This image is then cut out and mounted on a white paper background. Sometimes these were pricked with a pin from the back to add texture.

GERMANY • Fraktur. This “certificate” could be to record a wedding, birth, graduation, or engagement. The calligraphy may be done by hand or on the computer. The edges may be decorated with watercolor and a gold-tipped craft pen with designs such as hearts, flowers, animals, mermaids, or leaves. • Scherenschnitt. Cut paper designs. Fold black paper in half, then draw a design on one half and cut through both layers at one time with an X-acto® knife. Suitable designs are trees, animals, nature. Safety note: When using an X-acto knife always hold the non-cutting hand behind the knife. 160 The Art Teacher’s Book of Lists

4–16. Continued

INDIA • Hand designs. The hand has special meaning in Indian design. Hands may be outlined with pencil on tooling foil and cut out with scissors. Permanent marker can be used to make carefully organized designs on both sides of the foil. (Mehdni designs may be found on the Internet.)

INDONESIA • Shadow puppets. These are intricately carved, jointed puppets on sticks. Tagboard or heavy parchment are suitable materials for cutting body parts. These intricately cut shapes are connected at the elbows and shoulders with paper fasteners. A dowel taped to the body and straightened coat- Scherenschnitt by Jean Jacob Haus- hanger wire attached to the hands allow the puppeteer to manipulate the wirth, Basel, 1860 puppet. A “show” may then be performed behind a “screen” of white material stapled to canvas stretchers. Prop the screen upright on a table with a light source behind the screen. • Paper or cloth batik. Although batik is seen throughout Asia, it is common on the island of Java, Indonesia. Paper or cloth batiks are made by applying a design with hot wax, then allowing it to cool before painting with watercolor or immersing in dyes. Safety note: Wax will ignite spontaneously at approximately 350 degrees. The wax must be kept in a temperature-controlled container or in a coffee can placed in boiling water.

ISLAM (VARIOUS COUNTRIES) • Arabesque design. An arabesque design on paper in the manner of mosaics can be made by using a compass to create complex circles, flower-like designs, or pure geometry. After creating interlocking designs, they can be colored with fine-line marker or colored pencils. • Calligraphy. Arabic script is used to decorate mosques, tiles, manuscripts, and functional objects. The idea of using lettering to decorate borders could be adapted using any alphabet. • Iznik tile design. Beautiful Iznik tiles feature geometric and floral designs (sometimes a bird is added). Traditional colors are blue and white, but modern designs feature red, turquoise, purple, green, and pink. Unpainted white tiles may be painted with acrylic paint, or 8-inch white poster board squares can have tile

JAPAN • Calligraphy or watercolor. Paint Japanese poem slips with watercolor on rice paper or hand-made paper. These may have Waka poems (the ancestor of the haiku), originally created to commemorate important events or a special season of the year. • Japanese fish prints (gyotaku). Artists cover one side of a plastic-replica fish with paint or ink, then place a soft paper such as rice paper, newsprint, or paper towels directly on the fish, gently pressing to transfer the color. Metallicized paint is effective. Fish prints may be transferred directly onto T-shirts with acrylic or textile paint.

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• Japanese Mon-Kiri designs. These are family crests (usually cut within a circle or square). A personal crest can be created using a personal symbol (initial, item from a collection, or favorite sport). The design stencil, which could be tag board or heavy plastic, is held together with “bridges.” When completed, the designs are mounted on contrasting paper. • Japanese Tanabata decorations. Make streamers that consist of small folded tissue paper shapes hung inches apart on a piece of string. These commemorate the Japanese Star Festival (Tanabata Matsuri) that occurs on July 7. Read the legend and see variations for streamers on the Internet.

MEXICO Japanese Poem Slips • Amate paper. Amate paper is formed from bark. Brown kraft paper or paper grocery bags may be crumpled and substituted for painting or cutting out traditional designs. Brightly colored tempera or acrylic paint can be used to paint animals, people, or flowers on crumpled paper. • Ceramic birds. Use clay to form bird shapes around an oval paper form. Leave a hole for moisture to escape. When the clay is leather hard, polish with a spoon; glaze with soft colors. • Gourd designs. Papier maché “gourds” may be made on small balloons, with the last coat being brown kraft paper. Designs may be drawn with brown fine-line marker. The outer shell of a gourd may be brightly painted in a base color, and designs such as animals or flowers may be added. Another form of gourd decoration (on a real dried gourd) is to incise it (scratch a design), allowing it to remain in its natural brown and light brown colors. • Papel picado. Colorful, intricate tissue paper designs are used to decorate homes and altars for special festivals. These 12-by-18-inch tissue paper designs may be cut with scissors by folding and cutting through several layers at once (in the manner of making a “snowflake”). Because they are meant to hang, the bottom could be more complex. • Papier maché piñatas. Animal forms or dancing human forms are painted in bright colors and varnished. When covered with tissue paper and filled with candy, they are used for children’s parties. • Recycled aluminum drink-can masks. The top and bottom of an aluminum soft drink are cut off with ordinary classroom scissors and the curled side flattened by holding it at each end and pulling back and forth over the edge of a table. Three horizontal surfaces are joined together with brads. Features and hair are made from the ends of the cans or another cut-up can. These can be colored with permanent markers, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley decorated with feathers, yarn, sequins, or “jewels.” The colors and designs on the cans may be used as decoration. Safety note: Cotton gloves should be worn for cutting apart to avoid sharp edges. • “Tin” circle or star ornaments. Scissors may be used to cut tops from aluminum soft-drink cans. The flat sides may be cut into circles or star forms. Layer consecutively smaller sizes together, holding them in the center with a brad. Fringe and curl the edges to make them three-dimensional. Safety note: Cotton gloves should be worn for cutting to avoid sharp edges. • Yarn paintings. A 5-by-7-inch piece of chipboard may be coated on one side with melted beeswax (which stays somewhat sticky). A traditional yarn painting of an animal or other nature motif is made by placing strands of yarn close together and pressing them into the wax. White glue also works, but squeeze out only small amounts of glue at a time.

NORWAY • Rosemahling. Norwegians whiled away long winter hours by painting interior walls and furniture with beautiful designs using flowers or other designs from nature. A “border” design to go above a door or on a dresser could be made in crayon or colored pencil on paper.

POLAND • Pysanky. Pysanky are uniquely decorated eggs done using a batik method. Hollowed-out eggs or wooden eggs may be decorated with acrylic paints, using geometric designs. • Wycinanki. (Pronounced vee-chee-non-key) Brightly colored, layered paper cutouts were originally cut with sheep shears and used to decorate cottages. Roosters, stars, peacocks, or scenes that include a house and trees are appropriate subjects to cut from fadeless paper. Layers of color may be built by adding cutouts underneath and on top in other bright colors. 162 The Art Teacher’s Book of Lists

4–16. Continued

SAN BLAS ISLANDS, PANAMA • Molas. The layered, reverse appliquéd cloth molas created by the Cuna indians are worn as blouses, but their beauty has made them popular tourist items. The mola designs, based on animals and nature, are effective on Scratch Art Paper® (which has a black surface, with variegated colors underneath). After the design is drawn, a nail may be used to scratch lozenge or geometric shapes around and through the animal.

NORTH AMERICA Although not all these “American” crafts have origins in other countries, many handicrafts are universal or were brought to the continent by immigrants. • Bird drawings. (Based on John James Audubon’s work.) Birds may be drawn on 12-by-18-inch paper and colored with crayon or oil pastel in bright, unrealistic colors. India ink mixed with liquid detergent will be painted on the finished drawings. After drawings have dried, the artist will use a ruler and a metal nail to scratch through the ink layer with vertical lines 1/16th inch apart. • Computer “quilting.” The computer lends itself easily to such quilt designs as the nine-patch, windmill, and other geometric compositions. • Floor cloth. Primed canvas may be stenciled by cutting a design from Mylar® with an X-acto® knife. Acrylic paint is dabbed through the opening using either a stencil brush or small piece of sponge. Safety note: Remember to always cut on a protected surface, holding the non-cutting hand behind the one with the knife. • Pop-art stencil. A composition such as those created by Pop artists may be made by using letter stencils, charcoal, conté, or pastels. Many different combinations are possible with only one letter (or several stencils may be used to spell out a word). Letters may also be combined with drawings of real objects. Pop artists Jasper Johns, Larry Rivers, Robert Indiana, and Robert Rauschenberg serve as inspiration. • Screen wire masks. These masks, based on the Caribbean tradition, may be formed over each person’s face. These should then be painted with features and mounted to show them off to best advantage, enhancing them with appropriate materials. These masks are also used for the Mardi-Gras by Cajun people in the countryside around New Orleans. • Scrimshaw. A long nail may be used to scratch a design in white plastic (switch plates, bleach bottles, sheet plastic). Sailing ships, mermaids, flowers, and geometric designs are all suitable for scrimshaw (cross-hatching enhances these designs). After the design is complete, it may be coated with ink or acrylic paint, then wiped off. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Mola Design. Private collection Chapter 4 Diverse Cultures 163

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• Weathervane. A weathervane may be made by cutting out a cardboard pattern of an animal or bird. A piece of aluminum foil should be cut slightly larger and texture added with a dull pencil, then affixed to the cardboard backing with tape or glue. Ink will be wiped on the foil, then excess ink wiped off. To finish, additional foil should be glued onto the back.

SWEDEN • Dala horse. The Swedish Dala horse is a carved wooden horse, painted red, blue, black, or white, with the saddle and bridle decorated with special designs. These could be of poster board, painted alike on both sides, then displayed by hanging from string within a classroom. The Dala horse design is also used on tiles, trays, Drawing. Weathervane and linens. • Swedish paper heart ornament. This red-and-white woven paper ornament may be used as a Val- entine, May Day basket, tree ornament, or small gift basket. Cut two sheets of contrasting paper in a ratio of 6 long by 2 wide, and fold in half vertically, rounding the top third (see figure a). Make vertical cuts from the fold to slightly past one-third from the top (b). Hold at right angles and interweave (around and through) the two colors starting at the top to make an open basket, adding a handle at the top (c–three equal cuts . . . . d–five cuts of unequal sizes). Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

AFRICAN AMERICAN ARTS AND CRAFTS • Face vessels. These originated in the American South and con- Digital photo. Dala Horse photo. Private collection tinue to be made today. The coil built pots are usually larger near the top, with features such as nose, mouth, eyes, added. Green or brown glazes are most authentic, although teeth might be white, as they are in some vessels. • Paper or cloth quilts. In the manner used by many African American quilters, these have some resemblance to Kenté cloth, with long pieced strips, joined together. Another specialty is appliquéd quilts similar to appliquéd banners found in West Africa or by American contemporary artist Faith Ringgold. • Walking stick. Sticks that are long and sturdy enough for a walking stick are ideal. An animal or human “head” may be added with papier maché or Paper Clay® and painted when dry. It should be comfortable enough to fit the hand. Or animal designs may be painted on the stick with acrylic or tempera paint.

Drawing. Walking Stick, Democratic Republic of Face Vessels the Congo 164 The Art Teacher’s Book of Lists

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NATIVE AMERICAN ARTS AND CRAFTS Although contemporary Native Americans no longer live in tipis, many of their unique handcraft traditions continue through generations. These hand-crafted artworks are pottery, jewelry, special clothing for festivals, weaving, and sand painting that they produce for themselves and for tourists. • Model tipis. Miniature tipis may be made from brown paper and decorated with appropriate symbols. These can be mounted on sticks or simply rolled into a cone. Children used them as toys. • Exploit robes. A small “robe shape” may be torn from brown paper bags or kraft paper. An event in the life of the student may be drawn, using small figures. Native Americans recorded their exploits or battles involving horses and many people. • Ledger paper drawings. When cloth wasn’t available, Native Americans drew on ledger paper (lined paper). Artists can record one or more drawings of themselves in action on ordinary lined notebook paper. Fill the page. • Winter count. A communal Winter Count was created on muslin or hide by some tribes. They selected a symbol to represent the single most important event of each year such as Halley’s Comet. The symbols are arranged in a spiral or rectangle starting at one corner and working across or inward. This could be done on poster board or muslin using colored pencil or marker. • Jewelry. A small ball of clay may be flattened, edges smoothed, and a Native American symbol drawn on it with a pencil or nail. A hole should be poked near the top for stringing it on a leather thong for a pendant. When the clay is leather hard, an oxide should be wiped on it (the excess wiped off). When dry, it should be fired. • Navajo rug. A Native American rug design may be drawn with crayon on kraft paper that has been dampened, crumpled, and dried. Yarn fringe may be added to the top and bottom. • Navajo rug II. A geometric design for a Native American rug may be made on the computer. • Pottery. Artists can make and decorate a coil pot in the manner of Southwestern pueblo potters. The pot can be polished leather-hard with a spoon, or a low-relief design can be carved in the surface. • Copper foil totems. A thin copper foil mask is effectively decorated

with the repoussé technique using an empty ballpoint pen or dull pen- & Sons, Inc. Copyright © 2010 by John Wiley cil. Working on a pad of newspaper, traditional totem designs are easily interpreted, pushing from both the front and back of the foil. Wipe with Tipi Model, Kiowa, 1904, Smithson- permanent ink when finished and wipe off or “paint” with permanent ian Institution, Washington, D.C. markers. • Rock paintings. A group could work together painting pictographs on a kraft paper background to make a Newspaper Rock. A real Newspaper Rock exists in Newspaper Rock State Park, Utah. • Painted (pictographs) or scratched (petroglyphs). These may be applied to smooth rocks found on a beach, the side of the road, in a stream, or purchased from a store.

• Sand painting print. The artist draws heavily directly on sandpaper Tipi Model, Cheyenne, 1904, Field with crayon. To make a print, the sandpaper is turned over, placed on Museum of Natural History, Chicago white paper, and ironed on the back of the sandpaper to make a print. • Sand painting. Artists can draw stylized figures directly on sandpaper with oil pastels. Several colors of sand can be made by mixing food color in white sand. Each sand color may be put in individual copy- paper box lids. Artists can make a small area of design (on card stock) with white glue and use fingers to dribble sand into that area, dumping off the excess into the original box. Chapter 4 Diverse Cultures 165

4–17. Native American Artists

This list includes well-known Native Americans whose work may be representative of a particular family or group of artists. The work of most Native American artists of previous centuries is not identified by name. Tribal affiliations and birthdates are included where available. If only one name is given, a second name in parentheses may be a family name. Some tribes have different names in the United States and in Canada, and these distinctions are given. Examples are Blackfeet (U.S.)/Blackfoot (Canada); Eskimo (U.S.)/Inuit (Canada); Chippewa (U.S.)/Ojibwa (Canada).

Abeyta, Tony, 1965, Navajo Poitras, Jane Ash, 1951, Plains Cree Ashevak, Kenojuak, 1927, Inuit Pootoogook, Kananginak, 1935 Ashoona, Pitseolak, 1904–1983, Inuit Red Star, Kevin, 1943, Crow Begay, Harrison, 1914 Reid, Bill, 1920–1998, Haida Broer, Roger L., 1945, Oglala/Lakota Sioux Scholder, Fritz, 1937–2005, Luiseno Bushyhead, Jerome, 1929–2000 Shelton, Peter (Hoyesva), b. 1920s, Hopi Cordero, Helen, 1915–1994, Cochiti Pueblo Smith, Jaune Quick-To-See, 1940, Salish/Cree/ Crumbo, Woodrow W., 1912–1989, Potawatomi/ Shoshone Creek Tafoya, Margaret, 1904–2001, Santa Clara Da, Tony, 1940–2008, San Ildefonso Tailfeathers, Gerald, 1925–1975, Blood Eveningthunder, L. David, c. 1939, Shoshone Taylor, Urshel, 1937, Pima Gorman, Carl Nelson, 1907–1998, Navajo Tunnillie, Ovilu, 1949, Inuit Gorman, Rudolph Carl (R.C.), 1932–2005, Walkingstick, Kay, 1935, Cherokee Navajo West, Richard W. (Dick), 1912–1996, Cheyenne Houser, Allan, 1915–1994, Apache Whitehorse, Emmi, 1956, Navajo Howe, Oscar, 1915–1983, Yankton Sioux Yazz, Beatien (Little No Shirt) 1928, Navajo Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Lewis, Lucy, 1897–1992, Acoma Lucy (Qinnuayuak), 1915–1982, Inuit Martinez, Julian, 1897–1943, San Ildefonso Martinez, Maria Montoya, 1887–1980, San Ildefonso Martinez, Santana R., 1909–2002, Tewa/San Ildefonso Martinez, Tony, 1920–1971, San Ildefonso Nailor, Gerald, 1917–1952, Navajo Namingha, Dan, 1950, Hopi Nampeyo, The Old Lady, 1857–1942, Hopi-Tewa Drawn from Summer Storm, 1981, R.C. Gorman, Odjig, Daphne, 1919, Ojibwa Navajo Gallery, Taos, New Mexico 166 The Art Teacher’s Book of Lists

4–18. Native American Craft Specialties by Region

Some items listed here may be found only in museums or private collections. But some traditions continue to flourish and evolve, as contemporary craftspeople take pride in their traditional way of working.

ARCTIC, ALASKAN, CANADIAN SOUTHEAST WOODLANDS: BILOXI, CHEROKEE, appliqué CHOCTAW, CREEK, SEMINOLE, CHICKASAW, NATCHEZ, CATAWBA, CADDO baskets corncob dolls carved bone carved ivory effigy pipes carved soapstone feather work carved wood pottery engraved throwing stones ribbon appliqué masks Seminole patchwork metal tools shaman figures NORTHWEST COAST: BELLACOOLA, CHINOOK, CHILKAT, COWICHAN, HAIDA, KLAMATH, KWAIKUTL, NOOTKA, walrus ivory handles for harpoons SALISH, TLINGIT, TSIMSHIAN SUBARCTIC baskets birch bark boxes beaded tobacco pouches birch bark canoes blanket chests

EASTERN WOODLANDS: ALGONQUIN, CREE, DELAWARE, button-trimmed robes FOX, IROQUOIS, MOHAWK, ONEIDA, SENECA, carved and painted house fronts POWHATAN, MICMAC, CONESTOGA, ABENAKI carved argillite beading carved fetish rattles & Sons, Inc. Copyright © 2010 by John Wiley birch bark boxes Chilkat blankets birch bark patterned by biting clan hats burden straps dance apron cradleboards drums embroidery hammered copper plates false face masks masks moose hair embroidery porcupine quill decorations totem poles snowshoes whale bone club woven wampum belt wooden utensils

GREAT LAKES: CHIPPEWA, FOX, KICKAPOO, MENOMINI, OTTAWA, PENOBSCOT, POTAWATOMI, WINNEBAGO, CALIFORNIAN: CHUMASH, HUPA, MODOC, POMO, ILLINOIS, SHAWNEE, MISMI, HURON, ALGONQUIN CAHILLA, KAROK, MAIDU beadwork baskets moose hair embroidery featherwork quillwork shell beads Chapter 4 Diverse Cultures 167

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SOUTHWEST: ACOMA, APACHE, HOPI, NAVAJO, PAPAGO, NORTHERN PLATEAU: BLACKFEET, FLATHEAD, GROS PIMA, HAVASUPAI, TESQUE, SAN ILDEFONSO, SANTA VENTRE, NEZ PERCE, PIUTE, SHOSHONI, UTE CLARA, TAOS, ZIA, ZUNI Arapaho war bonnets coiled baskets bridles coiled pottery ceremonial rattles gourd pots coup stick gourd rattles finger weaving kachina dolls floral beadwork masks Micmac quill chair cover sand painting parfleche (decorative bag) silver and turquoise jewelry roach spreader (headdress) story teller dolls rock engravings woven blankets saddles Sioux war bonnet tipis tobacco pipes and bags

Salmon Clan Hat, Tlingit, 1850–1925, wood, paint, abalone shell and operculum, Saint Louis Art Museum, gift of Morton D. May 168 The Art Teacher’s Book of Lists

4–19. Rock Art Sites to Visit

Visiting rock art sites brings the feeling of awe that you may be the first person to have seen the petroglyphs (incised images) or pictographs (painted symbols) since they were made hundreds (or thousands) of years ago. Numerous prehistoric rock art sites in the United States are concentrated in the West and Southwest. Web- sites, state maps, and field guides are useful for obtaining specific information and directions.

ARIZONA UTAH • Arizona Mesa Verde National Park, Phoenix • Anasazi Ridge, St. George • Arizona Painted Rocks Petroglyph Site, Cortex • Arches National Park, Moab • Arizona Petrified Forest National Park, Gila Bend • Canyonlands National Park, Moab • Arizona Petroglyph and Renegade Canyons, Tucson • Capitol Reef National Park, Torrey • Arizona Saguaro National Monument, Holbrook • Dinosaur National Monument, Moab (Utah/Colorado) • Canyon de Chelly National Monument, Chinley • Grand Gulch Primitive Area, Hwy. 276 • Deer Valley Rock Art Center, Glendale • Hovenweep National Monument, Blanding • Glen Canyon National Recreational Area, Page • Natural Bridges National Monument, Lake Powell • Navajo National Monument, Tonalea • Utah Fremont Indian State Park, Vernal • Utah Newspaper Rock State Historical Monument, CALIFORNIA Indian Creek State Park, Monticello • Utah Nine Mile Canyon, Price • Painted Rock, Carrizo Plain • Zion National Park, Springdale • Picture Canyon, Needles • Renegade Canyon, Coso Mountains, Ridgecrest OTHER SITES • Sheep Canyon, Ridgecrest • Pennacook Tribe Petroglyphs, Bellows Falls, Vermont COLORADO USEFUL FIELD GUIDES • Colorado National Monument, Fruita • Barnes, F.A. Canyon Country Prehistoric Rock Art, • Mesa Verde National Park, Cortez Wasatch Publishers, Inc., 4460 Ashford Drive, Salt Lake City, Utah 84124, 1982 MINNESOTA • Patterson, Alex. A Field Guide to Rock Art Symbols of • Echo Trail, Cliff paintings, Ely the Greater Southwest, Johnson Books, Boulder, Colo-

rado, 1992 & Sons, Inc. Copyright © 2010 by John Wiley NEVADA • Schaafsma, Polly. The Rock Art of Utah, University of Utah Press, Salt Lake City, 1971 • Bandelier National Monument, Las Vegas • Lehman Caves National Monument, Baker • Red Rock Canyon, Valley of Fire State Park, Moapa • Valley of Fire State Park, Bullhead

NEW MEXICO • Bandelier National Monument, Los Alamos • Chaco Canyon National Monument, Bloomfield, near Santa Fe • El Morro National Monument, Ramah Navajo Indian Reservation, Thoreau • Gila Cliff Dwellings National Monument, Gila Hot Springs • New Mexico Hueco Tanks State Park, Three Rivers • New Mexico Petroglyph National Monument, Zuni • New Mexico Three Rivers Petroglyph Site, Albuquerque • Three Rivers Petroglyph Site, Three Rivers

TEXAS Newspaper Rock, courtesy Utah Office of Tourism/Matt Mor- • Texas Canyonland National Park, Del Rio gan. Newspaper Rock is near a stream and a trail where, long ago, Native Americans and settlers left messages for others. • Texas Petroglyphs Area, El Paso These petroglyphs are scratched into desert varnish (natural • Texas Seminole Canyon State Park, Diablo Dam patination) on a huge, flat rock Chapter 4 Diverse Cultures 169

4–20. Famous Hispanic Artists

Spaniards were great explorers and colonizers, and Spanish artistic traditions are seen all over the world. This list contains a small sampling of some of the most famous Hispanic artists.

HISPANIC-AMERICAN Baca, Judith Francisca, 1946 Basquiat, Jean-Michel, 1960–1988 Casas, Melesio (Mel), 1929 Chavez, Edward, 1917–1995 Garcia, Rupert, 1941 Garza, Carmen Lomas, 1948 Drawn from The Flower Gil De Montes, Roberto, 1950, b. Mexico Carrier, 1935, Diego Rivera, Gronk, (Glugio Gronk Nicandro), 1954 San Francisco Museum of Herron, Willie, 1951 Modern Art Jimenez, Luis Alfonso, 1940–2006 Juarez, Roberto, 1952 Lam, Wilfredo, 1902–1982, b. Cuba Lasansky, Mauricio, 1914, b. Argentina Orozco, Jose´ Clemente, 1883–1949 Lopez, Yolanda M., 1942 Ramos-Martinez, Alfredo, 1875–1946 Lujan, Gilbert Sanchez “Magu,” 1940 Rivera, Diego, 1886–1957 Marisol (Marisol Escobar), 1930, b. Venezuela Romero, Carlos Orozco, 1896–1984 Martinez, Cesar Augusto, 1949 Romo, José Luis, 1953 Medellin, Octavio, 1907–1999 Ruiz de Valesco, Veronica, 1968 Montoya, José, 1932 Siqueiros, David Alfaro, 1896–1974 Moroles, Jesús Bautista, 1950 Toledo, Francisco, 1940 Neri, Manuel, 1930 Zarraga, 1886–1946

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Otero, Nestor, 1948 Zuniga, Francisco, 1912–1998 Ponce de Leon, Michael, 1922–1998 Ramos, Mel, 1935 SPAIN Romero, Frank, 1941 Dali, Salvador, 1904–1989 Roybal, Antonio, 1976 Gaudi, Antoni, 1852–1926 Salinas, Porfirio, 1910–1973 Goya, Francisco, 1746–1828 Serra, Richard, 1939 Gris, Juan, 1887–1927 Tamayo, Rufino, 1899–1991 Miro´, Joan, 1893–1983 Torres-Garcia, Joaquin, 1874–1949, b. Uruguay Murillo, Bartolomé, 1617–1682 Vargas, Alberto, 1896–1982 Picasso, Pablo, 1881–1973 Ribera, Jusepe, 1588–1652 MEXICO Tapies, Antoni, 1923 Barragan, Luis, 1902–1988 (architect) Theotocopoulos, Domenico, “El Greco,” 1541–1614 Gerzso, Gunther, 1915–2000 Velásquez, Diego, 1599–1660 Iturbide, Graciela, 1942 Zurbaran, Francisco de, 1598–1664 Izquierdo, Maria, 1902–1955 Kahlo, Frida, 1907–1954 OTHER Lazo, Agustin, 1898–1971 Botero, Fernando, 1932, b. Colombia Merida, Carlos, 1891–1984 Matta, Roberto, 1911–2002 Modotti, Tina, 1896–1942 Oller, Francisco Manuel, 1833–1917, b. Puerto Rico 170 The Art Teacher’s Book of Lists

4–21. Famous Middle Eastern Artists

An effort was made to include representative artists from as many countries as possible in this list, but it was impossible to list them all. Information about these artists may be found on the Internet.

EGYPT Orloff, Channa, 1888–1968 Hafez, Khaled, 1963 Schluss, David, 1943 Naim, Sabah, 1967 Uri, Aviva, 1927–1989

IRAN LEBANON Banisadr, Ali, 1976 Rechmaoui, Marwan, 1964 Ehsai, Mohammed, 1939 Fakhim, Shirin, 1973 PALESTINE Ghadirian, Shadi, 1974 Hourani, Wafa, 1979 Golshiri, Barbad, 1982 Khaldi, Jeffar, 1964 Haerizadeh, Rokni, 1978 Shawa, Laila, 1940 Haerizadeh. Famin, 1975 SYRIA Hassanzadeh, Khosrow, 1963 Khorramian, Laleh, 1974 Al-Hadid, Diana, 1981 Madani. Tala, 1981 TUNISIA Morshedloo, Ahmad, 1973 Moshiri, Farhad, 1963 Ayari, Nadia, 1981 Rahbar, Sara, 1976 TURKEY Tanavoli, Parviz, 1937 Zenderoudi, Charles Hossein, 1937 Akyildiz, Mevlut, 1956 Arbas¸, Avni, 1919–2003 IRAQ Coker, Adnan, 1927 Al-Karim, Halim, 1963 Dino, Abidin, 1913–1993 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Alsoudani, Ahmed, 1975 Dogancay, Burhan, 1929 Kahraman, Hayv 1981, Iraqi/American Erdok, Nese, 1940 Massoudy, Hassan, 1944 Eyubog˘lu, Bedri Rahmi, 1911–1975 Güleryüz, Mehmet, 1938 ISRAEL Guran, Nazmi Ziya, 1881–1937 Adler, Jankel, 1895–1949, b. Poland Gurel, Peyami, 1959 Agam, Yaakov, 1928 Hamdi Bey, Osman, 1842–1910 Aharon, Avni, 1906–1951, b. Russia Kalmik, Ercument, 1909–1971 Antokolosky, Mark, 1843–1902 Mualla, Fikret, 1903–1967 Archipenko, Alexander, 1887–1964, b. Ukraine Pas¸a, Halil, 1860–1939 Ardun, Mordechai, 1896–1992, b. Poland Pas¸a, S¸eker Ahmet, 1841–1907 Arikha, Avigdor, 1929-2010, b. Romania Saygi, Mualia, Fikret, 1903–1967 Epstein, Jacob, 1880–1959, b. United States Zeid, Fahrunissa, 1901–1991 Kadishman, Menashe, 1932 Karavan, Dani, 1930 UNITED ARAB EMIRATES Lazar, Uri, 1861–1931 Al-Rais, Abdul Kadir, 1951 Oppenheim, Moritz Daniel, 1800–1882, b. Germany Al Ghaith, Reem, 1985 Chapter 4 Diverse Cultures 171

4–22. Well-Known Artists from Oceania

This list is focused on names of a few famous artists from some areas of Oceania. Most are listed on multiple Internet sites, and examples of their work may be seen there.

AUSTRALIA Meja, Nyoman, 1952 Clark, Thomas, 1814–1883 Murtika, Ketut, 1952 Conder, Charles, 1868–1909 Ngendon, Nyoman, 1906–1946 Dobell, Sir William, 1899–1970 Sobrat, Anak Agung Gde, 1911–1922 Heysen, Sir Hans, 1877–1968 Spies, Walter, 1895–1942, German, b. Russia Kngwarreye, Emily Kame, 1910–1996 Tjay, Tio, 1946

Mawurndjul, John, 1952 PAPUA NEW GUINEA McCubbin, Frederick, 1855–1917 Akis, Timothy, 1940–1984 Moffatt, Tracey, 1959 Ako, Jakupa, c. 1942–1997 Namatjira, Albert, 1902–1959 Bom, John, c. 1966/1967 Napangardi, Dorothy, c. 1958 Danger, John, 1969 Napangardi-Watson, Judy, c. 1945 Kauage, Mathias, 1944–2003 Newton, Helmut, 1920–2004 Lasisi, David, 1955 Preston, Margaret, 1875–1963 Morububuna, Martin, 1957 Roberts, Tom, 1856–1931 Nombri, Andy, 1975 Streeton, Sir Arthur, 1867–1943 Nalo, Joe, 1951 Thomas, Rover, 1926–1998 Santana, Larry, 1962 Tjapaltjarri, Clifford Possum, 1932–2002 Weoa, Winnie, 1971 Tucker, Albert, 1914–1999 NEW ZEALAND INDONESIA Angus, Rita, 1908–1970 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Affandi-Koberl Kartika, 1934 Cotton, Shane, 1964 Affandi, 1910–1990 Goldie, Charles, 1870–1947 Lempad, Gusti Nyoman, 1865–1978 Lindauer, Gottfried, 1839–1926 Made, Ida Bagus, 1915–1999 Matchitt, Paratene, 1933 Masriadi, Nyoman, 1973 Walters, Gordon, 1919–1995 172 The Art Teacher’s Book of Lists

4–23. Asian Artists

Although it’s hard to narrow down the thousands of Asian artists to a list such as this, these are the ones who have been at the forefront in contemporary art (and a few from other eras). Chinese and Japanese names are normally listed with the family (surname) first.

CHINESE/NORTH AMERICAN Mariko Mori, 1967 Bernice Bing, 1936–1998 Okamura, Arthur, 1932 Cai Guo-Qiang, 1957, b. China Ono, Yoko, 1933 Chang Shu-chi, 1900–1957 Shu Takahashi, 1960 Chee Chin S. Cheung Lee, 1896–1966 Takashi Murakami, 1962 Chen Chi, 1912–2005 Yasuo Kunioshi, 1893–1953 Han, Raymond, 1931 Yayoi Kusama, 1929 Lin, Maya Ling, 1959 JAPAN Pei, I. M., 1917 Ando Hiroshige, 1797–1858 Wang, Vera, 1949 Hiroshi Sugimoto, 1948 Wenda Gu, 1955 Katsushika Hokusai, 1760–1849 Wucius Wong, 1936 Kenzo Tange, 1913–2005 Xu Bing, 1955 Kitagawa Utamaro, 1753–1808 Qiu Ying, 1494–1552 Kozo Miyoshi, 1947 CHINA Michiko Kon, 1955 Ah Xian, 1960 Ogata Korin, 1658–1716 Al Weiwei, 1957 On Kawara, 1932 Dong Kingman, 1911–2000 Saburo Murakami, 1925–1996 Lin Tianmiao, 1961 Shusaku Arakawa, 1936–2010 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Liu Wei, 1965, painter Taizan, Hine, 1813–1869 Liu Xiaodong, 1963 Torii Kiyonaga, 1752–1815 Michael Ming Hong Lin, 1964, b. Taiwan Tsuyoshi Ozawa, 1965 Wang Gongxin, 1960 Utagawa Toyokuni, 1769–1925 Wang Qingsong, 1967 Yasumasa Morimura, 1951 Xu Beihong, 1895–1953 KOREAN AMERICAN Yu Youhan, 1943 Kim Whanki, 1913–1974 Yue Minjun, 1962 Nam June Paik, 1932–2006 Zeng Fanzhi, 1964 Nikki S. Lee, 1970 Zhang Xiogang, 1958 KOREA JAPANESE/NORTH AMERICAN Cho Duck-Hyun, 1957 Arata Isozaki, 1931 Kim, Jong-Hak, 1954 George Matsusaburo Hibi, 1886–1947 Lee Ufan, 1936 Henry Tadaaki Takemoto, 1930 Myung Sook Kim, 1960 Hisako Hibi, 1907–1991 Sun K. Kwak, 1966 Isamu Noguchi, 1904–1988 U-Ram Choe, 1970 Chapter 4 Diverse Cultures 173

4–23. Continued

INDIA Bose Nandlal, 1882–1966 Chatterjee, Sanat, 1935 Das, Jatin, 1941 Gujral, Satish, 1925 Gupta, Subodh, 1964 Husain, Maqbool Fida (M. F.), 1915 Khanna, Krishen, 1925 Mehta, Tyeb, 1925–2009 Raza, S. H., 1922 Roy, Jamini, 1887–1972 Shergill, Amrita, 1913–1941 Souza, Francis Newton, 1924–2002 Tagore, Rabindranath, 1861–1941 Tagore, Abanindranath, 1871–1951 Varma, Raja Ravi 1848–1906

Spring Woods, Passing Rain, 1856, Hine Taizan, Japanese, hanging scroll: ink and color on paper, Saint Louis Art Museum, Museum Shop Fund 174 The Art Teacher’s Book of Lists

4–24. Japanese Historical Periods

Jomon 5000 BC–AD 3300 Yayoi c. 300 BC–AD 300 Prehistoric period ended AD 552 Asuka period 552–645 Nara period 645–784 Heian period 784–1185 Early Heian 784–897 Middle and Late Heian 897–1185 Kamakura period 1185–1333 Muromachi period 1333–1573 Momoyama period 1573–1614 Edo or Tokugawa period 1614–1868 Meiji Restoration 1868–1912

Modern times 1912– Japanese Temple

4–25. Chinese Dynasties

Neolithic Period c. 7000–1600 BC Western Wei 535–556 Yanshao Culture 5000–2000 BC Northern Qui 550–557 Longshan Culture 3000/2500– Northern Zhou 557–581 1500 BC Southern Dynasty Hsia (Xia) 2205–1766 BC Song 420–479 Shang Dynasty c. 1600–1027 BC Qi 479–502 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Zhou (Chou) 1122–770 BC Liang 502–557 Western Zhou 1027–771 BC Chen 557–589 Eastern Zhou 770–256 BC Sui Dynasty 589–618 Periods of Spring and Autumn 770–475 BC Tang (T’ang) Dynasty 618–906 Warring States Period 475–221 BC Five Dynasties and 906–960 Qin (Ch’in) 221–207 BC Ten Kingdoms Han Dynasty Western 206 BC–AD 9 Later Liang 907–923 (former) Han Later Tang 923–936 Xin AD 9–25 Later Jin 936–947 Eastern (later) Han 25–220 Later Han 947–950 Six Dynasties Period 220–580 Later Zhou 951–960 Three Kingdoms Period 220–265 Liao Dynasty 916–1125 Tsin (Jin) 265–420 Sung (Song) 960–1280 Western Jin 265–316 Northern Sung 960–1127 Eastern Jin 317–420 Southern Sung 1127–1279 Northern Dynasty Jin Dynasty 1115–1234 Northern Wei 386–534 Yuan (Mongol) Dynasty 1271–1368 Eastern Wei 534–550 Ming Dynasty 1368–1644 Hungwu 1368–1398 Chapter 4 Diverse Cultures 175

4–25. Continued

Jianwen 1398–1402 Jiaqing 1796–1820 Yongle 403–1424 Daoguang 1821–1850 Hongxi 1425 Xianfeng 1851–1861 Xuande 1426–1435 Tongzhi 1862–1874 Zhengtong 1436–1449 Guangxu 1875–1908 Jingtai 1450–1456 Xuantong 1908–1911 Tianshun 1457–1464 Republic of China 1912–1949 Chenghua 1465–1487 People’s Republic of China 1949– Hongzhi 1488–1505 Zhengde 1506–1521 Jiajing 1522–1566 Longqing 1567–1572 Wanli 1572–1620 Tiachang 1620 Tianqi 1620–1627 Chongzhen 1628–1644 Qing (Ch’ing) (Manchu) Dynasty 1644–1911 Shunzhi 1644–1661 Kangxi 1662–1722 Yongzheng 1723–1735 Qianlong 1735–1795 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Drawn from Tomb Model of a House, Han Dynasty, Nelson- Atkins Museum of Art CHAPTER 5 LITERATURE AND SUPPLY RESOURCES 5–1. Quotations 5–2. Really Useful Reference Books for Art Teachers 5–3. Art Magazines 5–4. Visual Art Book Publishers 5–5. Where to Find Visual Art Images 5–6. Purchased Educational Games 5–7. Hollywood Films About Artists 5–8. Documentary Films About Artists and Art Appreciation Chapter 5 Literature and Supply Resources 177

5–1. Quotations

“An artist is somebody who produces things that people don’t need to have.” ANDY WARHOL, 1928–1987, AMERICAN ARTIST

“Life is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. If it works big, others quickly copy it.” LEONARDO DA VINCI, 1452–1519, ITALIAN PAINTER/INVENTOR

“Good teaching is more a giving of right questions than a giving of right answers.” JOSEF ALBERS, 1888–1976, GERMAN COLOR THEORIST

“The days you work are the best days.” GEORGIA O’KEEFFE, 1887–1986, AMERICAN PAINTER

“Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness.” PABLO PICASSO, 1881–1973, SPANISH ARTIST

“Teachers open the door, but you must enter by yourself.” CHINESE PROVERB

“I’m a terrible cook, but if I could cook, I would see that in art as well, it’s how much creative energy you put into something.” TRACEY EMIN, 1963, ENGLISH ARTIST

“Association with my pupils has kept me young in my work. Criticism of their work has kept my own point of view clear.” WILLIAM MERRITT CHASE, 1849–1916, AMERICAN ARTIST

“When I judge art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art.”

“I never paint a portrait from a photograph, because a photograph doesn’t give enough information about what the person feels.” FRANCESCO CLEMENTE, 1952, ITALIAN ARTIST

“There is no must in art because art is free.” WASSILY KANDINSKY, 1866–1944, RUSSIAN-BORN FRENCH PAINTER

“An artist who is self-taught is taught by a very ignorant person indeed.” JOHN CONSTABLE, 1776–1837, ENGLISH PAINTER 178 The Art Teacher’s Book of Lists

5–2. Really Useful Reference Books for Art Teachers

Some of these reference books might be part of every art room or school library. Many are routinely updated and are resource treasure troves. A Dictionary of Art Terms and Techniques, Second Edition, Ralph Mayer, HarperCollins, New York, 1992 American Art Directory, R.R. Bowker Publishing, New York, 2003–2004 Animals, Copyright-Free Illustrations, Dover Publications, New York, 1979 Architecture Is Elementary, Nathan B. Winters, Gibbs Smith, Salt Lake City, 2005 Art History, Marilyn Skokstad, Harry N. Abrams, Inc., New York, 2007 Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present, Robert Atkins, Abbeville Press, New York City, 1997 Art: A History of Painting, Sculpture and Architecture, Third Edition, Frederick Hartt, Harry N. Abrams, Inc., New York, 1989 Art, Over 2,500 Works from Cave to Contemporary, (no author), Dorling Kindersley, London, 2008 Color Right from the Start, Progressive Lessons in Seeing and Understanding Color, Hilary Page, Watson- Guptill, New York, 2001 Creative and Mental Growth, Eighth Edition, Viktor Lowenfeld and W. Lambert Britain, Prentice Hall, Upper Saddle River, New Jersey, 1987 Discovering Great Artists: Hands-On Art for Children in the Styles of the Great Masters (Ages 4–8), MaryAnn F. Kohl, Bright Ring Publishing, Bellingham, Washington, 1997 History of Art, Seventh Edition, H. W. Janson, Harry N. Abrams, New York, 1995 International Directory of Arts and Museums of the World (CD-ROM), K.G. Saur, Tower Books, Munich, 2008 Thames and Hudson Dictionary of Art Terms, Second Edition, Edward Lucie-Smith, Thames and Hudson, London, 2004 The Annotated Mona Lisa, A Crash Course in Art History from Prehistoric to Post-Modern, Carol Strickland and John Boswell, Andrews and McMeel, Universal Press Syndicate Company, Kansas City, Missouri, 1992 The Art Book, Phaidon, Phaidon Press Ltd., London, 1997

The Artist’s Complete Guide to Facial Expressions, Gary Fagin, Watson-Guptill, New York, 1990 & Sons, Inc. Copyright © 2010 by John Wiley The Artist’s Handbook, Ray Campbell Smith, DK Adult, London, 2006 The Artists’ Handbook of Materials and Techniques, Fifth Edition, Ralph Mayer, Faber and Faber, New York, 1991 The Beginner’s Guide to Figure Drawing, Vic Levy, Chartwell Books, Inc., Secaucus, New Jersey, 1993 The Dictionary of Art, Jane Turner, editor, thirty-four volumes, Macmillan Ltd., London, Groves Dictionaries, Inc., New York, 1996 The New Artists’ Manual: The Complete Guide to Painting and Drawing Materials and Techniques, Simon Jennings, Chronicle Books, San Francisco, 2005 The Oxford Dictionary of Art, Ian Chilvers, Harold Osborne, Dennis Farr, Oxford University Press, New York, 1997 The Penguin Dictionary of Architecture, Fourth Edition, John Fleming, Hugh Honour, Nikolaus Pevsner, Penguin Books, London, 1966/1991 The Twentieth Century Art Book, (no author), Phaidon Press, Ltd., London, 1999 Varieties of Visual Experience, Third Edition, Edmund Burke Feldman, Harry N. Abrams, Inc., New York, 1987 Chapter 5 Literature and Supply Resources 179

5–3. Art Magazines

These art-related magazines were selected because they are well established and have a large circulation. The Standard Periodical Directory, published by Oxbridge Communications, Inc., is in most library reference rooms and lists hundreds of current publications.

VISUAL ARTS—GENERAL Airbrush Action, 1985 Swarthmore Ave., P.O. Box 2052, Lakewood, New Jersey 08701 American Art (Smithsonian Studies in American Art), Rizzoli International, 300 Park Ave. South, New York, New York 10010 American Art Therapy Association Newsletter, 1202 Allanson Road, Mundelein, Illinois 60060-3808 American Artist, 29 W. 46th Street, 3rd Floor, New York, New York 10036 Art & Antiques, 3 E. 54th Street, New York, New York 10022 Art in America, Brant Publications, Inc., 575 Broadway, New York, New York 10012-3230 Artforum, Artforum International Magazine, 65 Bleeker Street., New York, New York 10012-2466 Artist’s Magazine, F+W Publications, 4700 E. Galbraith Road, Cincinnati, Ohio 45236 ARTnews, Artnews Associates, 48 W. 38th Street, New York, New York 10018-6238 Carnegie Magazine, 4400 Forbes Avenue, Pittsburgh, Pennsylvania 15213-4007 Fine Art Magazine, Sunstorm Arts Publishing Co., Inc., 1014 Drew Court, Ronkonkoma, New York 11779 Illustrator, Art Instruction Schools, 500 S. 4th Street, Minneapolis, Minnesota 55415-1592 Printmaking Today, Cello Press Ltd., 99-101 Kingsland Road, London E2 8AG, UK Metropolis, Bellerophon Publications, Inc., 177 E. 87th St., New York, New York 10128-2268

DRAWING AND PAINTING Draw! magazine, TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, North Carolina 27614 Drawing (American Artist), 29 W. 46th Street, 3rd Floor, New York, New York 10036 Paintworks, MSC Publishing, Inc., 243 Newton Sparta Road, Newton, New Jersey 07860-2748 Pastel Journal, F+W Publications, 4700 E. Galbraith Road, Cincinnati, Ohio 45236

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Portraits, Holland & Edwards Publishing, Inc., 250 Mercer Street, Apartment A-203, New York, New York 10012-1144 Sculpture Magazine, International Sculpture Center, 1050 17th Street, NW. Washington, D.C. 20036-3587 Sculpture Review, National Sculpture Society, 1177 6th Avenue, 15th Floor, New York, New York 10036-2705 Watercolor Artist, F+W Publications, 4700 E. Galbraith Road, Cincinnati, Ohio 45236 Watercolor (American Artist), 29 W. 46th Street, 3rd Floor, New York, New York 10036 Watercolor Magic, F & W Publications, 1507 Dana Avenue, Cincinnati, Ohio 45207-1056 Wildlife Art News, Pothole Publications, Inc., P.O. Box 16246, Saint Louis Park, Minnesota 55416-0246 Workshop for Oil & Acrylic Painting (American Artist), 29 W. 46th Street, 3rd Floor, New York, New York 10036

ARCHITECTURE Architectural Digest, Conde Nast Publications, Inc., 350 Madison Avenue, New York, New York 10017-3136 Architectural Record, McGraw-Hill, 1221 Avenue of the Americas, 36th Floor, New York, New York 10020-1095 Architectural Review, Audit House, Field End Road, Eastcote, Ruislip, Middlesex, HA49 BR, UK Architecture, BPI Communications, Inc., 1515 Broadway, New York, New York 10036 Progressive Architecture, Penton Publishing, 600 Summer Street, Stamford, Connecticut 06904

CRAFTS American Ceramics, 9 E. 45th Street, New York, New York 10017-2403 American Craft (formerly Craft Horizons), American Craft Council, 72 Spring Street, New York, New York 10012-4019 Glass Art, P.O. Box 260377, Littleton, Colorado 80126-0377 180 The Art Teacher’s Book of Lists

5–3. Continued

Handwoven, Interweave Press, Inc., 201 E. 4th Street, Loveland, Colorado 80537-5601 Metalsmith, Society of North American Goldsmiths, 5009 Londonberry Drive, Tampa, Florida 33647 Popular Ceramics, 735 Ceramic Place, Westerville, Ohio 43086 Studio Potter, Studio Potter, Inc., P.O. Box 70, Goffstown, New Hampshire 03045-0070 U.S. Art (Midwest Art), MSP Communications, 220 S. 6th Street, Station 500, Minneapolis, Minnesota 55402-4501

COMPUTER GRAPHICS Art Voices, P.O. Box 58661, New Orleans, Louisiana 70158 Computer Graphics World, COP Communications, Inc., 620 W. Elk Avenue, Glendale, California 91204 Digital Camera Magazine, Future Publishing Ltd., 30 Monmouth Street, Bath, England 01225-442244 Digital Photo, P.O. Box 479, Mount Morris, Illinois 61054-0479 Layers Magazine, 333 Douglas Road East, Oldsmar, Florida 34677 OnLine Design, Online Design Publications, Inc., 2261 Market Street, Number 331, San Francisco, California 94114-1600 Sign & Digital Graphics Magazine, P.O. Box 1416, Broomfield, Colorado 80038

EDUCATIONAL Art Bulletin, College Art Association, Inc., 275 Seventh Avenue, New York, New York 10001 Art Education Journal, National Art Education Association, 1916 Association Drive, Reston, Virginia 22091-1590 Art Journal, College Art Association, Inc., 275 Seventh Avenue, New York, New York 10001 Arts & Activities, 591 Camino de la Reina, Suite 200, San Diego, California 92108-3104 Scholastic, Inc., 555 Broadway, New York, New York 10012-3999 School Arts, 50 Portland Street, Worcester, Maine 01608 Studies in Art Education, National Art Education Association, 1916 Association Drive, Reston, Virginia 20191-1590 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley REGIONAL OR CULTURAL ART African Arts, African Studies Center, University of California–Los Angeles, 405 Hilgard Avenue, Los Angeles, California 90024-1301 American Indian Art Magazine, 7314 E. Osborn Drive, Station B, Scottsdale, Arizona 85251-6148 Art of the West, Duerr & Tiemey Ltd., 15612 Highway 7, Station 2335, Minnetonka, Minnesota 55345-3551 Arts New York, Box 1215 Cooper Station, New York, New York 10276-1215 Canadian Art, Canadian Art Foundation, 6 Church Street, 2nd Floor, Toronto, Ontario, M5E 1M1, Canada Canadian Forum, Canadian Forum, 804-251 Laurier Avenue West, Ottawa, Ontario, K1P 5J6, Canada Native Peoples, The Arts and Lifeways, Media Concepts Group, Inc., 5333 North Seventh Street, Suite C-224, Phoenix, Arizona 85014 Southwest Art, Cowles Magazine, Inc., 4 High Ridge Park, Stamford, Connecticut 06905

PHOTOGRAPHY American Photo (formerly American Photographer), Hachette Filipacchi Magazines, Inc., 1633 Broadway, New York, New York 10019-6741 Aperture, Aperture Foundation, Inc., 20 E. 23rd Street, New York, New York 10010 Darkroom & Creative Camera Techniques (formerly Darkroom Techniques), Preston Publishers, 7800 N. Merrimac Avenue, Niles, Illinois 60714-3426 Popular Photography, 1633 Broadway, New York, New York 10019 Shutterbug, Patch Publishing, 5211 S. Washington Avenue, Titusville, Florida, 32780 Videomaker, P.O. Box 4591, Chico, California 95927 Chapter 5 Literature and Supply Resources 181

5–4. Visual Art Book Publishers

If you are interested in finding out how to submit your own manuscript for publication, most web addresses have specific information. Street addresses and city names remain here if you prefer to contact the publisher by regular mail. Abbeville Press, 137 Varick Street, New York, NY 10013 www.abbeville.com Harry N. Abrams, 115 West 18th Street, New York, NY 10011 www.hnabooks.com Balcony Press, 512 East Wilson, Glendale, CA 91206 www.balconypress.com Crystal Productions, P.O. Box 2159, 1812 Johns Drive, Glenview, www.crystalproductions.com IL 60025-6159 Davis Publications, Inc., 50 Portland Street, Worcester, MA 01608 www.davis-art.com DK Publishing, Inc. (Dorling Kindersley), www.dk.com 95 Madison Avenue, New York, NY 10016 Dover Publications, 31 E. 2nd Street, Mineola, NY 11501 www.doverpublications.com Gibbs Smith Publisher, P.O. Box 667, Layton, UT 84041 www.gibbs-smith.com Glencoe/McGraw Hill, 936 Eastwind Drive, Westerville, OH 43081 www.glencoe.com Grove’s Dictionaries Inc. (The Dictionary of Art), 150 Fifth www.groveart.com Avenue, Suite 916, New York, NY 10011 Heinemann, 361 Hanover Street, Portsmouth, NH 03801-3912 www.heinemann.com Knowledge Unlimited, P.O. Box 52, Madison, WI 53707-0052 www.thekustore.com Lakeshore Learning Materials, 2695 E. Dominguez Street, www.lakeshorelearning.com Carson, CA 90895 Macmillan Publishing, 175 Fifth Avenue, New York, NY 10010 www.us.macmillan.com National Art Education Association, 1916 Association Drive, Reston, www.naea-reston.org VA 20191 Pearson, Scott Foresman www.pearsonschool.com Quayside Publishing Group, 100 Cummings Center, Beverly, www.quaysidepublishinggroup.com MA 01915 (includes Rockport Publishers and Quarry Books)

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley SRA/McGraw-Hill, 4400 Easton Commons, Columbus, OH 43219 www.SRAonline.com University of Illinois Press, 1325 South Oak Street, Champaign, www.press.uillinois.edu IL 61820 University of New Mexico Press, 1720 Lomas Blvd. NE, www.unmpress.com Albuquerque, NM 87131-1591 (art and photography books) University of Washington Press, P.O. Box 50096, Seattle, www.washington.edu/uwpress WA 98145-5096 Walter Foster Publishing, Inc., 23062 La Cadena, www.walterfoster.com Laguna Hills, CA 92563-1352 Watson-Guptill, 1745 Broadway, New York, NY, 10019 www.watsonguptill.com Wilton, 72 Danbury Road, Wilton, CT 06897 www.Wilton65Publishing.com 182 The Art Teacher’s Book of Lists

5–5. Where to Find Visual Art Images

Publishers of art visuals are continually adapting to meet new technology, while retaining proven methods of presenting the visual arts. Although slides are rarely used in schools today, some publishers continue to maintain slide collections. Students still enjoy looking at books, seeing posters on walls, watching videos about artists, and having interactive experiences with digital resources, and publishers are wise enough to recognize this. Arts Attack, 4615 Rancho Reposo, Del Mar, CA 92014 [email protected] Clearvue/eav, 6465 N. Avondale Avenue, Chicago, IL 60631-1996 www.clearvue.com CRIZMAC Art & Cultural Education Materials, Inc., P.O. Box 65928, www.crizmac.com Tucson, AZ 85728-5928 Crystal Productions, Box 2159, Glenview, IL 60025 www.crystalproductions.com L & S Video, Inc., 45 Stornowaye, Chappaqua, NY 10514-2321 [email protected] National Gallery of Art, 2000B South Club Drive, Landover, MD 20785 www.www.nga.gov Sax Visual Art Resources Catalogue, 2405 S. Calhoun Road, www.saxarts.com P.O. Box 5170, New Berlin, WI 53151-0710

DIGITAL AND SLIDE RESOURCES These three resources maintain slide libraries. Some companies offer the service of digitizing your personal slide collection or offer their collections either in slide or digitized format. Davis Art Slides, 50 Portland Street, Worcester, MA 01608 www.davisart.com (The National Gallery of Art and Smithsonian Art Slides are handled by Davis) Media for the Arts, P.O. Box 1011, Newport, RI 02840 www.art-history.com/color_slides Universal Color Slide Co., 8450 South Tamiami Trail, www.ucslide@aol.com Sarasota, FL 34238-2936

POSTER AND ART PRINT RESOURCES These distributors have catalogues or lists. I recommend you check websites first to find whether they still carry these products. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Art Image Publications, Inc., P.O. Box 160, Derby Line, VT 05830 www.artimagepublications.com CRIZMAC Art & Cultural Education Materials, Inc. www.crizmac.com P.O. Box 65928, Tucson, AZ 85728-5928 Crystal Productions, Box 2159, Glenview, IL 60025 www.crystalproductions.com Davis Art Images, 50 Portland Street, Worcester, ME 01608 www.davisartimages.com

MULTICULTURAL PRODUCTS Alarion Press Inc. Boulder, CO 80301-5453 www.alarionpress.com CRIZMAC Art & Cultural Education Materials, Inc. www.crizmac.com P.O. Box 65928, Tucson, AZ 85728-5928 Hands-On Books, Kits Publishing Co., Salt Lake City, www.hands-on.com Utah 84108 Chapter 5 Literature and Supply Resources 183

5–6. Purchased Educational Games

Special games and learning aids are available through museum shops, art supply catalogs, or teacher/ parent stores. Other useful resources are posters, books, sets of reproductions, timelines, videos, interactive video games, and the Internet. African Playing Cards Impressionism Playing Cards American Art Bingo Impressionist Memo Game American Art Playing Cards Keva Planks® Ancient Egypt Memo Game Magnetic Dreamings Aboriginal Art Kit Art Bingo Magnetic Mosaics Art Kit Art Bits Magnetic Quilt Kit Art Card Dominoes Monet Memo Art Ditto Mosaica—to create mosaic patterns Art Institute of Chicago Trading Cards National Gallery of Art Lotto Game Art Memo Game I and II National Gallery of Art Rummy Game Art Shark Perspective: The Timeline Game Art Sudoku I and II Quizmo Quizart® Art-Omino Fine Arts Renaissance Playing Cards Artery Smithsonian Institution Playing Cards Artist’s Studio J-I-N-G-O Square Up Art Talk Conversation Cards Tessellations® Art Word Search Puzzles The Fine Art Game Colorforms Token Response Famous Artists J-I-N-G-O Van Gogh and Friends Fractiles—magnetic tiling set Where Art Thou? Games for Teaching Art Who, What, and Where Art Game Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley 184 The Art Teacher’s Book of Lists

5–7. Hollywood Films About Artists

Although these are not technically all Hollywood films, the word implies that the artist’s life is fictionalized sufficiently to make an interesting film and story. If you and your students want to get a “feel” for the life and times of the artist, these are worth viewing.

Arbus, Diane, Fur—An Imaginary Portrait of Diane Arbus, Museum Guards, The Maiden Heist, 2009 2006 Munch, Edvard, Edvard Munch, 1976 Basquiat, Jean-Michel, Basquiat, 1996 O’Keeffe, Georgia, and Alfred Stieglitz, Stieglitz Loves Caravaggio, Michelangelo, Caravaggio, 1986 O’Keeffe, 1996 Claudel, Camille (Rodin’s protégé), Camille Claudel, (1988) Picasso, Pablo, The Mystery of Picasso (French), 1955 El Greco, El Greco, 1966 Picasso, Pablo, The Picasso Summer, 1969 Gainsborough, Thomas, Kitty, 1945 Picasso, Pablo, The Adventures of Picasso (Swedish Gauguin, Paul, Gauguin the Savage (film made for TV), comedy), 1978 1980 Picasso, Pablo, Picasso at the Lapin Agile, 1996 Gauguin, Paul, The Moon and Sixpence, 1942 Picasso, Pablo, Surviving Picasso, 1996 Gauguin, Paul, Wolf at the Door, 1987 Pollock, Jackson, Pollock, 2000 Gautier, Henri, Savage Messiah, 1972 Rembrandt van Rijn, Rembrandt, 1936 Gentilesi, Artemisia, Artemisia, 1997 Rothko, Mark, The Rothko Conspiracy (film made for TV), 1983 Goya, Francisco, Goya in Bordeaux, 1999 Seurat, Georges, Sunday in the Park with George, 1986 Goya, Francisco, Goya’s Ghosts, DVD release 2008 van Gogh, Vincent, and Gauguin, Paul, Lust for Life, 1956 Goya, Francisco, The Naked Maja, 1959 van Gogh, Vincent, Vincent, 1981 Kahlo, Frida, Frida, 2002 van Gogh, Vincent, Vincent: The Life and Death of Vincent Klimt, Gustav, Klimt, 2006 Van Gogh, 1988 Lautrec, Toulouse, Moulin Rouge, 1952 van Gogh, Vincent, Vincent & Theo, 2005 Michelangelo, The Agony and the Ecstasy, 1965 Vermeer, Jan, Girl with a Pearl Earring, 2004 Modigliani, Amedeo, Modigliani, 2004 Warhol, Andy, I Shot Andy Warhol, 1996 Modigliani, Amedeo, The Lovers of Montparnasse, 1957 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Hollywood, 1937–1938, Thomas Hart Benton, tempera with oil on canvas, Nelson-Atkins Museum of Art, Kansas City, Missouri, Art, bequest of the artist © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, New York Chapter 5 Literature and Supply Resources 185

5–8. Documentary Films About Artists and Art Appreciation

Even when you can’t find time to show an entire film, a small portion from a film about a specific artist can enhance an art lesson. When you (the teacher) find time to watch one all the way through, you can enrich your lessons by including bits about the artist’s life in your discussions with students.

INDIVIDUAL ARTISTS Balthus, Balthus: Through the Looking Glass, 1997, 72 minutes Cassatt, Mary, Great Women Artists: Mary Cassatt, 2000, 45 minutes Chihuly, Dale, David Bowie, and Roy Lichtenstein, Inspirations, 2002, 100 minutes Christo and Jeanne Claude, The Gates: A Film About the Gates in Central Park, New York City, 2005, 30 minutes Christo and Jeanne Claude, Five Films About Christo and Jeanne-Claude, 2004, 282 minutes Close, Chuck, A Portrait in Progress, 1997, 57 minutes Courbet, Gustave, Gustave Courbet—The Place of Death, 2002, 108 minutes Dali, Salvador, Salvador Dali, 1966, 19 minutes Escher, M.C., Fantastic World of M.C. Escher, 1980, 50 minutes Haring, Keith, Drawing the Line, A Portrait of Keith Haring, 1990, 30 minutes Hopper, Edward, Edward Hopper, 2007, 30 minutes Kahlo, Frida, Great Women Artists: Frida Kahlo, 1999, 45 minutes Klee, Paul, The Silence of the Angel, 2005, 52 minutes Lichtenstein, Roy, Roy Lichtenstein Reflections, 1993, 30 minutes Magritte, Rene, Magritte, 1960, 55 minutes Matisse, Henri, A Model for Matisse, 2005, 67 minutes Monet, Claude (and others), The Impressionists, 2006, 177 minutes O’Keeffe, Georgia, Great Women Artists: Georgia O’Keeffe, 2001, 45 minutes Picasso, Pablo, Picasso: The Man and His Work, Part I, 1881–1937, 2002, 107 minutes

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Picasso, Pablo, Picasso: The Man and His Work, Part II, 1938–1973, 2002, 107 minutes Rauschenberg, Robert, Robert Rauschenberg: Open Score, 2007, 35 minutes Rothko, Mark, Rothko’s Rooms, 2000, 60 minutes Saint-Gaudens, Augustus, Augustus Saint-Gaudens: Master of American Sculpture, 2009, 60 minutes van Gogh, Almond Blossoms (animation about Vincent van Gogh), 2007, 11 minutes Warhol, Andy, Andy Warhol: Life and Death, 2006, 80 minutes Warhol, Andy, The Life and Times of Andy Warhol—Superstar, 1991, 87 minutes Wright, Frank Lloyd, Frank Lloyd Wright’s Fallingwater, 1995, 146 minutes Wright, Frank Lloyd, Sacred Spaces, Houses of Worship by Frank Lloyd Wright, 2008

NATIVE AMERICAN ART Houser, Allan, Allan Houser, 1976, 29 minutes Maria! Indian Pottery of San Ildefonso, 1972, 27 minutes Sandpainting: A Navajo Tradition, 1986, 37 minutes The Ancient Art of Pottery: Daughters of the Anasazi, c. 1992, 28 minutes The Art of Navajo Weaving, c. 1987, 56 minutes With Hand and Heart: A Portrait of Southwestern Native American Artists, 2006, 27 minutes

HISPANIC ART Diego Rivera: I Paint What I See, 1989, 58 minutes Flickering Lights: Day of the Dead, 2002, 20 minutes 186 The Art Teacher’s Book of Lists

5–8. Continued

The Art of Mexico, Vol. 1: Ancient and Modern Traditions, 2002, 50 minutes The Art of Mexico, Vol. 2: The Painters, 2002, 50 minutes The Life and Death of Frida Kahlo, 1976, 90 minutes World Folk Art: A Multicultural Approach, 1991, 35 minutes

AFRICAN AMERICAN ART Bearden, Romare, The Art of Romare Bearden, 2003, 30 minutes Bearden, Romare, Romare Bearden: Visual Jazz, 1999, 28 minutes Johnson, William H., The Life and Art of William H. Johnson, 1992, 25 minutes Lawrence, Jacob, Jacob Lawrence: The Glory of Expression, 1993, 28 minutes Ringgold, Faith, Faith Ringgold: The Last Story Quilt, 1991, 28 minutes Ringgold, Faith, Faith Ringgold Paints Crown Heights, 1995, 28 minutes Saar, Alison and Betye, Betye & Alison Saar: Conjure Women of the Arts, 1994, 28 minutes Saar, Alison, Tangible Spirits with Alison Saar, (no year), 30 minutes Modern African Art and Artisans, 2006, 56 minutes Against the Odds: The Artists of the Harlem Renaissance, 1993, 60 minutes The Highwaymen: Florida’s Outsider Artists, 2002, 58 minutes

MISCELLANEOUS Art 21 Series: Art in the Twenty-First Century, Seasons I, II, III, and IV, 2007, 220 minutes Art City 1, 2, and 3, Three-part film series, 2004, 58 minutes each Artists of the 20th Century: Francis Bacon; Marc Chagall; Andy Warhol; Salvador Dali; Wassily Kandinsky; Paul Klee; René Magritte; Henri Matisse; Joan Miró; Piet Mondrian; Jackson Pollock, 2004, 50 minutes each Donald Judd’s Marfa Texas/Tony Cragg: In Celebration of Sculpture, 2006, 98 minutes Post-Impressionists: Gauguin, Van Gogh, Toulouse-Lautrec, Munch, Rousseau, 2001, 50 minutes each

Sand Painting: The Sacred Art of Tibetan Buddhism, 1991, 30 minutes & Sons, Inc. Copyright © 2010 by John Wiley The Impressionists: The Other French Revolution, 2006, 3 hour mini-series Western Art: Landmarks of Western Art: The Medieval World, The Renaissance, Baroque to Neoclassicism, Rococo to Revolution, Romanticism, Impressionism and Post-Impressionism, 1999, 50 minutes each

Drawn from the Maquette for Way Down East, 1978, Red Grooms, Hirsh- horn Museum and Sculpture Garden, Washington, D.C. CHAPTER 6 DEFINITIONS OF ART TOOLS AND MATERIALS 6–1. Quotations 6–2. Art Supply Resources in the United States 6–3. Materials and Equipment Needed for Art Classes 6–4. Paper Definitions 6–5. Types of Paper 6–6. Cardboard 6–7. Graphic Design Tools (Non-Digital) 6–8. Cutting Equipment 6–9. Adhesives and Related Materials 6–10. Tape 6–11. Clips and Fasteners 6–12. Equipment and Materials for Papier Maché 6–13. Collage Equipment and Materials 6–14. Book-Making Equipment and Definitions 6–15. Drawing Materials 6–16. Drawing Definitions 6–17. Pencils 6–18. Erasers 6–19. Pastels 6–20. Crayons 6–21. Markers 6–22. Inks 6–23. Brushes 6–24. Painting Materials 6–25. Painting Definitions 6–26. Color Pigments 6–27. Types of Paint 6–28. Watercolor Equipment 6–29. Printmaking Materials 6–30. Printmaking Definitions 6–31. Cheap Substitutes for Expensive Materials 6–32. Where to Find Useful Art Materials for Little Money 6–33. Recycling for Teachers of Art 188 The Art Teacher’s Book of Lists

6–1. Quotations

“In the future everyone will be famous for fifteen minutes.” ANDY WARHOL, 1928–1987, AMERICAN ARTIST

“Color has taken possession of me; no longer do I have to chase after it. I know that it has hold of me forever. . . . Color and I are one. I am a painter.” PAUL KLEE, 1879–1940, SWISS-BORN BAUHAUS PAINTER

“There are painters who transform the sun into a yellow spot, but there are others who, thanks to their art and intelligence, transform a yellow spot into the sun.” PABLO PICASSO, 1881–1973, SPANISH CUBIST PAINTER

“I was for years in the yellow period, you know.” JOSEF ALBERS, 1988–1976, GERMAN COLOR THEORIST

“I’ve been forty years discovering that the queen of all colours is black.” AUGUSTE RENOIR, 1841–1919, FRENCH IMPRESSIONIST

“Red is one of the strongest colors, it’s blood, it has a power with the eye. That’s why traffic lights are red I guess, and stop signs as well. . . . In fact I use red in all of my paintings.” KEITH HARING, 1958–1990, AMERICAN PAINTER

“When in doubt, make a red painting.” KAY WALKINGSTICK, 1935, NATIVE AMERICAN PAINTER, SPEAKING AT NAEA CONFERENCE, 2009

“I believe art has to take responsibility but it should not give up being art.” ANSELM KIEFER, 1945, GERMAN ARTIST

“So I said to myself—I’ll paint what I see—what the flower is to me but I’ll paint it big and they will be sur- prised into taking time to look at it—I will make even busy New Yorkers take time to see what I see of

“Flesh was the reason why oil painting was invented.” WILLEM DE KOONING, 1904–1997, AMERICAN PAINTER, B. NETHERLANDS

“I try to apply colors like words that shape poems, like notes that shape music.” JOAN MIRÓ, 1893–1983, SPANISH SURREALIST

“My brushwork is quite unsystematic. I slam the paint on in all sorts of ways and leave each result to take care of itself.” VINCENT VAN GOGH, 1853–1890, DUTCH ARTIST Chapter 6 Definitions of Art Tools and Materials 189

6–2. Art Supply Resources in the United States

Is there anything more exciting to look at than art materials? Walking into an art supply store, looking online, or at a wish book (catalog) or locating quality junk that can be used in an art project triggers the creativity in every artist-art teacher. Manufacturers continue to amaze us with innovations in crayons, markers, and other traditional materials, as well as developing entirely new “stuff.” These established companies carry almost any supplies needed for art and art education, including books, painting, sculpture, printmaking, paper, etc. Most of them will supply a catalogue on request. Most will ship free if the order is above a specified minimum, but if you must pay for shipping, city names have been included to assist in locating vendors closer to you. To find street addresses from websites, go to “Contact us” in individual websites.

GENERAL Bemiss Jason, Newark, California (paper products) www.bemissjason.com Binders Discount Art Center, Atlanta, Georgia www.bindersart.com Blick Art Materials, Galesburg, Illinois www.DickBlick.com Crayola LLC www.crayola.com Createx Colors www.createxcolors.com Dharma Trading Co., San Rafael, California (fiber arts supplies) www.dharmatrading.com Dixon Ticonderoga Co. (pencils) www.dixonusa.com Elmer’s Products www.elmers.com Fiskars, Inc., Northbrook, Illinois (special scissors) www.fiskars.com Franmar Chemical, Strip-e-doo silk screen emulsion remover www.franmar.com Golden Artist colors www.goldenpaints.com Gold’s Artworks, Lumberton, North Carolina (papermaking supplies) www.goldcottonlinterpulp.com Grumbacher, Leeds, Massachusetts (brushes, paints) www.grumbacherart.com Harrisville Designs, Center Village, Harrisville, New Hampshire www.harrisville.com (yarns, looms, and other weaving supplies) Logan Graphic Products, Wauconda, Illinois (mat cutters) www.logangraphic.com Nasco Arts & Crafts, Fort Atkinson, Wisconsin www.enasco.com Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Riverside Paper Company, Appleton, Wisconsin www.riversidepaper.com Sakura of America, Cray-pas, Hayward, California www.sakuraofamerica.com Sanford Brands, Oak Brook, Illinois (Sharpie and Prismacolor) www.sanford.com Sargent Art, Inc., Los Alamitos, California www.sargentart.com Sax Arts & Crafts, 2405 S. Calhoun Road, New Berlin, Wisconsin www.saxarts.com School Specialty, Greenville, Wisconsin www.schoolspecialty.com Scratch-Art Company, Avon, Maine www.scratchart.com Silkpaint, Waldron, Missouri (fabric, resists, tools) www.silkpaint.com Staedtler, Chatsworth, California www.staedtler.us Staples, Framingham, Massachusetts (office supplies) www.staples.com Triarco Arts & Crafts, Plymouth, Minnesota www.triarcoarts.com United Art & Education Supply, Fort Wayne, Indiana www.unitednow.com Utrecht Art Supplies, Cranbury, New Jersey www.utrechtart.com Walker Display Incorporated, Duluth, Minnesota (display systems) www.walkerdisplay.com Whittemore Durgin, Hanover, Massachusetts (stained-glass supplies) www.whittemoredurgin.com

CERAMICS A.R.T. Studio Clay Company, Sturtevant, Wisconsin www.artclay.com Aardvark Clay & Supplies, Santa Ana, California www.aardvarkclay.com AMACO (American Art Clay Co., Inc.) Indianapolis, Indiana www.amaco.com Continental Clay, Minneapolis, Minnesota www.continentalclay.com 190 The Art Teacher’s Book of Lists

6–2. Continued

Duncan Enterprises, Fresno, California www.duncanmail.com Ed Hoy’s International, Warrenville, Illinois www.edhoy.com Geil Kilns Company, Huntington Beach, California [email protected] Great Lakes Clay & Supply Company, Carpentersville, Illinois www.greatclay.com L & L Kiln Mfg., Inc., Swedesboro, New Jersey www.hotkilns.com Laguna Clay Company, City of Industry, California www.lagunaclay.com Mid-South Ceramic Supply Co., Nashville, Tennessee www.midsouthceramics.com Minnesota Clay Co., Edina, Minnesota www.minnesotaclayusa.com Olympic Kilns, Flowery Branch, Georgia www.greatkilns.com Orton, Westerville Ohio (kiln sitters, pyrometric cones) www.ortonceramic.com Paragon Industries, Mesquite, Texas www.paragonweb.com Skutt Kilns, Portland, Oregon www.skutt.com Spectrum Glazes, Toronto, Ontario www.spectrumglazes.com Standard Ceramic Supply, Pittsburgh, Pennsylvania www.standardceramic.com Vent-A-Kiln Corporation, Buffalo, New York www.ventafume.com

PRINTMAKING PRODUCTS Franmar Chemical, Bloomington, Illinois (environmentally www.franmar.com friendly cleaners and removers) Graphic Chemical, Chicago, Illinois www.graphicchemical.com Speedball Art Products Co, Statesville, North Carolina www.speedballart.com Welsh Products, Inc., Benicia, California www.welshproducts.com

Obviously, this is a dream list. Although this list is applicable to high school or middle school, elementary schools also need dream lists. Few art departments have everything they would like to have. But it is always a good idea to keep an up-to-date “wish list,” as parent groups, school districts, and principals sometimes find themselves with leftover money.

GENERAL EQUIPMENT, ART DISPLAY AREA bulletin board locking glass display cases ceiling hooks movable display boards or easels

DEPARTMENTAL computers mat cutter electric hot plate opaque projector extension cords overhead projector face shields photo-flood lights and stands (at least two) goggles poster collection glue guns skeleton, miniature mannequins, hardwood skeleton, plastic full-sized human Chapter 6 Definitions of Art Tools and Materials 191

6–3. Continued

EACH GENERAL ART CLASSROOM chairs or stools storage (adjustable) for paintings drying rack storage for supplies fire extinguisher T-square large scissors table easels (high school) large size paper cutter student storage shelves or trays lockable storage waste baskets or large trash containers shades or blinds for darkening room work tables sink (not in a corner) workbench with vise at each corner sketch boards (Masonite) writing board staple guns and staples X-acto® knives staple removers yardstick (preferably metal) stepladder

STUDENT TOOLS AND SUPPLIES brushes protractors metal rulers scissors and scissor holder pen holders and pen points

CONSUMABLES charcoal paper towels clay pastels Conté crayons pencils crayons polymer medium Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley erasers poster board glue soap markers sponges masking tape string paint: tempera, watercolor, acrylic tagboard, all sizes paper: drawing, watercolor, fadeless, tissue, newsprint

CERAMICS ROOM SUPPLIES

bats (plaster or Masonite) kiln shelves batten boards paper towels brushes plastic for wrapping pots ceramic clay rolling pins ceramic glazes shelving for drying pots decorating wheels sponges, clean-up elephant ear sponges tools: loops, scrapers, needle gloves, heat resistant wire kiln work tables kiln furniture 192 The Art Teacher’s Book of Lists

6–3. Continued

PAINTING AND DRAWING ROOM SUPPLIES brushes paper storage area drawing boards stools easels tables light box varieties of cardboard materials for still-life varieties of paint mirror (one per person) varieties of paper

PHOTOGRAPHY ROOM SUPPLIES computers mat cutter digital cameras/batteries/data storage paper cutters disks photo flood lights dry-mount press tripods flash drives work tables graphics programs installed in computers

FILM AND DARKROOM PHOTOGRAPHY changing bags grain focusers chemical jugs (lightproof) light box chemicals negative carriers darkroom sinks developing tanks squeegee developing trays timers easels tongs enlargers & Sons, Inc. Copyright © 2010 by John Wiley

6–4. Paper Definitions

Paper is the most commonly used material in most art programs. Basic papers such as newsprint (inexpensive, but it yellows and becomes brittle) and construction paper (which fades quickly) are wonderful for developing ideas, but if students are working on a project that you would like to see endure, provide a better quality paper. • acid free. pH neutral • cold press watercolor paper. rougher surface than hot press paper • cotton linter. sheets of pressed ground cotton; these may be torn and reground for pulp • cotton or rag paper. paper may have 100 percent or partial rag content mixed with paper pulp • deckle. a frame around the edges of a paper-making mold • deckle edges. the rough edges left on the paper when the deckle is removed from the screen mold • grain. fibers are aligned in one direction in machine-made paper, making it easy to tear lengthwise • hot press watercolor paper. smoother surface than cold press paper • laid pattern. the lines left on a paper’s surface from the mold’s screening • matte finish. a paper might be dull rather than have a size applied that gives it a sheen Chapter 6 Definitions of Art Tools and Materials 193

6–4. Continued

• pith. pulpy inner lining of a stalk used in paper making (such as that of the papyrus plant) • pulp. rag or ground pulp that is floated in water, then pressed onto a mold • quire. one-twentieth of a ream; twenty-four or twenty-five sheets of paper folded together • ream. four hundred eighty or five hundred sheets of paper of the same size and quality • sizing. a solution applied for an even surface and to prevent absorption • tooth. the texture of a paper that will hold pastels and charcoal • watermark. a mark made with a metal wire on the screen of handmade paper • weight. paper has weights ranging from lightweight to heavier: for example: 50, 65, 72, 90, 140, 400

6–5. Types of Paper

The Chinese are credited with developing what we consider standard paper in the year 105, although Egyp- tians were using the stalks of the papyrus plant to make a form of paper as early as 2200 BC. Even isolated cultures developed paper from plant materials that were available to them. Today one can buy paper made from bananas or elephant dung. Most of the papers listed here are available through art supply stores or art catalogs. Handmade paper continues to be treasured today for its flaws and textures, and is often used by printmakers and those who create hand-made books. • amate. paper made in Mexico from the inner bark of special trees, including fig trees • Arches®. 100 percent cotton paper specifically for watercolor, watermarked, two deckle edges • banana paper. product of Costa Rica; interesting texture • bark paper. from the bark of fig and mulberry trees, for printing, collage, drawing, or painting • Bateek-O. absorbent paper allows one to apply a wax-resist, then paint over it with watercolor for a batik effect • bleed-proof. used for detailed pen and ink illustrations and technical pens • block printing. smooth printing paper, coated on one side Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • blotting. heavy, coarse paper used for blotting or fuzzy ink drawings • bogus. gray, coarse paper suitable for pastel, pencil, and crayon • bond. white, smooth-surfaced paper • butcher. white or colored paper, matte on one side, shiny on the other; comes in large rolls • calligraphy. smooth paper for pen and ink, available in mottled parchment, white, or cream • canvas paper. heavy paper that has been textured to resemble canvas • card stock. heavyweight paper for greeting cards, stamping, computer printing • cellophane. vividly colored transparent sheets • charcoal. 100 percent cotton; has a laid pattern for shading with charcoal and pastels • color-aid. 314 hues, tints, and shades available for color layouts, mock-ups, collage • construction. heavy, inexpensive, multi-purpose colored paper; fades quickly • Contrast-O®. two layered sheet of white over black; remove top layer with an art knife • corrugated. brightly colored wavy-ridged paper to add texture for masks, collages, signs, bulletin boards • crepe paper. slightly wrinkled stretchy paper; for a wide variety of decorating and craft uses • drawing. all-purpose white paper suitable for wet and dry media • elephant dung paper. odorless, processed paper comes in a variety of colors and textures • embossed. paper that had a texture imprinted while it was wet • etching. heavy paper that must be dampened for etching • Fabriano®. light or heavy imported paper for pencil, paint, ink or etching • fadeless. brilliantly colored sun-resistant paper 194 The Art Teacher’s Book of Lists

6–5. Continued

• fadeless duet. paper that has a different bright color on each side and is sun-resistant • finger paint. medium-weight paper with one side very slick • foil. metallic paper that can be used to accent a composition • graph. non-reproducing blue line cross-sections in grid sizes ¼, ½, and 1-inch • graphite. coated with graphite on one side for use in tracing • gummed. gummed on the back • Ingres®. fine imported paper for charcoal, pastel, crayon, Conte´ • inkjet. treated paper in matte or gloss finish for digital photos or illustrations • kraft. roll paper in tan, colors, or white that has a smooth and rough side • laid paper. in handmade paper, the surface has parallel lines from the wires that supported the paper; modern laid papers give an ideal surface (tooth) for pastels • manila drawing. buff-colored, coarse, inexpensive paper; mostly for dry media • marbleized. paper that has richly patterned color on one side; originally used in book-binding • metal foil. one side coated with foil; comes in a variety of colors • mulberry. translucent paper made from the inner fiber of the mulberry • Mylar®. shiny, reflective plastic that comes in vivid colors; also comes in clear sheets that are textured on one side to hold a watercolor design • neon fluorescent art. neon colors for drawing, charcoal, copy machine art • newsprint. rough textured wood pulp surface for pencil, pastel, or charcoal; yellows and becomes brittle quickly (unsuitable for final work) • non carcinogenic. safe for use with children • nontoxic. safe for use with children • oak tag (tag board). many colors, smooth surface, strong; suitable for portfolios and sculpture • oatmeal. textured cream finish suitable for pastels, chalk, charcoal, and watercolor • onion skin. very thin unglazed tracing paper • origami. squares of a smooth, colored, lightweight paper, normally white on one side • papyrus. thin strips of plant stalk from papyrus laid in horizontal and vertical layers • parchment. paper for calligraphy; originally parchment was made from sheep or goatskin & Sons, Inc. Copyright © 2010 by John Wiley • pastel. paper with rough or smooth surfaces that have “tooth” to hold pastel • postcard blanks. 2-ply Bristol board, 4 × 6-inches • recycled. paper that contains all or part recycled pulp • release. silicone-treated paper; resistant to heat; for use in laminating and dry mounting • rice. textured, white, smooth, translucent paper made from the stems and branches of a plant/tree • Rives® paper. fine printmaking paper made in France • Scratch–Art®. paper that has been coated with black, white, silver, or gold; design is scratched through the black surface to reveal the undercoat (which might be multicolored) • seamless. heavy roll paper in extra wide widths for use as photographic backdrops • silhouette. lightweight, tear-resistant paper with smooth, matte black finish on one side • stencil paper. heavy oiled or waxed surface that will cut easily and hold an edge • tissue. comes in many colors and surface treatments such as plain, waxed or pearlized • tracing. smooth-surfaced, translucent paper • transfer. transfers a grease-free drawing from one surface to another • vellum. rag content, transparent, smooth, and strong; originally made from calfskin • velour. heavy paper with one flocked, velvety-textured side • watercolor. rough-textured paper used for watercolor, comes in weights from 72 to 400 (thickest); this surface will accept a variety of watercolor techniques • Yupo. white opaque form of polypropylene that accepts watercolor and marker; useful for monotype printmaking because it can be wiped clean and reused Chapter 6 Definitions of Art Tools and Materials 195

6–6. Cardboard

The number of layers (layer = ply) in cardboard ranges from single-ply (almost like paper) to 24-ply. The higher the number, the thicker the board. Fourteen-ply would be appropriate for matting photographs or paintings. Most schools use 6-ply for normal matting. Inexpensive, pre-cut mats are 4-ply. • archival mount board. acid-free, neutral pH mount board for protection of fine art work and photographs • Bristol board. 100 percent cotton fiber, acid-free; for pencil, charcoal, pastel, washes, gouache • chipboard. rough, uncoated gray to black board ranging from medium to heavy weight • cold press. illustration board with a toothy surface • corrugated board. light, varicolored, corrugated on one side, mounted on white • display boards. heavy-duty poster board with a laminated middle for extra strength and rigidity • fadeless art board. fade-resistant board for sculpture, posters, and other uses • foam board. polystyrene smooth cardboard-like thickness, laminated on both sides with white or colored paper • hot press. smooth surface illustration board • illustration board. heavy quality board for commercial art, for pen and ink, and mounting • mounting board (mat board). heavy 14-ply board suitable for photographs; smooth or pebbled • poster board. varicolored 5- to 14-ply; suitable for all media • railroad board. smooth, Bristol-type board, brightly colored or white, 2-, 4-, and 6-ply • scratchboard. board coated with white china clay, then coated (usually) with black ink • stipple board. white drawing board with a stippled texture • tag board. cream colored cardboard that is used for shipping tags, also for file folders; comes in many sizes; also known as oak tag

6–7. Graphic Design Tools (Non-Digital)

In these days of computer drafting and digital graphics, many of these tools seem almost archaic, yet most graphic designers continue to rely on them for some uses. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • cutting knife. a necessity for cutting and paste-up • drafting brush. horse-hair brush for cleaning off excess erasure residue and dust • drafting tape. low-tack, easy release adhesive masking tape for holding work in place • drawing templates. circles, ellipses, isometric ellipses, varied shapes, human figure, squares, lines at specific angles, lettering guides • erasers. electric eraser with removers for graphite and ink • flexible curve. vinyl plastic adjustable strip to aid in ink ruling • French curves. transparent plastic curves to aid in technical drawing • illustration supplies. paint, pastels, oil pastels, charcoal • light box. fluorescent light box for tracing and slide viewing • pencils. black lead pencils, china marker, turquoise drawing, charcoal, graphite, drawing, colored pencils, watercolor pencils • proportional scale. used to calculate proportional enlargements and reductions • protractor. plastic protractor in half-degree graduation • spray adhesive. used for positioning elements for layout • T-square. wooden, metal, or plastic square from 18 to 36 inches long for making accurate lines • taboret. rolling set of drawers to hold drafting and graphic art supplies • technical pens. pens with permanent ink cartridges that come in a variety of widths and points • triangles. transparent triangle with double bevel edge is used for accurate drawing 30/60 degrees and 45/90 degrees • tweezers. special tweezers for handling pieces of paper for paste-up 196 The Art Teacher’s Book of Lists

6–8. Cutting Equipment

Paper cutters and art knives are necessary to art production for some projects, but you cannot stress safe use often enough. Be aware of appropriate ages for use, and keep cutting knives locked away. Count the number returned after a class uses them. Handle all cutting equipment with care! • art knife. aluminum holder with sharp, angled point, multi-purpose, accepts various blade shapes • compass cutter. contains pencil leg and blade leg; cuts perfect circles from 7/8 to 26 inches • craft scissors. scissors with specially shaped blades to provide custom edges: jigsaw, ripple, wave, zipper, scallop, and pinking • craft snips. serrated blades for cutting wire, plastic, rope, leather, vinyl, dried flowers • cutting mat. self-healing mat prevents blades from becoming dull and protects a tabletop • handcrafter’s knife. a plastic holder for a single-edge razor; blade changes easily • paper cutters. sizes from 12 to 36 inches square; wood or polystyrene boards; all with safety guards. Safety note: Always keep the guard in place and be conscious of safe and proper use. • plastic cutting tool. for cutting acrylic sheets up to ¼ inch thick • rotary cutter. round, rolling blade with handle; for cutting cloth, felt, leather, paper, and vinyl • safety scissors. cutting blades are embedded in plastic for paper cutting, but will not cut fingers • scissors. all sizes and shapes for various uses, including “lefties” for left-handed people • single-edge razor blades. the standard cutting edge; not for use for young children • snap-off blade knives. plastic handles contain a retractable blade that allows the end to snap off for a new cutting surface; thirteen new surfaces per knife or seven surfaces on a heavy-duty model • stationers’ shears. extra-long blades for accuracy in cutting • stencil burner. cuts through acetate, Mylar®, polyester, frisket; not for adhesive-backed items • swivel cutter. allows for easy cutting of curves and circles • teachers’ shears. all-purpose, 7-inch length • utility knife. heavy-duty knife with whole-hand grip for cutting cardboard • utility snips. cuts aluminum, canvas, linoleum, fabrics, rubber, wire, tile

Glue is a bane and blessing for art teachers. You can’t do without it, but teaching students to use it properly is time- consuming. Old catalogs and magazines are great for gluing, as glue can be applied close to the edge of the piece to be glued and the page can be turned for a fresh surface. Especially very young students must be taught how and where to apply a few dots. Double-sided tape and roll-on glue are suitable substitutes for liquid glue for younger students. Avoid rubber cement for children younger than twelve because of potential health side-effects. • adhesive glue dots. nontoxic, acid-free; bond instantly and won’t damage wall paint • Aleene’s Tacky Glue®. fast-acting craft glue; used on metal, wood, glass, ceramics, paper • crepe rubber cement pickup. a rubber square used for removing excess rubber cement • DAB N’ Seal®. water-soluble clear student glue, dries fast, suitable for collage • DryBond Adhesive Sheets®. adhesive is bonded to back of artwork for mounting • Duco Cement®. all purpose glue, used for crafts; bonds wood, metal, rubber, plastic • Elmer’s® art paste. powdered paste dissolves in water for papier maché, paste paper, or collage • Elmer’s Sticky Out. removes most glues, crayons, rubber cement, tar, and labels • epoxy. two-part glue for metal, glass, plastic, ceramics • fabric glue. bonds fabric together; water-resistant for natural fabrics; transfers photo or print to fabric • gel glue sticks. fast-acting roll-on glue; ideal for younger students • glitter glue. glue sticks that contain glitter • glue gun. electric heater that melts glue sticks; also comes in low temperatures • glue sticks. sticks to melt with a glue gun; clear, colored sticks, or color with glitter • glue gun pad. protects tabletops from hot glue or glue gun damage Chapter 6 Definitions of Art Tools and Materials 197

6–9. Continued

• Glue It®. clear. washable fabric adhesive, permanent bond, dries fast • glue stick. lipstick-style applicator for roll-on stick glue • Gorilla Glue. very strong adhesive bonds wood, stone, metal, and fiberglass • LePages® glue. animal-type hide glue; for woodworking, cloth, silkscreen • Plaid® Mod Podge. quick-drying white liquid that seals and glues in one application for decoupage • Plasti-Tak®. gum-like adhesive for displaying artwork, posters; used in place of staples or tacks • PVA (polyvinyl acetate). liquid glue that dries quickly, lies flat, and is permanent; rather expensive, but perfect for bookmaking • rabbit skin glue. dried hide powder that dissolves in hot water to prepare unprimed canvas as done by the old masters • respositionable spray adhesive. allows you to spray, adjust, remove, and reapply • rubber cement. pressure sensitive for temporary or permanent joining; yellows over time • rubber cement thinner. added to rubber cement when it becomes too thick • spray adhesive. for coating entire back of something for dry mounting such as a photo • Super Glue®. permanent super-strong bond to non-porous materials; difficult to remove from skin • Surebonder® 9001. waterproof flexible adhesive for glass, ceramic, magnets, metal, plastic, wood, jewelry, and vinyl • Tri-Tix Rubber Cream Glue®. nontoxic waterproof rubber glue spreads smoothly • UHU®. washable glue suitable for school use • wheat paste. good for papier maché or paper paste projects; attracts insects and mice if stored too long • white paste (library paste). smooth white paste; applied to paper with applicator or fingers • white standard classroom glue. comes in various sizes; dries clear • wood penetrating glue. available in “wood” colors; will not gum up from heat • YES glue. thick white paste, applied with a finger or brush, dries flat, can be thinned with water and kept in another container; perfect for collage or bookmaking

What did teachers ever do without tape? It is mostly for temporary use, yet it endures and some, such as clear packaging tape, becomes the artwork itself when it is used to form sculpture. Colored Duck® brand duct tape has been used to design prom costumes (find examples on the Internet for the “Stuck at Prom” contest). • archival tape. acid-free tape is used to mount prints or paintings archivally; because it is more expensive, as is acid free mounting board, it is seldom used in schools • colored tape. all-purpose, self-adhesive, plasticized surface • double-sided tape. two-sided cellophane for mounting artwork on a variety of surfaces • double-sided foam mounting tape. for mounting all types of artwork anywhere, heavy duty • drafting tape. for holding and positioning drawings, tracing paper and blueprints; removable • Duck® brand duct tape. brilliantly colored tape • duct tape. the inexpensive all-purpose tape that repairs almost anything • gummed paper hinging tape. good for supporting heavy paper artwork and making hinges • gummed paper tape. useful for mounting prints, sealing silk-screens, sealing packages • packaging tape. clear or opaque 2-inch wide plastic tape; very secure and waterproof • masking tape. flexible crepe paper tape, general purpose • removable transparent tape. repositionable, may be written on • safety tape. yellow and black striped to call attention to dangerous steps • Scotch Magic Tape®. matte surface, slightly opaque, removable, and repositionable • 3M White Tape®. adheres to plastic, joins Foamcore® sheets; accepts marker; up to three inches wide 198 The Art Teacher’s Book of Lists

6–11. Clips and Fasteners

Teachers are constantly seeking ways to easily organize and display work. Some of these fastening systems may be the answer to hanging artwork on freshly painted walls or to hang photographs without damaging them. • brad. a small thin nail with a barrel-shaped head; can be used decoratively or to hold Foamcore® pieces together • bulldog clips. steel clips with a spring for hanging prints and photographs • ceiling hooks. fit on ceiling grids to support all manner of items ranging from plants to wasp nests to signs • clothespins. plastic or wooden springs in a variety of sizes may be hung on a line to support portfolios, artwork in process, or wet items that need to dry before being stacked • magnet clips. support papers or photos and may be attached to metal surfaces • paper clips. varied sizes, shapes, and materials such as plastic and coated or uncoated metal • pins. useful for a variety of holding purposes or for decorative use • plush pins. will not make a hole in artwork or posters • push pins. plastic- or metal-headed pins that are easier to use than tacks for hanging artworks, notes • Stikki clips. white wax-backed spring clips that will stick to most surfaces; for hanging papers and posters • T-pins. 2-inch long pins with T at top formed by folded wire • Velcro® hook and loop tape. adhesive-backed hook tape to stick on most surfaces or may be stapled or sewn on fabric; loop tape may be attached to whatever will be hung on

6–12. Equipment and Materials for Papier Maché

Actually, for papier maché it is really necessary to have only two things; newspaper and paste. The items in this list are used for decorative effects and to give greater flexibility. • cardboard. for additions that need strength • chicken wire. the accepted material for a sculpture armature; usually combined with wood or attached to a base • Elmer’s art paste (methyl cellulose polymer). lasts a very long time, even unre- frigerated and does not have pesticides (other pastes are in List 6–31)

• empty gallon milk jug. because it has a lid, methyl cellulose art paste can be & Sons, Inc. Copyright © 2010 by John Wiley stored for great lengths of time • filler. something such as sawdust or spackle added to newspaper pulp to add bulk • finishes. spray varnish, linseed oil, lacquer • gesso. a white opaque undercoat for painting; house paint is an acceptable substitute • masking tape. used for putting together an armature • instant papier maché®. dried paper pulp to which you add water • papers. newspaper, brown grocery bags, brown or colored kraft paper, newsprint, blotting paper, handmade paper, rice paper, tissue, bogus paper, crepe paper, construction paper • pulp. a mash of newsprint made by soaking overnight, boiling for 20 minutes, and mixing with white glue; use newsprint for coarse pulp and tissue for finer pulp; optional additions to the pulp are linseed oil, oil of wintergreen, whiting or ground chalk, plaster of Paris • releasing agent. plastic wrap, petroleum jelly, or talcum powder to keep paper from sticking to mold • rolling pin. for rolling out sheets of pulp • sandpaper. for sanding pulp projects smooth Papier maché Flamingo, 2007, • sealers. white glue, gesso, white latex wall paint, varnish, plaster Vicente Vasquez, Oaxaca, Mexico, • sieve. used for draining water from pulp courtesy Salt of the Earth Gallery. • string. used for tying newspaper to create an armature (tape is easier) St. Louis, Missouri • texturing tools. forks, palette knife, spatula • utility knife. used to cut slots for inserting something such as a handle, or for cutting openings • wire cutters. used when creating a chicken wire armature Chapter 6 Definitions of Art Tools and Materials 199

6–13. Collage Equipment and Materials

Collage is a wonderful way to use less-than-successful artwork, which is why I suggest never throwing artwork away. It can be combined with other materials to make a completely new composition, and challenges students to think creatively as few other art processes do.

EQUIPMENT FOR TWO-DIMENSIONAL COLLAGE brayer PVA glue white glue brushes scissors YES glue cutting knife toothpicks polymer medium tweezers

THREE-DIMENSIONAL ASSEMBLAGE coping saw metal shears strainer glue gun and glue nails wallpaper paste hacksaw pliers wire cutters hammer screws

MATERIALS bamboo stalks greeting cards post cards bark and twigs hair rubbings (frottage) beads hand-made paper sand bones jewels screen wire bottle caps keys seeds and pods burlap magazine pictures small wood scraps buttons maps stamps Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley can labels marbleized paper straw candy wrappers matches Styrofoam® catalogues miniature “findings” theater ticket stubs clock parts music pages toothpicks cork nails travel brochures cut-outs net wallpaper samples dried leaves nutshells water-colored paper drink tabs old artwork wine labels dryer lint old exams wire embroidery thread old jeans wire mesh feathers paper egg cartons wood cut-outs from hobby shop felt pebbles wood laminate fine brass wire photocopies wood shavings flowers photographs wrapping paper frames picture frames yarn 200 The Art Teacher’s Book of Lists

6–14. Book-Making Equipment and Definitions

EQUIPMENT • awl. sharply pointed instrument for making holes for sewing signatures • brush. used primarily for glue to apply the cover • cutting instruments. X-Acto knife or scissors • darning needle. for sewing paper signatures (individual groups of paper) • paper cutter. desirable for cutting standard sizes of paper and book covers. • paper. drawing paper or good-quality acid-free copy paper will work • ribbon. used decoratively or to tie a journal or similar book closed • ruler. for drawing and measuring • string. bookbinder’s linen, waxed linen, upholsterer’s thread • glue. PVA glue; white glue; bowl for glue

DEFINITIONS • altered book. begins with a real book, transforming it through cutting, painting, adding cutouts or collage • archival. acid-free materials (paper) that will not disintegrate over the years • bone folder. a flat plastic knife-like object for neatly flattening folds • book tape. specialty tape for binding the side of a signature-sewn book • book board. heavy gray board, used for covers, that will not warp (unlike mat board, which is made of several layers of materials held together with glue) • cover paper or cloth. various materials that can be glued to book board: marbleized paper, textured pastel paper, paste paper, canvas, or cloth • end paper. the inside cover of a book (brayer printed, marbleized, plain, paste paper); in ancient books, marbleized paper was the standard • PVA glue. polyvinyl acetate glue is archival, quick drying, and dries flat; unfortunately, probably too expensive for class use • special folds. mountain fold (fold that goes outward); valley fold (inward)

6–15. Drawing Materials

This list defines some materials, techniques, and terms used in drawing. One difference between drawing and painting is that drawing is normally on paper rather than canvas and often has a predominantly linear quality. Drawing is often done in a combination of media: some wet, some dry. • bistre. a brown pigment popular from the 14th through 19th centuries, but seldom used today because it tends to fade • chalk. sometimes called whiting; often used in combination with other materials to give broad areas of texture or add highlights • charcoal. drawing material in stick form made of burnt vine or willow • colored pencil. thick, soft leads of light-resistant pigments • Conté crayon. hard grease-free clay-based chalk in pencil or stick form, commonly used in white, black, gray, and sanguine (Sienna red); often used by the old masters such as Leonardo or Rembrandt • gouache. watercolor pigment that contains zinc to make it opaque • graphite. grayish black, crystallized form of carbon; combined with clay to make “lead” pencils Chapter 6 Definitions of Art Tools and Materials 201

6–15. Continued

• India ink. dense black permanent ink made from carbon • iron gall ink. ferrous oxide mixed with gall (an oak tree fungus) and carbon • laid paper. watermarked handmade paper that shows closely spaced parallel lines in both directions created by the wire screen used in making the paper • lithographic crayon. black grease crayon normally used in lithographic printing, but also used in drawing • parchment. paper originally made from goat or sheepskin; paper parchment is a textured, oil- and grease- resistant bond paper commonly used in calligraphy • pastel. ground pigment held together in stick form with a binder, such as gum Arabic; oil pastel is held together with an oil binder. Although pastel has come to mean “a light color” to some, pastels of all kinds actually come in a full range of values, including black. • Prismacolor®. intense colors in a wax-based colored pencil or stick form • reed pen. bamboo section that has a carved point; used for drawing with ink • stump (or tortillon). tightly rolled paper, leather, or felt, pointed at one or both ends, used for blending and softening edges in a drawing • sumi ink. ink from vegetable oil and soot (used in Asian painting) • vellum. originally made of calfskin; modern paper vellum, used for diplomas or certificates, is usually cream or natural colored and has a smooth finish • watercolor. a pigment for which water is used as a vehicle and also the art or technique of painting with such pigments • wove paper. handmade paper made on a tightly meshed screen; unlike laid paper, does not have cross lines

6–16. Drawing Definitions

• anime. Japanese animation • caricature. drawing in which certain features are deliberately exaggerated Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • cartoon. drawing done on brown paper and used for interpretation in fresco; humorous drawing of a subject with exaggerated features • chiaroscuro. effects of dark and light used by an artist to call attention to specific areas of a drawing or painting • collage. a composition created by gluing a variety of materials onto a support or background; frequently combined with drawing • contour drawing. an outline drawing usually without shading; also refers to a drawing done of the human figure that gives it a three-dimensional quality; sometimes combined with an ink or watercolor wash applied to the paper • crayon. pigment combined with paraffin wax, usually available in stick form • crosshatching. hatching across hatched lines at different angles to create ranges of color intensity, or value differences • gradation. the soft blending of pigment to create lights and darks • hatching. short parallel lines closely or widely spaced • highlight. the lightest spot in a drawing, the reflection in an eye, for example • illuminated manuscript. drawing or painting on a manuscript from pre-printing press days, often painted with ground pigment mixed with egg yolk, highlighted with gold leaf • illustration. drawing intended for publication in a book or magazine • life-drawing. drawing in which the artist draws what he or she actually sees, whether it is from a live model, a still life, or an object from nature • manga. Japanese comic books or cartoons 202 The Art Teacher’s Book of Lists

6–16. Continued

• modeling. showing soft roundness of forms through differences in intensity • old masters. term generally used to describe European Renaissance artists through the 18th century • original drawing. produced by the artist’s hand; not mechanically reproduced • preliminary drawing. an early-stage drawing done as a study for a later artistic interpretation • recto. a catalog description meaning “signed work” (not necessarily signed by the artist) • scraping. scraping through the drawing medium with a sharp instrument to show the color of the underlying paper • silver point. a drawing made with a pointed silver wire or rod on specially treated white or tinted paper, leaving a soft grayish line that becomes darker as it tarnishes with age • sketch. a rough quick drawing intended to get an idea down on paper for later use in another medium • still life (nature morte). an artwork featuring a grouping of inanimate objects, such as flowers in a vase • study. a sketch done quickly for use in later compositions • value. range in intensity from the lightest to darkest possible tones within a particular hue • wash. light ink or watercolor combined with other materials in a drawing

6–17. Pencils

There will always be a need for lead pencils in drawing and printmaking because the graphite endures long after some inks might have faded away. And, of course, they can be erased. Pencils have specific numbers that indicate hardness or softness ranging from 6B (softest), 5B, 4B, 3B, 2B, B, BB HB F, H, 2H, #H, 4H, 5H, 6H, 7H, 8H, to 9H (hardest). I recommend that you keep several hand pencil sharpeners handy to extend the life of colored pencils. • burnisher and blender. used in combination with colored pencils to enhance intensity • carbon pencil. black charcoal/graphite blend that comes in four degrees of hardness: B, 2B, 4B, and 6B & Sons, Inc. Copyright © 2010 by John Wiley • ceramic underglaze pencil. color pencils for sketching on ceramic bisque ware; allows for delicate shading • charcoal pencil. pencil contains willow charcoal, four degrees of hardness HB, 2B, 4B, 6B, and white (with charcoal) • china marker. a grease pencil that will draw on china, glass, metal, plastic, photos, and film • colored pencil. thick, soft leads of light-resistant pigments; colors blend well • colorless blender. used to soften hard edges and blend colored pencils • compass pencil. short pencil, no eraser • Conté pastel pencil. same pigment-rich pastels used in Conte’ crayon® available in pencils that can be sharpened or smudged. • double color pencil. these pencils are for blending; the lead is turpentine soluble • draw and iron pencil. special pencil used for drawing on paper to transfer to cloth • drawing and writing pencil. wood-cased graphite pencils for professional drawing, design, and drafting • ebony layout pencil. thick black line, graphite lead, good for layout roughs • erasable color pencils. good for color layouts and design • flat lead sketching pencils. good for thick/thin lettering or for laying in backgrounds • graphite pencil. graphite in most drawing pencils; available in powder or stick form • indelible pencils. the color will bleed through paint Chapter 6 Definitions of Art Tools and Materials 203

6–17. Continued

• ink pencils. pencil lines may be dissolved with water to create soft washes • layout pencil. soft pencil (6B, softest); for sketching and general layout • litho pencil. oil pencil used in printmaking to draw directly on etching stone, metal plates, or silk-screen • mechanical pencil. varying line widths available • metallic. adds shimmer to dark-colored projects • multicultural pencil. these colored pencils produce a variety of skin tones • photo oil pencil. cover a print; may be blended with cotton balls and a special “P.M.” solution • Prismacolor®. smooth, light-resistant, high-quality, brilliant colored pencils • Prismacolor Art Stix®. square sticks that are the same material as Berol Prismacolor pencil®, only in stick form • sandpaper block. pad of sandpaper mounted on a flat piece of wood for simple sharpening of pencils • skin tone pencils. sets of twelve or fifteen pencils of the most prominent skin tones of our world • Stabilo® pencil. all-purpose wax-based pencil for any smooth surface such as glass, metal, or plastic • transfer pencil. for sign painting: design may be sketched, then painted, and will bleed through • turquoise drawing pencils. high-quality pencils for professional design • watercolor pencils. good for shading on dry paper, then blend with water; or work on wet paper • woodless drawing pencil. lacquer-coated solid stick of graphite • writing pencil. standard #2 pencil for general student use

6–18. Erasers

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Standard pink erasers and kneaded rubber erasers are unlikely to go out of style, but the occasional student is allergic to latex, so new latex-free erasers have been developed. • art gum eraser. pure gum rubber eraser, usually comes in 1-inch squares • cordless rechargeable eraser. battery-operated eraser that accommodates varied stick erasers • eraser holder. accommodates varied erasers in stick style; also may be used to hold lead pencils for sharpening when they are down to a nub • eraser stick. holder shaped like a pencil that holds a retractable vinyl eraser • eraser strips. contain eraser fluid to dissolve ink and film lead from selected papers • erasing shield. steel or plastic template to protect the surface around the area being erased • Factis Extra-Soft Eraser®. very soft eraser that picks up its own shavings and will not abrade paper • kneaded rubber eraser. soft gray eraser that kneads into any shape; for highlighting and removing chalks, charcoal, pastels, and pencil • Magic Rub® vinyl eraser. nonabrasive for erasing drafting films, tracing paper, acetates, and drawing paper • Magic Rub® glass-fiber eraser. for removing ink and hard pencil marks • Magic Rub® sack. filled with granules for erasing and cleaning large areas of film and cloth • Paper Mate® white pearl eraser. 100 percent latex-free eraser • Pink Pearl® eraser. standard soft, pliable, non-smudging, self-cleaning eraser; ideal for pencil; also comes in stick form • soap eraser. so-called because it “washes away” pencil lines 204 The Art Teacher’s Book of Lists

6–19. Pastels

Pastel painting began in 16th century Italy and continues in popularity. Pure pigment is mixed with different binders to achieve available variations (soft, medium, hard, oil). Although they may not offer the same color control as liquid media, they do not require brushes and water and drying time between layers. Artists use techniques that range from blending to dipping pastels in liquid. • blender brushes. sponge heads or brushes for dabbing, smudging, and blending colors • blending stumps (tortillons). soft gray paper stumps pointed at both ends for blending pastel, charcoal and pencil • chalk pencils. blendable color soft pencils, avoids the mess of pastels • chalk. comes in various textures and colors for use on chalkboards, paper, or sidewalks • chamois. natural chamois skin for blending and shading pastel, charcoal, chalk, and pencil • Conté crayon®. commonly used in white, black, gray, and sanguine (dark red); also available in color • fixative. spray for protecting pastels between coats or when finished • lecturer’s chalk. 1-by-3-inch squares for chalkboard or paper • Nupastels®. square sticks with less dusting; cleaner handling • oil pastels. offer the permanence of oil paint, go on smoothly; also come in iridescent and metallic pastels • Pan Pastels®. pastels in a pan that can be applied with a brush • pastel paper. textured paper, often in colors, that have tooth to hold pastel • pastel pencils. soft powdery texture, with varying intensity such as full-strength, medium, and light tints • Prang Freart® chalk. extra-large, round-tapered; ideal for use by younger students • Sakura Cray-pas® oil pastel sticks. work like crayons or pastels; standard, jumbo, chubbies, and square • Sakura Cray-pas® extender. colorless oil pastel allows blending and achieving greater differences in hue • sanded pastel paper. sand-coated paper similar to fine sandpaper that is a great pastel surface • sandpaper pads. strips of fine sandpaper mounted on a wooden handle for making points on charcoal, pastels, and crayons • texture plates. textured plastic plates to put underneath paper while drawing to add texture Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

6–20. Crayons

By the time students are in elementary school they are accustomed to crayons, and sometimes a bit bored with them. To get good results, have students color firmly, working on a smaller piece of paper. Use white or pastel crayons as a resist with brighter colors of watercolor or tempera. Creative teachers figure out ways to use old crayons. Sometimes they soak off the paper covers and use kid power to sort crayons by color. These can then be put together and melted in a wax melter for painting with crayon on fabric or on paper for batik. They could also be melted into cupcake paper liners in muffin tins to make cake crayons that are easier to hold for students with motor disabilities. • anti-roll crayons. triangular, hexagonal, or one side flat • crayon sharpeners. allow old crayons to be sharpened like new • extra large. primary crayons with fewer color choices easier for younger students to manage • metallic, neon, gold and silver, or glitter crayons. add a little sparkle to compositions, are effective on dark paper • multi-color crayon chunks. solid chunks offer frequent surprises, as the colors are distributed throughout • multicultural skin tones. students may wish to match their own skin tones Chapter 6 Definitions of Art Tools and Materials 205

I was beatin’ ’is face, crayon, ink, graphite, George Wesley Bellows

• plastic marker crayons. don’t melt, and are stronger than wax crayons • rubbing plate sets. plastic textured designs of all varieties that students may transfer by rubbing with crayon (might be appropriate if used in a creative collage) • water-soluble crayons. can be colored, then changed to resemble watercolor by brushing on water or a dampened area may be colored into for a similar effect 206 The Art Teacher’s Book of Lists

6–21. Markers

Manufacturers upgrade, test, and continually bring new variations to the marketplace. Many markers are washable, and this may be an important consideration if you have young students. • brush pens. nylon fiber brush tip, with free-flowing colors; for calligraphy and sketching • calligraphy markers. have a flat nib, come in a variety of widths • color pens. acrylic tipped pens with a fine point for illustration • colorless blenders. clear marker that blends, lightens, and softens permanent markers • Dry Erase® markers. colors erase easily from shiny surfaces with a tissue or dry cloth • Elmer’s Painters® Neon Paint Marker. permanent acrylic paint for glass, plastic, metal, wood, and paper • fabric markers. nontoxic for all types of fabric; wash-fast and permanent after heat setting • fine line markers. fine-tip markers in a variety of colors • fragrant markers. color markers smells like a fruit of the same color, for example: yellow/lemon • gel markers. colors especially effective on dark-colored paper • highlighter. for underlining; water-based does not show through back of paper • layout. double-nib markers used for technical work • leafing pens. metallic accents of gold, silver, copper or platinum may be used for calligraphy • metallic markers. colored pens with a metallic sheen • multicultural. these markers come in eight skin tones • oil-based paint markers. good for adding decorative touches to wood, terra cotta, glass • opaque marker. water-based paint markers for any surface • paint pens. free-flowing paint in colors, metallic colors, gold, or silver; for glass, wood, paper or plastic • permanent markers. mark on most surfaces, often have odor; some are available in water-based, some odorless. Check for safety approval seal for use with young children • poster markers. water-based paint markers for banners, menu signs, glass or metal • projection markers. for overhead projectors, wash off plastic transparencies with damp cloth • washable. non-permanent; these colors will wash out of clothing Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

6–22. Inks

So many kinds of ink, so many uses! Read carefully when purchasing, as some inks are fleeting—beautiful one day—gone the next year because of exposure to sunlight. The more- permanent inks continue to be China or India ink, but the downside is that they are applied with brushes or pen points and might permanently stain whatever they touch. Many modern pens are “permanent” and are fine for most uses, but of course the lines are not as interesting as they might be if made with a bamboo sketch pen. • ballpoint pen. non-smearing, varied tip sizes, available in most colors, perfect drawing tool • bamboo sketching pen. bamboo section that has a carved point; used for drawing with ink • calligraphy ink. free-flowing ink with good covering power, permanent or water-soluble • calligraphy pen. flat nib that makes varied line widths when held straight; available in markers or steel nibs to be placed in a pen holder • China ink. permanent black ink, similar to India ink • crow quill pen. small pen with a barrel shape for drawing fine lines • dip pen. steel nib that is inserted in a pen holder and dipped into ink for writing or drawing • drawing ink. comes in a variety of colors for use with steel pens Chapter 6 Definitions of Art Tools and Materials 207

6–22. Continued

• India ink. dense black permanent ink made from carbon; free-flowing, non-clogging • ink stick. ink that is compressed into cake form; needs to be reconstituted for use by grinding with water on a stone • ink stone. a smooth flat-surfaced stone with a well/receptacle for grinding an ink stick • pearlescent ink. waterproof watercolor inks with a shimmery surface • pen cleaner. a liquid cleaner that dissolves permanent ink • roller-ball pen. has free-flowing ink and gives a line of even width; varied line widths available; suitable for sketching • stamp pad ink. for re-inking a stamp pad, extremely slow drying, can be used to transfer designs • Sumi ink. ink from vegetable oil and soot • Sumi ink stick. compressed powdered carbon and a binding agent • technical pen. complete unit that contains its own ink and a variety of ink tip sizes to give a reliable, continuous line • technical pen ink. dense ink that flows freely

6–23. Brushes

A vast number of brushes exist, designed for specific purposes, in qualities rang- Filbert ing from fine to student grade and in size ranging from 3-0 to 14 (used for round White bristle #6 brushes), and ¼ to 2-inch (for flat brushes). #12

#18 BRUSH PARTS Round bristle

• ferrule. the metal piece that attaches hairs to a brush handle Bright • filaments. individual hairs in a brush Glaze, taklon Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • hair. animal hair used in brushes includes sable, goat, mongoose, badger, hog, ox, squirrel, pony Fan blender

INDIVIDUAL BRUSH TYPES Stencil brush • acid swab paste brush. for use in pasting, acids, solvents, etching, soldering Oval wash • acrylic. usually nylon brushes that wash easily Spotter • air-brushes. not actually a brush, but a spray attached to a generator that applies pigment evenly • bamboo. bristle brush in bamboo handle; used for calligraphy, watercolor, oriental-style painting • bright. flat ferrule brush with short filaments • bristle. firm hog bristle, cut straight across or slightly rounded; normally with flat ferrule • calligraphic. bamboo-handled brush used for calligraphy • camel hair. usually made of squirrel, goat, ox, pony, or a blend; not from camel hair • ceramic brushes. a variety of brushes to allow for painting specific details • duster. handled brush for removing dust and erasures • easel. long-handled, long-filament brush for use in the classroom • fan. flat ferrule with spread filaments; good for special effects in watercolor • faux finishing. specialty brushes for graining, glazing, blending, stippling, combing, and faux lines • filbert. flat ferrule, thick filaments, medium to long, with an oval end • fitch. long-handled brush with a round ferrule and chiseled sides • flagged tips. V-shaped split at the end of the hair; softer tips that will hold more paint 208 The Art Teacher’s Book of Lists

6–23. Continued

• flat. square ended, medium to long bristles, in a flat ferrule • foam. flexible foam brush for wetting paper or applying acrylic finishes; sizes 1 to 4 inches • funny brush. rubber filaments in a plastic holder; for effects on trees, grass, hair, fur, or stippling • gilder’s tip. soft camel hair brush for applying gold leaf; 4 inches wide by 21/8 inches long • hake. an oriental-style wash brush on a long handle, cut straight across • lettering. long-haired brush that holds enough pigment to allow one-stroke lettering • ox hair. strong-bodied hair, often blended with other hairs for a finer tip • paste. short-handled nylon flat brush for applying school paste • pastel. short, fluffy pony-hair brushes for blending and applying pastels • sable. not necessarily from sable, but from any member of the weasel family • sabeline. ox hair dyed to resemble sable and sometimes blended with it • script. long, tapered or flat brush for ornate script lettering • shader. short filament, full-bodied brush for blending • spotter. a brush for fine detail work such as spotting photographs • steel. actually a flexible wide pen nib for applying lines with ink • stencil. short-handled round brush with flat stiff bristles for stippling or stenciling • striping. short-handled brush with very long bristles; are flat, tapered, and pointed • Sumi. pointed brush of soft, dyed hair; set in bamboo or wooden handle • synthetic. man-made nylon or polyester filaments • Taklon brushes. man-made filaments dyed and baked to make them softer and more absorbent • utility. natural bristle brushes ranging from 1 to 2 inches • varnish. extra-long hog bristle can be used for special effects in finishing • wash/mop. flat oval shape, full-bodied, camel hair; good for large areas in watercolor • watercolor. brushes ranging in size from smallest, 00 to largest, 14 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley 6–24. Painting Materials

• acrylic retarder. added to color, it slows drying time • acrylic. water-soluble polymer-based paint that may be used as watercolor or oil • alkyd. alkyd resin binder modified with oil; rapid-drying, similar to oil in texture • beeswax. a natural white or yellow wax mixed with dry pigment to produce a matte look as in encaustic paintings • canvas. heavy fabric that is stretched on a wooden frame as a support for painting • carbon compounds. dye colors; very strong; alizarin crimson, thalo blue, thalo green • casein. a milk-based opaque paint that may be diluted with water; intermixable • earth colors. pigments that occur naturally in earth or ore; for example, raw sienna, burnt sienna, burnt umber, yellow ochre • egg tempera. pigment mixed with egg yolk and linseed oil for use in painting frescoes, canvases or panels • finger paint. washable paint with a buttery smooth consistency • gel medium. added to acrylic paint as an extender for thick, transparent glazes; increases gloss and handling time; heavy gel medium produces textures similar to oils • gesso. mixture of glue, whiting, and water used as an undercoat for a painting • gloss medium. when added to acrylic paint gives a glossy finished; also acts as varnish or glue • gouache. opaque watercolor paint with a high concentration of pigment; paint to which white pigment has been added; sometimes called poster paint Chapter 6 Definitions of Art Tools and Materials 209

6–24. Continued

• Magna. trade name for a line of straight acrylic colors • Masonite. fiberboard made from wood fiber; used as a support for painting after gesso has been applied to the surface • matte gel. when added to acrylic paint, increases working time and transparency; also acts as an adhesive • medium. painting method such as oil, watercolor or gouache or a liquid such as copal varnish or linseed oil that is mixed with oil paints • modeling paste. produces lightweight thick textures for use with acrylics • multicultural tempera. these colors feature the skin tones of various populations • oil paint. traditional painting medium; slow drying; pure pigment mixed with oil; permanent • ox gall. a wetting agent that causes pigment to separate; used in marbleizing or watercolor • palette. wooden, metal, plastic, or paper surface on which paint is mixed • panel. a painting surface of prepared wood, Masonite, or canvas-covered cardboard • poster tempera. paint that has better than average covering power • stretchers. wooden strips of varying lengths fitted together to make a support frame for canvas • tempera (liquid or dry cakes). opaque, water-based paint comes in various grades and colors • watercolor paper. hot press (smooth), cold press (textured), rough (unfinished surface) • watercolor. pigments in a gum solution, to be applied with a wet brush; comes in tubes or cakes

6–25. Painting Definitions

• aerial perspective. sense of depth created through using subdued colors to indicate distance • alla prima. the application of paint “all at once,” which in oil paint means that it is not allowed to dry between coats • bleeding. the tendency for some colors to show through a second layer of paint Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • blending. the transition of color from one tone to another, for example in a sky • chiaroscuro. the contrast of light and dark areas in a painting • complementary colors. colors opposite each other on the color wheel: red/green, blue/orange, yellow/violet • cool colors. colors that recede, such as blue, green, violet • dry brush painting. making the brush almost free of pigment before applying • figure/ground relationship. the contrast between a subject and its background • fresco. application of paint into plaster • buon (true) fresco is the application of pigment into a freshly plastered still-damp surface • fresco secco is painted on a dried plastered surface • glair. egg-white binding agent for pigment, used in illuminated manuscripts or for gilding with gold dust • glaze. a transparent coat of paint that allows the underneath to show through or the building up of an area through separate applications of color • grisaille. term for paintings done all in gray, black, and white • ground. under-painted surface that gives tonal qualities to paintings; for example, white, umber, or ochre • highlight. white or a light tone that has reflective qualities • hue. color at its purest intensity • illuminated manuscript. illustrated text of the Middle Ages, often highlighted with gold • impasto. thick building up of pigment to give a visible texture • intensity. color used in its purest hue without mixing can be said to have its purest intensity • linear perspective. use of lines and diminishing size to create a feeling of depth; based on a geometric system of measurement 210 The Art Teacher’s Book of Lists

6–25. Continued

• low-key. subdued, grayed color, or a very dark composition • minerals. cadmium red, ultramarine blue, cobalt, cadmium yellow • modeling. application of paint to give the appearance of roundness or depth • neutral colors. complementary colors mixed to produce a dull, subdued color (variations of gray); the non-colors of black and white • opaque. pigment that does not allow underneath colors to show through • paper weight. a rating system for thickness of paper, ranging from 40 to 400 pound (heaviest) • pigment. earth, minerals, or chemicals finely ground, in wet or dry medium • polychrome. multi-colored • powdered pigments. ground pure color powder, to be mixed with oil or water • primary colors. colors that cannot be produced by mixing red, blue, yellow • scumbling. a thin layer of color painted over a dry under layer, allowing the under layer to show • secondary colors. colors achieved when two pri- maries are mixed: orange, violet, green American Gothic, 1930, Grant Wood, oil on beaver board. The Art Institute of Chicago, Friends of American Art Collection, • sfumato. smoky, hazy effect with soft edges photograph by Bob Hashimoto • shade. any color mixed with black

• tertiary colors. the colors achieved by mixing a primary with its adjacent secondary color: example, red & Sons, Inc. Copyright © 2010 by John Wiley mixed with orange to make red-orange • tint. any color mixed with white • transparent colors. those that allow a strong underneath color to show through • warm colors. colors that advance such as red, red-orange, orange, yellow • wash. a thin application of paint • wet-in-wet. the action of spreading paint when new pigment is added to a wet paper • whiting. powdered calcium carbonate used in gesso or added to rabbit skin glue for gesso Chapter 6 Definitions of Art Tools and Materials 211

6–26. Color Pigments

This list includes sources of pigments used in different times and cultures. Many of these are no longer available, with modern synthetic pigments derived from coal tar replacing them. Any paints or oil pastels used in school should be certified AP nontoxic. A number of pigments used in oil paint are probable carcinogens. Some brands have removed heavy metal (cadmium, barium, cobalt) entirely to provide completely nontoxic paint. Paints with the word “hue” at the end of their name are actually substitutes for the original cadmium colors, and are usually nontoxic. Some colors carry a CA PROP 65 warning label. Here is one of a number of websites that give information about toxicity: www.ci.tucson .az.us/arthazards/paint1.html. • artificial mineral colors. cadmium yellow, cadmium red, zinc oxide • bistre. transparent brown pigment made the soot from burned beech wood; formerly used as a wash in watercolor • bole. colored clay used decoratively and for gilding (often red) • cadmium red. cadmium sulfide and cadmium selenide combination • cadmium yellow. cadmium sulfide • calcined earths. fired at a high temperature; burnt umber (iron oxide), burnt sienna • carmine red. female cochineal beetles from Peru and the Canary Islands were dried and crushed • cinnabar. red mercuric sulfide used as a pigment • cobalt yellow (aureolin). precipitate of potassium cobalt initrite • earths. naturally colored clays and mineral pigments; include terra verde (green earth), ochre (iron oxide), raw umber (iron oxide), raw sienna • Egyptian blue. copper silicate mixture, used in ancient Egyptian wall paintings • gamboge. orange to brown gum resin from Asian trees; strong yellow pigment • green. ground malachite mixed with gum arabic • Indian (India) yellow. derived from the urine of cows who were denied water and fed only mango leaves • indigo (blue). a plant that yields a dark grayish blue • iron oxide reds. Indian red, light red, and Mars red • lakes. colors made from synthetic dyes • madder red. a transparent ruby-red color from the root of the madder plant, mostly replaced today by alizarin crimson • organic pigments. synthetically made from coal-tar derivatives such as hansa yellow or phthalocyanine green or blue Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • orpiment. native arsenic trisulfide, bright golden yellow to orange, rarely used today • oxidized copper. green or red • oxidized iron. green or brown • purple. ground mollusk shell • raw sienna. clay, rich in iron, found near Sienna, Italy • red lead (oxide). one of the earliest pigments, mentioned by Pliny the Elder in the 1st century • red ochre. impure iron ore used as a pigment • rose madder and alizarin crimson. dye from the madder plant • sanguine. clay-based drawing material in stick or pencil form used since 1500; comes in sepia (reddish brown), black, white, or gray; more permanent than charcoal • sinopia. red iron oxide • smalt. a deep blue pigment primarily used in ceramics, contains silica, cobalt, and potash • synthetic organic pigments. pigments derived from coal tar and other petrochemicals; includes such colors as magenta, turquoise, and yellow-green • terra verde (green earth). natural earth pigment green earth; a green clay, primarily from Cyprus; contains cela- donite and glauconite (used for under-painting flesh in Medieval times) • ultramarine. ground lapis lazuli mainly from Persia and China; today it is made artificially • verditer (Bremen blue or Bremen green). hydrated copper carbonate • white lead (flake white). basic lead carbonate; has been replaced by zinc white or titanium white • yellow saffron. a type of crocus • zinc oxide (Chinese white). a by-product of brass production was used to replace lead white 212 The Art Teacher’s Book of Lists

6–27. Types of Paint

OIL PAINT ADVANTAGES fast-drying allows blending techniques flexible: canvases may be rolled when dry can be worked into while it is wet paint can be thinned with water colors blend easily on canvas relatively odorless impasto textures are achieved naturally sticks to almost any surface permanent when dry textures can be built up with the addition of gel medium or marble powder can be removed with solvent when wet proven durability and light-fastness ACRYLIC PAINT DISADVANTAGES rich colors available brushes must be kept in water or cleaned slow drying immediately OIL PAINT DISADVANTAGES impasto textures more difficult to achieve quick drying means palette dries out rapidly brushes must be cleaned with solvent smooth blending almost impossible surface cracks develop over time unless care is taken surface often lacks the richness of oil texture to paint thick over thin, not the opposite if painted on paper, it leaves an oily residue TEMPERA ADVANTAGES expensive easy clean-up with water strong odor until it has dried fast-drying paint is usually mixed with a painting medium inexpensive slow drying; at times you must wait until it dries to may be mixed with egg yolk or polymer medium for work on a specific area permanence some colors such as the cadmiums are toxic opaque: covers well, and paint may be built up, WATER-SOLUBLE OIL PAINTS ADVANTAGES though not too thick adheres to paper water miscible comes in powder form that can be mixed won’t stain hands soap and water brush cleanup TEMPERA DISADVANTAGES & Sons, Inc. Copyright © 2010 by John Wiley dries more slowly than acrylics cracks when built up in layers avoids fumes from solvents may flake off some brands are non-toxic WATERCOLOR ADVANTAGES WATER-SOLUBLE OIL PAINTS DISADVANTAGES fast-drying dries slightly faster than oils gives a loose effect if desired ACRYLIC PAINT ADVANTAGES paints come in tube or cake form quick cleanup all colors dry at the same rate transparent brilliant colors available can be used as an under-painting for oil WATERCOLOR DISADVANTAGES can be used thinly as watercolor may fade over time colors are permanent paper support requires humidity control comes pre-mixed in jars or tube must be framed under glass Chapter 6 Definitions of Art Tools and Materials 213

6–28. Watercolor Equipment

Many watercolorists know exactly how to get accidental effects, and the beauty of a watercolor is often in its unplanned effects. Special treatments, such as using a resist or gluing on rice paper, are done before the painting is begun. Changes can be made while the painting is wet or after it has dried, and a fine-line permanent pen or pastels can change the appearance. Of course, the truly disastrous watercolor is perfect material for a collage or a woven basket. Never throw anything handmade away!

• bamboo pen. dipped in watercolor inks or pigment to give interesting lines • brushes. flat, round, fan, striping, utility; one really good watercolor brush can be utilized for most effects • cotton swabs or cotton balls. used to apply pigment or remove certain areas • drafting tape. used to stretch watercolor paper onto a drawing board, easily removed • eraser. for getting rid of unnecessary pencil lines after painting is dry • hair dryer. speeds up drying process • opaque white. may be mixed with color or used as white—not transparent like most watercolor • ox-gall. a wetting agent that helps spread the paint and delays drying time • plastic wrap. balled, creates a rock-like texture; placed on portions of the wet painting and allowed to dry before removal, creates unusual textures • razor blades (single edge) or art knife. scratch through the dry painting to reveal underlying paper • resists. put on the paper before applying color; may be permanent, such as white crayon, oil pastels, soap, candles, paraffin or crayons, and white glue, or temporary, such as frisket, rubber cement, and masking tape • rice paper. textured paper applied to paper before color is painted on • rock salt or regular salt. when applied into wet pigment, attracts pigment to make spots

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • sponges. dipped in pigment and dabbed on to create tree leaves or bushes; creates texture when dabbed into wet pigment • spray bottles. for water or alcohol; may be used to keep pigment wet, or to cause it to spread • textures. may be added to wet surface; small glass beads or sand • tissue paper. may be applied before adding pigment at all • tissues. used to blot excess pigment • tools for use after watercolor is dry. chalk and pastels, colored pencils • toothbrush. after painting is done, a fine mist of dark or light opaque pigment could be added by flicking brush with fingernail • tray or palette for paints. artists often leave paint to dry, to be reactivated later with water • water-soluble black felt-tip pens. these bleed when painted over, giving a charming effect

Watercolor Paint 214 The Art Teacher’s Book of Lists

6–29. Printmaking Materials

Except for the monotype (one-of-a-kind print), original prints are created through one of four techniques of printing: intaglio, relief, planographic, and stencil. Printmaking has many advantages over some other methods of creating art. It allows the artist to make multiple images from one original plate that is created specifically by an artist for a print. The plate can be a wooden plank or linoleum block, cardboard collagraph, or etched metal.

FOR COLLAGRAPHS The word collagraph comes from the French word collér (to stick) and the English word graphic. A piece of art with various materials glued in place on a background such as mat board, tag board, or Masonite is used as a printing plate. Materials suitable for the plate might include cloth, organza, Mylar® tape, aluminum foil, dried flower leaves, weeds, matchsticks, wires, raffia, seeds, beans, string, bark, feathers, rice paper, tissues, coffee, tape, or twigs. • acrylic gel. a thicker, tackier glue than polymer medium used in collagraphs • acrylic medium. used as both a glue to hold things in place and a varnish • aluminum foil. glued to a collagraphic plate to give a texture • Flextex®. a textured material of marble dust and opaque white acrylic • gesso. gesso can be applied with a palette knife to offer different textures • modeling paste. marble dust is similar to gesso, but thicker • Mylar. a very smooth metallic sheet that wipes clean for use in collagraphs • organza. a fine, thin material that holds ink well on a collagraphic plate • sandpaper of various grits. these offer different textures in a plate • tapes. bookbinding tapes, smooth tapes, masking tape all hold ink differently

FOR ETCHING (INTAGLIO PRINTING) The term “intaglio print” includes several techniques such as dry point, etching, engraving, aquatint, and a number of others. A single print may employ several different methods. Although traditional methods are being used, current printmaking processes in schools stress nontoxic printing adaptations & Sons, Inc. Copyright © 2010 by John Wiley such as ferric chloride in place of nitric acid and cleanup with vegetable oil and alcohol rather than mineral spirits or turpentine. • blankets. these felts, some hard, some softer, are used on top of the paper and plate to force damp paper into varied levels on a printing plate • blotters. heavy, coarse, white blotters absorb excess water from etching paper • burin (graver). a diamond-shaped steel blade in a wood holder used for engraving lines in a metal plate • burnisher. a smooth, slightly curved metal surface in a wooden handle used for smoothing metal • burnishing roller. a brayer-type roller for applying pressure to the back of a monoprint • burnt plate oil. an oil used for thinning etching ink • etching ink. comes in tubes or cans in black and a variety of colors • etching needle. a fine, round, steel point in a wooden holder • etching press. a mechanical flat bed with a steel roller through which printing plates and paper are forced under pressure to Kirifuri Waterfall at Mount Kurokami, Kat- make a print sushika Hokusai, Nelson-Atkins museum photo Chapter 6 Definitions of Art Tools and Materials 215

6–29. Continued

• feather. used to gently remove bubbles formed by the biting action of the acid • gelatin or rubber brayer. a soft or hard circular roller for picking up ink and transferring it to a plate • ink daubers. felt 12-by-1-by-3-inch roll held together with rubber bands to thoroughly apply ink • metal ruler. a 36-inch long ruler to assist in tearing etching paper into a desired size or shape • rolling pin. used to remove excess water from etching paper by rolling on top of blotters • scraper. a triangular metal blade in a wooden handle for shaving metal to bevel the edge or remove unwanted details from the surface • tarlatan. a heavily starched cheesecloth-like material that is used for evenly distributing ink

FOR RELIEF PRINTS: LINOLEUM AND WOODCUTS Printing from carved blocks of wood is the oldest and most traditional form of printing, dating back more than 1,500 years. A relief plate (usually linoleum or a softer, similar material) has surface areas that are inked, while low or carved-away areas remain blank. The inked plate is placed on paper or cloth and pressure is applied to transfer the design either by hand or on a printing press. • baren. a round tool for applying pressure on the back of the paper for printing • battleship gray linoleum. easy-to-carve linoleum, 1/8 inch thick • bench hook. a combination 7-by-9-inch metal plate to hook on edge of table for safely holding linoleum block in place while cutting; also may be used for inking • block printing foam. soft material similar to meat trays; designs can be impressed with a pencil for a relief print • brayers. rubber rollers for rolling in ink and applying ink to the plate • flexible printing plates. vinyl material that is soft, flexible, and easy to carve; both sides may be used; and any shape of plate can be cut out with scissors; for use with water-based ink only • gouge. tool for cutting a wood or linoleum block; V-shaped, U-shaped Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • linoleum cutters and handles. special shapes for cutting various types of lines: liner, V-gouge, large line, U-gouge, knife; blades sold separately to be fitted into handles • plywood blocks. blocks in various sizes used for woodcuts • wood-cutting tools. short handled tools similar to those used in linoleum cutting

FOR SILK SCREEN • block-out. stencil such as cut or torn newsprint, a painted or drawn area, or a photographic image applied to the bottom of the screen to define the area to be printed; can be applied directly to the screen as a block-out • cleaner. Strip-e-doo® emulsion remover eliminates the use of solvents for cleaning silk screen • nontoxic. silk screen processes today avoid dangerous chemicals or toxic clean-up fluids • packaging tape. goes inside between the frame and the silk to prevent paint from seeping underneath • silk. multi-filament polyester fabric is the “silk” used these days • spatula. used for scraping ink back into its original container for reuse • squeegee. used to force a thin layer of ink through the openings in the screen’s fine mesh by dragging ink from one end of the screen to the other • stencil filler. blocks out unpainted areas of the screen and allowed to dry • wooden or metal frames. used to hold stretched silk 216 The Art Teacher’s Book of Lists

6–30. Printmaking Definitions

• additive drawing. a direct painting onto glass or plastic that is then printed on paper • aquatint. a method of etching that relies on flecks of material such as sprinkled powdered resin or spray paint; used to prevent acid from eating away certain areas of a metal plate; usually combined with other techniques to give rich differences in tone and texture • artist’s proof. proofs of work in progress or a few finished proofs reserved for the use of the artist • block print. print made from wood, linoleum, or vinyl • burr. the fuzz left after a scratch is made into a metal or plastic plate; may be left untouched and inked for richer blacks or scraped off and the area burnished; called dry-point and sometimes combined with other printing methods • collagraph. a collage-like assemblage built up on a surface such as Masonite, wood, or mat board, then varnished, inked, and printed • drypoint. printmaking method in which line is drawn with a sharp pointed tool, creating burrs on the printing plate • embossing. raised impressions created by running damp paper through a press on a prepared un-inked plate such as a woodcut or collagraph • engraving. lines incised into a metal or wood plate with a V-shaped tool called a burin; ink is forced into these lines and wiped from surface of the plate, which is then printed • etching. process of making designs or pictures on a metal plate by immersing it in acid; ink is applied to the plate and most of the ink is wiped off, leaving ink in the recessed areas • giclée (zhee-clay) print (sometimes called an Iris print). a computer technique in which an artwork in any medium is digitized (scanned), then printed using an inkjet printing system with ink, acrylic, or oil paint • ground. in most forms of acid etching, a copper or zinc plate is coated with a waxy substance that is called the ground; see hard ground and soft ground definitions • gouge. tool for cutting a wood or linoleum block; V-shaped, U-shaped

• hard ground. waxy acid-resistant substance painted or rubbed, then melted onto a warmed etch- & Sons, Inc. Copyright © 2010 by John Wiley ing plate, through which a design is scratched with a sharp tool • intaglio printing. a plate is inked, and ink is deposited below the surface of the plate that has been corroded, scratched, or incised and the surface wiped; damp paper forced into the below- surface area is printed • linocuts. a relief print made when lines are cut into linoleum; the removed area remains white • lithography. printing technique in which the artist draws with a lithocrayon or a grease-based liquid called tusche directly on a lithographic stone or metal plate; after chemical treatment, the drawing surface has water wiped over it, then is inked; the greasy design holds the ink while the wet background repels it • mezzotint. very dark etching made with a tool that has many tiny points, sometimes called a rocker tool or a roulette • monoprint. a one-of-a-kind print made on a plate that already has a design on it; if desired, the plate could be identically ink and printed for an edition • monotransfer. turpentine put directly on fresh newspaper or magazine prints and placed on fresh paper, then burnished on the back with a pencil to transfer the prints to the clean paper • monotype. a method of printmaking done by applying pigment to glass, metal, or plastic and transferring to paper Chapter 6 Definitions of Art Tools and Materials 217

6–30. Continued

• original print. artist is directly involved with creating an original print, usually in relatively small editions and signed in pencil by the artist; if the original artwork was created in a different medium and machine reproduced, these are not original prints • planographic print. a flat-surface print such as silk screen or lithograph • proof. a print made when the plate has been changed, for example, by further etching or carving • rainbow roll. placing three inks next to each other, then using a brayer to transfer them to a printing plate • reduction block print. single plate inked and used to print several times, but a portion is removed and colors are changed in each printing (working from lightest to darkest)

• registration. correctly aligning a printing plate to print Katy Trail. Multicolor reduction block print one color atop another • relief print (block print). made using a plate such as linoleum (lino-cut) or wood (wood-cut) in which areas have been cut away, creating a design on the raised areas • remarque. personal drawing accompanying an artist’s signature • serigraph (silk-screen). a glorified form of stenciling also used to make screen-printed T-shirts • soft ground. waxy acid-resistant substance is rubbed onto a warmed metal plate; materials (such as net, leaves, grasses) may be pressed into the surface to leave an image • state. a completed print may have gone through many trial printings by the artist before being considered a finished print; each printing in this trial process is called a state • stencil. design cut into a water-resistant material such as plastic; then paint is applied to a surface Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley such as a wall, cloth, or paper through the openings in the stencil • stopping out. applying varnish to areas of a metal plate to prevent acid from etching; usually combined with aquatint • sugar-lift. sugar-water solution painted onto a metal plate and allowed to dry; a wax resist is painted on top, allowed to dry, and the sugar water removed with warm water; plate is then immersed in acid to etch the open areas • wood engraving. a relief printing cut with engraving tools into end blocks of wood, which are more dense than regular woodcut plates • woodcut. relief print made when the surface of a block of wood is transformed through cutting the surface; the cut-away areas remain white; print is inked and transferred to paper 218 The Art Teacher’s Book of Lists

6–31. Cheap Substitutes for Expensive Materials

FOR PHOTO TRANSFER This works with magazine pictures or a fresh photocopy. Use a brush to apply either of these liquids, then place face down on the receiving paper and rub hard on the back of the paper with a pencil. Works in a well-ventilated room. • CitraSolv (available at Whole Foods stores) • Oil of wintergreen (drugstores and cake decorating stores)

MORE PHOTO TRANSFER These techniques require you to work gently to remove the paper from the back of the coated photo and the ink will remain. Use polymer medium as glue to attach it to a clean sheet of paper. • Polymer gel medium. Brush two to three coats on paper in opposite directions. Soak and rub it off. Glue to the receiving paper. • Polymer medium. Polymer medium may be applied to magazine or photocopy. Soak in warm water, remove paper, and glue to receiving paper using polymer medium as the glue. • Clear packaging tape works on colored pictures also. Soak in warm water, using a finger to remove the paper, leaving the ink on the tape. Glue the tape onto the background.

RECIPES Sawdust Modeling Material sawdust 3 cups wheat paste 1 cup water Homemade Glue 2 cups skim milk 4 tsp. vinegar

4 tsp. baking soda & Sons, Inc. Copyright © 2010 by John Wiley 2 tbs. warm water Heat milk and vinegar until lumpy; strain out the liquid and save the lumps. Add the water and smash in the baking soda with a fork, then force the glue through the sieve into a container; let it rest for 24 hours, then stir and use. Papier Maché Glues (three types) • wheat paste (check the label for pesticides) • flour and water (mix ¼ cup flour to 6 cups water) • white glue (mix 3 parts glue to 1 part water) Sidewalk Chalk 1 cup plaster of Paris ½ cup water 2-3 Tbsp. powdered tempera ice cube tray Mix the tempera and plaster of Paris before adding water. Pour into molds such as muffin tins, plastic ice cube tray, or small paper cups and allow to dry for 24 hours. Remove from the molds and allow to air dry. Chapter 6 Definitions of Art Tools and Materials 219

6–31. Continued

Watercolor Paint 2 Tbsp. white vinegar 4 Tbsp. baking soda 2 Tbsp. cornstarch ½ Tbsp. glycerine (available at a pharmacy) food coloring ice cube trays or foam egg cartons Mix the baking soda and vinegar together before adding the glycerine and cornstarch. Divide this mixture into individual portions before adding food coloring. Allow to dry 10 to 12 hours before using.

Modeling Dough #1 3 cups flour 1 cup salt 1 cup water 3 tablespoons salad oil food coloring

Modeling Dough #2 1 cup flour 1 cup warm water 2 tsp. cream of tartar 1 tsp. oil ¼ cup salt Mix over medium heat until smooth; knead. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Baker’s Clay 4 cups flour 1 cup salt 1 ½ cups water Roll out ¼-inch thick, cut into shapes, bake in 200-degree oven until hard.

Cornstarch Clay 2 cups baking soda 1 cup cornstarch 1 ½ cups water Cook over low fire until thick.

Kaleidoscope Crayons Put broken crayons (after peeling, or soaking off the paper and allowing to dry) in a small pan and slowly heat for about 15 minutes. Pour the liquid into small muffin cups and allow it to harden.

Marker Ink/Watercolor Take off the bottom end of old markers with pliers and remove the felt innards to make ink, watercolor, or dye. Soak in water. Baby food jars make perfect containers. Naturally, the more pieces you use, the stronger the color. 220 The Art Teacher’s Book of Lists

6–31. Continued

Powdered Milk Paint Medium 1 cup powdered nonfat milk 1 cup water powder paint pigments Mix the milk and water and stir. Mix only as much of this solution with powdered pigment as you intend to use. Will give a glossy finish. Refrigerate solution. Homemade Gesso #1 one part rabbit-skin glue (powder or granules) to 15 parts water, soak overnight heat size in a saucepan (do not boil) Add plaster of paris, stirring until it is the consistency of heavy cream.

Homemade Gesso #2 1 ½ oz. rabbit-skin glue (powder or granules) 1 ¼ pints water powdered chalk (whiting) Soak the glue overnight in water, then heat in a double boiler, stirring and adding whiting until it is the consistency of heavy cream.

Finger Paint ½ cup cornstarch 1 envelope unflavored gelatin 3 Tbsp. sugar dishwashing detergent 2 cups water food coloring Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley fingerprint or white roll paper Put cornstarch and sugar into pot, adding 1 3/4 cup water, cooking slowly over low heat. Stir until blended and removed from heat before adding gelatin that has been softened in ¼ cup water. Divide into baby food jars or cups and add food coloring to each jar.

Cornstarch Finger “Paint” ¼ cup cornstarch 2 cups water food coloring individual containers Boil cornstarch and water until the liquid thickens. Pour into individual containers and add food coloring. Either paint directly on paper or paint on cafeteria trays and make prints from the designs. Chapter 6 Definitions of Art Tools and Materials 221

6–32. Where to Find Useful Art Materials for Little Money

Start with your community! You don’t want to have to travel far to get freebies, and your community cares! These are the people who want your program to be as wonderful as you do. Send home a note to parents to suggest some of the scrap items that might be of use to your program. Keep in mind that you will need a system to organize everything when it comes in. Let local merchants know that you will find a use for their unneeded scraps or are willing to take good materials off their hands. Places that often have to get rid of outdated merchandise are printers, frame shops, fabric stores, yarn shops, card stores, drug stores, and big-box stores (Target, Costco, Wal-Mart, Sam’s Club). • Funeral homes will sometimes save fresh flowers for you if you let them know you can use them. You don’t have to tell the students where you found them. • Watch the local newspapers for discount coupons at hobby stores. • Dollar stores often have art supplies or odd items that cost little that may just be what you have been needing. Sometimes unusual things can be used as prizes for student achievement. • In your own school district, ask industrial arts teachers to have their students cut wood scraps into small (3 to 7 inches) interesting shapes that students can use to make sculpture. Or you may find a local woodworker who is pleased to have his or her scrap wood used creatively. • Ask parents to save magazines. Slick ones like National Geographic or Smithsonian are great for collage and photo transfer. • Carpet outlets samples are fine for storing wet-work (such as paper making). • Nature is a great source. Art teachers traditionally use leaves, shells, sticks, pinecones, seed pods, and feathers to enhance artwork or to serve as subjects for drawing. • The Dover Sampler (online) offers weekly downloads of clip art. Check its website. Also check the Internet for information about other downloads (patterned paper, geometric designs). • Your local grocer may donate, or sell for a minimal cost, foam butcher trays or large brown bags that offer great potential as raw material. • Foam picnic plates can be used as palettes; cut off the rim to make a round plate for a monotype, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley coloring it with washable markers. Use damp paper to reactivate the markers. • State governmental agencies such as conservation commissions often have wonderful posters and booklets that offer your students inspiration for new projects. • Regional architectural associations may be resources for information about local buildings. 222 The Art Teacher’s Book of Lists

6–33. Recycling for Teachers of Art

Many materials just take imagination to find a new use or adaptation. Send a letter home letting families know what you would appreciate having donated. • Brown paper bags. Large ones can be used to make hats by rolling up the bottom and taping with masking tape just above the ears to fit the head, then decorating. Bags make great “deer- hide” vests by cutting up the middle of one large side, making a rounded neckline opening, then decorating. • Buttons. These are useful for jewelry or for gluing or sewing to collages. • Cardboard. Cut up your equipment and book boxes as they come in. These pieces of corrugated cardboard can be used as drawing boards, printmaking plates, self-portrait collage bases, or stacked/shaped sculpture material. • Firebrick. These soft bricks are easily carved into sculpture with rasps. • Foam butcher trays. These can be used as printmaking plates; rectangular holes cut in them make deckles for handmade paper; or cut and make into mobiles to hang from a wire hanger. • Foil of all weights and shapes. Use for hat making, an armature for papier mâché, or mold for face masks. • Plaster of Paris. This material is wonderful for sculpture. Use as a mold or pour into a small plastic bag to make an individualized shape with the hands as it hardens. • Recycled aluminum drink cans. Cut tops and bottoms using classroom scissors (the “cutter” should wear cotton gloves for safety). These sheets of aluminum are wonderful for repoussé, joining together with brads to make masks, or cutting to make mobiles. • Small lunch bags. These are perfect for character hand puppets or small houses (put a folded construction paper roof on them). • Teacher recycle centers. A number of towns have these, and you will find that a grocery sack full of goodies (donated by merchants) will cost very little. If there is not one near you, get together with a group of parents and teachers and start one! Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley CHAPTER 7 PAINTING, DRAWING, AND PRINTMAKING 7–1. Quotations About the Graphic Arts 7–2. Famous Artists and Their Subjects 7–3. Great Themes in Painting 7–4. Painting a School Mural 7–5. Plein-Air Painting 7–6. Master Painters and Examples of Their Work 7–7. Impressionist and Post-Impressionist Artists 7–8. Music to Paint By 7–9. Artists Especially Known for Their Drawings 7–10. Printmaking Timeline 7–11. Famous Printmakers 224 The Art Teacher’s Book of Lists

7–1. Quotations About the Graphic Arts

“Artists today think of everything they do as a work of art. It is important to forget about what you are doing— then a work of art may happen.” ANDREW WYETH, 1917–2009, AMERICAN PAINTER

“Any color is more distinctly seen when opposed to its contrary: thus, black on white, blue near yellow, green near red, and so on.” LEONARDO DA VINCI, 1452–1519, ITALIAN PAINTER/INVENTOR

“Painting is concerned with the ten things you can see; these are darkness and brightness, substance and color, form and place, remoteness and nearness, movement and rest.” LEONARDO DA VINCI, 1452–1519, ITALIAN PAINTER/INVENTOR

“A portrait is a painting with something a little wrong with the mouth.” JOHN SINGER SARGENT, 1856–1925, AMERICAN PAINTER

“My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can. Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.” KEITH HARING, 1958–1990, AMERICAN ARTIST

“How beautiful an old woman’s skin is! All those wrinkles!” THOMAS EAKINS, 1844–1916, AMERICAN PAINTER

“When you first commence painting everything is a muddle. Even the commonest colors seem to have the devil in them.” THOMAS EAKINS, 1844–1916, AMERICAN PAINTER

“Drawing and color are by no means two different things. As you paint, you draw . . . When color is at its rich- est, form is at its fullest.”

“As a painter I shall never signify anything of importance. I feel it absolutely.” VINCENT VAN GOGH, 1853–1890, DUTCH ARTIST

“You should keep on painting no matter how difficult it is, because this is all part of experience, and the more experience you can have, the better it is—unless it kills you, and then you know you have gone too far.” ALICE NEEL, 1900–1984, AMERICAN PAINTER

“It’s like golf. The fewer strokes I can take, the better the picture.” JOHN MARIN, 1870–1953, AMERICAN ABSTRACTIONIST Chapter 7 Painting, Drawing, and Printmaking 225

7–2. Famous Artists and Their Subjects

Here is a partial list of several cultures and artists whose work is well known. The descriptions of their work are greatly simplified, as almost all artists have done more than one particular subject or medium, but these are particularly suitable as a base for a lesson or unit. The purpose for including the list is to have names available to look up on the Internet. Simply type it in, and you will find images of that artist’s work.

ABSTRACTION Estes, Richard. photorealist paintings Kandinsky, Wassily. shapes, lines, color to fill the page Grooms, Red. distorted, humorous views of cities and people Klee, Paul. Bauhaus instructor; geometrics combined with subject Hopper, Edward. scenes of the city at night; children at play Miró, Joan. storytelling abstract compositions Marin, John. watercolor cityscapes; harbors; land- Pollock, Jackson. action painting at its most abstract scapes; abstract ANIMALS O’Keeffe, Georgia. scenes of New York Audubon, John James. American wildlife and birds Sheeler, Charles. paintings of factories, cities, machinery Barye, Antoine Louis. wildlife Stella, Joseph. Futurism. scenes of the city Beardsley, Aubrey. art nouveau black-and-white illustrations Utrillo, Maurice. Post-Impressionist cityscapes Bonheur, Rosa. horses FANTASY OR SURREALISM Butterfield, Deborah. sculptured horses of “found” Arcimboldo, Giuseppi. fruit or vegetables in place of materials facial features Degas, Edgar. horse races Chagall, Marc. dreamlike fanta- Dufy, Raoul. horse races sies of a Russian childhood Dürer, Albrecht. animal stud- Cornell, Joseph. found objects ies, rabbits in small boxed sculptural Eakins, Thomas. studies of assemblages horses Dali, Salvador. landscapes

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Hicks, Edward. farm animals, with unlikely items (melt- people and wild animals ing watches) Drawn from Louisiana Marc, Frans. Fauve painter; Heron. John James Audubon DeChirico, Giorgio. cityscapes blue horses with a fantasy theme Muybridge, Edweard. photos of horses in motion Duchamp, Marcel. sculpture Drawn from The Librarian, Remington, Frederick. life in the wild West from found objects 1566, Arcimboldo, Skok- Rodrigue, George. Blue Dog paintings are self-descriptive Kahlo, Frida. self-portraits with loster, Sweden Rousseau, Henri. animals; jungle scenes monkeys and jungle plants Stubbs, George. beautiful portraits of horses Magritte, Rene. a sky filled with umbrellas

ARCHITECTS Gehry, Frank. Guggenheim Museum, Bilbao, Spain Graves, Michael. Post-modernist; color on buildings Morgan, Julia. Hearst Castle, San Simeon, California Sullivan, Louis B. architect; modernist architecture Wright, Frank Lloyd. “Prairie School” architect

CITIES Canaletto, Antonio. paintings of Venice DeChirico, Giorgio. Surrealistic city themes

Demuth, Charles. rushing fire engine through wet Autumn, and Winter, 1563, drawn after Arcimboldo, city streets Kunsthistorisches Museum, Vienna 226 The Art Teacher’s Book of Lists

7–2. Continued

Miró, Joan. Surrealist work based on reality Ringgold, Faith. quilts; African American; historical Rauschenberg, Robert. collage, photo transfers, references sculptural assemblage Rivera, Diego. His murals tell the history of Mexico. Rubens, Peter Paul. painter of grand narratives; FLOWERS AND FOOD mythological or religious Dine, Jim. large prints of growing flowers and root West, Benjamin. American history scenes systems Wyeth, N.C. illustrator and painter Fish, Janet. water in glasses, reflections, flowers Nolde, Emil. brilliant watercolors of flowers NATIVE AMERICAN (CONTEMPORARY) O’Keeffe, Georgia. flowers fill the page Gorman, R.C. simple scenes of Native Americans in Van Gogh, Vincent; Irises, Sunflowers traditional dress Houser, Allan. sculpture and prints featuring Native LANDSCAPES American life Adams, Ansel (photographer). master of black-and- Namingha, Dan. abstractions of sunsets, hills, and white landscapes woods; Kachinas Bierstadt, Albert. landscapes of the great West Odjig, Daphne. abstract portraiture; mothers and Wyeth, Andrew. Pennsylvania landscape and its people children; outlining Scholder, Fritz. bright colors; simple shapes LETTERS AND SHAPES Smith, Jaune Quick-to-See. influence of Native Davis, Stuart. words; collage-like shapes combined American upbringing with words Walkingstick, Kay. Mountains combined with Indian Holzer, Jenny. truisms found in many media designs Johns, Jasper. targets; American flag; maps with let- Whitehorse, Emmi. traditional symbolism ters, and numbers PEOPLE (GROUPS) Kruger, Barbara. red letters on black, mechanical collage Lichtenstein, Roy. cartoon style; word balloons (as in Bearden, Romare. collages of African American peo- comics) ple; prints

Matisse, Henri. patterned clothing; flowers; cut-outs; Bingham, George Caleb. Missouri politicians; river & Sons, Inc. Copyright © 2010 by John Wiley simple shapes boatmen Rivers, Larry. French words in back-ground Botticelli, Sandro. religious and mythological paintings Twombly. Cy. calligraphic handwriting, graffiti-like Brueghel, Pieter. landscapes; numbers of peasants Warhol, Andy. Campbell® soup cans; Coke® bottles Colescott, Robert. groups of African Americans Dubuffet, Jean. patterned, abstract figures using few NAÏVE PAINTERS colors Moses, Anna Mary (Grandma). Primitives, nostalgic Gauguin, Paul. Fauve scenes of Brittany and Tahiti; scenes of sugaring, quilting, farm life people in costume Rousseau, Henri. This customs agent drew his Haring, Keith. simple outlines of generic figures fill- jungles from the Paris Botanical garden and his ing space house plants. Hicks, Edward. groups of people and animals used in landscape; narratives NARRATIVE (STORYTELLING) Bearden, Romare. collage; prints; scenes of African American life Benton, Thomas Hart. murals; people at work Botticelli, Sandro. religion; mythology; portraiture Lawrence, Jacob. people; historical African Ameri- can references Pippin, Horace. fantasy; historical African American stories Drawn after Keith Haring Chapter 7 Painting, Drawing, and Printmaking 227

7–2. Continued

Leger, Fernand. black outlines of faces; hand with Hals, Franz. Baroque group portraits and genre portraits sausage-like fingers Lange, Dorothea. Depression-era photo portraits Moses, Anna Mary (Grandma). scenes of country life Leonardo da Vinci. traditional portraits; Mona Lisa filled with people Lichtenstein, Roy. individuals and groups in cartoon- Pippin, Horace. stories about African Americans like manner Ringgold, Faith. story-telling quilts featuring African Matisse, Henri. patterned backgrounds; unusual Americans colors; Fauvism Rubens, Peter Paul. people-filled paintings; histori- Modigliani, Amedeo. elongated faces cal and mythological Neel, Alice. insightful realistic outlines, flat paint Seurat, Georges. Pointillism; groups of people at leisure Picasso, Pablo. Cubism and distortion, a few realistic Toulouse-Lautrec, Henri de. simple colors; Parisian portraits night life Rembrandt van Rijn. dark background; clothing of van Dyck, Anthony. portraits of wealthy patrons and 16th century Holland royalty Renoir, Pierre Auguste. Impressionist; soft-edged Walker, Kara. African American tales inn black cut- portraits of girls, women out silhouettes Reynolds, Joshua. family portraits Rouault, Georges. heavily impasto Expressionistic paintings Sargent, John Singer. large portraits of women and families; watercolors Stuart, Gilbert. Colonial American portraits; George Washington Toulouse-Lautrec, Henri de. lithographs and drawings of Parisian nightlife van Gogh, Vincent. people he knew; outlining; Dr. Gachet Velazquez, Diego. portraits of royalty; history; Las Meninas

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Drawn from George Vermeer, Jan. portraits; Dutch genre interiors Washington, 1796, Whistler, James Abbott McNeill. atmospheric paint- Gilbert Stuart, The Saint Louis Art Museum ings and portraits; Whistler’s Mother PHOTOGRAPHERS PORTRAITS Adams, Ansel. master of black-and-white landscapes Basquiat, Jean-Michel. playful abstract African Brady, Matthew. Civil War American faces Lange, Dorothea. documented the Great Depression Bingham, George Caleb. Mississippi River boats, and migration political gatherings Parks, Gordon. South American and African American life Botero, Fernando. characters (painted or sculpted) Sherman, Cindy. disguised self-portraits are all very fat Wegman, William. portraits of his Weimaraners Catlin, George. Native Americans in early history of Weston, Edward. sharp photos of dunes, green pep- U.S. pers, people Clemente, Francesco. very large, somewhat Surreal- istic portraits PRINTMAKING Close, Chuck. super-realist faces painted using a Albers, Josef. prints used square-within-a-square motif squared grid Bearden, Romare. African American genre scenes Degas, Edgar. ballet dancers, milliners, jockeys Cassatt, Mary. studies of families, friends Dürer, Albrecht. self-portrait with long hair Close, Chuck. head studies in various print media Giacometti, Alberto. sculptor; elongated figures Davis, Stuart. abstract cityscapes and other subjects, Grooms, Red. cartoon-like collage portraits with words 228 The Art Teacher’s Book of Lists

7–2. Continued

Degas, Edgar. monotypes; ballet dancers; horses SEASCAPES Dine, Jim. ordinary tools; his bathrobe; flowers Homer, Winslow. romantic landscapes, cityscapes, Francis, Sam. specialized in abstract spatter-prints seascapes around the edges Marin, John. ships in harbor, seascapes Freud, Lucian. strong, realistic portraiture Turner, Joseph Mallord William. romantic seascapes; Gornik, April. soft, tree-filled landscapes; seascapes atmospheric landscapes; swirling clouds Graves, Nancy. sometimes contain images from mythology, nature, and art history SCULPTURE Grooms, Red. a sense of humor is in every cartoon- Bourgeois, Louise. Feminist symbols in large sculp- like collage-style print tures and drawings Hockney, David. people in their Southern California Brancusi, Constantin. simplified portrait shapes environment (heads); rough-hewn sculpture and bases Indiana, Robert. his original LOVE has been much Butterfield, Deborah. sculptured life-size horses parodied with other “letter messages” Calder, Alexander. creator of mobiles and stabiles Johns, Jasper. symbols such as flags, targets; lines Christo. wrapping huge buildings; Central Park Gates used to make patterns Cornell, Joseph. box assemblage/collages, of items Kunioshi, Yasuo. modernist painter Giacometti, Alberto. elongated figural sculpture Lichtenstein, Roy. Benday dot or stripe patterns Goldsworthy, Andy. environmental sculptor used in cartoon-like scenes Graves, Nancy. natural materials cast in bronze and Nevelson, Louise. this sculptor’s prints strongly enameled resemble her box-like sculptures Marisol (Escobar). wooden sculpture/assemblages Oldenburg, Claes. a sculptor; humorously transforms Michelangelo. human figures; Moses; Medici Tomb everyday objects into sculpture and prints Moore, Henry. human figures, often seated families Picasso, Pablo. black-and-white bullfight prints; Cubist work in color Nevelson, Louise. assemblages of wood, plastic, driftwood Rauschenberg, Robert. “combines” letters, photographs, and unlikely objects Oldenburg, Claes. soft sculpture; giant badminton birds; folding knife Trova, Ernest. human form moving through space, & Sons, Inc. Copyright © 2010 by John Wiley often machine-like; the Falling Man series Pfaff, Judy. colorful assemblages of plastic Ukiyo-e. Japanese prints of Geishas and actors Stella, Frank. abstract, patterned metal shapes organized as three-dimensional design to hang on wall Warhol, Andy. Pop Art used famous people, Coke® ® bottles, Campbell soup cans, and an electric STILL LIFE chair in his photo-silkscreens Braque, Georges. Cubistic; tabletop with still life RELIGION Fish, Janet. contemporary watercolorist; tabletop Michelangelo. painter, Sistine Chapel; sculpture David still lifes Raphael. painter for the Popes; School of Athens Flack, Audrey. hyper-realistic still lifes Rembrandt. Northern Baroque painter/printmaker; Harnett, William. trompe l’oeil painter mostly portraits and religious scenes Picasso, Pablo. Cubism. identifiable subject even van Eyck, Jan. Flemish painter of altar-pieces though “fractured”

Drawn from Eight Water Glasses Under Fluorescent Light, 1974, Janet Fish, Drawn from Movement private collection, No. 2, 1926, John Marin New York City Chapter 7 Painting, Drawing, and Printmaking 229

7–3. Great Themes in Painting

UNIVERSAL PAINTING THEMES ASIAN THEMES Christ in majesty allegory animals circumcision animals birds coronation of the Virgin carnivals Buddha crucifixion children fans David and Goliath circus flowers death of the Virgin cities mountains descent from the cross the elements: earth, air, fire, water nature dormition of the Virgin families trees doubting Thomas farming water entombment festivals entry into Jerusalem INDIAN THEMES figural flight into Egypt flowers adventure scenes flood gardens animals garden of Eden genre hunting scenes holy family grief illustrations of love poetry immaculate conception historical events legends in the garden hunting life of Buddha John the Baptist interiors lives of the gods last judgment landscapes manuscript illumination life of St. Stephen love portraits of court officials lives of the saints musicians romantic scenes Madonna in the clouds mythology scenes at court martyrdom of the saints narrative story illustration Moses striking the rock nighttime nativity Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley NATIVE AMERICAN THEMES other artists at work pietá animal totems outdoors portraits of popes and dances people cardinals exploits on horseback portraiture presentation in the temple nature processions presentation of the Virgin symbols for nature religious subjects raising of Lazarus seascape CHRISTIAN THEMES sacrifice of Abraham supper at Emmaus self-portraits adoration of the Magi the Golden Calf sports adoration of the shepherds the Last Supper still-life annunciation the trial of Moses storytelling Bathsheba tree of Jesse theater beheading of St. Paul Virgin among Virgins transportation Biblical stories Virgin and child trees birth of the Virgin Visitation war carrying of the cross water Christ before Pilate 230 The Art Teacher’s Book of Lists

7–4. Painting a School Mural

School murals come and go (students move on, walls are moved, murals go “out of style,” they are in a traffic area where they just become dirty, or “it is time for something fresh”) Artists can be encouraged to be philo- sophical about them and enjoy the moment. Then again, the Sistine Chapel is a mural, as is Michelangelo’s Last Judgment, and they’ve held up for several hundred years. So one never knows. Mural painting is a wonderful way for students to leave a legacy for the future, and one never hears students or teachers complain about the process, which is really the reason for doing such a thing. Their pride when students see the finished artwork is palpable.

CONSIDERATIONS Safety first. Arrange for scaffolding if students will be several feet off the ground. Limitations must be established for the number of people on the scaffolding at a time. No standing on chairs or tables. If you’re lucky, an artist-in-residence can be invited who will shepherd the process all the way. If not, it is a good idea to have one or two students or parents who can be counted on to see it through. Arrange financing. Ask your P.T.O. or principal, contact a small-business to sponsor, or have a student fund-raising event. An adult must be in charge to be the interpreter between students and others and provide guidance. Students must have ownership of the mural, which means they have considerable input and agreement with the final design. Arrange an “unveiling” and a reception for the artists. Of course, take publicity shots that include everyone who worked on the mural, and obtain local TV or newspaper coverage.

GETTING STARTED Brainstorm. Talk about where the mural will be—what purpose it will serve, and what subject is appropriate for the area. Measure the area to be painted. Figure how far back an overhead projector can be placed to easily enlarge the design. I find pencil is the best way to transfer the design to a primed wall or primed plywood. Transfer the mural. If you do not have room for an overhead projector, this step could be done elsewhere (large hall or gym) on canvas that could later be glued in place. Or a “portable mural” could be painted on 4-by-8-foot × half-inch sheets of plywood that could be primed, drawn on, and painted elsewhere, then attached to the wall. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Color scheme. Decide whether colors will be modeled or used straight from the can (flat). I recommend flat if students or non-artists are doing the painting. If you are lucky enough to have an artist-in-residence, involve him or her from the beginning. The application of paint would be his or her choice.

SOLVE YOUR PROBLEMS BEFORE YOU BEGIN Priming. Have the wall prepared (primed), perhaps by district maintenance. A clean wall and good primer are important. If painting an outdoors mural on brick (perhaps for a nearby business) the brick should be cleaned with vinegar, then primed with the best primer available. Use an exterior paint Get paint. Many teachers ask local stores to save their “oops” cans—the ones that were mis-mixed. Use the same finish throughout (gloss, matte, or semi-gloss). I found acrylic paint to be long-lasting and easy to clean up. Some teachers recommend exterior paint. Make small drawings that can be photocopied onto an overhead transparency and outlined with black permanent marker. If the overhead projector method won’t work for you, make a graph of an overall design and give each student one portion of it to paint. Protective finish. Remember to apply one or two finishing coats of clear polymer medium (or ask your paint store person for advice for a substitute) when the mural is finished (this can be done with a roller).

Places and Subjects • Art area. famous artists, one subject interpreted in recognizable styles of famous artists (cows, horses, people?), famous paintings • Cafeteria. food, students going through a line, messages about recycling and the environment Chapter 7 Painting, Drawing, and Printmaking 231

7–4. Continued

• General. lettering, city history, trees, seniors for the senior locker bay (anything that can be photographed can be simplified for a mural) • Gymnasium. school mascot, sports equipment, students playing sports • Halls. hand prints, students involved in activities, cities, jungles, activities, school history, state history • Library. famous people reading, books and computers for the library • Science area. test tubes, famous scientists, space, animals, birds, insects, living plants

7–5. Plein-Air Painting

Plein Air painting was popularized by the Impressionists, who were interested in capturing the effects of changing light and seasons. Landscape paintings had received little respect when compared with portraits, historical, mythical, and religious subjects. The very name “Impressionist” was disparaging, based on a negative review of Monet’s painting, Impression Sunrise. This list is the equipment that a student artist who wants to work independently might need to assemble. Keep in mind that one can’t always stand on a parking lot next to a car, but must haul equipment to where the view is. If this is done during school, time limitations will probably mean several outdoor sessions at the same location. An asterisk identifies items needed if painting on school grounds.

GENERAL SUPPLIES pull cart hat sun screen plastic bag for cleanup *easel or drawing board

OIL, ACRYLIC, AND WATERCOLOR PAINTING Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley easel *paint palette (disposable?) palette knives *canvas or drawing paper brushes work gloves jar with liquid for cleaning brushes St. Louis Artists’ Guild Poster, 1986, Milton Geis, original painting in water media, courtesy Donna Geis Zang, www. *liquid for diluting paints (water or turpentine) geisart.com paper towels apron or T-shirt to protect clothing clips or large rubber bands *viewfinder (empty slide mount) or camera

PASTELS OR COLORED PENCILS pastels, oil pastels, colored pencils watercolor paint hand-sharpener for pencil tissues wipes for cleaning hands 232 The Art Teacher’s Book of Lists

7–6. Master Painters and Examples of Their Work

So many masters, so many paintings. It would be wonderful to list them all, but an attempt was made to include one or two of each person’s most famous paintings.

Albers, Josef, 1888–1976, America, b. Germany The Caress, 1902, National Museum of American Study for Homage to the Square, 1963, Tate Gallery, Art, Washington, D.C. London Catlin, George, 1796–1872, America Audubon, John James, 1785–1851, America, b. Haiti Buffalo Bull’s Back Fat, Head Chief, Blood Tribe, The Birds of America, 1826, New York Historical 1832, American Museum, Washington, D.C. Society, New York City Tal-lee, a Warrior of Distinction, 1834, American Great Blue Heron, 1821, New York Historical Museum, Washington, D.C. Society, New York City Cezanne, Paul,1839–1906, France Bacon, Francis, 1909–1992, England, b. Ireland The Woman with a Coffee Pot, 1890–1894, Louvre, Triptych, 1976, Private Collection Paris Study After Velazquez’s Portrait of Pope Innocent Mont Ste. Victoire, 1885–1887, Courtauld Institute X Painting, 1953, Des Moines Art Center, Des Galleries, London Moines, Iowa Close, Chuck, 1940, America Bearden, Romare, 1914–1988, America Fanny, Fingerpainting, 1985, National Gallery of The Piano Lesson, 1983, Estate of Romare Bearden, Art, Washington, D.C. ACA Galleries, New York City Self-Portrait, 1968, Walker Art Center, Minnesota House in Cotton Field, 1968, Estate of Romare Cole, Thomas, 1801–1848, America Bearden, ACA Galleries, New York City Benton, Thomas Hart, 1899–1975, America The Oxbow, 1836, Metropolitan Museum of Art, New York City Cotton Pickers (Georgia), 1928–1929, Metropolitan Museum of Art, New York City The Voyage of Life, 1840, Williams-Proctor Institute, Utica, New York Hollywood, 1937, Nelson-Atkins Museum of Art, Kansas City, Missouri Copley, John Singleton, 1738–1815, America Bierstadt, Albert, 1830–1902, America Paul Revere, 1768–1770, Museum of Fine Arts, The Buffalo Trail, the Impending Storm, 1869, Boston Corcoran Gallery, Washington, D.C. Watson and the Shark, 1782, Detroit Institute of the & Sons, Inc. Copyright © 2010 by John Wiley Thunderstorm in the Rockies, 1859, Museum of Arts Fine Arts, Boston David, Jacques-Louis, 1748–1825, France Bingham, George Caleb, 1811–1879, America Coronation of Napoleon and Josephine, 1805–1807, The Jolly Flatboatmen in Port, 1857, Saint Louis Louvre, Paris Art Museum Death of Marat, 1793, Modern Art Museum of The County Election, 1851–1852, Saint Louis Art Belgium, Brussels Museum Dali, Salvador, 1904–1989, Spain Botticelli, Sandro, 1444–1510, Italy The Persistence of Memory, 1931, Museum of Birth of Venus, c. 1480, Uffizi Gallery, Florence Modern Art, New York City Primavera, c. 1478, Uffizi Gallery, Florence Illumined Pleasures, 1929, Museum of Modern Art, Brueghel, Pieter, 1568–1625, Flemish New York City Netherlandish Proverbs (The Blue Cloak), 1559, Davis, Stuart, 1894–1964, America Kaiser Friedrich Museum, Berlin Egg Beater, Number 2, 1927, Whitney Museum of Peasant Wedding, 1567, Kunsthistorisches American Art, New York City Museum, Vienna Blips and Ifs, 1963–1964, Amon Carter Museum, Caravaggio, Michelangelo Merisi da, 1571–1610, Italy Fort Worth Calling of Saint Mathew, c. 1599–1600, S. Luigi dei Degas, Edgar, 1834–1917, France Francesi, Rome Singer with Glove, 1878, Fogg Art Museum, The Death of the Virgin, 1605–1606, Louvre, Paris Harvard University Cassatt, Mary, 1845–1926, America Ballet Dancers in the Wings, 1900, Saint Louis Art At the Opera, 1879, Museum of Fine Arts, Boston Museum Chapter 7 Painting, Drawing, and Printmaking 233

7–6. Continued

Delacroix, Eugene, 1798–1863, France Eakins, Thomas, 1844–1916, America Greece on the Ruins of Missolonghi, 1826, Musée The Gross Clinic, 1875, Thomas Eakins, Jefferson des Beaux-Arts, Bordeaux Medical College, Philadelphia Tiger Hunt, 1854, Louvre, Paris Max Schmitt in a Single Scull, c. 1871, Demuth, Charles, 1883–1935, America Metropolitan Museum of Art, New York City Acrobats, 1919, Museum of Modern Art, New York Escher, Maurits Cornelis (M.C.), 1898–1972, The City Netherlands I Saw the Figure Five in Gold, 1928, Metropolitan Drawing Hands, 1948, Vorpal Galleries, San Museum of Art, New York City Francisco and Chicago Dove, Arthur, 1880–1946, America House of Stairs, 1951, National Gallery of Art, Sand Barge, 1930, Phillips Collection, Washington, Washington, D.C. D.C. Fish, Janet, 1938, America The Red One, 1944, William H. Lane Foundation, Chinoiserie, 1984, collection of Paine Webber Leominster, Massachusetts Group Inc., New York City Duchamp, Marcel, 1887–1968, America, b. France Painted Water Glasses, 1974, Whitney Museum of Nude Descending a Staircase, No. 2, 1912, American Art, New York City Philadelphia Museum of Art Flack, Audrey, 1931, America Chocolate Grinder, No. 1, 1913, Philadelphia Marilyn (Monroe), 1977, University of Arizona Museum of Art Museum of Art, Tucson Dürer, Albrecht, 1471–1528, Germany Buddha, 1975, Saint Louis Art Museum Knight, Death, and the Devil, 1513, Museum of Fine Gauguin, Paul, 1848–1903, France Arts, Boston La Orana Maria, 1819, Metropolitan Museum of Art, Self Portrait, 1500, Alte Pinakothek, Munich New York City The Yellow Christ, 1889, Albright- Knox Art Gallery, Buffalo, New York El Greco (Domenikos Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Theotokopoulos), 1541–1614, Spain, b. Greece The Burial of Count Orgaz, 1586, Santo Tomé, Drawn from Paul Gauguin Toledo, Spain View of Toledo, 1596–1600, Metropolitan Museum of Art, New York City Goya, Francisco, 1746–1828, Spain The Third of May, 1814–1815, Prado, Madrid Clothed Maja and Naked Maja, c. 1799, Prado, Madrid Hals, Frans, 1582–1666, The Netherlands The Women Regents of the Old Men’s Almshouse, c. 1664, Frans Halsmuseum, Haarlem, The Netherlands The Laughing Cavalier, 1624, Wallace Collection, London

Ballet Dancers on the Stage, 1883, Edgar Degas, pastel on paper, Dallas Museum of Art, gift of Mr. and Mrs. Franklin B. Bartholow 234 The Art Teacher’s Book of Lists

7–6. Continued

Haring, Keith, 1958–1990, America Indiana, Robert, 1928, America Mural, 1987, Exterior Stairwell, Necker Children’s The Demuth American Dream No. 5, 1963, Art Hospital, Paris Gallery of Ontario, Toronto New York City Subway Panels, 1984, Fifth Avenue, LOVE, 1966, Indianapolis Museum of Art, New York City Indianapolis, Indiana Harnett, William Michael, 1848–1892, America Johns, Jasper, b. 1930, America After the Hunt, 1885, California Palace of the Target with Four Faces, 1955, Museum of Modern Legion of Honor, San Francisco Art, New York City Still Life—Violin and Music, 1888, Metropolitan Flag, 1954–1955, Museum of Modern Art, New Museum of Art, New York City York City Hartley, Marsden, 1877–1943, America Kahlo, Frida, 1907–1954, Mexico Portrait of a German Officer, 1914, Metropolitan Self Portrait with Cropped Hair, 1940, Museum of Museum of Art, New York City Modern Art, New York City Berlin Abstraction, 1914–1915, Corcoran Gallery of Self Portrait with Monkey and Parrot, 1942, Art, Washington, D.C. Collection of IBM Corp., Armonk, New York Klimt, Gustave, 1862–1918, Austria Portrait of Adele Bloch Bauer 1, 1907, Private Collection The Kiss, 1907–1908, Private Collection Kooning, Willem de, 1904–1997, America, b. The Netherlands Woman and Bicycle, 1952–1953, Whitney Museum of American Art, New York City Drawn after Still Life— Queen of Hearts, 1943–1946, Hirshhorn Museum, Violin and Music, 1888, Washington, D.C. William Michael Harnett, Lawrence, Jacob, 1917–2000, America The Metropolitan Museum Cabinet Makers, 1946, Hirshhorn Museum and of Art, New York City Sculpture Garden, Washington, D.C. Henri, Robert, 1865–1929, America Study for the Munich Olympic Games, Poster, 1972, & Sons, Inc. Copyright © 2010 by John Wiley The Masquerade Dress, 1911, The Metropolitan Seattle Art Museum Museum of Art, New York City Leonardo da Vinci, 1452–1519, Italy New York Street in Winter, 1902, The National Last Supper, c. 1495–1498, Sta. Maria delle Grazie, Gallery of Art, Washington, D.C. Milan Hicks, Edward, 1780–1849, America Mona Lisa, 1503–1506, Louvre, Paris The Peaceable Kingdom, date unknown, Leutz, Emanuel Gottlieb, 1816–1868, America, Abby Aldrich Rockefeller Folk Art Center, b. Germany Williamsburg, Virginia On the Banks of a Stream, c. 1860, Corcoran Gallery, The Cornell Farm, 1848, National Gallery of Art, Washington, D.C. Washington, D.C. Washington Crossing the Delaware, 1851, Holbein, Hans, the Younger, 1497/98–1543, Germany Metropolitan Museum of Art, New York City The Ambassadors, 1533, National Gallery, London Lichtenstein, Roy, 1923–1997, America Anne of Cleves, 1539, Louvre, Paris Mural with Blue Brushstroke, 1986, Equitable Life Homer, Winslow, 1836–1910, America Assurance Society building, New York City The Croquet Game, 1866, Art Institute of Chicago Blam, 1962, Yale University Art Gallery, Breezing Up (A Fair Wind), 1876, National Gallery New Haven, Connecticut of Art, Washington, D.C. Magritte, René, 1898–1967, France Hopper, Edward, 1882–1967, America The False Mirror, 1928, Museum of Modern Art, Early Sunday Morning, 1930, Whitney Museum of New York City American Art, New York City The Menaced Assassin, 1926, Museum of Modern Nighthawks, 1942, Art Institute of Chicago Art, New York City Chapter 7 Painting, Drawing, and Printmaking 235

7–6. Continued

Manet, Edouard, 1832–1883, France The Court of Death, 1821, Detroit Institute of the The Fifer, 1866, Louvre, Paris Arts Dejeuner sur l’Herbe, (Luncheon on the Grass) Peto, John F., 1854–1907, America 1863, Louvre, Paris Reminiscences of 1865, after 1890, Minneapolis Marin, John, 1870–1953, America Institute of the Arts Singer Building, 1921, Philadelphia Museum of Art Poor Man’s Store, 1885, Museum of Fine Arts, Maine Islands, 1922, Phillips Collection, Boston Washington, D.C. Peyton, Elizabeth, b. 1965, America Matisse, Henri, 1869–1954, France Piotr on Couch, 1997, Seattle Art Museum, Seattle, Lady in Blue, 1937, Collection Mrs. John Washington Wintersteen, Philadelphia Lunch, (Nick), 2003, Museum of Modern Art, New Luxe, Calme et Volupte, 1904–1905, Musée d’Orsay, York City Paris Picasso, Pablo, 1881–1973, Spain Michelangelo Buonarroti, 1475–1564, Italy Les Demoiselles d’Avignon, 1907, Museum of Sistine Chapel, 1508–1512, The Vatican, Rome Modern Art, New York City Holy Family, 1506, Ufizzi Gallery, Florence Three Musicians, 1921, Philadelphia Museum of Art Miró, Joan, 1893–1983, Spain Guernica, 1937, Prado Museum, Madrid Pollock, Jackson, 1912–1956, America Dog Barking at the Moon, 1926, Philadelphia Museum of Art Lavender Mist, 1950, National Gallery of Art, Washington, D.C. The Harlequin’s Carnival, 1924–1925, Albright- Knox Art Gallery, Buffalo, New York Number 27, 1950, Whitney Museum of American Art, New York City Monet, Claude, 1840–1926, France No. 5, 1948, 1948, private collection Impression Sunrise—Le Havre, 1872, Musée Marmottan, Paris Prendergast, Maurice, 1859–1924, America Rouen Cathedral in Fall Sunlight, 1892–1893, Central Park, 1908–1910, Metropolitan Museum of Museum of Fine Arts, Boston Art, New York City Water Lilies, c. 1920, Carnegie Institute, Pittsburgh Seashore, c. 1910, Saint Louis Art Museum Moses, Anna Mary (Grandma), 1860–1961, America Raphael (Raffaello Sanzio), 1483–1520, Italy Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Battle of Bennington, 1953, Daughters of the The School of Athens, c. 1511, The Vatican, Rome American Revolution, Washington, D.C. Sistine Madonna, c. 1512–1514, Gemaldegalerie, First Snow, 1957, Bennington Museum, Dresden Bennington, Vermont Rauschenberg, Robert, 1925–2008, America Munch, Edvard, 1863–1944, Norway Tracer, 1964, Nelson-Atkins Gallery of Art, Kansas The Scream, 1893, National Gallery, Oslo City, Missouri Between the Clock and the Bed, 1940–1942, Munch John F. Kennedy, 1967, private collection Museum, Oslo Redon, Odilon, 1840–1916, France O’Keeffe, Georgia, 1887–1986, America The Birth of Venus, 1912, Kimbell Art Foundation, Cow’s Skull—Red, White and Blue, 1931, Fort Worth, Texas Metropolitan Museum of Art, New York City Woman Amidst Flowers, 1909–1910, Jonas Black Iris III, 1926, Metropolitan Museum of Art, Collection, New York New York City Renoir, Pierre-Auguste, 1841–1919, France Sky Above Clouds IV, 1965, Chicago Art Institute Gabrielle with a Rose, c. 1911, Louvre, Paris Peale, Charles Willson, 1741–1827, America At the Grenouillere, 1879, Louvre, Paris Exhuming the Mastodon, 1806–1808, Peale Rembrandt van Rijn, 1606–1669, The Netherlands Museum, Baltimore Anatomy Lesson of Dr. Tulp, 1632, Mauritshuis, The Staircase Group, (1795), Philadelphia Museum The Hague of Art The Night Watch, 1642, Rijksmuseum, Amsterdam Peale, Rembrandt, 1778–1860, America Remington, Frederic, 1861–1909, America George Washington, Patriae Pater, c. 1824, Pennsyl- The Fight for the Waterhole, c. 1895–1900, Houston vania Academy of Fine Arts, Philadelphia Museum, Texas 236 The Art Teacher’s Book of Lists

7–6. Continued

Calvary Charge on the Southern Plains, 1907, van Dyck, Anthony, 1599–1641, Belgium Metropolitan Museum of Art, New York City Charles I in Hunting Dress, 1635, Louvre, Paris Ringgold, Faith, 1930, America Madonna of the Rosary, 1624–1627, Oratorio Tar Beach, 1988, Guggenheim Museum, New York della Compagnia del Rosario di S. Domenico, City Palermo, Italy The French Collection, Part I #4 Sunflowers Quilting van Eyck, Jan, 1390–1441, Belgium Bee at Arles, 1991, collection of Oprah Winfrey Ghent Altarpiece (with brother Hubert), 1432, Rivers, Larry, 1923–2002, America Church of St. Bavo, Ghent, Belgium The History of the Russian Revolution: From Marx Giovanni Arnolfini and His Bride, 1434, National to Mayakovski, 1965, Hirshhorn Museum, Gallery, London Washington, D.C. van Gogh, Vincent, 1853–1890, The Netherlands The Studio, 1956, Minneapolis Institute of Arts The Starry Night, 1889, Museum of Modern Art, Rothko, Mark, 1903–1970, America New York Untitled (Seagram Mural), 1958, National Gallery of The Night Cafe, 1888, Yale University Art Gallery Art, Washington, D.C. Velazquez, Diego, 1599–1660, Spain White Center (Yellow, Pink and Lavender on Rose), Las Meninas, 1656, Prado Museum, Madrid 1950, private collection King Philip IV of Spain, 1644, Metropolitan Rubens, Peter Paul, 1577–1640, Belgium Museum of Art, New York City Descent from the Cross, 1611–1614, Antwerp Vermeer, Jan, 1632–1635, The Netherlands Cathedral, Belgium Girl With a Pearl Earring, 1665, Mauritshuis, The Helene Fourment with Two of Her Children, c. 1637, Hague, The Netherlands Louvre, Paris View of Delft, c. 1662, Mauritshuis, The Hague Sargent, John Singer, 1856–1925, America Allegory of the Art of Painting, c. 1670–1675, Lady X, 1884, Metropolitan Museum of Art, Kunsthistorisches Museum, Vienna New York City Warhol, Andy, 1930–1988, America Mrs. George Swinton, 1896, Chicago Art Institute Dollar Bills, 1962, collection of Mr. and Mrs. Robert Seurat, Georges, 1859–1891, France C. Scull, New York Bathers at Asnieres, 1883–1884, National Gallery, Campbell’s Soup Can, 1965, Museum of Modern London Art, New York City & Sons, Inc. Copyright © 2010 by John Wiley Sunday Afternoon on the Island of La Grande Jatte, Watteau, Jean-Antoine, 1684–1721, France 1884–1886, Art Institute of Chicago A Pilgrimage to Cythera, 1717, Louvre, Paris Shapiro, Miriam, 1923, America Signboard of Gersaint, c. 1721, Staatliche Museen, The Azerbajani Fan, 1980, collection of the artist Berlin I’m Dancin’ as Fast as I Can, 1980s, collection of West, Benjamin, 1738–1820, America the artist Penn’s Treaty with the Indians, 1772, Pennsylvania Sheeler, Charles, 1883–1965, America Academy of the Fine Arts, Philadelphia River Rouge Plant, 1932, Whitney Museum of The Death of General Wolfe, 1771, National Gallery American Art, New York City of Canada, Ottawa Upper Deck, 1929, Fogg Art Museum, Cambridge, Whistler, James Abbott McNeill, 1834–1903, America Massachusetts Arrangement in Gray and Black, No. 1: The Artist’s Stuart, Gilbert, 1755–1828, America Mother, 1871, Louvre, Paris The Skater, 1782, National Gallery of Art, The White Girl: Symphony in White No. 1, 1862, Washington, D.C. National Gallery, Washington, D.C. George Washington (the “Athenaeum” Portrait), Nocturne in Black and Gold: Falling Rocket, 1796, Museum of Fine Arts, Boston c. 1874, Detroit Institute of Arts Turner, Joseph Mallord William, 1775–1851, England Wood, Grant, 1892–1942, America The Slave Ship, 1839, Museum of Fine Arts, Boston Midnight Ride of Paul Revere, 1931, Metropolitan Rain, Steam, and Speed, 1844, National Gallery, Museum of Art, New York City London Daughters of Revolution, 1932, Cincinnati Art Museum Chapter 7 Painting, Drawing, and Printmaking 237

7–7. Impressionist and Post-Impressionist Artists

Although the term Impressionism frequently is used to include the Post-Impressionists, there is an important distinction in addition to the time periods in which they worked. The original Impressionists were basically outsiders of the traditional French Salon and exhibited as a group, independently. They were friends, often painting together outdoors, avoiding “traditional” historical subject matter, and more concerned with the effects of light. The work of the Post-Impressionists was much more personal, with each artist developing a unique style independently. The work of several of the Post-Impressionists is also considered “Fauve,” because of the unrealistic coloration.

ORIGINAL IMPRESSIONIST EXHIBITORS • Cassatt, Mary, 1845–1926. American. Cassatt frequently painted portraits of women and children, using pastels or oils. Some of her work resembles the popular Japanese woodcuts. • Degas, Edgar, 1834–1917. Degas mostly worked in pastels. Subjects often were ballet dancers and horses. He used dramatic lighting and short, parallel, diagonal strokes. He sculpted clay, using the same “sketchy” approach. • Manet, Edouard, 1832–1883. Manet used dramatic contrast, often depicting people in a “snapshot” effect. His realistic work sometimes features a neutral background and flat colors. • Monet, Claude, 1840–1926. Monet was a painter of the effects of light. Early in his career he painted p eople, but mostly did landscapes and water lilies later. • Morisot, Berthe, 1841–1895. Morisot painted portraits and interiors, but ultimately painted out-of-doors with the Impressionists and exhibited with them. • Pissarro, Camille, 1830–1903. Pissarro was the eldest of the Impressionists, known for his city and country landscapes. He also spent a time experimenting with pointillism. • Renoir, Pierre Auguste, 1841–1919. Renoir was a portrait artist, frequently painting members of his family, flowers, Mediterranean landscapes, and holiday scenes.

POST-IMPRESSIONISTS

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Bonnard, Pierre, 1867–1947. Bonnard was known as an “Intimiste” because of his interest in painting domestic interior scenes in (sometimes) Fauvist colors. • Cezanne, Paul, 1839–1906. Cezanne used “patches” of color, concentrating on relationships of forms and patterns. His work is considered a major influence in Cubism. • Gauguin, Paul, 1848–1903. Gauguin’s work is distinguished by bright flat areas of sometimes unrealistic colors and patterns. • Matisse, Henri, 1869–1954. Matisse had several facets to his art—his sure use of line, bright unrealistic colors reflecting his association with the Fauves, the large paper cutouts that he did in his old age, and his sculpture. • Redon, Odilon, 1840–1916. Redon isolated the face against a plain background, then filled in around the edges of the picture plane with flowers. • Rodin, Auguste, 1840–1917. Although not working with light and color as the painters did, Rodin (a sculptor) made an “Impressionistic” breakthrough with his unfinished, sketchy, surface. • Rousseau, Henri, 1844–1910. Rousseau, the “Douanier” (customs official), painted “jungle scenes” based on what he had seen at the Paris Botanical Garden. His work is frequently surrealistic. • Seurat, Georges, 1859–1891. Seurat worked in what he called “divisionism” (pointillism), small dots of color placed closely together and “mixed by the eye.” 238 The Art Teacher’s Book of Lists

7–7. Continued

• Sisley, Alfred, 1839–1899. Sisley’s work is at times almost indistinguishable from that of Monet. He specialized in landscapes, mostly doing scenes in and around Paris. • Toulouse-Lautrec, Henri, 1864–1901. Lautrec often painted nightlife in cafes; using pastels in short, slanted, parallel strokes on a tan background, allowing the strokes to show through. • van Gogh, Vincent, 1863–1890. van Gogh used vivid colors applied in a thick impasto; swirling brush marks distinguish his paintings. He sold only one painting in his lifetime. • Vuillard, Edward, 1868–1940. Vuillard specialized in domestic scenes rendered in flat planes and con- tours using the bright colors of Gauguin and some of the Fauves. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Dining Room in the Country, 1913, Pierre Bonnard, oil on canvas, The Minneapolis Institute of the Arts, The John R. Van Derlip Fund, © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris Chapter 7 Painting, Drawing, and Printmaking 239

7–8. Music to Paint By

Music in the art room? Music and art are closely related, and many artists wouldn’t consider working without music in the background. Wassily Kandinsky felt that music had an emotional power and that notes related to colors of the rainbow. Georgia O’Keeffe’s Blue & Green Music and Music, Pink and Blue are two of her paintings inspired by music. O’Keeffe said, “I heard music from his [a teacher’s] classroom. Being curious I opened the door and went in. A low-toned record was being played and the students were being asked to make a drawing from what they heard. So I sat down and made a drawing too. Then he played a very different kind of record—a sort of high soprano piece—for another quick drawing. This gave me an idea that I was very interested to follow later—the idea that music could be translated into something for the eye.”

GETTING STARTED Find out information about the composer. The title of the work often is an inspiration for students to paint, but sometimes very interesting artwork comes from work that doesn’t have a “story.” Ask students to select a favorite genre that might serve to inspire. Have students listen to the music (keep the selection under five minutes). Discuss some possibilities. African American Contemporary Electronic Latino American Indian Country Metal American Popular Disco Patriotic Bluegrass Electro Pop Blues Folk Ragtime Broadway Musical Gospel R&B Cajun Hawaiian Reggae Caribbean Historical Songs Rock Celtic Holiday Sacred Classical Jazz Ask this brainstorming question. If someone couldn’t hear the music, how would you paint it to show the rhythm? Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley SONGS FOR ELEMENTARY STUDENTS TO PAINT BY It is a treat to play music for students sometimes, although you don’t want to become a disk jockey. Some teachers ask students to suggest their favorite songs, sometimes as a reward for good behavior. Here are a few suggestions from teachers. Songs in the Key of Art, Volumes 1 through 5, Greg Percy Kids Bop CDs Grateful Dawg album Not for Kids Only by Jerry Garcia and David Grisman

CLASSICAL MUSIC The St. Louis Symphony Volunteer Association sponsors an annual competition that has up to 24,000 student participants who Picture the Music. The two “Maestro Award Winners” are on display at the Symphony’s Powell Hall for a year. Here are some of the scores from which five-minute selections were made for students to listen to while painting. Bolero, Maurice Ravel Pictures at an Exhibition, Hut on Fowl’s Legs (Baba- The Ritual Fire Dance, Manuel de Falla Yaga), Modest Mussorgsky Symphony No 4. Opus 36, Pyotr Ilyich Tchaikovsky The Great Gate of Kiev, Modest Mussorgsky España, Emmanuel Chabrier Die Meistersinger von Nürnberg, Richard Wagner Russian Sailor’s Dance, Reinhold Glière Symphony No. 3 in E-flat major. Opus 97, Rhenish, Robert Schumann 240 The Art Teacher’s Book of Lists

7–9. Artists Especially Known for Their Drawings

Most artists draw, even sculptors and glass blowers, but the ones on this list are especially noted for the fine quality of their drawings. Anyone can be taught to draw, but many students assume that if drawing is not a favorite activity (or they “can’t draw a straight line”) then they cannot possibly be artists! Everyone learns to draw in a unique style, often preferring one drawing medium over another, as these famous artists have done.

AUSTRIA La Fresnaye, Noel, 1885–1925 Leonardo da Vinci, 1452–1519 Léger, Fernand, 1881–1955 Marini, Marino, 1901–1980 Klimt, Gustav, 1862–1918 Lorrain, Claude, 1600–1682 Michelangelo Buonarroti, 1775–1564 Kokoschka, Oskar, 1886–1980 Maillol, Aristide, 1861–1944 Modigliani, Amedeo, 1884–1920 Schiele, Egon, 1890–1918 Manet, Edouard, 1832–1883 Piranesi, Giovanni Battista, 1720–1778 Marquet, Albert, 1875–1947 Pisanello (Antonio Pisano), c. 1395–c. BELGIUM Matisse, Henri, 1869–1954 1455 Millet, Jean François, 1814–1875 Raphael (Raffaello Sanzio), 1483–1520 Ensor, James, 1860–1949 Moreau, Gustave, 1826–1898 Severini, Gino, 1883–1966 Tiepolo, Giovanni Battista, 1696–1770 ENGLAND Redon, Odilon, 1840–1916 Renoir, Pierre Auguste, 1842–1919 Veronese (Paolo Caliari), c. 1528–1588 Barry, James, 1741–1806 Rodin, Auguste, 1840–1917 Beardsley, Aubrey, Rouault, Georges, 1871–1958 MEXICO 1872–1898 Seurat, Georges, 1859–1891 Castellanos, Julio, 1905–1947 Blake, Peter, 1932 Toulouse-Lautrec, Henri de, 1864–1901 O’Gorman, Juan, 1905–1982 Blake, William, 1753–1828 Villon, Jacques (born Gaston Duchamp), Orozco, José Clemente, 1883–1949 Constable, John, 1776–1837 1875–1963 Posada, José Guadalupe, 1851–1913 du Maurier, George, 1834–1896 Watteau, Antoine, 1684–1721 Rivera, Diego Maria, 1886–1957 Freud, Lucian, 1922 Siqueiros, David Alfaro, 1896–1974 Gainsborough, Thomas, 1727–1788 GERMANY Hogarth, William, 1697–1764 Barlach, Ernst, 1870–1938 THE NETHERLANDS Moore, Henry, 1898–1986 Beckmann, Max, 1884–1950 Sutherland, Graham, 1903–1980 Avercamp, Hendrik, 1585–1634 Corinth, Lovis, 1858–1925 Tenniel, Sir John, 1820–1914 Bosch, Hieronymus, c. 1450–1516 Dix, Otto, 1891–1969 Turner, Joseph Mallord William, 1775–1851 Cuyp, Albert, 1620–1691 Dürer, Albrecht, 1471–1528 Escher, Maurits C., 1898–1972 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley FRANCE Feininger, Lyonel, 1871–1956 Gogh, Vincent van, 1853–1890 Friedrich, Caspar David, 1774–1840 Balthus (Count Balthasar Klossowski de Rola), Grien, Hans Baldung, c. 1484–1545 1908–2001 Grosz, George, 1893–1959 Bonnard, Pierre, 1867–1947 Heckel, Erich, 1883–1970 Boucher, François, 1703–1770 Holbein, Hans, the Younger, Braque, Georges, 1882–1963 c. 1497–1543 Cezanne, Paul, 1839–1906 Kirchner, Ernst Ludwig, 1880–1938 Chagall, Marc, 1889–1985 Kollwitz, Käthe, 1867–1945 Chardin, Jean-Baptiste-Siméon, 1699–1779 Lehmbruck, Wilhelm, 1881–1919 Clouet, Jean, 1485–1541 Modersohn-Becker, Paula, 1876–1907 Corot, Camille-Jean Baptiste, 1796–1875 Nolde, Emil, 1867–1956 Courbet, Gustave, 1819–1877 Schongauer, Martin, c. 1453–1491 Daumier, Honoré, 1808–1879 David, Jacques-Louis, 1748–1825 ITALY Degas, Edgar, 1834–1917 Boccioni, Umberto, 1882–1916 Delacroix, Eugene, 1798–1863 Canaletto (Giovanni Antonio Canale), Derain, Andre, 1880–1954 1697–1768 Dubuffet, Jean, 1901–1985 Carracci, Annibale, 1560–1609 Dufy, Raoul, 1887–1953 Castiglione, Giovanni Benedetto, Fantin-Latour, Henri, 1836–1904 c. 1610–1665 Forain, Jean Louis, 1852–1931 Chirico, Giorgio di, 1888–1978 Fragonard, Honoré, 1732–1806 Correggio (Antonio Allegri), 1489–1534 Four Heads, 1513 or 1515, Albrecht Dürer, brown Gauguin, Paul, 1848–1903 Cortona, Pietro da (Pietro Berrettini), ink on paper, The Nelson-Atkins Museum of Art, Gericault, Theodore, 1791–1834 1596–1669 Kansas City, Missouri, purchase: William Rockhill Ingres, Jean-Auguste-Dominique, 1780–1867 Guardi, Francesco, 1712–1793 Nelson Trust, photograph by Mel McLean Chapter 7 Painting, Drawing, and Printmaking 241

7–9. Continued

Rembrandt van Rijn, 1606–1669 Murillo, Bartolomé Esteban, 1617–1682 Gorky, Arshile, 1904–1948 van der Weyden, Roger, 1397–1464 Picasso, Pablo, 1881–1973 Graves, Morris, 1910–2001 van Doesburg, Theo, 1883–1931 Homer, Winslow, 1836–1910 van Goyen, Jan, 1596–1656 SWITZERLAND Hopper, Edward, 1882–1967 van Heemskerck, Maerten, 1498–1574 Giacometti, Alberto, 1901–1966 Levine, Jack, 1915 van Ostade, Adriaen, 1610–1685 Klee, Paul, 1879–1940 Marin, John, 1870–1953 van Ruisdael, Jacob, c. 1628–1682 Martin, Agnes, 1912–2004 UNITED STATES Newman, Barnett, 1905–1970 NORWAY Pollock, Jackson, 1912–1956 Avery, Milton, 1893–1965 Prendergast, Maurice, 1859–1924 Munch, Edvard, 1863–1944 Baskin, Leonard, 1922–2000 Sargent, John Singer, 1856–1925 Bellows, George Wesley, 1882–1925 Shahn, Ben, 1898–1969 RUSSIA Blume, Peter, 1906–1992 Sheeler, Charles, 1883–1965 Kandinsky, Wassily, 1866–1944 Burchfield, Charles, 1893–1967 Sloan, John, 1871–1951 Cassatt, Mary, 1845–1926 Steinberg, Saul, 1914–1999 SPAIN Chihuly, Dale, 1941 Tchelitchew, Pavel, 1898–1957 Dali, Salvador, 1904–1988 Davis, Stuart, 1894–1964 Tobey, Mark, 1890–1976 Goya, Francisco de, 1746–1828 Demuth, Charles, 1883–1935 Whistler, James Abbott McNeill, 1834–1903 Gris, Juan, 1887–1927 Feininger, Lyonel, 1871–1956 Wyeth, Andrew, 1917–2009 Miró, Joan, 1893–1935 Glackens, William James, 1870–1938

7–10. Printmaking Timeline

c. 3000 BC papyrus in Egypt 500 BC Sumerian Cylinder seal designs 59 BC Roman Acta Diurna newspaper (posted daily), started by Julius Caesar AD 105 invention of paper, China and Taiwan AD 868 Diamond Sutra, Buddhist scroll c. AD 750 first Chinese newspaper c. AD 800 Japanese Woodblock prints

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley c. 1430 engraving develops in Northern Europe and Italy c. 1450 serigraphy used in Europe (originated earlier in China) 1446 Flagellation, first dated engraving in Germany 1437 Johannes Gutenberg uses movable type to print the Bible 1465–1500 drypoint by Master of the Housebook 1495 white paper first made in England 1513 Dürer’s etching The Knight, Death, and the Devil 1634 Van Dyck and collaborators etch 128 portraits c. 1650 aquatint is used in prints 1745 Piranesi’s Carceri d’Invenzione (architectural drawings) 1870–1910 silk-screen (serigraphy) developed in France and England 1600–1860 Japanese Ukiyo-e (floating world) prints 1799 Goya’s Los Caprichos etchings with aquatint 1826 lithographic Bulls of Bordeaux by Goya 1826 William Blake’s Book of Job 1886 linotype developed by Ottmar Mergenthaler c. 1900 “monotype parties” are held in Paris 1907 silk-screening patents given to Samuel Simon in England 1922 Chagall’s My Life 1930s National Serigraphic Society founded, United States 1937 Picasso’s Vollard Suite, series of one hundred prints 1940s viscosity printing developed by Stanley William Hayter 1950s silk-screen popularized, Andy Warhol, Robert Indiana 1960s–1970s acrylic paint popularized 1996 Artists Trading Cards begun by M. vänci Stirnemann c. 2000 safer printing techniques introduced—fewer toxic solvents used 242 The Art Teacher’s Book of Lists

7–11. Famous Printmakers

The first mass-reproduced work of art may well have been a charcoal-covered hand that stamped black prints onto the wall of a cave 30,000 years ago. Printmaking goes back at least 1,500 years ago when Asian artists printed “word pictures” from hand-carved woodblocks. Albrecht Dürer’s prints were among the earliest in Europe but, as can be seen here, many great painters also were printmakers. The popularity of Japanese printers of the 19th century in Europe greatly influenced the style of many of the Impressionist painters.

AUSTRIA Renoir, Auguste, 1841–1919 Rouault, Georges, 1871–1958 Kokoschka, Oskar, 1886–1980 Rousseau, Theodore, 1812–1867 BELGIUM Tanguy, Yves, 1900–1955 Toulouse-Lautrec, Henri de, 1864–1901 Rubens, Peter Paul, 1577–1640 Vasarely, Victor, 1908–1997 van Dyck, Anthony, 1599–1641 Villon, Jacques, 1875–1963 Vuillard, Édouard, 1868–1940 CZECH REPUBLIC Mucha, Alphonse, 1860–1939 GERMANY Barlach, Ernst, 1870–1938 DENMARK Beckmann, Max, 1884–1950 Kirkeby, Per, 1938 Cranach, Lucas, 1472–1553 Dürer, Albrecht, 1471–1528 ENGLAND Grosz, George, 1893–1959 Beardsley, Aubrey Vincent, 1872–1898 Blake, William, 1757–1827 Hamilton, Richard, 1922 Hayter, Stanley William, 1901–1988 Hockney, David, 1937 Hogarth, William, 1697–1764 Moore, Henry, 1898–1986 Paolozzi, Eduardo, 1924–2005 Sutherland, Graham, 1903–1980 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley FRANCE Bonnard, Pierre, 1867–1947 Braque, Georges, 1882–1963 Callot, Jacques, 1592–1635 Troupe de Mlle Eglantine, 1895–1896, Chagall, Marc, 1887–1985, b. Russia lithograph, Henri de Toulouse-Lautrec Cheret, Jules, 1836–1932 Cocteau, Jean, 1889–1963 Corot, Jean-Baptiste-Camille, 1796–1875 Heckel, Erich, 1883–1970 Daumier, Honoré, 1808–1879 Holbein, Hans, the Younger, 1497–1543 Dégas, Edgar, 1834–1917 Kirchner, Ernst Ludwig, 1880–1938 Delacroix, Eugene, 1798–1863 Kollwitz, Käthe, 1867–1945 Dubuffet, Jean, 1901–1985 Master of the Housebook, active 1465–1500 Dufy, Raoul, 1877–1953 Master of the Playing Cards, active 1435–1455 Gauguin, Paul, 1848–1903 Mueller, Otto, 1874–1930 Géricault, Théodore, 1791–1824 Nolde, Emil, 1867–1955 Ingres, Jean-Auguste-Dominique, 1780–1867 Pechstein, Max, 1881–1955 Lorraine, Claude (Gellée), 1600–1682 Schmitt-Rottluf, Karl, 1884–1976 Manet, Edouard, 1832–1883 Schongauer, Martin, c. 1450–1491 Masson, André, 1896–1987 Schwitters, Kurt, 1887–1948 Matisse, Henri, 1868–1954 INDIA Pissarro, Camille, 1830–1903 Redon, Odilon, 1840–1916 Reddy, Krishna, 1925 Chapter 7 Painting, Drawing, and Printmaking 243

7–11. Continued

ITALY SWITZERLAND Canaletto (Giovanni Antonio Canal), 1697–1768 Graf, Urs, 1485–1527/8 Castiglione, Giovanni Benedetto, 1616–1670 Klee, Paul, 1879–1940 Clemente, Francesco, 1952 Leonardo da Vinci, 1452–1519 UNITED STATES Mantegna, Andrea, 1431–1506 Albers, Josef, 1888–1976, b. Germany Michelanagelo Buonarroti, 1475–1564 Audubon, John James, 1785–1851, b. Haiti Pallaiuolo, Antonio 1431–1498 Avery, Milton, 1893–1965 Piranesi, Giovanni, 1720–1778 Baechler, Donald, 1956 Raimondi, Marcantonio, 1475–1534 Baskin, Leonard, 1922–2000 Severini, Gino, 1883–1966 Bellows, George Wesley, 1882–1925 Tiepolo, Giovanni Battista, 1696–1770 Borofsky, Jonathan, 1942 Bourgeois, Louise, 1911–2010, b. France JAPAN Cassatt, Mary, 1845–1926 (lived in France) Hamaguchi, Yozo, 1909–2000 Close, Chuck, 1940 Hiroshige, Andó, 1797–1858 Currier and Ives Hokusai, Katsushika, 1760–1849 Currier, Nathaniel, 1813–1888 Munakata, Shiko, 1903–1975 Ives, James, 1824–1895 Tóshûsai Sharaku, active 1790–1795 Cutler, Amy, 1974 Utamaro, Kitagawa, 1753–1806 Davis, Stuart, 1894–1964 de Kooning, Elaine, 1920–1989 MEXICO Diebenkorn, Richard, 1922–1993 Orozco, José Clemente, 1883–1949 Dine, Jim, 1935 Rivera, Diego, 1886–1957 Dove, Arthur, 1880–1946 Siqueiros, David, 1898–1974 Edwards, Benjamin, 1970 Tamayo, Rufino, 1899–1991 Feininger, Lyonel, 1871–1956 Feldman, Aline, 1928 THE NETHERLANDS Fischl, Eric, 1948 Bol, Ferdinand, 1616–1680 Fish, Janet, 1938 Escher, Maurits Cornelius (M.C.), 1898–1972 Francis, Sam, 1923–1994 Frank, Mary, 1933 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Goltzius, Hendrik, 1558–1617 Rembrandt van Rijn, 1606–1669 Frankenthaler, Helen, 1928 van Leyden, Lucas, 1494–1533 Gorman, Rudolph Carl (R.C.), 1932–2005 van Ostade, Adriaen, 1610–1685 Gornik, April, 1953 Grooms, Red, 1937 NORWAY Hall, Joan, n.d. Hammond, Jane, 1950 Munch, Edvard, 1863–1944 Hassam, Childe, 1859–1935 RUSSIA Hicks, Leon, 1933 Homer, Winslow, 1836–1910 Chagall, Marc, 1887–1985 Hopper, Edward, 1882–1967 Kandinsky, Wassily, 1866–1944 Indiana, Robert, 1928 Lissitzky, El (Lazar Markovitch), 1890–1941 Johns, Jasper, 1930 Malevich, Kasimir, 1878–1935 Katz, Alex, 1927 Kruger, Barbara, 1945 SPAIN Kunc, Karen, 1952 Dali, Salvador, 1904–1988 Lasansky, Mauricio, 1914, b. Argentina Goya, Francisco de, 1746–1828 LeWitt, Sol, 1928–2007 Gris, Juan, 1887–1927 Lichtenstein, Roy, 1923–1997 Miró, Joan, 1893–1983 Marin, John, 1870–1953 Picasso, Pablo, 1881–1973 Marsh, Reginald, 1898–1954 Ribera, José de la, 1591–1652 Murray, Elizabeth, 1940–2007 244 The Art Teacher’s Book of Lists

7–11. Continued

Nevelson, Louise, 1899–1988, b. Russia Siena, James, 1958 Nordfeldt, B.J.O., 1878–1955 Sloan, John, 1871–1951 Pfaff, Judy, 1946, b. England Smith, Jaune Quick-to-See, 1940 Prendergast, Maurice Brazil, 1859–1924 Smith, Kiki, 1954, b. Germany Puryear, Martin, 1941 Thiebaud, Wayne, 1920 Rauschenberg, Robert, 1925–2008 Tobey, Mark, 1890–1976 Rifka, Judy, 1945 Walsh, Dan, 1960 Rivers, Larry, 1923–2002 Warhol, Andy, 1928–1987 Shahn, Ben, 1898–1969 Whistler, James Abbott McNeill, 1834–1903 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Under the Wave off Kanagawa, also known as The Great Wave, from the series Thirty-six Views of Mount Fuji, 1830–1831, Katsushika Hokusai, woodblock print, ink and color on paper, Museum of Fine Arts, Boston, William S. and John T. Spaulding Collection, photograph © Museum of Fine Arts, Boston CHAPTER 8 PHOTOGRAPHY AND DIGITAL ARTS 8–1. Quotations About Photography 8–2. Events in Photography 8–3. Photo Secession, 1905–1917 8–4. Group F.64 Photographers, 1932–c. 1936 8–5. Farm Security Administration Photographers, 1935–c. 1941 8–6. Painters and Photography 8–7. Fifty Famous Contemporary Photographers 8–8. Fifty Master Photographers and Masterworks 8–9. One Hundred Notable Photographers 8–10. Historical Photo Terms 8–11. Photo-Appreciation Activities 8–12. Photographic Controls, Equipment, and Definitions 8–13. Creating Beauty 8–14. Photography Assignments 8–15. Photojournalism Assignments 8–16. Suggested Subjects for Photography 8–17. Terms Used in Computer Graphics 8–18. Digital Graphics Photography Projects 8–19. Computer Graphics Without a Camera 8–20. Video Definitions 8–21. Using a Video Camcorder 8–22. Video Camcorder Projects 8–23. Video Storyboard 246 The Art Teacher’s Book of Lists

8–1. Quotations About Photography

“Light makes photography. Embrace light. Admire it. Love it. . . . Know it for all you are worth, and you will know the key to photography.” GEORGE EASTMAN, 1854–1932, AMERICAN PHOTOGRAPHER

“Photography takes an instant out of time, altering life by holding it still.” DOROTHEA LANGE, 1895–1965, AMERICAN FSA PHOTOGRAPHER

“Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can.” YOUSUF KARSH, 1908–2002, CANADIAN PHOTOGRAPHER

“If a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up.” RICHARD AVEDON, 1923–2004, AMERICAN PHOTOGRAPHER

“Believe me, a diamond-sharp glossy print does NOT represent ‘F.64’ unless there is that most-important- something-else in it—the quality of art in perception and execution.” ANSEL ADAMS, 1902–1984, F.64 MEMBER AND LANDSCAPE PHOTOGRAPHER

“Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself.” BÉRÉNICE ABBOTT, 1898–1991, AMERICAN PHOTOGRAPHER

“The subject matter is so much more important than the photographer.” GORDON PARKS, 1912–2006, AMERICAN PHOTOJOURNALIST

“In a portrait you have room to have a point of view. The image may not be literally what’s going on, but it’s representative.” ANNIE LEIBOVITZ, 1949, AMERICAN PORTRAIT PHOTOGRAPHER

“Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze.”

“I never have taken a picture I’ve intended. They’re always better or worse.” DIANE ARBUS, 1923–1971, AMERICAN PHOTOGRAPHER

“We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.” HENRI CARTIER-BRESSON, 1908–2004, FRENCH PHOTOGRAPHER

“I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul.” MARY ELLEN MARK, 1940, AMERICAN PHOTOGRAPHER Chapter 8 Photography and Digital Arts 247

8–2. Events in Photography

1560–1600s. Renaissance artists used the camera 1882. Orthochromatic (color) plates are obscura as an aid in drawing. manufactured. 1725. Johann Heinrich Schulze discovered that 1883. Negatives are exposed on celluloid rather than some silver compounds were light sensitive. glass. 1802. contact images on paper: Thomas Wedgwood 1887. shutter with diaphragm and blades designed and Sir Humphry Davy by Edward Bausch 1816. first negative print: Joseph Nicéphore Niépce 1887. celluloid roll film: Hannibal Goodwin 1819. hypo-fixer for photo images discovered by 1889. Thomas Edison’s first motion pictures on flex- Sir John Frederick Herschel ible film 1824. first photograph: Joseph Nicéphore Niépce 1890. folding box field camera 1834. paper negatives, first enlargements: William 1890. spy cameras (concealed in a tie, cane, top hat, Henry Fox Talbot beauty case, or book) 1837. Hippolyte Bayard worked with sensitized 1891. daylight-loading roll film introduced by Kodak paper, exposing it in the camera 1891. first telephoto lens: Thomas Rudolf Dallmeyer 1837. first Daguerreotype: Louis Daguerre 1898. Jumelle Stereo camera gave high-speed pho- 1839. first experiments in color photography tography 1/2000 of a second 1840. first portrait studio opened in New York by 1900. The Mammoth camera, 1,400 pounds, 20 feet Alexander Wolcott long when extended, needed fifteen men to 1841. calotype (Talbotype): William Henry Fox operate. Talbot 1900–1935. Kodak Brownie series 1842. cyanotype (blueprint) perfected by Sir John 1900. photogravure: halftone reproductions of pho- Frederick Herschel tographs in magazines, books, and newspapers 1845. Daguerreotype camera 1902. Photo Secession movement 1851. collodion wet-plate process: Frederick Scott 1905. color separation camera (Lancaster of London) Archer 1908. Lewis Hine (social-realist photographer): child 1853. tintype: process originated by Adolphe- labor in factories Alexandre Martin 1912. Speed Graphic camera

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley 1853. sliding-box folding camera for 8-by-10-inch 1920s. advertising photography plates 1920s–1930s, 1960s. photojournalistic style 1853. binocular (stereoscopic) camera built by John 1924. Leica I, Model A., 35mm camera introduced, Benjamin Dancer designed by Oskar Barnack and Ernst Leitz 1854. carte-de-visite developed by Adolphe Disderi, 1925. flashbulbs invented Paris 1927. Zeiss Ikon 35mm camera 1857. enlarger (magic lantern): a mirror reflected 1928. twin-lens reflex (TLR) Rollieflex camera sun rays for projecting an image onto paper manufactured 1860–1865. Mathew Brady documented Civil War 1931. portable electronic flash introduced 1867–1942. Timothy O’Sullivan and William H. 1932–c. 1936. Group F.64 photographers Jackson photographed the American West 1933–1940. Farm Security Administration (FSA) 1871. dry plate coated with gelatin: Richard Leach photographs: Dorothea Lange, Ben Shahn, Maddox Walker Evans 1872. motion sequence photographs by Eadweard 1933. Moholy-Nagy creates the photogram; Bauhaus Muybridge in Chicago 1875. gelatin coating on roll paper: Leon Warnerke 1935. Baby Brownie 1875. panoramic camera 1935. Kodachrome color transparency film invented 1879. photogravure process invented 1937. first 35mm single-lens-reflex (SLR) camera, 1880. Kodak box camera (contained one hundred the Exacta exposures): George Eastman 1937. Minox (miniature camera). “You’ve been 1880–1908. photographs of social consciousness minoxed.” 248 The Art Teacher’s Book of Lists

8–2. Continued

1941. Kodacolor (print) film for color negatives and 1968. Leicaflex Single Lens Reflex positive prints 1970. last issue of original Life magazine; Life 1941–1945. World War II photographs: Robert Capa, p hotographers: Brassai, Cartier-Bresson, Kertész, Eugene Smith, Carl Mydans, Margaret Bourke- Bourke-White White, Gordon Parks 1970s. old techniques revived: hand coloring, 1942. Ektachrome positive reversal color film (for t oning, blueprints slides) 1980s. video camera 1947. Ektacolor (print) film for color negatives 1983. Kodak Disk camera 1947. Hologram: Dennis Gabor 1980s. multiple photos mounted together (photo 1947. First stereo camera: David White Company montage): David Hockney 1947. Polaroid Land Camera: Dr. Edwin Land 1990. Adobe PhotoShop introduced 1950s. photo silk-screens: Andy Warhol, Robert 1990. Hubble Space Telescope photos Rauschenberg 1992. photo CD introduced by Kodak 1950s. advent of television 1996. digital cameras 1960s. photo realism in painting: Chuck Close, Audrey Flack, Richard Estes 2000. camera phone: Sharp/J-Phone, Japan 1963. Polaroid instant color camera available 2004. Kodak ceases camera production 1968. Single Lens Reflex (SLR) Asahi Pentax 2008. Polaroid camera production ceases Spotmatic 2009. Kodak eliminates Kodachrome film

8–3. Photo Secession, 1905–1917

The Photo Secession movement was a rebellion against the romantic photography that had dominated the field prior to the 20th century. Alfred Steiglitz was the founder of the Little Galleries of the Photo Secession, & Sons, Inc. Copyright © 2010 by John Wiley called Gallery 291.

Brigman, Anne, 1869–1950 Steichen, Edward, 1879–1973 Day, F. Holland, 1864–1933 Stieglitz, Alfred, 1864–1946 Frank, Eugene, 1845–1914 Struss, Carl, 1886–1981 Kasebier, Gertrude, 1852–1934 Ulmann, Doris, 1884–1934 Keiley, Joseph, 1869–1914 Weston, Edward, 1886–1958 Mather, Margrethe, 1885–1952 White, Clarence, 1871–1925 Chapter 8 Photography and Digital Arts 249

8–4. Group F.64 Photographers, 1932–c. 1936

The sheer beauty of black and white, natural-light photographs created by Group F.64 continues to inspire photographers today. F.64 was the smallest lens opening on a view camera and gave photographs with the highest possible clarity. Ansel Adams was the most famous member of the group.

Adams, Ansel, 1902–1984 Cunningham, Imogen, 1883–1976 Edwards, John Paul, 1883–1958 Noskowiak, Sonya, 1900–1975 Swift, Henry, 1891–1960 Van Dyke, Willard, 1906–1986 Weston, Edward, 1886–1958

PHOTOGRAPHERS WHO LATER EXHIBITED WITH F.64 Holder, Preston, 1907–1980 Kanaga, Consuela, 1894–1978 Lavenson (Wahrhaftig), Alma, 1897–1989 Weston, Brett, 1911–1993 Pepper # 30, 1930, Edward Weston, gelatin silver print (printed c. 1938), The Nelson-Atkins Museum of Art, Kansas City, Missouri, gift of Hallmark Cards, Inc., photograph by John Lamberton

These photographers were employed by the Farm Security Administration (FSA) during the 1930s Depres- sion. Their task was to photograph the lives of migrant workers, the homeless (some displaced by dust storms in the Midwest), and unemployed workers. Their poignant photographs were in part credited with developing government assistance programs.

Brooks, Charlotte, 1918–1998 Locke, Edwin, no date Bubley, Esther, 1921–1998 Mydans, Carl, 1907–2004 Carter, Paul, 1903–1938 Parks, Gordon, Sr., 1912–2006 Collier, John, Jr., 1913–1992 Rosskam, Edwin, 1903–1985 Collins, Marjorie, 1912–1985 Rothstein, Arthur, 1915–1985 Delano, Jack, 1914–1997 Shahn, Ben, 1898–1969 Dick, Sheldon, 1906–1950 Siegel, Arthur, 1913–1978 Evans, Walker, 1903–1975 Stryker, Roy, 1893–1975 Jung, Theodor, 1906–1996 Vachon, John, 1914–1975 Lange, Dorothea, 1895–1965 Wolcott, Marion Post, 1910–1990 Lee, Russell, 1903–1986 250 The Art Teacher’s Book of Lists

8–6. Painters and Photography

From the time Vermeer employed the camera obscura as an aid in painting, photography has been another tool enjoyed by artists. Some used photographs only as references, while others, such as Robert Rauschenberg and David Hockney, incorporated photographs directly in their artwork. In the early days, as now, artists sometimes used photographs that they had appropriated. Here are some painters whose work is based directly on photography.

BELGIUM Hoch, Hannah, 1889–1978 Ensor, James, 1860–1949 Kiefer, Anselm, 1945 Magritte, Rene, 1898–1967 Richter, Gerhard, 1932

ENGLAND ITALY Bacon, Francis, 1909–1992 Balla, Giacomo, 1874–1958 Barlett, William, 1809–1854 MEXICO Goldsworthy, Andy, 1956 Rivera, Diego, 1886–1957 Hamilton, Richard, 1922 Hockney, David, 1937 THE NETHERLANDS Kitaj, R.B., 1932–2007 Citroen, Paul, 1896–1983 Millet, Sir John E., 1829–1896 Dibbets, Jan, 1941 FRANCE Vermeer, Jan, 1632–1675

Cézanne, Paul, 1839–1906 NORWAY Corot, Jean Baptiste Camille, 1796–1875 Munch, Edvard, 1863–1944 Courbet, Gustave, 1819–1877 Daumier, Honoré, 1808–1879 SCOTLAND Degas, Edgar, 1834–1917 Adamson, Robert, 1821–1848 Delacroix, Eugene, 1798–1863 Hill, David Octavius, 1802–1870 Delaunay, Robert, 1885–1941 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Derain, André, 1880–1954 RUSSIA Duchamp-Villon, Raymond, 1876–1918 Rodchenko, Alexander, 1891–1956 Fantin-Latour, Henri, 1836–1904 Gauguin, Paul, 1848–1903 SPAIN Hausmann, Raoul, 1886–1971 Dali, Salvador, 1904–1988 Manet, Edouard, 1832–1883 Picasso, Pablo, 1881–1973 Matisse, Henri, 1869–1954 UNITED STATES Mucha, Alphonse Marie, 1860–1939 Picasso, Pablo, 1881–1973 Artschwager, Richard, 1924 Rouault, Georges, 1871–1958 Baldessari, John, 1931 Toulouse-Lautrec, Henri de, 1864–1901 Bayer, Herbert, 1900–1986 Vallotton, Felix, 1865–1925 Bearden, Romare, 1914–1988 Villon, Jacques, 1875–1963 Church, Frederic, 1826–1900 Christo (Javacheff), 1935 GERMANY Close, Chuck, 1940 Anschutz, Ottomar, 1846–1907 Cornell, Joseph, 1903–1972 Becher, Bernhard, 1931–2007 de Kooning, Elaine, 1920–1989 Becher, Hilla, 1934 Dine, Jim, 1935 Ernst, Max, 1891–1976 Eakins, Thomas, 1844–1916 Grosz, George, 1893–1959 Estes, Richard, 1932 Chapter 8 Photography and Digital Arts 251

8–6. Continued

Flack, Audrey, 1931 Peto, John F., 1854–1907 Gorky, Arshile, 1904–1948 Rauschenberg, Robert, 1925–2008 Groover, Jan, 1943 Rivers, Larry, 1923–2002 Hartley, Marsden, 1877–1943 Ruscha, Edward, 1937 Homer, Winslow, 1836–1910 Samaras, Lucas, 1936 Kasten, Barbara, 1936 Sargent, John Singer, 1856–1925 Kepes, Gyorgy, 1906, b. Hungary Shahn, Ben, 1898–1969 Kruger, Barbara, 1945 Sheeler, Charles, 1883–1965 Lichtenstein, Roy, 1923–1997 Sully, Thomas, 1783–1872 Man Ray, 1890–1977 Tchelitchew, Pavel, 1898–1957 Marsh, Reginald, 1898–1954 Warhol, Andy, 1930–1987 Moholy-Nagy, László, 1895–1946 Wesselman, Tom, 1931–2004

8–7. Fifty Famous Contemporary Photographers

Of the thousands of professional contemporary photographers worldwide, some have work that consistently appears in galleries and museum collections and are reproduced in books and magazines. Becher, Bernd and Hilla, 1931–2007 and 1934, Germany The Bechers are known for their stark black-and-white photographs of industrial structures, water towers, grain elevators, and German framework houses. Framework Houses: Auf der Hutte 45, Gosenbach, Museum of Fine Arts, Boston

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Close, Chuck, 1940, United States Close’s photo-realist paintings are always based on photos he has taken, although he sometimes uses media other than paint to interpret the photos, including fingerprints and handmade paper. Kirk, 2002, Museum of Modern Art, New York City Self-Portrait, 2001, The Art Institute of Chicago Cowin, Eileen, 1947, United States Cowin’s work is sometimes inspired by Surrealism, leaving the viewer trying to figure out the meaning of the photograph. Untitled (Woman in red shirt), 1981, Los Angeles County Museum of Art Untitled (Magritte), 1995, Museum of Contemporary Photography, Chicago Dijkstra, Rineke, 1959, The Netherlands Dijkstra’s series of pictures of isolated figures on a beach are portraits of people at their most vulnerable. His subjects are rarely posed. Beach Portrait Series, 1992, Museum of Modern Art, New York City Hilton Head Island, 1993, Galerie Paul Andriesse, Amsterdam Eastman, Michael, 1947, United States Eastman records exteriors and interiors of buildings, signs, vanishing sights of the Midwest, Cuba, and Italy, and is known for intense colors. Stairwell, Barcelona, c. 1995, The Art Institute of Chicago Fidel’s Stairway, 2000, Charlotte Jackson Fine Art 252 The Art Teacher’s Book of Lists

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Eggleston, William, 1939, United States Eggleston chose to print his everyday photos of people, places, and objects in the South in color. Some viewers consider his photos “fine snapshots,” but a closer look reveals a true artistic eye. Yellow Flowers, Hillside, 1974, The Oakland Museum, Oakland, California Plains, Georgia, 1976, Museum of Modern Art, New York City Epstein, Mitch, 1952, United States Epstein photographs American coexistence with industrial powers such as nuclear power plants, oil production areas, and coal plants. Untitled, 1997, Los Angeles County Museum of Art Untitled (Buildings), 1998, The Art Institute of Chicago Evans, Terry, 1944, United States Evans’s fascination with the land and sky is evident in her beautiful black-and-white or color photographs. A Chicago artist, her prairie-sensitive photographs serve to preserve nature. Backyard Pools, Frankfort Square, Will County, Illinois, 2003, The Art Institute of Chicago Millennium Park Opening Night, 2004, The Art Institute of Chicago Friedlander, Lee, 1934, United States Friedlander sometimes photographs monuments that people erect to commemorate a worthy cause. Many books of his work have been published, allowing him artistic freedom that not all photographers have enjoyed. Colorado, 1967, Museum of Modern Art, New York City New York City, 1964, Museum of Modern Art, New York City Fuss, Adam, 1961, b. England, lives in New York City Fuss takes photos that include a fascination with the effects of subjects such as snakes or water drops, or babies on the surface of water, and the transparent images he calls My Ghost. Untitled (snake swimming), 1998, Museum of Fine Arts, Boston Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Garnier, Jacques, 1948, United States Garnier’s beach photos of children and adults take advantage of the unique light and scenery to show attitude. Sara and Ali, 143-6, (Laguna Beach, CA, 9/9/00), 2000, Los Angeles County Museum of Art Gilbert and George, Gilbert Proesch, 1945, and George Passmore, 1942, England These creative artists work together on their wall-sized (mostly) black-and-white photographic compositions that are commentary on English life as they see it. The Decorators, 1978, Morton G. Neumann Family Collection Thumbing, 1991, collection of the artists Goldblatt, David, 1930, South Africa Goldblatt has photographed events and places in South Africa for most of his career, working primarily in black and white and more recently in color. Women Singing, Newton Squatter Camp, Johannesburg, 2001, Museum of Modern Art, New York City Strubensvalley, Johannesburg, 2001, Museum of Modern Art, New York City Goldin, Nan, 1953, United States Goldin’s unconventional life has led her to subjects such as human sexuality, drug use, and the “human condition.” Misty and Jimmy Paulette in a Taxi, NYC, 1991, multiple edition Chapter 8 Photography and Digital Arts 253

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Groover, Jan, 1943, United States Groover takes available-light photographs of whatever is happening in a place that appeals to her, such as highways and urban landscapes. Tybee Forks and Starts K, 1978, collection of the artist Untitled (trucks on a highway), 1975, Museum of Modern Art, New York City Gursky, Andreas, 1955, Germany Gursky’s large images may be larger than 6-by-15 feet. He uses digital technology to make panorama-like images. Tote Hosen, 2000, Museum of Modern Art, New York City Bahrain I, 2005, Museum of Modern Art, New York City Hammond, Jane, 1950 Hammond’s photographs and digital assemblages reveal her quirky viewpoint, as she incorporates various cutouts, transfers, and “found” images. Her work is compared to that of the Surrealists. Album (Madeline Tomaini), 2007, Museum of Modern Art, New York City Behold, c. 1993–2008, Orlando Museum of Art, Orlando, Florida Höfer, Candida, 1944, Germany Höfer’s work features interiors of palaces, libraries, museums, churches, and other places for the public, yet her photos are free of people. One exhibition was entitled the Architecture of Absence. Bibliothek der Kunsthalle Basel 1, 1999, Los Angeles County Museum of Art Hockney, David, 1937, England, lives in California Hockney uses photography as a tool, sometimes making montages of photographs, other times docu- menting life on the West Coast, with its swimming pools, highways, and affluence. Herrenhausen-Hanover, 1976, collection of Paul F. Walter, New York Pearblossom Hwy., 11–18 April 1986, #2, collection of the artist My Mother, Bolton Abbey, Yorkshire, 1982, collection of the artist Iturbide, Graciela, 1942, Mexico

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Iturbide worked with Manuel Alvarez Bravo and shares his interest in photographing Mexican culture with all its diversity. Our Lady of the Iguanas, 1979, Parrish Art Museum, Southampton, New York Mujer Angel, Desierto de Sonora, 1979, Center for Creative Photography, University of Arizona James, Geoffrey, 1942, Canada James says that conventionally beautiful subject matter is of no interest to him. He photographs changes within cities, rarely featuring people. The End of the Fence, Looking West, 1997, Museum of Modern Art, New York City Kasten, Barbara, 1936, United States Kasten’s abstract photographs represent the effects of light and structure, taking “three-dimensional form” and photographing it to be two-dimensional. She says that light is her subject. Birth of the World, 1990, Los Angeles County Museum of Art Klett, Mark, 1952, United States Klett, a geologist by training, shows a fascination with the world of nature, such as Western rock formations, saguaro cacti, and the Grand Canyon. Many of his Western photographs are “revisits” to places that were featured by photography pioneers in the 1860s and 1870s. Panorama of San Francisco from California Street Hill, 1990, Los Angeles County Museum of Art Kruger, Barbara, 1945, United States Barbara Kruger’s collage-style commentaries are on the subject of love and the role of women in society. Untitled (You Get Away with Murder), 1987, Nelson-Atkins Museum of Art, Kansas City, Missouri Untitled (Use Only as Directed), 1988, Saint Louis Art Museum 254 The Art Teacher’s Book of Lists

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Leibovitz, Annie, 1949, United States Leibovitz began as a Rolling Stone magazine photographer, specializing in celebrity portraits. John Lennon and Yoko Ono, December 8, 1980, 1981, Rolling Stone cover Mick Jagger, 1977, Rolling Stone 10th Anniversary Issue The Blues Brothers, 1979, Rolling Stone cover, February Sze Tsung Leong, 1970, American and British, b. Mexico Leong’s large-scale photos of new and ancient buildings record changes happening in regions of China. Nan Shi, Huangpu District, Shanghai, 2004, Museum of Modern Art, New York City Yihaoqiao, Yuzhong District, Chongqing, from the series History Images, 2002, San Francisco Museum of Modern Art Mark, Mary Ellen, 1940, United States Mark photographs ordinary people. Her twelve books include documentary photographs of Mother Teresa’s Missions of Charity, circuses in India, the mentally ill, and brothels in Calcutta. Street Child, Trabzon, Turkey, 1965, collection of the artist Meyerowitz, Joel, 1938, United States Meyerowitz specializes in Cape Cod landscapes in color, frequently taken to capture the magic light of dusk or dawn. His St. Louis Arch photography features every conceivable angle of lighting. Provincetown Porch, 1977, collection of the artist Bay Sky Series, Provincetown, 1977, Nelson-Atkins Museum of Art, Kansas City, Missouri Michaels, Duane, 1932, United States Michaels attempts to show the unseen or the idea behind a picture with his photographs. He was greatly influenced by surrealist René Magritte. Giorgio de Chirico at Home Near the Spanish Steps, 1972, collection of the artist Magritte Front and Back, 1965, Nelson-Atkins Museum of Art, Kansas City, Missouri Misrach, Richard, 1949, United States Misrach’s large-scale seascapes in his On the Beach series reveal the place of humans in the vastness of nature.

T.V. Antenna, Salton Sea, California, 1985, printed 1996, Los Angeles County Museum of Art & Sons, Inc. Copyright © 2010 by John Wiley Muniz, Vic, 1961, Brazil Muniz photographs the lives of ordinary people and objects. However, he is also known for his unconventional “chocolate series” (large Cibachrome prints that have been partially covered with chocolate). Milkdrop Coronet (after Harold Edgerton), 1997–1998, Los Angeles County Museum of Art Narcissus, After Caravaggio, 2005, Museum of Modern Art, New York City Nixon, Nicholas, 1947, United States The Brown Sisters, 1975 through 2008 (annual photographs), Chicago Art Institute View of New Turnpike Entrance, Boston, 2002, Chicago Art Institute Ruff, Thomas, 1958, Germany Ruff has several subjects and is noted for his giant portraits and architectural photography. His abstract night scenes are especially dramatic. Night 19 III, 1995, collection of the artist Portrait, 1987, Royal Photographic Society, Bath, England Ruscha, Edward, 1937, United States A number of books of Ruscha’s work, including Twenty-Six Gasoline Stations, demonstrate his special way of combining words and images of ordinary places in paintings and photography. Parking Lots (Century City, 1800 Avenue of the Stars) #22, 1967, printed 1999, Los Angeles County Museum of Art Phillips 66, Flagstaff, Arizona, 1962, Whitney Museum of American Art, New York Chapter 8 Photography and Digital Arts 255

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Salgado, Sebastão, 1944, Brazil Salgado photographs the human condition. His subjects have included gold mining in Brazil, famine in Ethiopia, and the lives of refugees. Serra Pelada Goldmine, Para, Brazil, 1986 Sherman, Cindy, 1954, United States Sherman’s subject is herself, sometimes grotesquely made up, usually unrecognizable. Her large color photographs are in collections around the world. Untitled Film Still #16, 1978, Nelson-Atkins Museum of Art, Kansas City, Missouri Untitled #96, 1981, Museum of Modern Art, New York City Untitled Film Still #56, 1980, The Art Institute of Chicago Shore, Stephen, 1947, United States Shore works with a large-format camera to take cityscapes with “clearly focused attention.” The photographs taken on his travels show his fascination with clarity and light. Craig Nettles, Fort Lauderdale, Florida, 1978, The Art Institute of Chicago Simpson, Lorna, 1960, United States Simpson’s (mostly) black-and-white photographs are based on “stereotypes of race and gender.” Her titles are as intriguing as the photographs themselves. Notations, 2008, Serge Sorokko Gallery Acted in Self Defense, 1996, Los Angeles County Museum of Art Skoglund, Sandy, 1946, United States Skoglund is a sculptor/photographer who places bizarre sculptural objects in an environment, carefully controlling the color, then records them through photography. Fox Games, 1989, Nelson-Atkins Museum of Art, Kansas City, Missouri Radioactive Cats, 1980, Saint Louis Art Museum Smith, Steven B., 1963, United States

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley In his beautiful color photographs of the West, Smith shows how people cause the land to evolve. Bountiful Utah, 2007, Museum of Modern Art, New York City Steinmetz, Mark, 1961, United States Photographs of people, surrealistic wide-angle compositions, unusual viewpoints, realism, and total abstractions best describe the unique work of Steinmetz. Lovell Road Exit, Knoxville, 1991, Los Angeles County Museum of Art Sternfeld, Joel, 1944, United States Sternfeld records American places and people in his beautifully composed color photographs. Acorn Community, Mineral Virginia, 2004, The Art Institute of Chicago Alpha Farm, Deadwood, Oregon, 2004, The Art Institute of Chicago Uelsman, Jerry N., 1934, United States Uelsman specializes in darkroom manipulation, using several negatives on the same black-and-white image. He coined the phrase “post-visualization” to describe this process. Small Woods Where I met Myself, 1967, Nelson-Atkins Museum of Art, Kansas City, Missouri Untitled (office interior with a “cloud” ceiling), 1976, Metropolitan Museum of Art, New York City van Manen, Bertien, 1942, The Netherlands Van Manen’s sensitive photography reveals his interest in people. His international travels offer opportunities for extraordinary photographs of humanity. Immigrants from Morocco: Le Pré St. Gervais, 2002, Museum of Modern Art, New York City 256 The Art Teacher’s Book of Lists

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Wall, Jeff, 1946, Canada Wall hires actors and actresses to stage photographs that are sometimes based on works of art. His photographs sometimes have the slick look of an advertisement rather than a work of art. The Destroyed Room, 1978, National Gallery of Canada, Ottawa A Sudden Gust of Wind (after Hokusai), 1993, Tate Gallery, London The Stumbling Block, 1991, Ydessa Hendeles Art Foundation, Toronto Weems, Carrie Mae, 1950, United States Weems’s work emphasizes the African-American experience, whether in old photos that she has transformed through color and title or contemporary portraits. Black and tanned your whipped wind of change howled low blowing itself-ha-smack into the middle of Ellington’s orchestra Billie heard it too and cried strange fruit tears, 1995, The Art Institute of Chicago Untitled (two women smoking), 1990, Los Angeles County Museum of Art Wegman, William, 1942, United States Wegman’s witty photographs of his Weimaraner dogs in human activities or attire have been used in advertising, books, greeting cards, and television spots. Ray-O-Vac, 1973, Museum of Modern Art, New York City Red/Grey-Grey/Red, 1982, Museum of Modern Art, New York City Wilson, Jane and Louise Wilson, 1967, England The Wilson twins specialize in video installations that include sound, as well as based on still photographs of architecture or natural formations. Suspended Island, Abstract, 2005, Museum of Modern Art, New York City Witkin, Joel Peter, 1939, United States Witkin’s subject matter is the dark side of life: dead people, body parts (which he photographs at a morgue), or people with deformities. The result often resembles a vintage photograph. Leda and the Swan, 1986, Pace Wildenstein MacGill, New York Yasumasa Morimura, 1951, Japan

Morimura’s huge photographs of himself dressed as a reincarnation of a famous painting or personage are & Sons, Inc. Copyright © 2010 by John Wiley unique and demonstrate enormous talent and wit. Doublannagé (Dancer I) (Nijinsky), 1989, Yoshiko Isshiki, Tokyo An Inner Dialogue with Frida Kahlo (Collar of Thorns), 2001, Los Angeles County Museum of Art Self Portrait, After Marilyn Monroe, 1996, The Contemporary Museum, Honolulu

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8–8. Fifty Master Photographers and Masterworks

These names are some of the famous photographers over the 175 years of photographic history. Each one has made enduring images that are seen in museums and books. Most can be found in books or on the Internet by typing in the photographer’s name and the title of the photograph. Abbott, Bérénice, 1898–1991, United States Abbott, who had studied in Europe with Parisian photographer Eugene Atget, primarily created urban portraits of New York City. El at Columbus and Broadway, New York City, 1935–1939, Art Institute of Chicago Newsstand, 32nd Street and 3rd Avenue, Manhattan, 1935, Nelson-Atkins Museum of Art, Kansas City, Missouri Adams, Ansel, 1902–1984, United States Possibly the best known of American photographers, Adams created beautiful landscapes of impeccable exposure and printing. Moonrise Over Hernandez, 1941, collection of the Ansel Adams Trust Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944, Center for Creative Photography, University of Arizona, Tucson Arbus, Diane, 1923–1971, United States Arbus’s photographs are often of “outsiders” of society, sensitive, intimate portraits. Identical Twins, Cathleen and Colleen, 1967, Roselle, New Jersey, Metropolitan Museum of Art, New York City Untitled (People in Masks), 1970–1971, Museum of Modern Art, New York City Atget, Eugène, 1857–1927, France Atget photographed his surroundings and the people in them; simple, beautifully designed recordings of a time in the past. Ragpicker, 1899–1900, Museum of Modern Art, New York City The Reflecting Pool of the Park at Sceaux, 1925, Bibliothéque Nationale, Paris Avedon, Richard, 1923–2004, United States

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Avedon, a fashion photographer and portrait artist, compels you to look at his insightful portraits. Dovima with Elephants, Paris, 1955, Museum of Modern Art, New York City Juan Patricio Lobato, Carney, Rocky Ford, Colorado, 8/25/80, collection of the artist Marilyn Monroe, Actress, New York City, 5/6/57, The Metropolitan Museum of Art, New York City Bourke-White, Margaret, 1904–1971, United States Bourke-White began her career photographing industrial and architectural subjects. She later became a regular staff member of both Fortune and Life magazines. During World War II, her photos from the warfront brought her national recognition. The Kremlin, Moscow, Night Bombing by the Germans, 1941, University of Maryland Nitrogen Plant, I.G. Farben Industry, Leuna, Germany, 1930, Saint Louis Art Museum Brady, Mathew, 1823–1896, United States Brady is best known for his portraits of President Lincoln and documentation of the American Civil War. He did not actually take all the photos that are credited to him, but had several photographers working for him. Abraham Lincoln, 1864, National Archives, Washington, D.C. Thomas Cole, c. 1845, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Brandt, Bill, 1904–1983, England Brandt recorded the restricted life of England’s working class prior to World War II. He later concentrated on portraits and landscapes, frequently incorporating Surrealistic experiments. At “Charlie Brown’s,” London, c. 1936, Museum of Modern Art, New York City Portrait of a Young Girl, Eaton Place, London, 1955, Museum of Modern Art, New York City 258 The Art Teacher’s Book of Lists

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Brassaï (Gyula Halasz), 1899–1984, France. b. Transylvania When he moved to Paris from Transylvania, Brassaï fell in love with Paris nightlife. His portraits of artists and writers were distinguished by his use of artificial light. He loved strolling the city streets and taking pictures in half-light. Bijou of Montmarte, c. 1932, Museum of Modern Art, New York City Bravo, Manuel Alvarez, 1902–2002, Mexico Recording the daily lives of Mexican people, using light to its best advantage, Bravo’s black-and-white photos (frequently sepia-toned) are studies in contrast. How Small the World Is, 1942, Center for Creative Photography, University of Arizona, Tucson Sparrow, Of Course (Skylight), 1938, International Museum of Photography at George Eastman House, Rochester, New York Cameron, Julia Margaret, 1815–1879, England Cameron staged her photos, with people sometimes in costume, to resemble the soft, romantic paintings of the period when she worked. Alice Liddell as Pomona, 1872, Metropolitan Museum of Art, New York City Call, I Follow; I Follow, Let Me Die, c. 1867, Royal Photographic Society, Bath, England Capa, Robert (Andre Friedmann), 1913–1954, United States, b. Hungary Capa was a Life magazine staff member, noted for his coverage of the Spanish Civil War and World War II. He landed with the Allied troops on D-Day. Naples, 1943, Art Institute of Chicago Soldier at the Moment of Death, Spanish Civil War, 1936, International Center of Photography, New York City Caponigro, Paul, 1932, United States Caponigro photographed Irish megaliths and other ancient monuments while funded by a Guggenheim grant. He studied under Minor White and Alfred W. Richter. Avebury Stone Circle, Avebury, Wiltshire, England, 1967, Museum of Modern Art, New York City Fungus, Ipswich, Massachusetts, 1962, International Museum of Photography at George Eastman House, Rochester, New York & Sons, Inc. Copyright © 2010 by John Wiley Cartier-Bresson, Henri, 1908–2004, France Cartier-Bresson would wait for what he called “the decisive moment” to take a photo, selecting a place to photograph, then waiting to time his photos perfectly. Behind the Gare Saint-Lazare, Paris, 1932, Saint Louis Art Museum Siphnos, Greece, 1961, Museum of Modern Art, New York City Cunningham, Imogen, 1883–1976, United States Cunningham specialized in scenes of the city taken with a view camera. A member of Group F.64, her lovely photos of calla lilies and other flowers are known for remarkable clarity. The Unmade Bed, 1957, The Imogen Cunningham Trust, Berkeley, California Two Callas, 1929, The Imogen Cunningham Trust, Berkeley, California Daguerre, Louis Jacques Mandé, 1787–1851, France Daguerre developed the process of sensitizing a metal plate and exposing it to create a one-of-a-kind photo. The Daguerreotype bears his name. Collection of Shells and Miscellany, 1839, Conservatoire Nationale des Arts et Metiers, Paris A Portrait of Charles L. Smith, 1843, International Museum of Photography at George Eastman House, Rochester, New York Chapter 8 Photography and Digital Arts 259

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DeCarava, Roy, 1919–2009, United States DeCarava became a mainstream photographer with his photos of famous jazz artists and the African- American experience. Coltrane No. 24, 1963, Nelson-Atkins Museum of Art, Kansas City, Missouri Dancers, New York, 1956, Saint Louis Art Museum Edgerton, Harold, 1903–1990, United States Edgerton specialized in high-speed photos and was the inventor of the strobe flash, a deep-sea camera, and the underwater flash. His technical ability is legendary. Milk Drop Coronet, 1936, Nelson-Atkins Museum of Art, Kansas City, Missouri Evans, Walker, 1903–1975, United States Evans worked during the 1930s Depression for the WPA-FSA. He photographed signs and billboards, often making ironic connections between the out-of-work people posed next to signs showing affluence. View of Railroad Station, Edwards, Mississippi, 1936, San Francisco Museum of Modern Art A Sea of Steps, 1903, Wells Cathedral: Stairs to the Chapter House and Bridge to Vicar’s Close, Royal Photographic Society, Bath, England Gardner, Alexander, 1821–1882, United States, b. Scotland Gardner was a contemporary of Abraham Lincoln. His Gardner’s Photographic Sketch Book of the War, published in 1866, documented locales of battle and included his photos. Home of a Rebel Sharpshooter, Gettysburg, 1863, Library of Congress, Washington, D.C. Abraham Lincoln, 1865, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Gilpin, Laura, 1891–1979, United States Gilpin recorded the life of the Native American in her book The Enduring Navajo. At age eighty-one she took photographs of Canyon de Chelly from the ground 1853 Sliding-Box Fold-

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley and air. ing Camera for 8-by-10- Inch Glass Plates Bryce Canyon #2, 1930, Nelson-Atkins Museum of Art, Kansas City, Missouri Sunburst, the Castillo, Chichen Itza, 1932, Amon Carter Museum, Fort Worth, Texas Hine, Lewis Wickes, 1874–1940, United States Hine took photos that led to social labor reform for workers and children. Bowery Mission Bread Line, 1906, Museum of Modern Art, New York City The Cast/Behind the Footlights/A Modern Inferno (#325), c. 1909, New York Public Library Kertész, André, 1894–1985, United States, b. Hungary Kertész demonstrated an outstanding sense of design in simple things such as a vase of flowers or a woman on a couch. Chez Mondrian, 1926, Art Institute of Chicago Satiric Dancer, 1926, Saint Louis Art Museum Koudelka, Josef, 1938, Czech Republic Koudelka photographed radical poverty in his homeland of Czechoslovakia (Czech Republic) and in Spain. His documentary photography book, Gypsies, was published in 1975. Velka Lomnica, Czechoslovakia, 1966, Museum of Modern Art, New York City Jarabina, 1963, collection of the artist 260 The Art Teacher’s Book of Lists

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Lange, Dorothea, 1895–1965, United States During the 1930s Depression, Lange photographed migrant workers in California for the Works Progress Administration (WPA/FSA). Migrant Mother, Nipomo, California, 1936, Oakland Museum, Oakland, California Three Families, Fourteen Children, 1938, Saint Louis Art Museum Lartigue, Jacques-Henri, 1894–1986, France Lartigue received his first camera at age seven and took revealing photographs of French society at the races, the beach at Deauville, and strolling in the park. Grand Prix of the Automobile Club of France, 1912, Museum of Modern Art, New York City My Hydroglider with Propeller, 1904, Association des Amis de J.H. Lartigue, Paris Levitt, Helen, 1913–2009, United States Levitt’s documentary photographs of New York City children in the slums are compared to those of Cartier-Bresson because they capture the “decisive moment.” She was one of a number of “street photographers” who believed that a photographer must record what he or she sees—no more, no less. New York, c. 1942, Museum of Modern Art, New York City Mapplethorpe, Robert, 1946–1989, United States Mapplethorpe beautifully photographed flowers and other serene subjects, but became a controversial figure through his later graphic exploration of human sexuality. Ken Moody, 1983, Nelson-Atkins Museum of Art, Kansas City, Missouri Tulips, 1977, Museum of Modern Art, New York City Model, Lisette, 1906–1985, United States, b. Austria Model’s unglamorous photographs of Americans on the beach or people in ordinary situations reflected themes she had begun in Europe titled Boredom, Greed, or Self-Satisfaction. Promenade des Anglais, Nice, 1934, Nelson-Atkins Museum of Art, Kansas City, Missouri Coney Island Bather, New York, 1940, © The Lisette Model Foundation Moholy-Nagy, László, 1895–1946, United States, b. Hungary Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Moholy-Nagy was a founder of the American Bauhaus, especially known for his photograms, or photos taken from unusual viewpoints. Abstraction (photogram), 1925, Saint Louis Art Museum Berlin Radio Tower, c. 1928, Art Institute of Chicago Muybridge, Eadweard, 1830–1904, United States, b. England Muybridge used consecutive motion photos to demonstrate the process of human and animal motion. Daisy Jumping a Hurdle, c. 1885, George Eastman House, Rochester, New York Nude Men, Motion Study, 1877, Museum of Modern Art, New York City Nadar (Gaspard-Félix Tournachon), 1820–1910, France Nadar was the “Annie Liebovitz” of Paris, able to bring character to life in his portraiture of famous people. He was the first to take photographs of Paris from a balloon. He also descended into the sewers and catacombs of Paris to take photos there by carbon arc lights. Auguste Vacquerie, 1855, The J. Paul Getty Museum, Los Angeles Sarah Bernhardt, 1859, International Museum of Photography at George Eastman House, Rochester, New York Niépce, Joseph Nicéphore, 1765–1833, France In France, Niépce is credited with being the father of photography because he created the earliest surviving permanent (non-fading) photograph (of a view from a window). The lens of the camera was open for eight hours for this exposure. He collaborated for a short time with Louis Daguerre. View from His Window at La Gras, 1827, University of Texas, Austin Chapter 8 Photography and Digital Arts 261

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Porter, Eliot, 1901–1990, United States Porter did documentary photos of Glen Canyon just before it was inundated by a dam built on the Colorado River. He specialized in photographs of nature, specifically in the Southwest, and won a Guggenheim fellowship to photograph birds. Dark Canyon, Glen Canyon, 1965, Art Institute of Chicago Red Ossier, 1945, Museum of Modern Art, New York City Ray, Man (Emmanuel Rudnitsky), 1890–1976, United States Ray mostly made “Rayographs” (his version of the photogram), employing abstract shapes. He is also well- known for his solarized photographs and became a major figure in Dada and Surrealism. Rayogram, 1923, Museum of Modern Art, New York City Mrs. Henry Rowell, c. 1929, Art Institute of Chicago Riis, Jacob, 1849–1914, United States, b. Denmark Riis, whose photography career began when he was a police reporter, became an early proponent of social reform. In the Home of an Italian Rag-Picker, New Jersey, c. 1889, Museum of the City of New York Rodchenko, Alexander, 1891–1956, Russia Rodchenko’s photomontage compositions were used to help further the cause of a Socialist society. Assembling for a Demonstration, 1928, Museum of Modern Art, New York City Sander, August, 1876–1964, Germany Sander specialized in formal, documentary portraits demonstrating German genetic traits and occupations in the New Objectivity style. Widower with Sons, 1925, J. Paul Getty Museum, Los Angeles The Earthbound Farmer, 1910, Museum of Modern Art, New York City Sleet, Moneta J., Jr., 1926–1996, United States Sleet photographed famous African-American entertainers and statesmen such as Haile Selassie, emperor of Ethiopia. He won a Pulitzer Prize in photography for his 1968 photograph of Coretta Scott King at Dr. King’s funeral. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Billie Holiday, 1956, Ebony magazine, September 1956 Rosa Parks–Montgomery, Alabama, 1956, Ebony magazine, July 1956 Smith, W. Eugene, 1918–1978, United States A war correspondent and Life photographer, Smith’s photo essays show his involvement with his subjects. One such example was his coverage of the Japanese village of Minamata, whose inhabitants suffered from mercury poisoning. Tomoko in Her Bath, 1972, Museum of Fine Arts, Boston Untitled (three soldiers with the Spanish Guardia Civil), 1950, Center for Creative Photography, University of Arizona, Tucson Steichen, Edward, 1879–1973, United States A member of the Photo Secession movement, Steichen is best known for his portraits. He believed that the personality of the photographer should not overshadow the reality of the subject. Charles Chaplin, 1925, International Museum of Photography at George Eastman House, Rochester, New York Flatiron, 1907, Metropolitan Museum of Art, New York City Stieglitz, Alfred, 1864–1946, United States Stieglitz is considered the father of American photography because of his work with Aperture magazine and his founding of the Little Galleries of the Photo Secession. (He was married to Georgia O’Keeffe.) Hands, Georgia O’Keeffe, 1920, Metropolitan Museum of Art, New York City The Steerage, 1907, Saint Louis Art Museum 262 The Art Teacher’s Book of Lists

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Strand, Paul, 1890–1976, United States Strand was both an artist and a documentary photographer, whose work is sometimes quite abstract. Church Gateway, Mexico, 1933, Saint Louis Art Museum New York (Wall Street), 1915, Canadian Center for Architecture, Montreal Photograph, New York (Blind Woman), 1916, Metropolitan Museum of Art, New York City Talbot, William Henry Fox, 1800–1877, England A pioneer in photography, Talbot was best known for developing the Calotype (sometimes called the Talbotype). Sailing Craft, c. 1844, Science Museum, London The Game Keeper, c. 1843, Smithsonian Institution, Washington, D.C. Van der Zee, James, 1886–1983, United States Van der Zee photographed social events such as weddings, funerals, and graduations in Harlem, where he lived for most of his career. His life’s work inspired a James Van Der Zee Institute, sponsored by the Metropolitan Museum of Art in New York City Couple in Raccoon Coats, c. 1929, Art Institute of Chicago Warhol, Andy, 1928–1987, United States Warhol popularized the use of photo silk-screen, with his subjects ranging from film and political figures to starkly realistic electric chairs. Marilyn Monroe, 1967, Museum of Modern Art, New York City Elvis, 1963, Australian National Gallery, Canberra Weegee (Arthur H. Fellig), 1899–1968, United States, b. Hungary Weegee could be considered the stereotype of a tough city news photographer. He kept his radio turned to police calls and usually made it to a crime scene with the police. His photos of expressions on the faces of onlookers sometimes told the story. New York City was his beat. Hedda Hopper, 1953, collection of John Coplans, New York City The Critic, 1943, Nelson-Atkins Museum of Art, Kansas City, Missouri

Weston, Edward, 1886–1958, United States & Sons, Inc. Copyright © 2010 by John Wiley Weston was a member of Group F.64. His photography included vegetables, nudes, and sometimes vegetables that looked like nudes. His stark desert scenes and beach pictures demonstrate his mastery of design. Nude, 1936, Museum of Photography at George Eastman House, Rochester, New York Pepper, 1930, Los Angeles County Museum of Art White, Minor, 1908–1976, United States White was a poet prior to becoming a photographer. His work reflected his commitment to the Asian Zen philosophy. Pacific, Devil’s Slide, California, 1947, Museum of Modern Art, New York City Surf Vertical, San Mateo County, California, 1947, Art Institute of Chicago Winogrand, Garry, 1928–1984, United States A photojournalist, Winogrand worked exclusively with the 35mm camera, and is considered a street photographer “par excellence.” Circle Line Ferry, New York, 1971, Museum of Modern Art, New York City Hard Hat Rally, 1969, Nelson-Atkins Museum of Art, Kansas City, Missouri Chapter 8 Photography and Digital Arts 263

8–9. One Hundred Notable Photographers

Of the thousands and thousands of professional photographers, this list is compiled from photographs that are in multiple collections and featured in many books. It is one person’s opinion (mine), based on experience, asking questions, teaching, research, and reading. It does not include the one hundred photographers who are in the previous two lists.

BELGIUM ITALY Broodthaers, Marcel, 1924–1976 Modotti, Tina, 1896–1942

CANADA JAPAN Karsh, Yousuf, 1908–2002 Akiyama, Ryoji, 1942 Fukuhara, Shinzo, 1883–1948 CZECH REPUBLIC Hanawa, Gingo, 1957 Sudek, Josef, 1896–1976 Nojima, Yasuzo, 1889–1964 Drahos, Tom, 1947 Sugimoto, Hiroshi, 1948

ENGLAND THE NETHERLANDS Armstrong-Jones, Anthony, 1930 Dibbets, Jan, 1941 Beaton, Cecil, 1904–1980 Evers, Winfred, 1954 Carroll, Lewis (Charles Lutwidge Dodgson), RUSSIA 1832–1898 Coburn, Alvin Langdon, 1882–1966, Lissitzky, El, 1890–1941 b. United States SCOTLAND Evans, Frederick, 1853–1943 Adamson, Robert, 1821–1848 Fenton, Roger, 1819–1869 Annan, Thomas, 1829–1887 Frith, Francis, 1822–1898 Hill, David Octavius, 1802–1870 Herschel, Sir John Frederick, 1792–1871 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Parr, Martin, 1952 SPAIN

FRANCE Dali, Salvador, 1904–1989 Baldus, Edouard Denis, 1815–1882. b. Germany SWEDEN Bayard, Hippolyte, 1801–1877 Rejlander, Oscar Gustave, 1813–1875 Disderi, Andre A.E., 1819–1889 SWITZERLAND Doisneau, Robert, 1912–1994 Marr, Dora, 1907–1997 Fischli, Peter, 1952, and David Weiss, Ronis, Willy, 1910–2009 1946 UNITED STATES GERMANY De Meyer, Adolf, 1868–1946 Adams, Robert, 1937 Hepp, Johannes, 1969 Barney, Tina, 1945 Kiefer, Anselm, 1945 Barth, Uta, 1958, b. Germany Newton, Helmut, 1920–2004 Bearden, Romare, 1914–1988 Peterhans, Walter, 1897–1960 Callahan, Harry, 1912–1999 Rothe, Frank, 1972 Conner, Lois, 1951 Schwitters, Kurt, 1887–1948 Cornell, Joseph, 1903–1972 Struth, Thomas, 1954 Curtis, Edward Sheriff, 1868–1952 264 The Art Teacher’s Book of Lists

8–9. Continued

Davis, Lynn, 1944 Simmons, Laurie, 1949 Devine, Jed, 1944 Siskind, Aaron, 1903–1991 Eastman, George, 1854–1932 Slavin, Neal, 1941 Edwards, John Paul, 1883–1958 Starn, Doug and Mike, 1961 (twins) Eisenstaedt, Alfred, 1898–1995 Stephenson, David, 1955 Fichter, Robert, 1939 Sultan, Larry, 1946 Frank, Robert, 1924, b. Switzerland Thorne-Thomsen, Ruth, 1943 Gallery, Wyatt, 1975 Tietgens, Rolf, 1911–1984, b. Germany Gowin, Emmet, 1941 Tseng Kwong Chi, 1950–1990, b. China Jacobi, Lotte, 1896–1990, b. Germany Ulmann, Doris, 1884–1934 Kanaga, Consuela, 1894–1978 Watkins, Carleton E., 1829–1916 Kepes, Gyorgy, 1906–2002, b. Hungary Webb, Alex, 1952 Klein, William, 1928 Webb, Todd, 1905–2000 Lanker, Brian, 1947 Weston, Brett, 1911–1993 Lavenson, Alma, 1897–1989 White, Clarence H., 1871–1925 Levine, Sherrie, 1947 Wolcott, Marion Post, 1910–1990 Mann Sally, 1951 Matta-Clark, Gordon, 1943–1978 McDermott, David, 1952 McGough, Peter, 1958 Modica, Andrea, 1960 Morell, Abelardo, 1948, b. Cuba Morgan, Barbara, 1900–1992 Orkin, Ruth, 1921–1985 Outerbridge, Paul, Jr., 1896–1958 & Sons, Inc. Copyright © 2010 by John Wiley Parks, Gordon, 1912–2006 Penn, Irving, 1917–2009 Prince, Richard, 1949 Ritts, Herb, 1952–2003 Rothstein, Arthur, 1915–1985 Samaras, Lucas, 1936, b. Greece Serrano, Andres, 1950 Shahn, Ben, 1898–1969, b. Lithuania Sheeler, Charles, 1883–1965 Chapter 8 Photography and Digital Arts 265

8–10. Historical Photo Terms

• albumen print. an old technique in which salt was beaten into egg white, painted on paper, then sensitized with silver nitrate and dried in the dark; when dry, it was contact-printed • bellows. light-tight accordion-folded leather sleeve between the lens and the filmboard (mostly found in old cameras) that gave additional depth of field • 100-exposure box camera. a simple camera invented in 1888 by George Eastman in which the entire camera was sent in for the film to be developed, reloaded, and returned to the sender • calotype (Talbotype). waxed paper sensitized with silver iodide and developed, then contact printed; invented by William Henry Fox Talbot • camera obscura (literally dark room). a box first used by Aristotle (384–322 BC) to concentrate light onto the back of a dark box through a small opening in the front—a tool used by such artists as Vermeer, Leonardo da Vinci, and Canaletto • carte de visite. basically the first postcard; these photographs were sometimes mailed to friends • Cibachrome®. a color-reversal process that allows color prints to be made from positive color slides • collodion wet-plate process. glass was sensitized immediately before exposure • contact printing. before the enlarger was invented, photographers placed negatives on sensitized paper under glass and printed directly onto the paper by exposing to direct sunlight; used by contemporary p hotographers to examine film positives • cyanotype (blueprint). the process developed by Sir John Herschel to make a print from a high contrast negative • daguerreotype. system originated by Louis Daguerre, who coated a polished copper plate with silver iodide, exposed it, then developed it in mercury vapor • dry plate. a glass plate coated with light-sensitive chemicals and allowed to dry before exposure • dye transfer. a color printing method that transfers three separate single-color exposures to a single sheet • filters. small glass lenses that are screwed to the front of the camera for various purposes: to reduce glare; increase contrast; use with infrared film; or convert outdoor film for indoor use or for other special effects • grain. irregular clumps of silver on the photographic image; higher ISO gives more grain • gum bichromate. an old coating process for drawing paper that made it photo-sensitive, giving interesting

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley artistic interpretations in color • hologram. three-dimensional image of a subject exposed by two laser light beams and exhibited under the same circumstances • panoramic camera. a swiveling camera that photographed an area of 150 degrees; used for large views or photographs of large groups of people • photogram. Lázló Moholy-Nagy and Man Ray were masters of this technique in which objects are placed directly on photo paper, which is then exposed to light and developed • photogravure. a positive transparency transferred to a copper plate and then etched; the inked plate is then printed on a printing press • photomontage. a process in which multiple negatives are printed on the same sheet of paper through masking exposed areas • pinhole camera. a light-tight box (shoebox, oatmeal box, etc.) made into a camera by making a pinhole in a piece of foil, exposing photographic paper or sheet film inside the box • platinum print. photo printed on paper that has been sensitized with iron salts and a platinum compound • Polaroid® Land camera. camera that took an instant picture • precisionism. a “school” of photography that recorded factories, machinery, and other unromantic subjects, sometimes called the Immaculates • salt print. a print made on paper that has been sensitized with ordinary salt, then brushed with silver nitrate and exposed • solarization. a reversal of tones, as in the Sabattier effect, but as a result of prolonged exposure or exposure to an extremely bright light 266 The Art Teacher’s Book of Lists

8–10. Continued

• stereograph. a photo taken with a camera that had two side-by-side lenses that, when viewed in a “s tereopticon,” gave a three-dimensional effect • tintype (ferrotype). the wet collodion process applied to a black-lacquered tin plate was exposed in the camera and appeared as a one-of-a-kind positive image • view camera (field camera). term usually applied to a large box camera mounted on a tripod • vignette. to darken or lighten the edges of a photo through adding or holding back light

• wet collodion. an early process in which the glass plate was sensitized just 1861 Stereoscopic Lenses, Giv- before exposure; also called wet plate or Ambrotype in use from 1851 to approx- ing Two Views of One Subject imately 1880 • zone system. An exposure system proposed by Ansel Adams that assigns number to value differences within various areas of a photograph. Zone 0 is a maximum black, Zone X is pure white. Zone I is gray- black, Zone IX is almost white, etc. Adams later amended this to include eleven zones.

8–11. Photo-Appreciation Activities

Go to any photo exhibition and notice how eagerly most viewers get right in close and examine some of the photos. Learning to look is an important part of the photographic experience, and an appreciation of one’s own photos and those of others is one of the joys of photography. Some apparent snapshots by great photographers go way beyond the casual photographs, reflecting that photographer’s unique way of seeing. Here are some assignments you might give, using the lists of elements and principles below. • Compare two photos. Point out similarities and differences. Look at edges, value differences, use of space, subject, and mood.

• Critique one photo. Choose a partner to look at one photo (you and your partner would be part of a larger & Sons, Inc. Copyright © 2010 by John Wiley class). The photo may either be projected or brought up on a computer screen. Give your opinions to each other about why the artist selected this subject, this lighting, and whether you feel anything when looking at it. Be prepared to defend your opinion in a large group discussion. • Digital slide show. Go to the Internet and select photos from one photographer or with a specific theme. Find appropriate music to play while showing the slides or do a digital slide show of your own photographs. • Life and times of a photographer. Research the work of a famous photographer to see whether you can relate the work to the attitude of society at that time (politics, literature, music). • Old cameras. Get together in a group to bring in old cameras (even ones from childhood). Few people have use for film cameras today, but they are wonderfully manufactured and the important features of a camera remain the same, such as shutter speed, lens opening (F stop), ISO, focus, flash, and close-up. Although these may be automatic on a new camera, it is still helpful to understand what the controls are and how the camera functions. • Technical considerations. Selecting one of your photos, give your opinion about the approximate F stop or shutter speed, depth of field, clarity, use of contrast, repetition, range of values, choice of subject, and why this appealed to you, that is, its visual impact. Chapter 8 Photography and Digital Arts 267

8–11. Continued

• Writing about your own photo. Select a photograph that you have taken. Write a story about the circumstances under which it was taken and why you selected it from all your photos. Or write a poem about it. You could mount the photo on board and write the poem under the photo or around the edges. • Writing. Select a photograph by a known photographer that has special appeal to you. Write about it. You could write a poem, advertisement, or essay based on that photograph.

ART ELEMENTS TO EXAMINE IN PHOTOGRAPHY • Color. Look at the subject and then decide whether the color adds to the idea or detracts from it. Most contemporary photographers use color film to great effect through the use of color filters, taking advantage of atmospheric light and being aware of the drama of color. • Dominant element. Which seems to be the dominant element: line? shape? color? value? texture? space? • Line. What kinds are they? Thick, thin, curved, interrupted, or parallel lines? • Shape. Is there more than one major shape? Is the negative shape (the area around the main subject) interesting? What about line direction? Diagonal lines are energetic. Horizontal lines sometimes are restful. • Space. Is there a center of interest? Does space isolate one dominant subject? Does the subject fill the space? Do you feel there is too much space? • Texture. How has the photographer used texture? Can you see it? Would you consider it the dominant element? Would the photo be better if there were more textures? • Value. Differences in value are one of the major tools of the photographer. A black-and-white photograph should have a pure black, a pure white, and several tones (eight) in between.

ART PRINCIPLES USED IN PHOTOGRAPHY Which principles of art are employed to arrange the art elements effectively? Repetition? Pattern? Variety? Emphasis? Rhythm? Contrast? • Contrast. There are many kinds of contrast: figure/ground, old/young, rough/smooth, shiny/dull, dark/ light, dark subject on light background, clean/dirty. The conscious use of contrast is important.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Emphasis. Has the artist decided on a focal point or center of interest? Discover what it is by closing your eyes. Open them and make note of the first thing you see. That may be the portion that demonstrates the principle of emphasis. • Repetition. See whether the artist has used repetition in shapes, lines, color, etc. The apparently inadver- tent repetition of one of the elements is what make many classical photographs so dynamic. • Rhythm. Some photos show rhythm through a use of undulating lines and repetition of forms that lead the eye through the photograph. • Variety. Are there varieties of lines, shapes, or values? Are there varieties of texture? 268 The Art Teacher’s Book of Lists

8–12. Photographic Controls, Equipment, and Definitions

CONTROLS In either digital or film cameras with adjustable controls, the controls greatly impact the appearance of a photo. Understanding the uses of these functions can result in improved photographs. Aperture (F. stop) The focal point is controlled by the aperture. Options are background in focus, foreground blurred; foreground in focus; and middle ground in focus. • F. stop. The size of the lens opening is an F. stop. This controls the depth of field, which is the degree of sharpness of a photograph in front or in back of the area focused on. • Small F. stop (F 22). Small and keeps everything in focus; the small lens opening gives sharp depth of field. • Medium F. stop (F 8). Considered the standard fixed-aperture opening for point-and-shoot cameras. Nothing in really sharp focus, but nothing really out-of-focus either. • Large F. stop (F 2). Whatever you are focused on (foreground, middle ground, or background) is sharp, the rest out of focus. In a portrait taken with a large aperture opening, one area, the mouth, for example, is in sharp focus. Shutter Speed Movement is controlled by shutter speed. Options are stop-action, blurred; stop-action, frozen; and panning a moving target. • Bulb. Used for night-time photography; this shutter-speed control allows the shutter to remain open as long as the shutter release is depressed. For best results, the camera is on a tripod and the shutter is operated with a remote control • Camera shake. At exposures below 30 (1/30th of a second), the shutter speed is too slow to take a hand- held photo. To avoid camera shake, use a tripod for any exposure. • Film speed. Numbers in shutter speed normally refer to fractions of a second; sixty is 1/60th of a second, or 400 is 1/400th of a second. Slower film speeds (a lower ISO) give finer grain when using film, or on a digital camera, give greater clarity. • ISO (International Standards Organization). A term that refers to film speed (100–200–400–1600). The Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley higher the number, the greater the grain, or in the case of digital ISO, the greater the digital noise. Slower film speeds (a lower ISO) give finer grain when using film, or on a digital camera, give greater clarity. In film, everything on a single roll of film needed to be exposed at the same ISO, but with a digital camera, ISO can be changed for individual exposures. • Panning. Swinging the camera horizontally as the photo is exposed causes a moving object (such as a bicyclist) to be still, with the background blurry. • Selection. Take several shots of fast-moving subjects and select your best. • Shutter speed. Numbers in shutter speed normally refer to fractions of a second; sixty is 1/60 of a second, or 400 is 1/400 of a second. The amount of time a shutter is open generally ranges from B (bulb, which will keep it open indefinitely) to 1/2000 of a second. • Stop-action shots. These may be taken several ways depending on shutter speed: blurred subject, blurred background, or everything sharp.

EQUIPMENT • Fish-eye lens. An extreme wide-angle lens (180 degrees) that will give a rounded center area. • Lenses. Among those available are telephoto and macro. • Macro lens. A lens for close-up work. • Photo floods. Light bulbs specially balanced for film, usually used with reflectors on stands. • Props. The backdrop, toys, chairs, columns beloved by Victorian photographers; items such as costumes used in contemporary work to give meaning to a composition. Chapter 8 Photography and Digital Arts 269

8–12. Continued

• Reflex camera. Through a system of mirrors, the image is reflected on a ground glass screen. Reflex cameras are single lens (SLR) or twin lens (TLR). • Tripod. A three-legged adjustable stand. The bottom of a camera screws onto it to hold the camera steady.

TECHNIQUES • Bracketing. To assure a good print, the subject is taken at several different exposures. • Burning-in. The process of darkening an area that is too light. • Dodging. The process of holding back light to make an area lighter (done in a computer or a darkroom). • Double exposure. Deliberately making one exposure on top of another occasionally gives interesting results. Harry Callahan (1912–1999) was a master of the double exposure.

DEFINITIONS • Close up. An exposure that eliminates anything that is not vital to the subject. • Composite. More than one photo is combined in a computer program. • Electronic flash. A flash unit that is synchronized to go off as the lens opens; varying degrees of flash du ration will be used depending on time and distance from the subject. • Emulsion. A light-sensitive solution that is transferred to photo paper or film. • High-key photo. One that consists mainly of light tones. • Highlight. A reflection in the eye of a subject; the lightest part of the film. • Infrared. Special infrared films are used to record the invisible infrared wavelength. The result (done with a red filter) results in higher contrasts and causes green foliage to look white. • Low-key photo. A photo that is mostly dark, although it may have some light highlights. • Noise. In a digital image, small whitish specks resulting in less clarity of image. • Posterization. A technique used with high-contrast film to separate tones. • Solarization. A reversal of tones, as a result of prolonged exposure or exposure to an extremely bright light. It is possible to achieve this effect with the computer. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Drawing. 2010 Nikon Digital Camera 270 The Art Teacher’s Book of Lists

8–13. Creating Beauty

Composition, lighting, and contrast are crucial whether the photograph is black-and-white or color. It is helpful to examine photos by the masters to consider why some photos are called masterpieces of photography. While these rules of photography are standard, remember that rules may be broken. When students are thinking of what to take, here are some considerations of how to take the photo. It may give them a whole new aspect to thinking about photography.

COMPOSITION • camera direction. How you hold the camera for a subject may change the mood. Options are: vertical, horizontal, or tilted. • cropping. When taking photos of people it is better to crop at the waist, shoulder, hip, or knees than at the ankle or wrist. Including a person’s hands often adds interest to a composition. • design. As in any work of art, design is the final consideration. • distance from subject. Closer is better (usually). Frame a subject with a window or door. Look around the edges before taking the photo. • rule of thirds. The main subject is placed at the intersection of a tic-tac-toe grid. Show only a portion for an abstract view of any object. • simplify background. Avoid clutter in the background, as it can distract from the subject. Strong backlighting can yield a silhouette. • space. Leave space in front of a subject moving in one direction or in front of a face that is looking one direction. • symmetry or asymmetry. When deciding where the subject will be, both are both good choices. • vary horizon line. Make a landscape interesting by having a foreground subject or focal point, high horizon or low horizon. • viewpoint. Photos may be improved by not always shooting straight on. Consider the bird’s-eye-view or worm’s-eye-view. (See “vary horizon line” above.) • work a subject. Vary the ways of working a subject: close-up, farther away, horizontal, vertical, tilted, bird’s-eye-view (looking down), worm’s-eye-view (looking up), different apertures or shutter speeds, or double exposure. Keep notes. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

CONTRAST Many types of contrast are available. One of the most effective is figure/ground contrast such as a dark subject on a light background.

LIGHTING Pay attention to it! Notice how something that is partially lit is more interesting than something brightly lit. It is why photographers often prefer to take photos early in the morning or late in the day. • back-lit. If light is behind the subject, the subject will be dark. A back-lit subject may need fill-in flash. • bracketing. If you expect to have problems with the lighting, take a subject with an exact reading, under- exposed, and overexposed. Many digital cameras have auto exposure bracketing. • flash photograph. A built-in camera flash rarely lights a subject farther than ten feet away. If you are too close with a flash, you will overexpose the subject and it will be washed out. Stand at least five feet away, zooming in with the lens (if your camera has that feature) to get closer to the subject. • muted light. Soft colors and lighting change the mood. • natural lighting. It is flattering, but avoid having a subject squint into the sun. • nighttime photo. Will need tripod, aperture open for longer exposure. • studio lighting. Photo flood lights Chapter 8 Photography and Digital Arts 271

8–14. Photography Assignments

These projects are applicable for film or digital cameras. Although film may be almost a thing of the past, creating a simple black-and-white photograph in the darkroom is still an opportunity offered to students in many schools that helps them later understand the functions of digital cameras and computer programs such as PhotoShop, Elements, Gimp, and others. • Architecture. Architectural photography offers the potential for a variety of shots of just one place. Web- sites, books, and architectural magazines have wonderful examples. Here are a few ideas: inside looking out; a staircase going up; doorway into a room; wide-angle of an entire room; detail in a corner, exterior landscape, or outside entrance. • Body parts. Hands, elbows, feet, the triangles the human form makes when it is folded or spread widely, all are subjects endlessly explored by artists and photographers. An unusual viewpoint of seeing a face, focusing on the eyes or an ear—all are inspiring subjects. • Landscape/seascape. The temptation to capture a vast landscape on a small format is universal (and often quite boring). Something should be in the foreground, whether it is rocks (as in Ansel Adams’s photos), a barn, a person, or boat. The horizon line can be low or high, seldom in the middle. Make it interesting! • Love. Beyond the obvious, love is between parent and child, animals and their young, teacher and students, old people and children with each other. Look for expressions in their eyes, smiles, hand-holding, giving. • Nighttime photo. Even a mall parking lot can be beautiful at night, as could a city skyline silhouetted against a sunset, a dimly lit classical building with pillars, or a friend sitting at a table with light coming from one source. The dark values call attention to a subject that might be completely uninteresting by day. Learn how the B (bulb) function on your camera works. • Reflections. What is seen in a reflection is often far more interesting than the object itself. Reflections in sunglasses, a mirror, a mirrored building, glass window with sunlight shining on it, or a lake or a pool of water. All are suitable subjects. • Signs. Old lettering on buildings, shop signs, traffic signs, homemade signs for vegetables, words on the sides of trucks—all have potential for dynamic photographs. The final composition could be a composite or a single sign wonderfully changed on the computer. • White on white. This photo might be black on black or yellow on yellow, but the idea is to look for contrast

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley where there is very little. Squinting through his or her eyelashes might allow someone to see the angle that would best show value differences.

8–15. Photojournalism Assignments

Here are some assignments appropriate for budding photographers. • Group photo. Tell students to take photos of a group of people (a group can be between two to twenty), keeping in mind that every face should be seen, that someone’s eyes will be closed or mouth wide open. It is always good to take three quick photos without people changing position so you can easily change the mistakes between the photographs to get one good one. Make computer corrections (lighting, expressions) to improve the photograph as necessary. • One photo that tells a story. This photo should be so well composed that the viewer will be able to infer what was happening by the background that surrounds a subject. • Photo essay. A series of shots can tell a story. Consider that the photos will be seen together, and although you may accompany the photos with captions, the story should be evident just through the photos. • Produce a DVD public service announcement. Most spots are 10, 20, 30, and 60 seconds long. Have students tackle an issue that is of interest to them, such as pollution, forest fires, smoking, alcohol, or saving a special building. This might include an attention-getting slogan or jingle. 272 The Art Teacher’s Book of Lists

8–16. Suggested Subjects for Photography abstract (no visible subject) landscape sitting by the window animals line sleepiness architectural details love space black-on-black machinery sports boats moods, anger, anxiety still-life botanical garden nature strong emotion children older adults summer cityscape pairs sunset clouds parts of cars supermarket cooking pattern texture corners people three-of-a-kind doors portrait trains double exposure product photography trees downtown reflections triangular arrangement faces rhythm value differences flowers school life vehicles framing the subject seashore water happiness self-portrait weird hands shadows winter high contrast shape workplace in the park signs Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Two faced, 2010, Simon Baker, 18. This brightly colored self-portrait was enhanced with textures downloaded from a copyright-free Internet site. Simon was in Kim Foster’s Computer Graphics I class at Kirkwood High School, Kirkwood, Missouri, and created this self-portrait independently. Chapter 8 Photography and Digital Arts 273

8–17. Terms Used in Computer Graphics

This list gives only a few definitions that might be used for getting started in computer art. Taking a class (or many classes), reading, trial and error, and motivation will get anyone hooked on graphics. • composite. made by taking a number of different photos and combining them into one single photo • digital print. a print made from the image on a computer screen • import. photographs may be imported to the computer directly from a camera or by a device that hooks directly into the computer • keyboard shortcuts. instead of relying on the mouse or drawing stylus, changes can be made by certain combinations of keyboard controls and letters; memorizing even a small portion of these speeds up working time • layer. layers are like tracing paper; you don’t have to solve all your problems at once, but can work on them individually; they can be turned off (eyeballs on the left in PhotoShop) or made transparent (lower the opacity); using a mask hides any part of an image on a layer • masks. a mask is added to a layer when you want to hide some portion; it takes practice to apply masks, but this is a valuable tool • opacity changes. 100 percent opacity gives the density of oil paint; 35 percent opacity is like transparent watercolor • scan. almost anything flat can be scanned into the computer: artwork, a photograph, printed matter, sketches, or slides; if you intend to make changes, make a duplicate copy • stylus and tablet. a graphics tablet is available that allows you to draw on the computer almost as easily as on a piece of paper • texture. textures are available on the Internet or you can scan something flat to create your own textures to add another dimension to a composition or photograph that make it less ordinary • toolbox. tools for painting, drawing, erasing, creating shapes are all combined in one place called the toolbox, so it is especially useful to memorize keyboard strokes for tools

Because computer graphics programs vary widely and are upgraded often, this list simply gives ideas for projects and approaches to digital art that will always be timely. Graphic designers today are expected to have a thorough understanding of such programs. The computer is just another tool (but what a tool!). Many assignments in drawing, painting, and photography easily translate into digital graphics projects. Many of these projects are drawn on the computer rather than photography-based, but most of those would be enhanced through the addition of a photograph.

PHOTOGRAPHY PROJECTS • Distorted portrait. Take a portrait, and then distort one or at the most two features (make the nose larger or twist it to one side; enlarge the eyes, make the mouth broader). You still want the face to be recognizable, but you are exaggerating, much as a caricaturist would. Leave enough as-is so the subject is still recognizable. • Flower composite. Take photos of a variety of flowers and fruit (size, height, or season). Combine these to make a large bouquet. Even zucchini or an apple can be sized appropriately and have leaves and stems added. • Impossible photograph. Combine several pictures in one photo to look as if it is a single original photograph. Coordinate value, color, contrast, and shadows to make it believable. Include one thing in the photo that allows the viewer to discover it couldn’t be real. • One photo four ways. Select one photograph that will be sufficiently challenging that you want to change it: black and white; enhanced colors (levels); monochromatic; or change it to be primarily two complementary colors. Mount and display them all together. 274 The Art Teacher’s Book of Lists

8–18. Continued

• Panoramic photo. Plant your feet and tuck your elbows to your side to make yourself into a mono-pod. Take several photos, turning slowly, overlapping slightly. These can be aligned in the computer. • Portraiture. Change a photograph to mimic the style of a traditional painted portrait. The dress and background might identify the person as royalty, a musician, a waiter, an artist, a reader with a book, or a child with a toy or petting an animal. • The art of sport. Consider the many activities that are considered sports such as skateboarding, snow- boarding, kids’ ball games, hiking, golf, “birding,” or swimming. Several shots taken at a meet or a variety of shots of one person can be combined to make a composite sports photograph. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Don’t Slow Children, 2005, John Dyess. This digital montage is from photographs taken by the artist. PhotoShop filters were used to enhance the photographs. Courtesy of the artist. Chapter 8 Photography and Digital Arts 275

8–19. Computer Graphics Without a Camera

Any of these projects can be good practice for your students. • animal alphabet book. Select one of your initials and create one page of an alphabet book with an animal of that initial. Make it colorful; consider a background that will enhance the photos. Good resources about animals may be found on the Internet. • clock face. Make a circular clock face with its twelve divisions, then find a different way to divide it. Use a motif you repeat in different sizes (monkeys, food, birds), not necessarily at the 12-3-6-9 locations on a clock. • landscape. Draw a horizon line. Incorporate a cone, pyramid, cylinder, cube, and circle within the landscape, as if they were giant monuments such as the Egyptian pyramids. Show light coming from one direction only. The shapes may vary in size (depending on distance away from the viewer), but should fit in as a natural part of the landscape (trees, houses, people, or statues). • mosaic floor. Grids on the computer allow for geometric designs such as those based on ancient floor patterns used by the Romans. Design a mosaic floor for your room, creating a border and center design. • one letter only. Create a composition using only one letter of various fonts and sizes (perhaps your initial). These can be overlapped, filled with texture, turned, repeated, and combined within geometric shapes. Allow letters to run off the page. • radial design. Make a radial design, starting from the center with small ovals, circles, stars, or hexagons. Make larger and larger ovals and circles as you move out toward the edges of the screen. Use a minimum of sixteen shapes, with at least four of these shapes overlapped. Fill these in, repeating colors and textures to make it interesting. Put a surprise in one of the shapes—perhaps a photograph. • travel poster. Create a travel poster of someplace you have been or want to go some day. Incorporate your own photos or some you find on the Internet. Select an appropriate font. • Victorian “painted lady” house. Take advantage of the computer’s functions to make ovals and other geometric shapes. Get a book about such houses or refer to photocopies for inspiration. The “gingerbread,” stained-glass windows, and trim around doors and porches are very colorful. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Five African Animals and a Moose, Suzanne L. Swoboda, digital print, printed on Epson matte heavyweight paper. Sue Swobo- da’s unexpected use of pattern on familiar shapes in this large witty print demonstrates the potential of the computer as a drawing and painting tool. Courtesy of the artist. 276 The Art Teacher’s Book of Lists

8–20. Video Definitions

• action lines. lines drawn on a storyboard to indicate continued action • aperture. the opening on the lens; controls the amount of light passing through • aspect ratio. the ratio of width to height, as on a TV screen; the current ratio is 16:9 (width to height) on an HDTV screen (it formerly was 4 to 3); this is an important ratio to remember when planning a storyboard or title • available light. daylight or ordinary indoor light that is not enhanced by additional lighting • backlighting. light that comes from behind a subject • backlit. a subject is backlit if it is silhouetted against a bright light source such as sunlight; the detail on the subject is likely to be quite dark; will create a halo effect on a person • bust shot. a close-up shot of a person from the chest upward • character generation. electronically generated type or titles on a screen • close-up. any detail that fills the frame • continuity. sequence of details from shot to shot, including light level and placement of objects • cut to. two scenes are abruptly butted together (without dissolve or fade) • depth of field. the amount of the image that is in focus depends on the aperture opening; the smaller the opening, the sharper the image • dissolve. a transition that mixes from one shot to another; more pleasing than an abrupt transition • fade out. from video scene to color or black • fade up. transition from black to a color or a video scene • key light. the principal light source illuminating a subject • medium shot. if photographing a person, for example, this would be from the waist up • panning. to stand in place and move the camera horizontally either to give a panoramic shot or to f ollow a moving subject • rack focus. to take a shot either in focus or out of focus; usually used for transitions

• soundtrack. the background sound while the video is being shot & Sons, Inc. Copyright © 2010 by John Wiley • storyboard. a shot-by-shot plan for shooting videos; opening shots, lighting details, shooting angles (see List 8–23) • tracking. the camera follows along, recording movement • transition. making a change of time, location, or subject by use of rack focus or dissolve • voice-over. a commentary, usually added after the shot is made • white balance. most cameras are already in white balance; if done manually, a white paper is held in front of the lens • wide shot. a wide-angle shot to take in a greater panorama or a full-length figure; a distance shot; if of a person, one would see the entire figure; use a wide-angle lens Chapter 8 Photography and Digital Arts 277

8–21. Using a Video Camcorder

THINGS TO CONSIDER WHEN USING A VIDEO CAMCORDER • The camera is normally set on white balance to record natural colors. If there is a mixture of light sources (some natural, some artificial), it may be necessary to manually set the white balance by holding a white paper in front of the lens. Shooting on hazy days may give better color results than working in bright sunlight. • If you are making a long format video, work out how it will be done on a storyboard. • If recording in the wind, cover the microphone with a piece of cardboard, handkerchief, or other windscreen. • Make titles. Either use the built-in title functions in a camera, prepare them on a computer, or hand-write them. They should be easily readable, utilizing the same format found on a TV screen. • Never move a camera unless there is a reason to do it. Whenever you can, make people move rather than moving the camera. • Never zoom, tilt, or widen the lens unless there is a reason to do it. • Decide in advance whether you will shoot from an objective point of view (you’re a witness to the event) or a subjective point of view (you’re part of the event, and the camera’s eye acts as your eyes). • Avoid panning too rapidly. • Avoid frequent stops and starts. • Frequently zooming in and out while the camera is on may be disturbing to the viewer. • Try to have the light behind you rather than shooting into it for best results.

COMPOSITION • Compose as you would in a still camera, using the rule of thirds to make composition more interesting. • Get as close to your subject as you can and still “tell the story.” • Try framing or use angles that will give a different perspective. • Use points of view such as extreme high or low angles.

HOLD THE CAMERA STEADY

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Use a tripod (you can buy rolling tripods to allow you to follow the action). • Brace the arm holding the camera on the side of your body. • Sit cross-legged or stand with legs widespread for balance. • Lean against a wall for support. • Kneel in front of a stool with your elbows supported while you shoot. • Lie down to hold the camera and prop yourself up with both elbows.

FOCUS • You may prefer to focus manually to have complete control. Be aware that if you use auto-focus, the camera may focus on the object nearest the screen or in the exact center of the viewfinder. • If focusing manually, first adjust at the telephoto end.

TRANSITIONS • Use the fade or dissolve option to make scene/location/time transitions. • Deliberately rack focus out the screen when making scene transitions. • If you plan to edit later, leave an extra five seconds before and after each shot. 278 The Art Teacher’s Book of Lists

8–22. Video Camcorder Projects

Taking pictures with video camcorders is not so different from using regular cameras. You can take “snapshots” that are simply recording family events, or you can make long format videos that tell a story or are documentaries. Here are some projects your students might enjoy. • Artist’s biography. Work as a group to do a video presentation on the life of a famous artist. Plan ahead! Photographs in books or online can easily be copied and discussed. Leave the camera on long enough for details in the picture to be seen, then turn it off until you are organized for the next shot. • Camera position. Make one “commercial” using three different camera positions. • Commercial. Decide what it is that you want to tell about a place or product, then figure out how you can best do it. Write a storyboard before beginning. As an alternative, make a humorous commercial. • Famous artwork. Select a famous painting and film a version of it by dressing and posing in front of a background that is similar to the one found in the painting. One group of six people could interpret several artworks, or several groups could each make one memorable piece. • Human interest documentary. Tell a human interest story from an objective point of view, as if you were doing a documentary report for television. As an example, veterans may be asked to tell their stories for the camera. Or sometimes a story is told about someone who has enriched the lives of others through generosity or volunteerism. • Interview. Tape an older family member or someone in your community who is elderly. Ask about his or her childhood, changes he or she has seen in the community, differences in mechanical things, or what cars were like when he or she was younger. • Time capsule. Make a video about your life and your friends this year. Photograph your home, how you and your friends dress, what you eat, different makes of cars, a headline or two from a newspaper, and the inside of a grocery store. Vow you will get together in five years and look at it again. • Two-minute interview. Trade an interview with a friend. Tell about what you like, what you do with your spare time, what you can see yourself doing in the future. As the interviewer, prepare good questions before you start. • Video architectural tour. Decide in advance which buildings in your region will be visited and what there is about them that will be of interest. For example, you might want to photograph only Victorian & Sons, Inc. Copyright © 2010 by John Wiley architecture or Art Deco, or even the worst of the fast-food restaurants in your town.

Video Camcorder Chapter 8 Photography and Digital Arts 279

8–23. Video Storyboard

ABBREVIATIONS AND DIRECTIONS BG: background ECU: extreme close-up CAM: camera EWS: extreme wide shot CG: character generation Fade to black: move from video scene to black CU: close-up shot MCU: medium close-up Cut to: one shot ends and another begins MS: medium shot Dissolve to: one shot mixes into the next V/O: voice-over: unseen narrator E: extreme

CAMERA DIRECTIONS

dolly. the camera and tripod move straight in or straight truck. sideways action of the camera to follow motion out from the subject zoom. optically bring the subject closer or farther by pan. move camera horizontally moving the lens in or out pedestal. move the camera straight up or down tilt. the camera tilts up or down in a straight line (from feet to face) Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley CHAPTER 9 SCULPTURE AND CERAMICS 9–1. Quotations Introduction 9–2. Sculpture Definitions 9–3. Materials and Equipment for Sculpture 9–4. Hardwoods and Softwoods for Carving 9–5. Safety Reminders for Sculpture 9–6. Important Sculptures by Unknown Artists 9–7. Fifty Master Sculptors and Examples of Their Work 9–8. Famous Sculptors, Listed by Country 9–9. One Hundred Public Art Pieces 9–10. Ceramics Definitions 9–11. Equipment and Materials for Ceramics 9–12. Teaching Ceramics 9–13. Decorating Methods for Ceramic Vessels 9–14. Famous Ceramics Artists Chapter 9 Sculpture and Ceramics 281

9–1. Quotations

“Sculpture is the art of the hole and the lump.” AUGUSTE RODIN, 1840–1917, FRENCH SCULPTOR

“What we have is given by God and to teach it to others is to return it to him.” GIANLORENZO BERNINI, 1598–1680, ITALIAN BAROQUE SCULPTOR

“I say that the art of sculpture is eight times as great as any other art based on drawing, because a stature [sic] has eight views and they must all be equally good.” BENVENUTO CELLINI, 1500–1591, ITALIAN BAROQUE SCULPTOR

“There is a right physical size for every idea.” HENRY MOORE, 1898–1986, ENGLISH SCULPTOR

“A woman may not hit a ball stronger than a man, but it is different. I prize that difference.” LOUISE NEVELSON, 1899–1988, AMERICAN SCULPTOR, B. RUSSIA

“A good sculpture can be rolled downhill without breaking.” MICHELANGELO BUONARROTI, 1475–1564, ITALIAN RENAISSANCE SCULPTOR

“Brancusi, like the Japanese, would take the quintessence of nature and distill it. Brancusi showed me the truth of materials.” ISAMU NOGUCHI, 1904–1988, AMERICAN SCULPTOR, B. JAPAN

“Art is everywhere, except it has to pass through a creative mind.” LOUISE NEVELSON, 1899–1988, UNITED STATES, B. RUSSIA

“Carving is easy, you just go down to the skin and stop.” MICHELANGELO BUONARROTI, 1564, ITALIAN PAINTER/SCULPTOR, 1475

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness.” MARTIN PURYEAR, 1941, AMERICAN SCULPTOR

“In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture.” HENRY MOORE, 1898–1986, ENGLISH SCULPTOR

“Craft is what I do all day, art is what I have at the end of it.” HARLAN HOUSE, 1943, CANADIAN CERAMIST

Introduction

Art teachers know that creating art and solving problems are important in developing the right side of the brain. Three-dimensional art projects encourage visualization and abstract thinking that might not be utilized as much in two-dimensional work. This is one reason teachers try to offer a balance of 2-D and 3-D work throughout a course. Of course, these projects tend to be more messy (students love messy projects), but with expectations for cleanup clearly stated, this is usually not a problem. Storage can be a problem when projects need to dry before they can be put away. It is best to set things on a counter, outside in a hall, or in boxes until they have dried.

9–2. Sculpture Definitions

Sculpture projects using a variety of methods are found in List 11–32. Tools and materials for sculpture are found in List 9–3. academic sculptors. sculptors who interpret forms in the classical tradition annealed wire. wire that has already been heated for easy bending armature. a base made of wire, iron, cardboard cone, or sticks, for supporting modeling clay assemblage. a sculpture created of related or unrelated materials bas-relief. literally low-relief; a three-dimensional sculpture to be seen only from the front bruise. If a stone is hit by a chisel at a 90-degree angle, it may rearrange molecules deep inside that will cause it to break (sometimes much later). For this reason, chisels are usually held at an angle. Carrara. a quarry in Italy that is used today for fine marble, even as it was for Michelangelo carving. removing material from a surface such as wood, stone, or plaster casting. pouring liquid such as molten metal, plaster, polyester resin, or clay into a mold

folk art. Sculpture created by folk artists often reflects an untrained artist’s strong need to express personal & Sons, Inc. Copyright © 2010 by John Wiley beliefs. Some “folk art” is passed from generation to generation, continuing traditional art forms of a particular culture (Navajo rug weaving, for example). form. a three-dimensional artwork such as the human form or an abstract shape hardwood. comes from trees that drop their leaves such as maple, walnut, ash maquette. a small preliminary model for a sculpture modeling stand. a revolving chest- or eye-level stand for supporting clay while modeling monumental. literally a monument to someone; a large sculpture; or the idea of a large sculpture moulage. a rubberized material to place on face or hands for making a reusable mold for casting negative space. the interior space or space that surrounds a piece of sculpture; lets air into it polyester casting resin. liquid material that is mixed and, when cast into a mold, hardens clear quarry. a place where sculpture materials are mined roughing out. removing the extraneous material from a carving surface prior to refining softwood. comes from trees with needles such as pine, fir; easier to carve; splinters easily Twisteeze wire®. plastic-coated copper wire for jewelry and sculpture wire bending jig. small metal or wooden form that holds wire while it is being bent Chapter 9 Sculpture and Ceramics 283

9–3. Materials and Equipment for Sculpture

Many materials may be carved (such as soap) that need simple tools. Others do take special tools that are a large initial investment, but last for years if well taken care of.

CARVING MATERIALS AND TOOLS alabaster. soft material usually white or veined with gray; takes a fine polish, translucent Balsa Foam®. soft plastic foam easily carved with ceramic loop tools or knife bent gouge (sometimes called spoon gouge). has a spoon like end; available in deep and shallow bent knife. the blade is bent almost at a right angle carving wax. this wax may be carved for jewelry or small investment casting chisel. flat-bladed tool for carving, used with a mallet clay. Indian red, white sculpture raku clay with grog, white talc, stoneware clay coping saw. a saw with a deep neck and fine blade; may be used for interior cuts dividers. tool similar to calipers for checking on symmetry firebrick. inexpensive beige porous brick, quite soft, may be finished with rasps or knives gouge. a carving tool with a rounded blade; gouges come with 1/8- to 1-inch tips limestone. porous gray or beige stone that is relatively easy to carve and finish mallet. a specially shaped tool for pounding on chisels to remove wood; often lignum vitae, the hardest wood marble. more difficult to carve material, takes a high polish

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley palm-grip carvers. handles are rounded, and the blade is short; suitable for wood relief parting tool. a V-shaped tool used for cutting lines and corners plaster of paris. gypsum in powder form; when mixed with water it quickly hardens Wood-Carving Tools rasps. round, flat, half-round tools with handles; used for finishing prior to sanding rifflers. small iron tools with shaped ends for reaching and finishing hard-to-reach areas salmon bend gouge. the entire blade is like a scoop, sizes from one-sixteenth to three-quarters of an inch sharpening slips. stones of various sizes and shapes to use with oil for sharpening chisels and gouges skew chisel. the end of a skew chisel is angled; a bent skew chisel has a spoon-like curve at the end soapstone. easy-to-carve stone that finishes to a high polish; gray, green, or off-white Styrofoam blocks. may be carved with heated blade or fettling knife Styrofoam cutter. heated wire cutters for Styrofoam; electrical or battery operated vise. an adjustable clamp for a workbench that will hold wood for carving in place whittling knife. a knife with a short blade, sometimes at a right angle for whittling wood carver’s adz. long-handled and double-edged tool for roughing out a log wood chisels. wood- or plastic-handled steel tools for carving 284 The Art Teacher’s Book of Lists

9–3. Continued

STONE-CARVING TOOLS AND EQUIPMENT Stone-carving equipment is generally heavier than that used for carving other materials. Keep in mind to try to cut at an angle, as a 90-degree cut can damage the stone internally, causing to break later. bush hammer. textured face hammer for rounding stone and giving a texture to surface flat chisel. metal chisel with a straight-across broad head for a fine finish point chisel. metal chisel that comes to a point; different sizes from one-fourth to one-half inch powdered pumice. a fine powder used with cloth and water for final polishing rifflers. small iron tools with shaped ends for reaching and finishing hard-to-reach areas sandbags. canvas bags filled with sand for supporting sculpture while carving stone hammer. short-handled iron hammer for use with iron stone-carving tools stone rasps. flat rasps with curved surface lines for smoothing stone tooth chisel. metal chisel with a broad head with numerous points; many sizes available wet and dry sandpaper. paper that comes in different grit densities, used wet for polishing stone or metal Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Stone-Carving Tools Chapter 9 Sculpture and Ceramics 285

9–4. Hardwoods and Softwoods for Carving

HARDWOODS Hardwoods are from broadleaf trees, such as ash, oak, or walnut, and have greater density than the “soft” woods, making them a little more difficult to work with. Their beautiful close grain and patterns make them the ideal choice for sculpture. apple ebony maple, soft ash, brown elm oak, red ash, white gum, red oak, white balsawood hickory pear basswood holly poplar beech lignum vitae rosewood birch lime butternut magnolia sycamore cherry mahogany, Honduras walnut, English cherry, black mahogany, Philippine black walnut, American chestnut mahogany, West African willow cottonwood maple, hard zebrawood Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Drawn from The Three Trees, Rembrandt, 1643

SOFTWOODS, CONE-BEARING TREES Softwoods, which are a coniferous tree, have a simpler cell structure, and are more porous than hardwoods. They are slightly easier to carve, but the grain is not so appealing as that of hardwoods.

balsam fir, Douglas pine, ponderosa cedar fir, white pine, sugar cedar, Tennessee red pine, yellow longleaf redwood cypress pine, northern white spruce 286 The Art Teacher’s Book of Lists

9–5. Safety Reminders for Sculpture

Sculpture is fun for students and fun for the teacher, and when safety rules are enforced and observed, is as safe as any other art class. But in sculpture, perhaps more than other art subjects, it is imperative that a teacher be in the room at all times. Safety instructions regarding each and every piece of equipment or material should be given and repeated frequently. If the teacher demonstrates awareness of the importance of safety, this com- municates itself to the students. • Age-appropriate tools. Sharp carving tools and electrical equipment are not suitable for young students. Enforce rules about use of such equipment for students of an appropriate age, and make sure you are always in the room if students are using anything that could be dangerous if mishandled. • Buddy system. Insist that students never work alone in a room, but with a buddy, in case help is needed. • Electrical equipment safety. When using electrical equipment such as drills, band-saws, sanders, table saw, or a torch, wear goggles or a mask, push sleeves above elbows, tie back long hair, and remove all jewelry. • Eye protection. When carving with sharp tools, always wear goggles or a mask. • Plaster of Paris. This ancient sculpting material becomes warm or even hot when it sets. To avoid problems, explain to students that they must never keep their hands immersed in the plaster as it begins to set. A hand cannot be removed except with tools after the plaster has set (this happened in England). The teacher must always be in the room when working with an active material such as this. • Protection from noxious fumes. When working with materials such as foam, or poured urethane, or other material with a strong odor, wear a mask and pour in the evening so fumes can dissipate overnight. Some sanding can be done outdoors. • Secure materials when carving. Always find a way to secure an object for carving: a vise, sandbag (canvas bag filled with sand and sewn shut; I made my own), C–clamps, a wood-carver’s bench screw, or a V–board (made by screwing two 2-by-4-inch boards at right angles on a large base of plywood that you could either sit on or clamp to a table). Never hold something between your legs for carving—chisels can slip. • Solvent and chemical safety. Keep chemicals and solvents in a locked metal cabinet. Don’t use solvents or chemicals where there are flames.

AFRICA CHINA

Head of Queen Olokun, Ife, c. AD 11th–15th century, Bactrian Camel with Packsaddle, Nigeria, British Museum, London c. AD 700–755, Nelson-Atkins Leopard, c. AD 16th–17th century, British Museum, Museum of Art, Kansas City, London Missouri Portrait of a Yoruba of Ancient Ife, c. 15th century, Divine Winged Animal, AD 220–420, British Museum, London Hebei Research Institute of Princess, Benin, c. AD 14th–16th century, Nigeria, Cultural Relics, China British Museum, London Elephant, c. 1122–249 BC, Freer Gal- lery of Art, Washington, DC Camel, T’ang Dynasty Four Ladies of the Court Playing AUSTRIA Polo, AD 650–700, Nelson-Atkins Museum of Venus of Willendorf, c. 25,000–20,000 BC, Museum Art, Kansas City, Missouri of Natural History, Vienna, Austria Musicians, AD 618–906, T’ang Dynasty, Rietberg Museum, Zurich BELGIUM Stone Mythical Creatures (18 pairs), 1368–1644, Ming tombs, near Beijing, China Baptismal Font, 1107–1118, Rene de Huy, St. Barthlemy, Liege, Belgium Tomb effigies (men and horses), c. 246–210 BC, Xian, China Chapter 9 Sculpture and Ceramics 287

9–6. Continued

EGYPT

Chefren, c. 2530 BC, Egyptian Museum, Cairo Colossal Statues of Ramesses II, 1275 BC, Abu Sim- bel, Egypt Gold Coffin Cover of Tutankhamen, c. 1340 BC, Egyptian Museum, Cairo This “archer” is one of approxi- Mycerinus and Queen, c. 2470 BC, Museum of Fine mately eight thousand life-sized Arts, Boston terracotta warriors that will ultimately be unearthed in Xian, Narmer’s Palette, c. 3000 BC, Egyptian Museum, China, from the tomb of the First Cairo Emperor of China Nefertiti, c. 1375–1357 BC, Dahlem Museum, Berlin Prince Rahotep and His Wife, Nofret, c. 2580 BC, FRANCE ROMANESQUE Egyptian Museum, Cairo Four Figures, c. 1150, Chartres Cathedral, West Rosetta Stone, 196 BC, British Museum, London front, Chartres Seated Scribe, c. 2400 BC, Louvre, Paris The Great Sphinx, c. 2500 BC, Giza, Egypt FRANCE NORTHERN RENAISSANCE SCULPTURE ETRUSCAN (ITALY) Virgin and Child, 14th century, Victoria and Albert Museum, London Apollo of Veii, c. 515–490 BC, Villa Giulia, Rome Belvedere Torso, 1st century BC, Vatican Museums, Rome GERMANY Boy Removing a Thorn, c. 200 BC–AD 27, Capitoline Ekkehard and Uta, c. 1245–1260, Naumburg Cathe- Museum, Rome dral, Naumburg Bronze Boxer, 1st century BC, National Museum, Rome Pieta, early 14th century, Provinzial Museum, Bonn Romulus and Remus, 15th century, Capitoline The Gero Crucifix, c. AD 975–1000, Cathedral, Museum, Rome Cologne Sarcophagus from Ceveteri, c. 520 BC, Villa Giulia, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Rome GREECE OR MYCENAE BC She-Wolf, c. 500–480 , Capitoline Museum, Rome “Agamemnon” (Gold Mask), c. 1500 BC, National Museum, Athens EARLY ITALIAN SCULPTURE Alexander the Great, 2nd century BC, Acropolis Ara Pacis, 13–9 BC, Rome Museum, Athens Augustus of Prima Porta, c. 20 BC, Vatican Apollo Belvedere, 4th or 1st century BC, Vatican M useums, Rome Museums, Rome Aulus Metellus (L’Arringatore), c. 80 BC, Archaeo- Calf Bearer, c. 570 BC, Acropolis Museum, Athens logical Museum, Florence Caryatid Figures, 421–409 BC, Acropolis Museum, Constantine the Great (bust), AD 325–326, Palazzo Athens dei Conservatori, Rome Charioteer of Delphi, c. 470 BC, Delphi Equestrian Statue of Marcus Aurelius, AD 161–180, Cyclades Statuettes, c. 3000 BC, National Museum, Piazza del Campidoglio, Rome Athens Philippus the Arab, c. AD 244–249, Vatican Discus Thrower (Discobolus), c. 450 BC, National Museums, Rome Museum, Rome Portrait of a Lady, c. AD 90, Capitoline Museum, Rome Dying Gaul, c. 230–220 BC, Capitoline Museum, Rome Dying Warrior, c. 490 BC, Staatliche Museum, FRANCE (PREHISTORIC) Munich, Germany Bison, c. 15,000–10,000 BC, Les Eyzies Elgin Marbles (from the Parthenon), 432 BC, British Venus of Laussel, 25,000–20,000 BC, Dordogne Museum, London 288 The Art Teacher’s Book of Lists

9–6. Continued

Hera of Samos, c. 565 BC, Louvre, Paris MEXICO

Kore from Chios, c. 520 BC, Acropolis Museum, Chac Mool, the Rain Spirit, AD 948–1697, Museo Athens Nacional de Antropologia, Mexico City Kouros of Sounion, c. 600 BC, National Archaeologi- Colossal Head (Olmec), c. 900–500 BC, La Venta cal Museum, Athens Park, Tabasco Kritios Boy, c. 480 BC, Acropolis, Athens Colossi at Tula, 12th–13th century, Toltec, near Laocoön Group, 1st century AD, Vatican Museums, Mexico City Rome Dog, from Colima, 500 BC–AD 1521, Museo Nacional Lion Gate, c. 1250 BC, Mycenae, Greece de Antropologia, Mexico City Medusa, c. 600–580 BC, Archaeological Museum, Mask of Green Serpentine, Toltec, c. AD 800–1200, Corfu National Gallery of Art, Washington, D.C. Nike of Samothrace (Winged Victory), c. 200 BC, Rock Crystal Carved Skull, c. 1324–1521, Aztec, Louvre, Paris B ritish Museum, London Poseidon, c. 460–450 BC, National Museum, Athens NEAR-EASTERN Rosetta Stone, 196 BC, British Museum, London Snake Goddess, c. 1600 BC, Museum, Heraklion, Assyrian Human-Headed Winged Lion, 883–859 BC, Crete Metropolitan Museum of Art, New York City Spear Bearer, c. 450–440 BC, Polykleitos, National Billy Goat and Tree (Ur), c. 2600 BC, University Museum, Naples Museum, Philadelphia The Rampin Head, c. 560 BC, Louvre, Paris Darius and Xerxes Giving Audience, c. 490 BC, Treasury, Persepolis, Iran Three Goddesses, c. 438–432 BC, British Museum, London Gold Rhyton (cup), 5th–3rd century BC, Archaeologi- cal Museum, Teheran, Iran Vaphio Cups, c. 1500 BC, National Museum, Athens Head of Gudea, 2150 BC, Neo-Sumerian, Museum of Venus de Milo, c. 150 BC, Louvre, Paris Fine Arts, Boston INDIA Lion Gate, 1400 BC, Boghazkoy, Turkey Stele of Hammurabi, c. 1760 BC, Louvre, Paris The Descent of the River Ganges from Heaven, 10th Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley century, Mamallapuram NORWAY

ITALIAN ROMANESQUE Animal Head from the Oseberg Ship–Burial, c. AD 825, University of Antiquities, Oslo Crucifixion, c. 1087, nave fresco, Sant’ Angelo in Foris, near Capua UNITED STATES, COLONIAL SCULPTURE Gravestone of John Foster, 1681, Dorchester, JAPAN Massachusetts Amida Buddha, c. 1053, Jocho, Byodo-in, near Kyoto Little Admiral, c. 1750, unknown sculptor (possibly Haniwa (figure), AD 6th century, Tokyo National Shem Drowne), Old State House, Boston Museum OTHER Kuya Preaching, c. 1207, Kosho, Rokuhara Mitsu-ji, Kyoto Stone Images, c. 17th century, Easter Island Chapter 9 Sculpture and Ceramics 289

9–7. Fifty Master Sculptors and Examples of Their Work

Sculptors listed here have work that is seen in many museums in different countries. Further, these sculptors’ work is usually unique and can be instantly recognized as the work of that particular artist. Finally, artists on this list have also been influential beyond their immediate time and place. Most of these sculptors’ works may be seen on the Internet by entering the artist’s name and the title of the artwork.

BERNINI, GIANLORENZO, 1598–1680, ITALY Ecstasy of St. Theresa, 1645–1652, Sta. Maria della Vittoria, Rome Fountain of the Four Rivers, 1648–1651, Piazza Navona, Rome

BORGLUM, GUTZON, 1867–1941, UNITED STATES Mount Rushmore, 1927–1939, Keystone, South Dakota Drawn from Flying Dragon, 1975, Alexander Abraham Lincoln Bust, 1908, U.S. Capitol Building, Calder, The Art Institute Washington, D.C. of Chicago

BOTERO, FERNANDO, 1932, COLOMBIA Horse, 2007, Chatsworth Garden, London Man on Horse, 1992, Israel Museum, Jerusalem CORNELL, JOSEPH, 1903–1972, UNITED STATES Medici Slot Machine, 1942, Solomon R. Guggen- BOURGEOIS, LOUISE, 1911–2010, AMERICA (B. FRANCE) heim Museum, New York City Maman, 1999, cast 2001, Guggenheim Museum, Soap Bubble Set, 1950, Art Institute of Chicago Bilbao, Spain Mortise, 1950, National Gallery of Art, Washington, D.C. DÉGAS, EDGAR, 1834–1917, FRANCE Prancing Horse, 1865–1881, Joseph H. Hirshhorn BRANCUSI, CONSTANTIN, 1876–1957, ROMANIA Collection, Washington, D.C.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Bird in Space, 1928, Museum of Modern Art, Little Dancer of Fourteen Years, 1840–1845, New York City Saint Louis Art Museum The Kiss, 1909, Montparnasse Cemetery, Paris Mlle. Pogany, 1913, Museum of Modern Art, DEACON, RICHARD, 1949, ENGLAND (B. WALES) New York City Fish Out of Water, 1987, Hirshhorn Museum and Sculpture Garden, Washington, D.C. BUTTERFIELD, DEBORAH, 1949, UNITED STATES If the Shoe Fits, 1981, Tate Gallery, London Horse #6–82, 1982, Dallas Museum of Art Resting Horse, 1977, Whitney Museum of American DONATELLO (DONATO DI NICCOLO), C. 1386–1466, ITALY Art, New York City David, c. 1430–1432, Bargello, Florence Mary Magdalene, c. 1454–1455, San Lorenzo Baptis- CALDER, ALEXANDER, 1898–1976, UNITED STATES tery, Florence Circus, mixed media, 1932, Whitney Museum of Gattemelata (Equestrian Statue of Erasmo da American Art, New York City Narni), c. 1445–1450, Padua, Italy Red, Black and Blue, 1967, Dallas–Fort Worth Air- port, Dallas, Texas DUCHAMP, MARCEL, 1887–1968, UNITED STATES (B. FRANCE) CHRISTO (JAVACHEFF), 1935, AND JEANNE-CLAUDE DE Fountain (urinal), original lost, replica, 1917, Tate GUILLEBON, 1935–2009, UNITED STATES (B. BULGARIA) Modern, London Wrapped Reichstag (temporary), 1994, project for The Bride Stripped Bare by her Bachelors, Even Berlin (The Large Glass), 1915–1923, The Philadel- The Gates, 1979–2005, Central Park, New York City phia Museum of Art 290 The Art Teacher’s Book of Lists

9–7. Continued

EPSTEIN, JACOB, 1880–1959, ENGLAND Benjamin Franklin, 1778, Saint Louis Art Museum, Missouri Portrait Bust of Paul Robeson, 1928, York City Art Gallery, York, England The Visitation, 1926, Tate Gallery, London HILL, GARY, 1951, UNITED STATES Wall Piece, 2000, video, collection of the artist FLANAGAN, BARRY, 1941, ENGLAND (B. WALES) Viewer, 1996, video, collection of the artist Six Foot Leaping Hare on Steel Pyramid, 1990, Grant Park, Chicago HOLZER, JENNY, 1950, UNITED STATES The Drummer, 1989–1990, Beverly Gardens Park, Protect Me from What I Want, 1988, LED display, Beverly Hills, California Picadilly Circus, London

FRENCH, DANIEL CHESTER, 1850–1931, UNITED STATES KEINHOLZ, EDWARD, 1927–1994, GERMANY Lincoln, 1922, Lincoln Memorial, Washington, D.C. The State Hospital, 1966, Moderna Museet, Stockholm GHIBERTI, LORENZO, 1378–1455, ITALY The Wait, 1964–1965, Whitney Museum of Ameri- can Art, New York City Gates of Paradise, c. 1435, Baptistery, Florence, Italy KOONS, JEFF, 1955, UNITED STATES GIACOMETTI, ALBERTO, 1901–1966, SWITZERLAND Tulip Balloons, 1995–2004, Guggenheim Museum, Hands Holding the Void, 1934–1935, Saint Louis Bilbao, Spain Art Museum, Missouri Michael Jackson and Bubbles, 1988, Museum of Man Pointing, 1947, Museum of Modern Art, Contemporary Art, Chicago New York City

GOLDSWORTHY, ANDY, 1956, ENGLAND Hand to Earth, 1970, The Henry Moore Centre for the Study of Sculpture, Leeds, England A Line and a Wall, 2000, Storm King Art Center,

GROOMS, RED, 1937, UNITED STATES City of Chicago, 1967, Chicago Art Institute Loft on 26th Street, 1965–1966, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Drawn from Michael Jackson and Bubbles, 1988, Jeff Koons, San Francisco Museum HANSON, DUANE, 1925–1996, UNITED STATES of Modern Art Museum Guard, 1976, Nelson-Atkins Museum of Art, Kansas City, Missouri LACHAISE, GASTON, 1882–1935, UNITED STATES Tourists, 1970, National Gallery of Modern Art, (B. FRANCE) Edinburgh Floating Figure, 1927, National Gallery of Australia, HEPWORTH, BARBARA, 1903–1975, ENGLAND Canberra Assemblage of Sea Forms, 1972, Norton Simon Inc. Torso, 1930, Whitney Museum of American Art, Foundation, Los Angeles New York City Single Form (Memorial to Dag Hammerskjöld), 1962–1963, United Nations Bldg., New York City MAILLOL, ARISTIDE, 1861–1944, FRANCE The River, 1939–1943, Norton Simon Inc. Founda- HOUDON, JEAN-ANTOINE, 1741–1828, FRANCE tion, Los Angeles George Washington, 1788–1792, State Capitol, Rich- Venus with the Necklace, 1928–1929, Saint Louis mond, Virginia Art Museum, Missouri Chapter 9 Sculpture and Ceramics 291

9–7. Continued

LIPCHITZ, JACQUES, 1891–1973, UNITED STATES PAIK, NAM JUN, 1932–2006, UNITED STATES (B. KOREA) (B. LITHUANIA) Electro-Symbio Phonics for Phoenix, 1992, Phoenix, Prometheus Strangling the Vulture, 1944–1953, Arizona, seen in various exhibitions Walker Art Center, Minneapolis Leonardo da Vinci, 1991, Reynolda House, Museum Figure, 1926–1930, Museum of Modern Art, of American Art, Winston-Salem, North Carolina New York City PICASSO, PABLO, 1881–1973, SPAIN MATISSE, HENRI, 1869–1954, FRANCE Baboon and Young, 1951, Museum of Modern Art, The Back, I–IV, 1909–c. 1929, Hirshhorn Museum New York City and Sculpture Garden, Washington, D.C. Head of a Woman, 1909, Art Institute of Chicago The Serpentine, 1909, Museum of Modern Art, New York POWERS, HIRAM, 1805–1873, UNITED STATES MICHELANGELO (BUONARROTI), 1475–1564, ITALY Daniel Webster, 1858, State House, Boston, David, 1501–1504, Galleria dell’ Accademia, Florence Massachusetts Moses, c. 1513–1515, St. Peter in Chains, Rome The Greek Slave, 1843, Yale University Art Gallery, Pietà, 1498–1499, St. Peter’s, Rome New Haven, Connecticut

MOORE, HENRY, 1898–1986, ENGLAND PURYEAR, MARTIN, 1941, UNITED STATES Reclining Mother and Child, 1960–1961, Walker Art Horsefly, 1996–2000, Museum of Modern Art, New Center, Minneapolis York City The King and Queen, 1952–1953, Joseph H. Hirschhorn Lever #1, 1988–1989, Art Institute of Chicago Collection, Washington, D.C. REMINGTON, FREDERIC, 1861–1909, UNITED STATES NADELMAN, ELIE, 1882–1946, UNITED STATES (B. POLAND) Coming Through the Rye, 1902, Art Museum, Hostess, 1918, Joseph H. Hirshhorn Collection, Princeton University, Princeton, New Jersey The Bronco Buster, 1895, Saint Louis Art Museum

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Washington, D.C. Man in the Open Air, 1915, Museum of Modern Art, New York City RODIN, AUGUSTE, 1840–1917, FRANCE Burghers of Calais, 1884–1886, Hirschhorn Museum NEVELSON, LOUISE, 1899–1988, UNITED STATES and Sculpture Garden, Washington, D.C. (B. RUSSIA) The Kiss, 1886, Baltimore Museum of Art An American Tribute to the British People, 1960– The Thinker, 1902, Nelson-Atkins Museum of Art, 1965, Tate Gallery, London Kansas City, Missouri Transparent sculpture VI, 1967–1968, Whitney Museum of American Art, New York City SAAR, BETYE, 1926, UNITED STATES NOGUCHI, ISAMU, 1904–1988, UNITED STATES Bessie Smith Box, 1974, collection of Monique (B. JAPAN) Knowlton Slide Mantra, 1966–1989, Odori Park, Sapporo, Indigo Mercy, 1975, Studio Museum in Harlem, Japan New York City

OLDENBURG CLAES, 1929, UNITED STATES SAINT PHALLE, NIKI DE, 1930–2002, FRANCE Soft Giant Drum Set, 1967, collection of Kimiko and Black Venus, 1969, Whitney Museum of American John G. Powers, New York City Art, New York City Two Cheeseburgers with Everything, 1962, Claes Stravinsky Fountain, 1982, Centre Georges Pompi- Oldenburg, Museum of Modern Art, New York dou, Paris City 292 The Art Teacher’s Book of Lists

9–7. Continued

SEGAL, GEORGE, 1924–2000, UNITED STATES The Bus Driver, 1962, Museum of Modern Art, New York City The Dancers, 1971, National Gallery of Art, Washington, D.C.

SERRA, RICHARD, 1939, UNITED STATES Five Plates, Two Poles, 1971, National Gallery of Art, Washington, D.C.

SMITH, DAVID, 1906–1965, UNITED STATES Cubi I, 1963, Detroit Institute of Fine Arts Medals for Dishonor, 1937–1940, Hirshhorn Museum and Sculpture Garden, Washington, D.C.

TINGUELY, JEAN, 1925–1991, SWITZERLAND M.K. III, 1964, The Museum of Fine Arts, Houston Eureka, 1964, Zurich, Switzerland

WHITEREAD, RACHEL, 1963, ENGLAND Inverted Plinth, 2000–2001, design for display at The Bronco Buster, 1895, cast 1907, Frederic Remington, bronze, Saint Louis Art Museum, gift of J. Lionberger Davis Trafalgar Square, London Ghost (model of a Victorian room interior), 1990, National Gallery, Washington, D.C.

Some American sculptors may also be listed from the countries from which they immigrated to America.

BELGIUM DENMARK Moore, Henry, 1898–1986 Broodthaers, Marcel, 1924–1976 Thorwaldsen, Bertel, 1768–1844 Whiteread, Rachel, 1963 Bury, Pol, 1922–2005 Magritte, René, 1898–1967 ENGLAND FRANCE Butler, Reg, 1913–1981 BRAZIL Arp, Jean, 1887–1966 Caro, Anthony, 1924 Bourdelle, Emile-Antoine, 1861–1929 Clark, Lygia, 1921–1988 Chadwick, Lynn, 1914–2003 Dégas, Edgar, 1834–1917 CANADA Deacon, Richard, 1949 Dubuffet, Jean, 1901–1985 Epstein, Jacob, 1880–1959 Duchamp, Marcel, 1887–1968 Bullock, Angela, 1966 Flanagan, Barry, 1941, b. Wales McKenzie, Robert Tait, 1867–1938 Goldsworthy, Andrew, 1956 Goodwin, Betty, 1923–2008 Gormley, Antony, 1950 Stockholder, Jessica, 1959 Hatoum, Mona, 1952, b. Lebanon Hepworth, Barbara, 1903–1975 CHINA Hirst, Damien, 1965 Huang Yong Ping, 1945 Kapoor, Anish, 1954, b. India Long, Richard, 1945 COLOMBIA Drawn from Delusions of Grandeur, Botero, Fernando, 1932 René Magritte, 1967 Chapter 9 Sculpture and Ceramics 293

9–8. Continued

Duchamp-Villon, R., 1876–1918 JAPAN Ernst, Max, 1891–1976 Funakoshi, Katsura, 1951 Gauguin, Paul, 1848–1903 Guimard, Hector, 1867–1942 KOREA Houdon, Jean-Antoine, Paik, Nam Jun, 1932–2006 1741–1828 Lachaise, Gaston, 1882–1935 NORWAY Laurens, Henri, 1885–1954 Vigeland, Gustave, 1869–1943 Maillol, Aristide, 1861–1944 Matisse, Henri, 1869–1954 POLAND Messager, Annette, 1943 Balka, Miroslaw, 1958 Pevsner, Antoine, 1884–1962 Picabia, Francis, 1879–1953 ROMANIA Rodin, Auguste, 1840–1917 Brancusi, Constantin, 1876–1957 Rude, François, 1784–1855 Saint Phalle, Niki de, 1930–2002 RUSSIA Gabo, Naum, 1890–1977 GERMANY Kabakov, Ilya, 1933 Barlach, Ernst, 1870–1938 Pevsner, Antoine, 1886–1962 Beuys, Joseph, 1921–1986 Tatlin, Vladimir, 1885–1953 Bill, Max, 1908–1995 Ernst, Max, 1891–1976 SPAIN Horn, Rebecca, 1944 Miró, Joan, 1893–1983 Keinholz, Edward, 1927–1994 Picasso, Pablo, 1881–1973 Kiefer, Anselm, 1945 Gonzales, Julio, 1876–1942 Lehmbruck, Wilhelm, 1881–1919 Trockel, Rosemarie, 1952 SWITZERLAND von Hildebrand, Adolph, Arp, Jean, 1887–1966 Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley 1847–1921 Bill, Max, 1908–1995 (b. Germany) Fischli, Peter, 1952 GREECE Giacometti, Alberto, 1901–1966 Lysippus, 4th century, B.C. Oppenheim, Meret, 1913–1985 Phidias, c. 480–430 B.C. Rist, Pipilotti, 1962 Praxiteles, c. 400 B.C.–c. 330 B.C. Tinguely, Jean, 1925–1991

ITALY UNITED STATES Bernini, Gianlorenzo, 1598–1680 Andre, Carl, 1935 Boccioni, Umberto, 1882–1916 Archipenko, Alexander, 1887– Canova, Antonio, 1757–1882 1964 (b. Russia) Cellini, Benvenuto, 1500–1591 Arneson, Robert, 1930–1993 Donatello (Donato di Niccolo), Artschwager, Richard, 1924 c. 1386–1466 Aycock, Alice, 1946 Ghiberti, Lorenzo, 1378–1455 Barney, Matthew, 1967 Marini, Marino, 1901–1980 Baskin, Leonard, Little Dancer of Fourteen Years, c. 1840, Michelangelo, (Buonarroti), 1922–2000 Edgar Dégas, bronze, gauze, and satin ribbon, 1475–1564 Saint Louis Art Museum, Funds given by Mrs. Mark C. Steinberg Modigliani, Amedeo, 1884–1920 Verrocchio, Andrea del, c. 1435–1488 Drawn from David, Verrocchio, c. 1476 294 The Art Teacher’s Book of Lists

9–8. Continued

Bell, Larry, 1939 Grooms, Red, 1937 Oppenheim, Meret, 1913–1985 Beecroft, Vanessa, 1969 Gross, Chaim, 1904–1991 Paik, Nam Jun, 1932–2006 (b. Korea) Benglis, Lynda, 1941 Hamilton, Ann, 1956 Pfaff, Judy, 1946 Bickerton, Ashley, 1959 Hanson, Duane, 1925–1996 Powers, Hiram, 1805–1873 Bochner, Mel, 1940 Heizer, Michael, 1944 Proctor, A. Phimister, 1860–1950 Borglum, Gutzon, 1867–1941 Hesse, Eva, 1936–1970 Puryear, Martin, 1941 Borofsky, Jonathan, 1942 Hoffman, Malvina, 1885–1966 Rauschenberg, Robert 1925–2008 Bourgeois, Louise, 1911–2010 (b. France) Holzer, Jenny, 1950 Ray, Man, 1890–1976 Brown, Henry Kirke, 1814–1886 Hosmer, Harriet, 1830–1908 Remington, Frederic, 1861–1909 Butterfield, Deborah, 1949 Hunt, Richard, 1935 Rush, William, 1756–1833 Calder, Alexander Milne, 1846–1923 Huntington, Anna Hyatt, 1876–1973 Russell, Charles M., 1864–1926 Calder, Alexander, 1898–1976 Indiana, Robert, 1928 Saar, Alison, 1956 Callery, Mary, 1903–1977 Johns, Jasper, 1930 Saar, Betye, 1926 Ceracchi, Giuseppi, 1751–1802 Judd, Donald, 1928–1994 Saint-Gaudens, Augustus, 1848–1907 Chamberlain, John, 1929 Kienholz, Edward, 1927–1994 Samaras, Lucas, 1936 Chicago, Judy, 1939 Koons, Jeff, 1955 Segal, George, 1924–2000 Christo (Javacheff), 1935, and Jeanne- LaChaise, Gaston, 1882–1935 Serra, Richard, 1939 Claude de Guillebon, 1935–2009 Laurent, Robert, 1890–1970 Skillin, John, 1746–1800 (b. Bulgaria) LeVa, Barry, 1941 Skillin, Simeon, Sr., 1716–1778 Cornell, Joseph, 1903–1972 Lewis, Edmonia, 1845–c. 1900 Smith, David, 1906–1965 Creeft, José de, 1884–1982 (b. Spain) LeWitt, Sol, 1928–2007 Smithson, Robert, 1938–1973 Davidson, Jo, 1883–1952 Lichtenstein, Roy, 1923–1997 Stella, Frank, 1936 di Suvero, Mark, 1933 Lipchitz, Jacques, 1891–1973 Trova, Ernest, 1927–2009 Drowne, Shem, 1683–1774 (b. Lithuania) Tuttle, Richard, 1941 Duchamp, Marcel, 1887–1968 Long, Richard, 1945 Vonnoh, Bessie Potter, 1872–1955 (b. France) MacMonnies, Frederick, 1863–1937 Voulkos, Peter, 1924–2002 Flavin, Dan, 1933–1996 Manship, Paul, 1885–1966 Frank, Mary, 1933 Ward, John Quincy Adams, 1830–1910

Marisol (Escobar), 1930 (b. Colombia) & Sons, Inc. Copyright © 2010 by John Wiley Weiss, David, 1946 French, Daniel Chester, 1850–1931 Nadelman, Elie, 1882–1946 (b. Poland) Whitney, Anne, 1821–1915 Frey, Viola, 1933–2004 Nauman, Bruce, 1941 Whitney, Gertrude Vanderbilt, Gabo, Naum (Pevsner), 1890–1977 Nevelson, Louise, 1899–1988 (b. Russia) (b. Russia) 1875–1942 Noguchi, Isamu, 1904–1988 (b. Japan) Gallo, Frank, 1933 Wright, Patience Lovell, 1725–1786 Oldenburg, Claes, 1929 (b. Sweden) Young, Mahonri, 1877–1957 Graves, Nancy, 1940–1995 and van Bruggen, Coosje (b. The Greenough, Horatio, 1805–1852 Netherlands), 1942–2009 Greenough, Richard, 1819–1904 Olitski, Jules, 1922–2007 Chapter 9 Sculpture and Ceramics 295

9–9. One Hundred Public Art Pieces

Public art in the form of sculpture has existed in civilizations all over the world. One obvious example is The Sphinx in Egypt. Others include live-rock carvings (into outcroppings of rock) in India, Stonehenge in England, or Crazy Horse, an entire mountain carving still in progress in South Dakota. Some of the smallest sculptures (such as the Manniken Pis in Brussels) receive as much acclaim or notoriety as the largest. Dates and artists’ names are given (if known), along with the city where the sculpture or monument is/was located.

AFGHANISTAN Eros (Cupid), 1892, Alfred Gilbert, Memorial to Lord Shaftesbury, Picadilly Circus, London Buddha (world’s tallest standing Buddha), c. AD 500, Bamiyan, near Kabul. Destroyed in March 2001 Marble Arch, 1880, John Nash, Hyde Park, London Prince Albert Monument, 1872–1876, George Gilbert AUSTRIA Scott, London Mozart Monument, 1842, Ludwig Schwanthaler, Park Stonehenge, c. 2400–2200 BC, Wiltshire Burggarten, Salzburg FRANCE BELGIUM Arc de Triomphe, 1806–1836, Jean-François-Therese Atomium, 1958, André Waterkeyn, Brussels Chalgrin (commissioned by Napoleon), Paris Brabo (the Hand Thrower), 1887, Jef Lambeaux, Grote Burghers of Calais, 1884–1888, Auguste Rodin, Calais Markt, Antwerp (installed in several different locales) Manniken Pis, 1619, Jerome Duquesnoy, Brussels Egyptian Obelisk, 1831–1840, Place du Concorde, Paris Eiffel Tower, 1899, Gustave Eiffel, Paris BRAZIL Christ the Redeemer (Corcovado), 1931, Paul Land- GERMANY owski, Rio de Janeiro Brandenburg Gate, 1788–1791, Karl Langhans, Berlin Inverted Collar and Tie, 1994, Claes Oldenburg/Coosje CANADA van Bruggen, Dusseldorf Totem Poles, ongoing, Duncan, B.C. Memorial to the Murdered Jews of Europe, 2005, Eisen- man, Peter, Berlin CHINA Phoenix Ascending the Sky, 1990, Yang Yingfeng, GREECE

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Olympic Center, Beijing Arch of Hadrian, c. 81 BC, Athens Public Art Memorial Hall Group Sculpture, 1978, 108 Monument of Lysicrates, c. 334 BC, Athens artists collaborated, Tiananmen Square, Beijing The Boat of Purity and Ease (a 36-meter boat created in ITALY marble), 1755, Summer Palace, Beijing Arch of Constantine, AD 312–315, Rome CZECH REPUBLIC Constantine the Great (head only), early 4th century AD, Rome Charles Bridge, Peter Parler, 1357, Prague David, 1501–1504, Michelangelo, Florence DENMARK Equestrian Monument of Bartolomeo Colleoni, The Little Mermaid, 1913, Edvard Eriksen, Copenhagen 1483–1488, Andrea del Verrocchio, Venice Gefion Fountain, 1908, Anders Bundgaard, Copenhagen Gattemelata (Equestrian Monument of Erasmo da Narni), 1445–1450, Donatello, Padua EGYPT Elephant and Obelisk, 1667, Bernini, Rome

Sphinx, c. 2500 BC, Giza Lion Pillar, St. Mark’s Square, Venice Trajan’s Column, AD 113, Rome ENGLAND Trevi Fountain, 1732–1751, Pietro da Cortona, Admiral Nelson, 1830s, John Nash, Trafalgar Square, Gianlorenzo Bernini, Nicola Salvi, Rome London POLYNESIA Angel of the North, 1995, Antony Gormley, Gateshead, Newcastle-on-Tyne Stone Face Images, 17th century, Easter Island 296 The Art Teacher’s Book of Lists

9–9. Continued

RHODES Jefferson Memorial, c. 1939, John Russell Pope, sculpture by Rudolph Evans, 1941 Colossus of Rhodes, 304–248 BC, Chares the Lindios (destroyed by earthquake) Lincoln Memorial, 1922, Piricilli Brothers, Mall Vietnam War Memorial, 1982, Maya Lin RUSSIA Vietnam Women’s Memorial, 1993, Glenna Goodacre Monument to the Struggle Against World Terrorism Washington Monument, 1848–1885, Robert Mills (a gift from the people of Russia as a tribute to the victims of September 11, 2001, and the 1993 World Georgia Trade Center Bombing), 2006, Zurab Tesereteii, Confederate Memorial, c. 1905–1925, begun by Gutzon The Peninsula at Bayonne Harbor, New Jersey Borglum, never completed, Stone Mountain Peter the Great Equestrian Statue, 1782, Etienne Falconet, St. Petersburg Illinois Batcolumn, 1977, Claes Oldenburg, Chicago SPAIN Buckingham Fountain, 1927, Marcel François Reina Mariana, 2001, Manolo Valdés, Madrid Loyau, Chicago The Columbus Monument, 1888, Rafael Atché, Barcelona Chicago, 1981, Joan Miró, Chicago Flamingo, 1973, Alexander Calder, Chicago TURKEY Four Seasons (ceramic mural), 1974, Marc Chagall, Egyptian Obelisk, c. 1500 BC, Istanbul Chicago Monument with Standing Beast, 1969, Jean Dubuf- fet, Chicago UNITED STATES Untitled, 1967, Pablo Picasso, Chicago Alaska Totem Poles, ongoing, Ketchikan

Arizona Windows to the West, 1977, Louise Nevelson, Scottsdale

California & Sons, Inc. Copyright © 2010 by John Wiley Great Wall of Los Angeles, 1976, Judith F. Baca, Los Angeles HOLLYWOOD sign, 1923, Los Angeles Drawn from Untitled, 1967, Pablo Picasso, Chicago. Long Beach, 1982, Frank Stella, Wells Fargo Bank, This sculpture, which Los Angeles resembles a horse’s head, is Night Sail, 1985, Louise Nevelson, Crocker Center, five stories (50 feet) high. Los Angeles Sequi, 1984–1985, Nancy Graves, Crocker Center, Los Angeles Maryland To the Issei, 1980–1982, Isamu Noguchi, Japanese Amer- Under Sky/One Family, 1979, Mark di Suvero, Baltimore ican Cultural and Community Center, Los Angeles Washington Monument, 1815–1825, Robert Mills, Watts Towers, 1921–1964, Simon Rodia, Los Angeles Baltimore Dragon Gate Entrance Gate to Chinatown, 1970, San Francisco Massachusetts Big Sail, 1966, MIT, Alexander Calder Connecticut Dunes I, 1971, MIT, Beverly Pepper The Lipstick (Ascending) on Caterpillar Tracks, 1969, Minute Man, 1889, Daniel Chester French, Concord Claes Oldenburg, Yale University, New Haven Michigan District of Columbia Horace E. Dodge and Son Memorial Fountain, 1975, Franklin Delano Roosevelt Memorial, 1996, Robert Gra- Isamu Noguchi, Detroit ham, Sculptor La Grande Vitesse, 1969, Alexander Calder, Grand Rapids Chapter 9 Sculpture and Ceramics 297

9–9. Continued

Minnesota South Dakota Spoonbridge and Cherry, 1988, Claes Oldenburg with Crazy Horse Mountain, 1948, ongoing, Korczak Coosje van Bruggen, Minneapolis Ziolkowski and family, Keystone Mount Rushmore, c. 1927–1941, Gutzon Borglum, Keystone Missouri Badminton Shuttlecocks, 1994, Claes Oldenburg with Texas Coosje van Bruggen, Kansas City Broken Obelisk, 1963–1967, Barnett Newman, Houston Gateway Arch, 1966, Eero Saarinen, St. Louis Meeting of the Waters Fountain, 1939, Carl Milles, St. Virginia Louis Marine Corps War Memorial, 1954, Felix de Weldon, Spider, 1996, Louise Bourgeois, Kemper Museum of Arlington Contemporary Art, Kansas City Washington Twain (seven large cor-ten steel walls), 1982, Richard Serra, St. Louis Space Needle, 1961, Edward E. Carlson, Seattle

New Jersey Atmosphere and Environment X, 1969–1970, Louise Nevelson, Princeton

New Mexico Lightning Field, 1977, Walter De Maria, Quemado

New York Atlas, 1936, Lee Lawrie, Rockefeller Center, New York City Red Cube, HSBC Building, 1968, Isamu Noguchi, New York City Shadows and Flags, 1978, Louise Nevelson, Louise Nevelson Plaza, New York City Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Statue of Liberty, 1886, Frederic Bartholdi, New York Harbor Tilted Arc, 1981 (destroyed 1989), Richard Serra, New York City

North Dakota Sodbuster (farmer plowing with oxen), 1977, Fargo

Ohio Cincinnati Gateway, 1988, Andrew Leicester, Cincinnati Great Serpent Burial Mound, c. AD 900–1200, near Locust Grove Shuttlecock (one of four), 1994, Claes Oldenburg and Pennsylvania Coosje van Bruggen, aluminum, fiberglass-reinforced LOVE, 1978, Robert Indiana, Philadelphia plastic, paint, The Nelson-Atkins Museum of Art, Kansas City, Missouri, purchase: acquired through the generosity William Penn, 1893, Alexander Milne Calder, Philadelphia of the Sosland Family, photograph by Jamison Miller 298 The Art Teacher’s Book of Lists

9–10. Ceramics Definitions bisque. (sometimes called biscuit ware) a first firing of clay without glazes bone dry. unfired clay that is free of water and ready to fire burnish. to polish clay while it is in the greenware stage casting. to pour clay slip poured into plaster molds; allows mass reproduction of one form ceramic. clay products that have been fired for permanence china. translucent ware fired at 2230 degrees F.; porcelain clay. a moist earth of decomposed rock; used in products such as pottery, bricks, tiles, and sculpture coiling. a method of creating pots by building up bottom and walls with even, ropelike coils decal. designs that are transferred to ware before firing; often used in china decorating earthenware. low-fire pottery, usually red or tan, that has been fired to below 2000 F. Egyptian paste. low-fire, self-glazing body fires to a gloss or crackle finish engobe. a glaze made of clay diluted with water which is painted on greenware firing. making clay products permanent through baking at high temperatures in a kiln greenware. clay in an unfired state leather hard. unfired clay that isn’t quite dry, yet firm enough to carve or burnish raku. a low fire often done outdoors that produces dark areas and iridescence reduction firing. firing with insufficient oxygen; causes interesting color changes in glazes scgraffito. scratching designs through colored slip to allow the body color to show through scoring. making marks on two pieces of clay before joining with slip slab. clay evenly rolled and formed by draping or joining slip. clay diluted with water to the consistency of cream; used for joining or as an engobe stoneware. gray, reddish, or tan clay that has been high fired (cones 5 to 10)

talc. a compound added to white clay & Sons, Inc. Copyright © 2010 by John Wiley terra cotta. reddish clay that contains grog, commonly used for ceramic sculpture throwing. creating vessels on a potter’s wheel turning. completing a piece of ware by rotating on a wheel and trimming with tools underglaze. colors that can be painted on greenware that will show through a clear glaze wax resist. the application of melted wax to the foot or body of a clay object to resist the glaze wedging. kneading moist clay to eliminate air bubbles and produce a uniform texture Chapter 9 Sculpture and Ceramics 299

9–11. Equipment and Materials for Ceramics

armature. a support for clay while it is being built, such as pug mill. electric machine for mixing clay or pulverizing newspaper dried clay bat. a plaster form for drying clay (usually plaster poured pyrometer. temperature control for a kiln; can allow for auto- in an aluminum pie pan) matic shutoff at correct temperature battens (2). 1/4 × 1.5 × 12-inch boards for rolling out even rolling pins. used in rolling out slabs; also come with slabs of clay or to use one for paddling a hand-built carved textures to make patterns in clay vessel scale. used for weighing dry clay and mineral glaze formulas bead tree. nichrome wire for supporting beads while firing scraper. shaped piece of fine sheet steel for use in forming brushes for glaze. specially designed brushes with extra- objects stiff hair for applying glaze sinks. special clay traps should be installed in sinks for a caliper. measuring tool for checking symmetry and fitting ceramic room lids to pots slab roller. large flat-bed table with a rolling cylinder for clay. earth with special plastic quality that becomes hard making large, even slabs when fired spray bottle. used for spraying ceramic sculpture or other clay paddles. stick similar to a batten or ruler for paddling work-in-progress coil-built clay for evenness stilts. bar or three-pronged support for holding ceramic clay recycling barrels. large covered barrels on wheels or wares above the surface of a kiln shelf roll-around bases vent system. may be attached to bottom of a kiln or over a cone. mixture of clay and glaze with a specific, predeter- kiln, but a necessity for health, unless the kiln is in a mined melting point; used in firing separate room decorating wheel. a wheel that will turn to allow for ease wheel. a wheel for making pots driven by hand, foot, or in decorating pots electric power drape mold. plaster molds of varying shapes to support moist clay until it has dried CASTING MATERIALS AND EQUIPMENT earring holder. specialized holder for earrings in kiln Crea-Stone®. a refined form of plaster of Paris; may be elephant ear sponge. a specific shape of fine, natural sponge carved or cast extruder. a tool that produces variable decorative shapes hand-made paper pulp. created by grinding paper and/or when clay is forced through a hollow tube cotton linters in a blender firebrick. coarse brick used for lining kilns hydrocal. slower to set than plaster of Paris; has a less glaze. a finely ground mineral solution painted on bisque porous surface; can be carved Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley ware, which, when fired, becomes glassy hydrostone. hardest of the gypsum plasters; five times the grog. fired clay that has been pulverized for adding to clay strength of plaster of Paris; not for carving to reduce shrinkage mixing bowls and scraper. pliable bowls for mixing plas- hardwood tools. boxwood tools with a variety of end sur- ter; quick cleaning faces for modeling clay rubber mold-making kit (for casting rubber molds). molds heat-resistant gloves. fireproof gloves for removing warm that are easily removed and reusable pots from a kiln EQUIPMENT FOR CLAY MODELING kiln. electric, gas, or wood–fired oven for firing clay products clay extrusion tool. tube with interchangeable tips for kiln furniture. shelves, props (kiln shelf supports), and stilts making decorative clay details used inside a kiln to support clay products for firing clean-up tool set. set of tools of varied shapes for cleaning kiln screen. fireproof curtain on three-fold aluminum hard-to-reach places frame for protecting students from a kiln fettling knife. long-bladed knife especially for carving clay kiln wash. liquid to be applied to kiln shelves to keep greenware files. flexible files for cleaning greenware before glazeware from sticking firing; also for low-fire clay loop tools. tools with ribbons of wire for shaping and trim- loop tools. wooden-handled tools that hold loops made of ming ceramic objects heavy stainless steel ribbon in various shapes open storage. locking storage with steel-mesh sides to modeling tools. plastic or boxwood tools for creating detail allow air to circulate in clay sculpture plaster of Paris. calcined gypsum used in bats for drying shims. thin pieces of metal (cut from an aluminum pie clay and making molds for casting plate) or rigid plastic that may be used for casting potter’s ribs. shaped pieces of wood or metal for shaping, straight needle. needle in handle for throwing, decorating, smoothing wet clay or leveling a thrown pot 300 The Art Teacher’s Book of Lists

9–12. Teaching Ceramics

Here are some reminders for making life easy for yourself when you teach ceramics. Materials and equipment for ceramics are given in List 9–11. Whether it involves sculpture or pottery, ceramics is basically a four-step process of forming, firing, glazing, and re-firing. If these steps are followed, the piece may be permanently treasured. Many art teachers have students paint the fired pot with acrylics rather than glaze it and re-fire, but this is personal choice.

SAFETY • Avoid clogging a sink by rinsing hands and sponges in a bucket to allow the clay to settle to the bottom. Pour off the water, and recycle the clay by allowing it to dry on a plaster bat. • Because of the dust generated by dried clay, it is advisable to carefully sponge and dry tables immediately after use and have floors mopped as often as possible. • If your kiln is in the same room in which you teach, it is advisable to fire overnight after school and to have the kiln vented.

RULES • No clay throwing. If it happens, immediately put the student’s clay away for the period. • An older student who throws clay has the privilege of cleaning all the tools after school.

CARVING • Solid blocks of clay may be carved with plastic knives or kitchen knives. Avoid having any solid area thicker than 1 inch. A pencil could be used to make a hole to allow air to dry the inside of a thick area.

CASTING • Liquid clay (slip) is poured into a mold and allowed to dry to a thickness of one-fourth to one-half inch before pouring the rest of the liquid clay back into a container. Molds should be coated with grease before pouring. They may be made of plaster or heavy plastic.

CERAMIC SCULPTURE

• Clay is the basis for most large bronze sculptures because of the ease of changing shape by adding or sub- & Sons, Inc. Copyright © 2010 by John Wiley tracting clay. It is the basis for making plaster molds for casting or it is dried and fired as a finished piece of sculpture. Ideally, no surface should be larger than 1 inch thick to allow for complete drying. Clay should be well wedged before beginning.

COIL BUILDING • Coils may be thin (suggest to younger students about the thickness of a finger). Begin coiling onto a small slab or coiled circle, building three coils at a time, scoring as the coils rise, then smoothing inside and out. A tag board template (side view of a pot) may be helpful for making larger pots, to maintain the shape the student envisions. Try to avoid having students use water to smooth the outside of a vessel, as it tends to make it crack.

CONDITIONING CLAY • If a finger-thickness coil doesn’t crack when bent over a finger, it is the ideal elasticity. Instead, if clay straight from its wrapping is too dry, recondition it by poking holes with a wooden brush handle and filling them with water, wrapping the clay in plastic. If it is fully dry, put it in a bucket and cover with water, pouring off the water after the clay is reconstituted. Chapter 9 Sculpture and Ceramics 301

9–12. Continued

DRAPING • A ball of clay is wedged, then rolled out like a pie crust to make a slab. The slab may be draped over almost any size or shape container that allows it to hang without touching the tabletop. The edge may be trimmed or left uneven.

PINCH POTS • Pinch pots are a good starting point for any age student. It is good for learning to wedge a ball of clay by slapping between the hands before creating an opening. The ball is turned in the hands to support the clay and maintain an even thickness, as the thumb inside is pushing the clay outward. Remind students to go almost to the bottom and work up, to avoid having the pot become too wide at the top. Pinch pots may be joined together.

REPAIRING • If a piece breaks before it is dry, soak the two broken edges until they are the same degree of dampness, then put together with slip or slip with vinegar added. When a broken fired piece still has recognizable parts, it can be glued, filled in with plaster of Paris, and painted.

SLAB BUILDING • This popular form of ceramics allows for almost any sculptural form to be made. Ceramic tiles are made from slabs, and this method is appropriate for building a house or flower container. Use a rolling pin or 1-by-12-inch dowel and one-fourth- inch battens on either side when rolling out a slab to maintain evenness.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley WEDGING • Wedging can get quite violent and noisy as students understand how important it is to get out the bubbles. It is pretty effective (and quieter) to have students make balls and slap them back and forth in their hands for five to ten minutes.

WHEEL THROWING • The same precaution about wedging is doubly important when throwing clay on the wheel. A needle tool can be used to prick a bubble that is seen while throwing. Throwing itself is not so difficult once the students learn how to center clay on the wheel. After a pot is thrown, it should be Bob Allen’s wheel-thrown tall pot with handles is an example moved to a bat to dry overnight. When the pot is of selectively allowing light areas of poured glaze to show leather hard (unchanging shape, but still damp), it through. should be placed upside down on the wheel, held in place with blobs of clay, and the bottom finished with a loop tool. 302 The Art Teacher’s Book of Lists

9–13. Decorating Methods for Ceramic Vessels

Ceramic vessels from many cultures have similar shapes and decorative designs. Perhaps a need to make them waterproof was the original reason for firing and glazing. color oxides rubbed on combed designs glaze: brushed on, sprayed on, dipped gouge designs paddle marks patterned rolling pins pinch and twist coils on the outside scgraffito designs scratched through slip serrated wheel marks stamped designs straw imbedded in surface string rolled into surface, then removed trailed slip glaze This pot from the underglazes painted on greenware with Santa Clara Pueblo a clear glaze added after a first firing has an incised decoration; from the collection of Dr. and Mrs. Stephen Kunz

9–14. Famous Ceramics Artists

These are people whose developments in the field of ceramics have been passed on to successive generations.

Adams, Hank Murta, 1956 Lewis, Lucy, c. 1900–1992 & Sons, Inc. Copyright © 2010 by John Wiley Archambeau, Robert, 1933, Canada Lucero, Michael, 1953 Arneson, Robert, 1930–1992 Martinez, Maria Montoya, 1887–1980 Autio, Rudy, 1926–2007 Miyamura, Hideaki, 1955 (b. Japan) Bean, Bennett, 1941 Nagle, Ron, 1939 Cliff, Clarice, 1899–1972 Natzler, Gertrud, 1935–1971 (b. Austria) Cooper, Susie, 1902–1995, England Natzler, Otto, 1908–2007 (b. Austria) de Staebler, Stephen, 1933 Rhodes, Daniel, 1911–1989 DeVore, Richard, 1933–2006 Sainte Phalle, Nikki de, 1930–2002, France Dillingham, Rick, 1952–1994 Soldner, Paul, 1921 Duckworth, Ruth, 1919 (b. Germany) Turner, Robert C., 1913–2005 Frey, Viola, 1933–2004 Fritz, Robert C., 1920–1986 Van Briggle, Artis, 1869–1904 Gilhooley, David, 1943 Voulkos, Peter, 1924–2002 Gill, Andrea, 1948 Warashina, Patti, 1940 Hamada, Shoji, 1894–1978, Japan Wedgewood, Josiah, 1730–1795 Higby, Wayne, 1943 Wood, Beatrice, 1893–1998 Jeck, Douglas, 1963 Wright, Russell, 1904–1976 Larocque, Jean-Pierre, 1953 Youngblood, Nathan, 1954 Leach, Bernard, 1887–1979, England Zeisel, Eva, 1906 (b. Hungary) CHAPTER 10 ARCHITECTURE 10–1. Quotations About Architecture 10–2. Architectural Terms 10–3. Architectural Elements 10–4. Famous Architects and Buildings Around the World 10–5. Contemporary Architecture 10–6. Frank Lloyd Wright Houses and Buildings Open to the Public 10–7. Building Innovations from Many Cultures 10–8. American Building Styles 10–9. American Museum Houses by General Style 10–10. State Capitol Buildings and Their Architects 10–11. Vernacular Architecture 10–12. Eccentric Architecture 304 The Art Teacher’s Book of Lists

10–1. Quotations About Architecture

“I didn’t have anyone to play with so I made up my own world.” MAYA LIN, 1959, AMERICAN ARCHITECT, DESIGNER OF VIETNAM WAR MEMORIAL

“I think my best skill as an architect is the achievement of hand-to-eye coordination. I am able to transfer a sketch into a model into the building.” FRANK GEHRY, 1929, AMERICAN ARCHITECT

“A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.” FRANK LLOYD WRIGHT, 1867–1959, AMERICAN PRAIRIE SCHOOL ARCHITECT

“Always design a thing by considering it in its next larger context—a chair in a room, a room in a house, a house in an environment, an environment in a city plan.” EERO SAARINEN, 1910–1961, AMERICAN ARCHITECT, DESIGNER OF ST. LOUIS’S GATEWAY ARCH

“Consider the momentous event in architecture when the wall parted and the column became.” LOUIS KAHN, 1901–1974, AMERICAN ARCHITECT/PROFESSOR

“Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul.” LOUIS KAHN, 1901–1974, AMERICAN ARCHITECT/PROFESSOR

“God is in the details.” LUDWIG MIES VAN DER ROHE, 1886–1969, AMERICAN ARCHITECT, B. GERMANY

“Less is more.” LUDWIG MIES VAN DER ROHE, 1886–1969, AMERICAN ARCHITECT, B. GERMANY

“Less is a bore.” ROBERT VENTURI, 1925, AMERICAN ARCHITECT Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “Have nothing in your houses that you do not know to be useful, or believe to be beautiful.” WILLIAM MORRIS, 1834–1896, ENGLISH ARTS AND CRAFTS DESIGNER

“Architecture is the art of how to waste space.” PHILIP JOHNSON, 1906–2005, AMERICAN ARCHITECT

“Architecture should be dedicated to keeping the outside out and the inside in.” LEONARD BASKIN, 1922–2000, AMERICAN SCULPTOR AND GRAPHIC ARTIST

“No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder.” JOHN RUSKIN, 1819–1900, ENGLISH ART CRITIC Chapter 10 Architecture 305

10–2. Architectural Terms

• abbey. a religious center for monks or nuns; an abbey church and surrounding buildings • acropolis. the center of culture and religion in ancient Greek cities, usually located on a hill • acanthus. a plant with a large leaf, frequently represented on columns, friezes, and moldings • adobe. sun-dried brick made from mud and straw; used to construct homes • agora. the center of commerce and government in Greek cities – similar to a Roman forum • aisle. in a church, the space between the nave and supporting columns and the outside wall • altar. a location where offerings are made to a spirit; in Christian churches, a table-like structure • altarpiece. a decorative screen behind an altar, often with many scenes and movable wings • ambulatory. a walking space behind the high altar in a Gothic cathedral; covered walkway • amphitheater. an oval or circular building with tiers of seats • apse. a round or polygonal vaulted space behind an altar at the eastern end of a cathedral • aqueduct. a conduit for water transported from a distant source • arcade. a series of columns combined with arches to support a roof • arch. a (usually) curved structural element that spans an opening and supports the weight above • architrave. in classical architecture, the part between the column and the pediment • arena. an enclosed area for competitions or entertainment • Art Deco. architecture of the 1930s featuring flat roofs, geometric design, and simplified shapes • atrium. an open court in the center of a building or an entry court • balusters. short, rounded, pillar-like columns that support a railing on a balcony or balustrade • balustrade. a porch-like parapet or balcony that has a railing with short balusters • baptistery. a portion of a church that is used specifically for baptism; often octagonal or round • Baroque. type of architecture characterized by curved lines, movement, and excessive decoration • basilica. a long colonnaded hall used in Roman times for commerce; later used for church design • Bauhaus. a German school that brought together all the arts and united them through architecture • bay. an opening in a building that is created by walls or columns; a projecting window unit • beam. a support for a roof or floor, usually going from wall to wall • blind arcade. a series of decorative columns attached to a wall

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • bracket. a weight-bearing support that projects outward from a wall • brickwork. decorative arrangement of bricks; particularly popular in Victorian architecture • broken pediment. a triangular pediment separated by a half-circle at its apex • bungalow. an early 1900s house style with brick and a hipped roof • buttresses. projecting supports that allow exterior walls to be built higher • campanile. Italian word for a bell tower such as the Leaning Tower of Pisa • cantilever. a projecting structure such as a balcony, supported by a downward force • capital. the top of a column; a variety of styles from various cultures • caryatid. a carved female figure that substituted for a column to support a roof • cathedral. a church that contains the throne of a bishop (cathedra) • chancel. the eastern part of a church reserved for the clergy • choir. the part of a church behind the altar for singers and the clergy • classical temple. design standards from ancient Greece and Rome • clerestory. the window-filled upper portion of a wall • cloister. an open courtyard surrounded by a covered colonnade • coffer. a boxlike ceiling, often octagonal or rectangular Greek Caryatid • colonnade. a series of columns at regular intervals supporting a roof or arches • colossal order. columns or decorative pilasters that extend through more than one story • column. a usually round or fluted post to support beams or a roof • composite order. a capital that consists of the acanthus leaf combined with a volute (Roman) • corbel. a projecting support usually of carved blocks of stone or wood • cornice. a horizontal roof overhang; raking cornice is a diagonal overhang found in a pediment 306 The Art Teacher’s Book of Lists

10–2. Continued

• crenellation (battlement). the upper story of a castle that has openings for archers • crossing. the central area of a church where a transept intersects a nave • cupola. a small dome atop a roof • dome. a round or elliptical vaulted roof, on top of a church or government building • dormer. an attic window usually with a gable and roof • eaves. the lower portion of a roof that projects beyond the wall • elevation. a straight-on drawing of one side of a building without using perspective • engaged column. a column attached to the wall directly behind it • entablature (architrave, frieze, and cornice). the structure between columns and a roof • entasis. the gentle convex swelling of a column that makes it appear straight rather than concave • façade. the front view (elevation) of a building • Federal style. style of building in the United States from 1789 to c. 1830; neo-Classicism • fenestration. the use of windows in a building • finial. an ornament that caps something such as a newel post, buttress, roof apex, or canopy • fluting. ornamental grooves carved into a vertical column • flying buttress. a support for a wall with an arched opening to give it strength • folly. an apparently useless building that enhanced the view; for example, a fake “ruin” • formal balance. symmetrical arrangement of architectural elements on each side of a center axis • forum. a place of assembly for markets, religion, commerce, and justice • fresco. decorative painting done on wet lime or gypsum plaster • frieze. decorative ornamentation that is part of the entablature; a decorative strip on upper walls • gable. the upper, pointed part of a wall underneath a pitched roof • gallery. an open second story above the aisle of a church and below the clerestory • gambrel roof. barn-like roof imported to the United States from Holland • gargoyle. a beast or monster of lead or carved stone used as a water spout • gazebo. a small open-air summer house with a view • geodesic dome. a geometric dome created with light metal bars, connectors, and glass

• Georgian style. architecture associated with Kings George I, II, III, and IV (1714–1820) & Sons, Inc. Copyright © 2010 by John Wiley • girder. a beam, usually steel • Gothic cathedral. a church with flying buttresses and pointed-arch windows (c. 1250 to c. 1500) • Greek Orthodox church. a cross-shaped church with all four wings of the same length • groin. an angle formed by two intersecting vaults • half-timbering. exterior decorative timber allowed to show on top, contrasting with white walls • hall church. a church with nave and aisles of the same height • hipped. a traditional gabled roof, but with the ends slanted and enclosed • hippodrome. an enclosed racecourse or theater that featured animal acts • hypostyle hall. a large hall with the roof supported by numerous columns • impost. the widened space at the top of a column or pier that joins an arch or vault to the pier • international style. box-like buildings, often with walls of glass • jambs. the vertical sides of an opening such as a church entrance; frequently carved • keystone. the stone that goes at the very top of an arch to complete its load-bearing quality • lantern. a round turret with side openings that extends above a dome to let in light • lintel. the horizontal beam at the top of two vertical supports to support the wall above it • loggia. an attached gallery that is open on one side with an arcade or columns • lunette. a semicircular space above a door or window (similar to a tympanum) • machicolation. the opening behind battlements in a castle that allows oil or pitch to be poured • mansard roof. a roof with two slopes, the first quite steep, the second less steep • mausoleum. an imposing tomb, usually for an important person; for example, the Taj Mahal • mihrab. a small niche in a mosque wall (qibla) that shows the direction of Mecca Chapter 10 Architecture 307

10–2. Continued

• minaret. slender tower(s) attached to a mosque from which prayers are sung • molding. a decoratively carved ornamental strip mostly used in classical architecture • mosaic. a decorative floor or wall mural made of pieces of stone or colored glass • narthex. a porch in the front of a church or a vestibule just outside the nave of the church • nave. the long space in a Christian church reserved for worshippers • niche. a rounded, concave opening in a wall for sculpture • obelisk. a monumental block of stone tapered at the top, originated in Egypt • onion dome. a bulbous, pointed dome frequently seen in Byzantine architecture • oculus. literally an eye (round window) to let in light, such as that in the Pantheon • orders of architecture. a system of categorizing columns and the entablature • pagoda. a Chinese or Indian temple built of many stories, each smaller than the one below • Palladian. an architectural movement based on the work of Andrea Palladio • parapet. a low wall at the edge of a balcony or terrace • pedestal. the lowest part of a support for a column, often square St. Basil’s Cathedral, Moscow • pediment. the triangular decoration above a door or temple, often decoratively carved • peristyle court. a many-columned court (colonnade) around an open courtyard • pier. a massive support, sometimes square, but often formed of several columns (compound pier) • pilaster. a squared flat attached (engaged) column with capital and base • pillar. a vertical structural support, includes columns, piers, and pilasters • porte cochere. a covered area that allows passengers to be sheltered while leaving a vehicle • post and lintel. a support system that consists of vertical uprights and a horizontal beam • postmodernism. a 1970s style that is based on traditional classical or decorative architecture • proscenium. a Roman or Greek stage; the space between the curtain and an orchestra • pylon. sloping walls (as in Egyptian temples) or flanking structures at an entrance or bridge • pyramid. a structure with a square base with sides that slope upward to a point • qibla. the wall in a mosque that faces Mecca and contains the mihrab niche • rose window. a stained-glass circular window with tracery, often found in Gothic churches Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • rotunda. a circular interior space, usually surmounted by a dome • rustication. the deliberate roughness left on stone; also indented edges where stones were joined • sacristy. a room near the altar where clothing and vessels for a church service are kept • sanctuary. the inner part of a church where the altar and worshippers are • shaft. the vertical portion of a column or pilaster • spandrel. the triangular area formed between the tops of two adjacent arches • spire. the pointed top portion of a tower • squinch. a triangular arch placed on the diagonal to link a rounded dome to a square base • stoa. a long narrow building used for a market in Greek and Roman cities • stringcourse. a decorative, often contrasting, horizontal band on a building • terrazzo. marble chips and cement combined and poured, then highly polished • tracery. stone or wood decorative patterns carved in stained-glass windows, panels, and screens • transept. the arm of a church that forms a right angle “crossing” in a basilican-style church • turret. a small tower attached to the top of a castle • tympanum. a rounded space above doors usually filled with sculpture • vault. an arched ceiling usually of brick, stone, or concrete • veranda. an attached open porch supported by columns • volute. a scroll ornament used in Ionic and (often) Corinthian capitals • wattle and daub. a wall composed of woven branches filled with mud or plaster • westwork. the west end of a church that contains the main doorway, towers, and narthex • ziggurat. a flat-topped pyramid formed of a series of platforms on which a temple was built 308 The Art Teacher’s Book of Lists

10–3. Architectural Elements

This list of architectural elements is a useful reference for teachers and students when looking at traditional and contemporary architecture. The drawings represent styles and innovations in architecture throughout its history and are as applicable for today’s builders as they were for the “gentleman architects” of Thomas Jeffer- son’s day who designed their own homes. Without historical references, the “built world” would be a boring place indeed. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Chartres, Flying buttresses at the Crossing, Neg. date, 1929, Charles Sheeler, photograph, gelatin silver print, anonymous lender, courtesy Museum of Fine Arts, Boston Chapter 10 Architecture 309

10–4. Famous Architects and Buildings Around the World

The “buildings” that remain all over the world often give us our only clues about the civilization that existed in that place. Contemporary architecture is so international that a building might be designed for almost any country by an architect of almost any nationality. Architects’ names are listed if known.

Sydney Opera House, 1957–1973, Jorn Utzon AUSTRALIA Fuller, Buckminster, 1895–1983, USA, Geodesic Dome, 1967, U.S. Pavilion, 1967, Montreal, Quebec Cox, Philip, 1939, Richardson and Taylor, Darling Harbor Redevelopment, 1988, Sydney Fuller, Thomas, 1823–1898, and Chilion Jones, 1835–1912, Parliamentary Library, 1859–1867, Utzon, Jorn, 1918–2008, Opera House, 1957–1973, Ottawa Sydney Michaud, Joseph, 1822–1902, Cathedral of St. James AUSTRIAN BAROQUE (with Bourgeau), 1875–1885, Montreal Fischer Von Erlach, Johann Fischer, 1656–1723, O’Donnel, James, 1774–1830, Notre Dame, 1824–1829, Karlskirche, 1715–1737, Vienna Montreal Hildebrandt, L. Von, 1668–1745, Upper Belvedere Revell, Viljo, 1910–1964, City Hall, 1958–1965, Toronto Palace, 1721–1722, Vienna Safdie, Moshe, 1938, b. Israel, with David Barott/ Neumann, Balthasar, 1687–1753, Church of Boulva, architects, Habitat, 1964–1967, Montreal Vierzehnheiligen, 1743–1771, Vienna CHINA Prandtauer, Jakob, 1660–1726, Benedictine Abbey, Big Goose Pagoda, 652, Xian 1702–1714, Melk Fo Kuang Temple Hall, 857, Beijing AUSTRIAN ART NOUVEAU Forbidden City, begun 1406, Beijing Loos, Adolf, 1870–1933, Steiner House, 1910, Vienna Great Wall of China, unified 210 BC, may be seen near Wagner, Otto, 1841–1918, Postal Savings Bank Beijing Office, 1904–1912, Vienna Summer Palace, built and rebuilt, 1750, 1888, 1903,

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Beijing BELGIUM Sung Yueh Pagoda, 523, Mount Sung, Shanghai Hoffman, Joseph, 1870–1956, b. Germany, Palais CHINESE MODERN OR CONTEMPORARY Stocklet, 1904–1915, Brussels Horta, Victor, 1861–1947, House, #4 Avenue Ng Chun Man, 1959–2008, Central Plaza, 1992, Palmerson, 1894, Brussels Hong Kong van de Velde, Henri, 1863–1957, Weimar School of EGYPT Arts and Crafts, 1907, Weimar, Germany Funerary Temple of Queen Hatshepsut, 1480 BC, BRAZIL Thebes Great Sphinx, c. 2530 BC, Giza Lisboa, Antonio Francisco, Church of São Francisco, 1766–1794, Ouro Preto, Brazil Pyramids of Giza, 2780–2300 BC Niemeyer, Oscar, 1907, Palace of the National Temple of Amon, c. 1570–1085 BC, Karnak Congress, 1960, Brasilia Temple of Horus, Edfu, c. 230 BC, Edfu Temple of Rameses II, CANADA c. 1257 BC, Abu Baillairgé, Thomas, 1791–1859, St. Joseph Lauzon, Simbel 1830–1832, Quebec Imhotep, active 2600– Bourgeau, Victor, 1809–1888, Cathedral of St. James, 2650 BC, Pyramid 1875–1885, Montreal of King Djoser, c. Cumberland, W.C., 1821–1881, University College, 2630 BC, Sakkara 1856–1858, Toronto Geodesic Dome 312 The Art Teacher’s Book of Lists

10–4. Continued

FRANCE Cathedral, 1220–1236, Amiens Chartres Cathedral, 1145–1260, Chartres Mont Saint Michel, 1203–1264, Mont Saint Michel Notre Dame, 1163–1250, Paris Stonehenge, 2300–1600 BC Pont du Gard (Roman aqueduct), 27 BC–AD 14, Nimes Sainte-Chapelle, 1243–1248, Paris ENGLAND St. Sernin Cathedral, 1080–1120, Toulouse Salisbury Cathedral, 1220–1270, Salisbury Stonehenge, 2300–1600 BC, near Salisbury Winchester Cathedral, c. 1394–1450, Winchester

ENGLISH BAROQUE Burlington, Lord, 1694–1753, William Kent, 1685–1748, Chiswick House, 1729, London Notre Dame, 1163–1250, Jones, Inigo, 1573–1652, Queen’s House, Greenwich Paris Palace, 1616–1635, Kent FRENCH RENAISSANCE AND POST-RENAISSANCE Kent, William, 1685–1748, and Lord Burlington, 1685–1748, Holkham Hall, begun 1734, Norfolk Chateau of Chambord, architect(s) unknown, c. 1526–1544 ENGLISH LATER PERIODS Perrault, Claude, 1613–1688 (with Louis Le Vau), East Front of the Louvre, 1667, Paris Barry, Sir Charles, and A. Welby Pugin, 1795–1860, Houses of Parliament, 1840–1865, London FRENCH BAROQUE AND NEO-CLASSICAL Nash, John, 1752–1835, Royal Pavilion at Brighton, Garnier, Charles, 1829–1898, Opera House, 1850– 1802–1821, Brighton 1870, Paris; Casino, 1878–1881, Monte Carlo Soane, Sir John, 1753–1837, Dulwich Art Gallery, Hardouin-Mansart, Jules, 1646–1708, with Louis Le 1811–1814, Dulwich Vau, 1669–1685, Versailles & Sons, Inc. Copyright © 2010 by John Wiley Vanbrugh, Sir John, 1664–1726, Blenheim Palace, L’Enfant, Pierre Charles, 1754–1825, City Plan of 1705–1724, Oxfordshire Washington, D.C., 1791, Washington, D.C. Walpole, Horace, 1717–1797, Strawberry Hill, Vignon, Alexander-Pierre, 1763–1828, Church of the 1749–1777, Twickenham Madeleine, 1806–1845, Paris Wood, John, the elder, 1704–1754, Royal Crescent, begun 1754, Bath Wren, Sir Christopher, 1632–1723, St. Paul’s Cathedral, 1675–1710, London; College of William and Mary, 1695–1702, Williamsburg, Virginia

ENGLISH MODERN AND CONTEMPORARY ARCHITECTURE Church of the Madeleine, Chipperfield, David, 1953, Neues Museum, 2009, Berlin Paris, Alexander-Pierre Vignon Foster, Norman, 1935, London Millennium Bridge, 2000, London; London City Hall, 2003 FRENCH MODERN AND CONTEMPORARY Luytens, Sir Edwin L., 1869–1944, British Embassy, Eiffel, Gustave, 1832–1923, Eiffel Tower, 1887–1899, Paris 1927–1928, Washington, D.C. Guimard, Hector, 1867–1942, Designs for the Metro, 1899–1904, Paris FINLAND Matisse, Henri, 1869–1954, Chapel of the Rosary, Aalto, Alvar, 1898–1976, Baker House, M.I.T., 1949; 1950–1951, Vence Village Center, 1951, Saynatsalo Piano, Renzo, 1937 (Italian), and Richard Rogers, Saarinen, Eliel, 1873–1950, Railroad Station, 1905– 1933 (English), Centre Georges Pompidou for 1914, Helsinki Arts and Culture, 1977, Paris Chapter 10 Architecture 313

10–4. Continued

GERMANY INDIA

Porta Nigra, c. AD 320, Trier Ajanta Cave #1, late 5th century, Ajanta The Carolingian Palatine Chapel, 792–805, Aachen Great Stupa, 3rd century BC–AD early 1st century, Sanchi GERMAN BAROQUE AND NEO-CLASSICAL Great Temple Complex, 17th century, Madurai Neumann, Johann Balthasar, 1687–1753, Bishop’s Kailasa Temple, Ellora, 8th century AD, Maharashtra Residenz, c. 1717–1744, Wurzburg Kutub Minaret, 1200, Delhi Pöppelmann, Matthäus, 1662–1736, Zwinger Palace, Surya Temple, c. 1240, Konarak, Eastern Ganga 1709–1728, Dresden Emperor Shah Jahan, 1592–1666, Taj Mahal, Schinkel, Karl Friedrich, 1781–1841, 1630–1650, Agra Schauspielhaus, 1819–1821, Berlin IRAN GERMAN MODERN AND CONTEMPORARY Blue Mosque, 1467, Tabriz Behrens, Peter, 1868–1940, A.E.G. Turbine Factory, Darius’ Palace, c. 520 BC, Persepolis 1908–1909, Berlin Legislature Buildings, 1964, Teheran Gropius, Walter, 1883–1969, Bauhaus Building, 1925–1926, Dessau IRAQ

Jahn, Helmut, 1940, Messeturm, 1990, Frankfurt; Audience Hall of the Temple, c. 500 BC, Persepolis, Suvarnabhumi Airport, Bangkok, Thailand near Baghdad Mendelsohn, Erich, 1887–1953, The Einstein Tower, Babylon Ruins, 6th century BC, near al-Hillah 1919–1921, Potsdam Ishtar Gate, Babylon, 604–562 BC, ruin reconstructed Speer, Albert, 1905–1981, Reichschancellery, at State Museums, Berlin 1933–1938, Berlin Maliwa (spiral brick minaret), c. 1000, Samarra

GREECE ITALY

Altar of Zeus, Pergamon, Italy, c. 180 BC (now on Ara Pacis, 13–9 BC, Rome view in Berlin) Basilica (Temple of Hera I), 530 BC (Doric), Paestum

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Callicrates, Temple of Athena Nike, c. 427 BC, Athens Baths of Caracalla, AD 212–216, Rome Erechtheum, Portico of the Caryatids, 421–405 BC, Forum Romanum, 46 BC, Rome Athens Hadrian’s Villa, AD 125–138, near Rome Ictinus, active 420–410 BC, Temple of Apollo, Pantheon, c. 118 BC–AD 25, Rome 513–505 BC, Delphi S. Maria Maggiore, c. AD 432, Rome Ictinus, Callicrates, and Phidias, c. 440 BC, Parthenon, Acropolis, 447–432 BC, Athens The Colosseum, AD 72–80, Rome Palace of Minos, c. 1700–1400 BC, Knossos, Crete Tomb of the Reliefs, 6th to 4th centuries BC, Ceveteri Tholos Tomb, Lion Gate, c. 1250 BC, Mycenae

Colosseum, Rome, Parthenon, c. 440 BC, Ictinus, Callicrates, AD 72–80 and Phidias

GREEK BYZANTINE ITALIAN BYZANTINE

Church of Gorgeopekos, c. 1190–1195, Athens Mausoleum of Galla Placida, c. AD 425, Ravenna Church of the Holy Apostles, 1310–1314, Salonica San Apollinare in Classe, AD 432–449, Classe (near Church of Our Lady of the Coppersmiths, 1028, Ravenna) Thessaloniki St. Mark’s Cathedral, c. 1063, Venice 314 The Art Teacher’s Book of Lists

10–4. Continued

ITALIAN MEDIEVAL Watanabe, Hitoshi, 1887–1973, Imperial Museum, 1938, Tokyo Pisano, Giovanni, 1245–1315, and others, Cathedral Group, 1063–1350, Pisa; Sienna Cathedral Yamasaki, Minoru, 1912–1986, World Trade Center, 1972, New York City (destroyed 2001) ITALIAN ROMANESQUE MEXICO Cathedral, 1380, Milan Chichen Itza, 12th century, Yucatan Doges Palace, 1345, Venice Monte Alban, c. 500 BC–AD 1469, Oaxaca Giotto (de Bondone), c. 1266–1337, Campanile, Cathedral, 1334–1337, Florence Temple of Quetzalcoatl, 770–829, Teotihuacan Tenochtitlan, begun AD 1325, Mexico City ITALIAN RENAISSANCE Terraced City, c. AD 900, Uxmal Tula Ruins, 12th to 13th centuries, Toltec, near Michelangelo (Buonarroti), 1475–1564, Medici Chapel, Mexico City 1520–1534, Florence; Dome of St. Peter’s, Rome Palladio, Andrea, 1508–1580, Villa Rotunda, 1567– 1570, Vicenza

ITALIAN BAROQUE Bernini, Gian Lorenzo, 1598–1680, interior and colonnade of St. Peter’s, 1656–1667, Rome Borromini, Francesco, 1599–1667, San Carlo alle Quattro Fontane, 1665–1667, Rome Mexico City Cathedral Brunelleschi, Filippo, 1377–1446, Cupola of Santa THE NETHERLANDS Maria del Fiore (Cathedral), 1420–1436, Florence Berlage, Hendrik P., 1856–1934, Diamond Workers’ ITALIAN MODERN Union Building, 1899–1901, Amsterdam Koolhaas, Rem, Kunsthal, 1944, Rotterdam; Congrexpo, Nervi, Pier Luigi, 1891–1979, Palazzetto dello Sport, 1997, Lille, France 1956–1957, Rome & Sons, Inc. Copyright © 2010 by John Wiley Rietveld, Gerrit, 1888–1964, Rietvelt Chair; Schroder House, 1924, Utrecht JAPAN van de Velde, Henri, 1863–1957, (Belgian) Kröller- Edo Castle, c. 16th century, Tokyo Müller Museum, 1938, Otterlo, Holland Great Buddha Hall, begun AD 738, Nara Kinkakuji (Golden Pavilion), 1397, Kyoto PORTUGAL Temple of Horyu-ji, Asuka period, begun AD 607, Nara Olivera, Mateus Vicente de, 1706–1786, Palacio Nacional de Queluz, 1747–1752, Lisbon JAPANESE MODERN AND CONTEMPORARY Ando, Tadao, 1941, Matsumoto Residence, 1980, RUSSIA Wakayama; Pulitzer Foundation for the Arts, St. Basil’s, 1554–1560, Moscow 2001, St. Louis, Missouri; Modern Art Museum, 2002, Fort Worth, Texas Isozaki, Arata, 1931, Museum of Contemporary Art, SCOTLAND 1984, Los Angeles Adam, Robert, 1728–1792, Syon House, 1762–1769, Ito, Toyo, 1941, Library of Tama University, 2007, Middlesex, England Tokyo; Vivo City, 2005, Singapore Gibbs, James, 1682–1754, King’s College Fellows’ Otani, Sachio, 1924, International Conference Building, 1724–1749, Cambridge Building, 1963–1966, Kyoto Macintosh, Charles Rennie, 1868–1928, School of Tange, Kenzo, 1913–2005, Olympia Sports Stadium, Art, begun 1896, Glasgow 1963–1964, Tokyo; Akasaka Prince Hotel, 1983, Telford, Thomas, 1757–1834, St. Katherine’s Docks, Tokyo; City Hall, 1952–1957, Tokyo 1827, London Chapter 10 Architecture 315

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SWEDEN Polycleitos the younger, Theater, c. 350 BC, Epidaurus Ostberg, Ragnar, III, 1866–1945, City Hall, 1909–1923, Temple of Artemis, c. 356 BC, Epidaurus Stockholm SWITZERLAND Tessin, Nicodemus, II, 1615–1681, Drottningholm Pal- ace, 1662, Stockholm Botta, Mario, 1943, San Francisco Museum of Art, 1995 SPAIN Herzog, Jacques, 1950, and Pierre de Meuron, 1950, Alcazar, 14th century, Seville Goetz Collection, c. 1997, Munich Mosque of Cordoba, 8th–9th centuries, Cordoba LeCorbusier (Charles-Edouard Jeanneret), 1887– 1965, Swiss-French, United Nations Buildings, Saint James of Compostela, 1060–1130, Santiago de 1947–1953, New York City; Notre Dame du Haut, Compostela 1955, Ronchamp, France The Alhambra, Court of the Lions, Moorish, 1354–1391, Granada, Andalusia U.S. COLONIAL ARCHITECTURE, c. 1600–1820

SPANISH BAROQUE Castillo de San Marcos, 1672–1754, St. Augustine, Florida de Ribera, Pedro, 1681–1742, Hospice of San Drayton Hall, 1738–1742, Charleston County, F ernando (Municipal Museum), 1722, Madrid South Carolina Izquierdo, Francisco Hurtado, 1669–1725, Sacristy of First Baptist Meeting House, 1774–1775, Providence, the Cartuja, 1732–1743, Granada Rhode Island SPANISH ART NOUVEAU Governor’s Palace, 1609–1614, Santa Fe, New Mexico Gaudi, Antoni, 1852–1926, Church of the Sagrada Independence Hall, 1731, Philadelphia Familia, 1883–1926; Casa Mila, 1905–1910, San Esteban, pre-1644, Acoma, New Mexico Barcelona Buckland, William, 1734–1774, Hammond-Harwood Toledo, Juan Bautista da, d. 1567 (with Juan de Herrera, House, 1774, Annapolis, Maryland 1530–1597) Escorial, begun 1559–1853, Madrid Bulfinch, Charles, 1763–1844, Beacon Monument, 1791, and State House, 1795–1798, Boston SPANISH CONTEMPORARY

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Cary, Henry, no date, Palace of the Governors, 1749– Calatrava, Santiago, 1951, Turning Torso, 2005, Malmö, 1751, Williamsburg, Virginia Sweden Jefferson, Thomas, 1743–1826, Monticello, 1772, near Moneo, Rafael, 1937, enlargement of Prado Museum, Charlottesville, Virginia 2007, Madrid; Chace Center Museum, Rhode Latrobe, Benjamin, 1764–1820, Baltimore Cathedral, Island School of Design, 2008, Providence 1804–1821, Baltimore, Maryland Smibert, John, 1688–1751, Faneuil Hall, 1740–1742, TURKEY Boston Binbirdirek Cistern (the Cistern of the Thousand and Smith, Robert, c. 1722–1777, Carpenters’ Hall, One Columns), 6th century, Istanbul 1770–1775, Philadelphia Isidore of Miletus and Anthemius of Tralles, Hagia The “Saron” or Sister’s House, 1743, Ephrata, Sophia, AD 532–537, Istanbul Pennsylvania Library of Celsus (façade), AD 135, Ephesus, Turkey Thornton, Dr. William, 1759–1828, U.S. Capitol Mosque of Sultan Suleyman, 1150, Istanbul Building Design, 1793–1827, Washington, D.C.

U.S. ROMANTIC ARCHITECTURE, c. 1820–1880 Furness, Frank, 1839–1912, Pennsylvania Academy of Fine Arts, 1872–1876, Philadelphia Mills, Robert, 1781–1855, Washington Monument, 1848–1884, Washington, D.C. Renwick, James, 1818–1895, Renwick Gallery, Blue Mosque, Istanbul, 1859–1861, and The Smithsonian Institution, 11th century 1846–1855, Washington, D.C. 316 The Art Teacher’s Book of Lists

10–4. Continued

U.S. ART DECO STYLE Hood, Raymond, 1881–1934 (with John Mead H owells), Tribune Tower, 1923–1925, Chicago; Rockefeller Center, 1931–1939, with Wallace K. Harrison and others, New York City Mizner, Addison, 1872–1933, Everglades Club, 1918–1919, Palm Beach, Florida; Gulfstream Renwick Gallery, 1859–1861, Second Golf Club, 1923, Palm Beach, Florida Empire Style, Washington, D.C. Shreve, Lamb, and Harmon, Empire State Building, 1932, New York City Strickland, William, 1788–1854, Tennessee State Van Alen, William, 1883–1954, Chrysler Building, Capitol, 1845–1859, Nashville 1930, New York City Upjohn, Richard, 1802–1878, Trinity Church, 1839–1846, New York City U.S. ARCHITECTURE BETWEEN THE TWO WORLD WARS Walter, Thomas Ustick, 1804–1887, United States Morgan, Julia, 1872–1957, La Casa Grande (Hearst Capitol, 1855–1864, Washington, D.C. Castle), 1919–1939, San Simeon, California Neutra, Richard, 1892–1970, House for Dr. Phillip U.S. VICTORIAN ARCHITECTURE, c. 1860–1900 Lovell, 1927–1929, Los Angeles Adler, Dankmar, 1844–1900, b. Germany, Audito- Wright, Frank Lloyd, 1867–1959, Fallingwater, 1936, rium, 1886–1890, Chicago Bear Run, Pennsylvania Fowler, Orson Squire, 1809–1887, Longwood (Octagon House), 1860–1862, Natchez, Mississippi Hunt, Richard Morris, 1827–1895, Biltmore House, 1895, Asheville, North Carolina; The Breakers, 1892–1895, and The Griswold House, 1863, New- port, Rhode Island Richardson, Henry Hobson, 1838–1886, Sever Hall, 1878–1880, Harvard, Cambridge, Massachusetts Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Sullivan, Louis, 1856–1924, Carson, Pirie, Scott Building, 1898–1904, Chicago White, Stanford, 1853–1906 (McKim, Mead, and La Casa Grande, White), William G. Low House, 1887, Bristol, 1919–1939, San Simeon Rhode Island

U.S. EARLY 20TH CENTURY ARCHITECTURE U.S. POST–WORLD WAR II ARCHITECTURE Burnham, Daniel Hudson, 1846–1912, Flatiron Breuer, Marcel, 1902–1981, b. Hungary, Whitney Building, 1902, New York City Museum of American Art, 1963–1966, New York Gilbert, Cass, 1859–1934, Woolworth Building, 1913, City New York City; Saint Louis Art Museum, 1904, Harrison, Wallace K., 1895–1981, United Nations St. Louis, Missouri Secretariat, 1947–1950, New York City Greene, Charles Sumner, 1868–1957, Gamble House, Johnson, Philip, 1906–2005, Seagram Building, 1908–1909, Pasadena, California 1954–1958, with Ludwig Mies van der Rohe, Greene, Henry Mather, 1870–1954, J.H. Cuthbertson New York City House, 1902, Pasadena, California Kahn, Louis I., 1901–1974, Kimbell Art Museum, McKim, Charles, 1847–1909, Public Library, 1887– 1972, Fort Worth, Texas 1895, Boston Mies van der Rohe, Ludwig, 1886–1969, Lake Shore Saarinen, Eliel, 1873–1950, b. Finland, Cranbrook Drive Apartments, 1948–1951, Chicago; Dr. Edith Foundation Buildings, 1926–1943, Michigan Farnsworth House, 1945–1951, Plano, Illinois Chapter 10 Architecture 317

10–4. Continued

Gropius, Walter, 1883–1969, b. Germany, Pan Am Building, 1958–1963, New York City Meier, Richard, 1934, Getty Museum, 1997, Los Angeles Stern, Robert, 1939, Euro Disney Complex, 1991–1992, with Arata Isozaki, Frank Gehry, Charles Gwath- mey, Robert Siegel, and Michael Graves, Orlando, Florida Lake Shore Drive Apartments, 1948–1951, Mies van Der Rohe Venturi, Robert, 1925, Vanna Venturi House, 1963–1965, Chestnut Hill, Pennsylvania Pei, Ioeh Ming (I.M.), 1917, East Building, National Yamasaki, Minoru, 1912–1986, b. Japan, World Trade Gallery of Art, 1968–1978, Washington, D.C.; Rock Center, 1972, New York City (destroyed 2001) and Roll Hall of Fame, 1986, Cleveland, Ohio Saarinen, Eero, 1910–1961, b. Finland, Gateway Arch, ARCHITECTURAL ICONS BY UNKNOWN BUILDERS completed 1965, St. Louis, Missouri; Dulles Inter- national Airport, 1958, Washington, D.C. Angkor Wat Temple-Mountain, 1113–1150, Angkor, Skidmore, Louis, 1897–1962 (Skidmore, Owings and Cambodia Merrill), Lever House, 1950–1952, New York City; Borgund Church, c. 1150, Borgund, Norway United States Air Force Academy, 1955–1958, Diocletian’s Palace, 300, Split, Croatia Colorado Springs Great Mosque at Samarra, 847, Iran Stone, Edward Durrell, 1902–1978, Kennedy Center Great Mosque of Djenné, Djenné, Mali for the Performing Arts, 1971, Washington, D.C. Khazna Temple, c. AD 120, Petra, Jordan Stubbins, Hugh, 1912–2006, and Associates, City Machu Picchu, AD 1450, Peru Corp Center, 1974–1977, New York City Stupa at Borobudur, 8th century, Java, Indonesia U.S. POST-MODERN AND CONTEMPORARY ARCHITECTURE Temple of Bacchus, 2nd century, Baalbek, Lebanon Graves, Michael, 1934, Whitney Museum of Treasury of Atreus (Beehive tomb), c. 1300–1250 BC, American Art, 1981, New York City; Portland Mycenae Public Services Building, 1980, Portland, Oregon Western Enclosure, c. AD 1000–1500, Zimbabwe Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

The Great Mosque at Samarra, Dulles International Airport, Eero Saarinen 847, Iran 318 The Art Teacher’s Book of Lists

10–5. Contemporary Architecture

These buildings were the beginning of the International movement. In this list American architects are building internationally, and many buildings in the United States are designed by architects from other countries. Gehry, Frank, 1929, Guggenheim Museum, 1997, Bilbao Spain; New World Symphony Campus, Miami Beach, Florida, 2010; Walt Dis- Guggenheim Museum, 1997, Frank Gehry, ney Concert Hall, 2003, Los Angeles Bilbao, Spain Graves, Michael, 1934, Paul Robeson Center for the Arts, 2008, Princ- eton, New Jersey; Detroit Institute of Arts expansion, 2007 Hadid, Zaha, 1950, b. Lebanon, Contemporary Arts Center, Cincinnati; Solomon R. Guggenheim Museum, 2006, New York City; Lois & Richard Rosenthal Center for Contemporary Art, 1998, Cincinnati Holl, Steven, 1947, expansion of the Nelson-Atkins Museum of Art, 2008, Kansas City, Missouri; Helsinki Museum of Contemporary Art, 1998, Finland Libeskind, Daniel, 1946, b. Poland, extension to Denver Art Museum, 2006 Mayne, Thom, 1942, San Francisco Federal Building, 2006 Meier, Richard, 1934, Meier Tower, 2008, Tel Aviv, Israel; Getty Center, 1997, Los Angeles Pei, Ieoh Ming (I.M.), b. China, 1917, Entrance Pyramid, Le Grand Louvre, 1989, Paris; Rock and Roll Hall of Fame, 1995, Cleveland, Ohio; East building, The Museum of Islamic Art, 2008, Doha, Qatar Piano, Renzo, 1937, b. Italy, Whitney Museum of American Art, 2005, New York City; Modern Wing of the Art Institute of Chicago, 2009 Pelli, Cesar, 1926, b. Argentina, BOK Center, 2008, Tulsa, Oklahoma Rogers, Richard, 1933, Heathrow Terminal 5, 2008, London; Millennium Dome, 1999, London Spear, Laurinda, 1951, Westin at Times Square, 2002, New York City; United States Embassy, 1994, Lima Peru

Many volumes have been written about Frank Lloyd Wright’s architecture, which totaled 532 structures that included wind- mills, gates, and fountains (approximately three hundred of these have survived). His work is spread throughout thirty-seven states Fallingwater, 1936, Mill and Japan. Approximately 90 percent of the homes are still pri- Run, Pennsylvania vate residences not open to the public. The following are some of Wright’s designs that are open to the public, if not all the time at least for special occasions. If you are considering a visit, it is advisable to go to Internet websites for specific information.

JAPAN Gakuen School, 1921, Tokyo

ARIZONA Arizona Biltmore Hotel, 1928, Phoenix Grady Gammage Memorial Auditorium, 1964, Arizona Solomon R. Guggenheim State University Museum, 1957–1959, Taliesin West, 1938, Scottsdale New York City Chapter 10 Architecture 319

10–6. Continued

CALIFORNIA MISSOURI Aline Barnsdall House, “Hollyhock House,” 1920, Russell Kraus House, 1951, Kirkwood (tours by Los Angeles appointment) Anderton Court Shops, 1952, Beverly Hills Charles Ennis House, 1924, Los Angeles NEW HAMPSHIRE Marin County Building, 1957, San Raphael Isadore and Lucille Zimmerman Home, 1950s, V.C. Morris Gift Shop (now owned by Xanadu Gallery), Manchester (guided tours) 1948, San Francisco

FLORIDA NEW YORK Annie M. Pfeiffer Chapel (one of several university Guggenheim Museum, 1959, New York City buildings), 1941, Florida Southern College, Lakeland OKLAHOMA

ILLINOIS Price Tower, 1952, Bartlesville Auditorium Building (with Adler and Sullivan), Chicago (tours) PENNSYLVANIA Charnley House (with Adler and Sullivan), 1891, Fallingwater, 1934–1937, Mill Run Chicago Kentuck Knob, 1953, Chalk Hill (near Fallingwater) Dana-Thomas House, 1904, Springfield (tours) Fabyan House, 1907, Geneva TEXAS Frank Lloyd Wright Home and Studio, 1889, Kalita Humphreys Theater, 1959, Dallas Oak Park (regular tours) Graceland Cemetery, Sullivan grave (cemetery open daily) VIRGINIA Horse Show Association Foundation Fountain, 1903, Pope-Leighey House, 1939, Alexandria Oak Park Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Nathan Moore House, 1895–1923, Oak Park (tours) WISCONSIN Pettit Memorial Chapel, 1906, Belvidere Robie House, 1909, Chicago (tours) Albert D. German Warehouse, 1915, Richland Center Rookery Building Lobby, 1905, Chicago Annunciation Greek Orthodox Church, 1956, Wauwatosa Rosehill Cemetery, Catherine Lloyd Wright grave Bernard Schwartz House, 1939, Two Rivers (cemetery open daily) Hillside Home School, 1902, Taliesin, Spring Green Unity Temple, 1906, Oak Park (tours) Johnson Wax Company Administration Building and Research Tower, 1936, Racine (tours) KANSAS Monona Terrace, 1938, Madison Allen-Lambe House, 1915, Wichita (tours by appointment) Seth Peterson Cottage, 1958, Lake Delton (intermittent public tours) MICHIGAN Taliesin, 1911, Spring Green (open spring, summer, and fall) Gregor S. Afflect House, 1925, Bloomfield Hills Unitarian Meeting House, 1947, Shorewood Hills Meyer May House, 1908, Grand Rapids (tours) (services and tours from May to September) Unity Chapel, 1886, Spring Green (occasional MINNESOTA services) Fasbender Medical Clinic, 1957, Hastings Visitors’ Center, 1956, formerly the Riverview Terrace Lindholm Service Station, 1957, Cloquet Restaurant, Spring Green 320 The Art Teacher’s Book of Lists

10–7. Building Innovations from Many Cultures

Each culture develops dwelling styles that are dependent upon weather, food, safety, and available building materials. These influences migrate from one culture to another as people move about, bringing new ideas with them. This list identifies innovations from the culture that refined it. Today’s architecture tends to be universal, with similar styles found all around the world, but the influences are still there, still regional, and still identifiable.

AFRICAN ARCHITECTURAL INNOVATIONS rock-cut tomb “shotgun” house (homes one room wide and several sphinx rooms deep. A popular theory for the name is that if a thick engraved column shotgun were fired through the front door, the pellets unified architecture, sculpture, and decorations would go out the back.) 14-foot ceilings in shotgun houses GREEK ARCHITECTURAL INNOVATIONS camelback shotgun (a second story added across the back acropolis of a shotgun house) bas-relief carved front doors caryatids covered front porch cella double shotgun house (two rooms wide, many rooms deep) Classicism gable-roofed house columns: Doric, Ionic, Corinthian low-relief sculpture designs in adobe entasis square module rooms (10-by-10 feet or 10-by-20 feet) frieze veranda pediment wattle and daub construction post and lintel wide overhangs rectangular temples stoa ASIAN ARCHITECTURAL INNOVATIONS theater bright colors only for royalty widespread use of marble foot-high barrier at base of entrance doors

magnificent tombs ROMAN ARCHITECTURAL INNOVATIONS & Sons, Inc. Copyright © 2010 by John Wiley pagoda, a temple built of many stories, each smaller than amphitheater the one below apartment houses rock-cut temples (cut into existing rock in place) aqueduct roof construction atrium roofs that come to a peak on the edges barrel vault walled square on a north/south axis basilica bridges EGYPTIAN ARCHITECTURAL INNOVATIONS city planning capitals: lotus and papyrus coffered ceilings engaged column coffered dome fluted column columns with arches frieze concrete funerary temple forum hypostyle hall groin vault mastaba tomb heated baths obelisk mosaic peristyle hall pilaster piers portico pilaster rustication post and lintel stadium pyramid triumphal arch Chapter 10 Architecture 321

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MEDIEVAL ARCHITECTURAL INNOVATIONS niches baptistery ostentatious materials basilica plan churches spherical dome battlements string courses bay undulating façade blind arcade 19th CENTURY FEATURES chancel Art Nouveau corbel table buildings adapted to the site groin vaulting built-in watering systems moats cast-iron buildings monasteries concrete and metal used together pilaster strip Gothic revival statue-like columns improved lighting string course introduction of elevator tall towers large exhibition halls and office buildings towers over narthex metal “skeletons” with glass or concrete walls westwork (narthex transept) Neo-Baroque ROMANESQUE ARCHITECTURAL FEATURES Neo-Classicism apse prefabricated structural elements decorated arches skyscraper interior vaults over crossings structural steel pier buttresses Victorian revivals rectangular ground plans 20th AND 21st CENTURY FEATURES ribbed vaults round arches air conditioning thick walls austere box-like skyscrapers in mid-century tympanum computer-designed architecture Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley variety of columns computerized house controls concrete left rough from forms RENAISSANCE ARCHITECTURAL INNOVATIONS fireproof buildings and factories chateaux geodesic dome colossal dome “green” building colossal order horizontal and vertical setbacks in skyscrapers to allow decorative colored marble designs light geometry as basis for architecture: circle, square, and industrial materials triangle international style: steel and glass construction ground-floor arcades mega-mansions (turrets, high ceilings) multi-tiered façades metal framing for houses neo-classical revival “mile-high” skyscrapers paired columns mobile homes Palladian style monumental public sculpture symmetry and balance natural materials parking garages BAROQUE ARCHITECTURAL FEATURES poured concrete colonnades prefabricated structural parts decorative sculpture, inside and out pre-packaged homes (Sears, coated steel) elaborate public fountains recreational vehicles grand scale renovation of existing structures lozenge decorations sculptural building forms in skyscrapers mansard roof 322 The Art Teacher’s Book of Lists

10–8. American Building Styles

The United States’ melting pot of immigrants resulted in architectural styles that were similar to those of the original settlers’ home countries. They sought out similar climates, using familiar building materials to build their homes. While locally available materials and topography still somewhat dictate building methods, today one can go to cities anywhere in the world and see similar housing and high-rise building styles.

1600–1750, NEW ENGLAND COLONIAL ARCHITECTURE quoins (square stones at corners and under windows) swan’s neck pediment above door Elizabethan (1558–1603) symmetrical eaves close to wall unbroken (flat) façade fancy brickwork MIDDLE GEORGIAN, c. 1730–1769 half-timbered houses jetty or overhang decorative features often based on Palladio late Medieval features double or two-story portico lead-paned casement windows frequently plain exterior lean-to on back giant pilasters (square columns with Corinthian or shingle covering ionic capitals) steep shingled roofs hipped roof with balustrades and dormer windows symmetrical windows Palladian window (curved at top) tall, central chimneys raised basement wooden homes hewn and pegged shutters on windows

Dutch Colonial Features brick construction gambrel roof stepped end or straight-sided gables

LATE GEORGIAN, 1775–1883 Dutch Colonial Ackerman House, breakaway chimneys (end chimneys separated from Hackensack, New Jersey, 1704 the house at the top for fire protection) Spanish Colonial broken pediment clerestory windows projecting central pavilion flat roofs, with timbers plain, windowless walls FEDERAL STYLE, 1770–1890 textured adobe structures balustrade on hip roof or porch Doric columns on porches Southern Colonial entry has sidelights and arched fanlight with brick construction tracery end chimneys good proportion: square or rectangular design one and a half stories interiors featured decorative patterns (urns, swags, hexagonal and oval forms) GEORGIAN, 1720–1820 (NAMED FOR THREE KING shallow hipped roof GEORGES WHO RULED FROM 1714 TO 1820) simple facades with little exterior decoration Early Georgian, c. 1700–1750 six-paneled door low, hipped roof window openings progressively smaller on upper pediments above windows, first floor stories Chapter 10 Architecture 323

10–8. Continued

FRENCH COLONIAL, c. 1790 RENAISSANCE REVIVAL, 1840–1890 gallery all around house balcony above cornice outside stair leading to rooms on upper floor balustrade raised cottage paneled pilasters steep hipped roof shading gallery pedimented windows rusticated corner stones (quoins) SPANISH BAROQUE smaller windows, upper story complex domes and vaults ornate entrance GOTHIC REVIVAL, 1830–1860 THE NEW REPUBLIC, 1800–1870; AMERICAN NEO- carriage porch CLASSICISM, 1764–1820; JEFFERSONIAN (ROMAN REVIVAL) colored glass columns with plain capitals decorated end gables four columned portico full-width or one-story porch full-scale cornices gothic-shaped windows lunettes (half moon shapes above windows) grouped chimneys one-story roman temple form slate roofs portico with pediment steeply pitched roof red brick tracery on windows Roman Classicism, 1790-1830 turrets and battlements small Roman portico vertical board and batten symmetry of facade tympanum (half moon shape above doors) Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

Monticello, Thomas Jefferson, 1770–1784 and 1796–1806, First Baptist Church, Charlottesville, Virginia Gothic Revival, GREEK REVIVAL, 1820–1860 1884–1886, Lynchburg, Virginia carved decorative trim columns on porches Doric and Ionic columns OCTAGON, 1850–1870 flat corner pilasters eight-sided shape (also 6, 10, 12) fluted Doric columns two-story frieze, cornice, architrave wide eave overhangs horizontal transom over doors low pitched roof VICTORIAN ARCHITECTURE, 1870–1900 pediment-shaped window head asymmetrical facades pediments Georgian and Adamesque features small windows around door Greek, gothic wide plain frieze mixture of styles such as Italianate wide trim in gable multi-colored walls 324 The Art Teacher’s Book of Lists

10–8. Continued

ITALIANATE, 1830–1880 balcony bay windows Corinthian columns cupolas elaborate pediments groups of three windows Cornish House, Omaha, Nebraska, 1886, Second Empire low pyramidal roof lines round-headed windows paired entry doors smooth stucco finish patterned roof straight vertical, almost square quoins (corner stones) tall, narrow doors towers tall tower veranda-like porches wide eaves, large brackets STICK VICTORIAN, 1860–1890 EXOTIC REVIVALS, 1835–c. 1890 angular and asymmetrical African gingerbread millwork added shotgun-style homes patterns made with boards wide, overhanging eaves projecting bay Asian square bay windows steep roofs front gables low-pitched roof STICK/EASTLAKE, 1870–1890 second-floor balcony straight wooden boards Egyptian textures in gables “bundled reed” columns wide, overhanging eaves & Sons, Inc. Copyright © 2010 by John Wiley pylon tower QUEEN ANNE, 1880–1910 smooth exterior finish vulture and sun disk symbol contrasting building materials corner towers with conical roof Swiss Chalets finials gingerbread trim on roof fish-scale shingles low-pitched roof full-width porch second-floor balcony horizontal siding Turkish patterned masonry ogee arch roof cresting onion dome spindle work spindle work and beads SECOND EMPIRE, 1855–1890 stained glass bay windows steep gabled roof classical columns verandas and balconies decorative cornices front and side pavilions CARPENTER GOTHIC mansard roof with dormers pointed arches paired and triple windows wood painted to look like stone Chapter 10 Architecture 325

10–8. Continued

towers verandas wavy wall surface

RICHARDSONIAN ROMANESQUE, 1880–1900 asymmetrical facade broad hip roof Victorian Gothic deeply recessed windows fortress-like designs TUDOR lines of windows flattened squared arches masonry walls round towers, conical roof VICTORIAN GOTHIC, 1860–1890 short, squat chimneys contrasting brick and stone varied colors of stone or brick high-pitched roof lines EARLY 20th-CENTURY ARCHITECTURE, 1900–1920 pointed arches polychomatic exteriors Late Beaux-Arts (Classicism), 1890–1930 stained glass classical revival towers free-standing statuary tracery gigantic paired columns vertical board and batten mixture of styles: Roman, Renaissance projecting facades or pavilions FOLK VICTORIAN, 1870–1910 variety of stone finishes combination of styles Chicago School, 1890–1920 decorative scrollwork combination of linear and geometric forms entry doors

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley flat roof, decorative cornice at top porches with spindle work framework allowed to show shingle styles iron and steel structure towers office complexes, six to twenty stories SHINGLE STYLE, 1880–1900 pilaster strips with decorated capital bay windows, one- or two-story use of passenger elevator circular turrets vertical strips of windows gambrel roof occasionally Mission (Bungalow), 1890–1940 horizontal, low buildings arched roof supports, bell towers round or square-headed windows beamed ceilings rusticated stone combination of materials shingle covering on most walls large porch one story high wood shingles, stone, brick

Neo-Classicism, 1900–1920 colossal columned portico few arches or statuary

Lionberger House, Henry pilasters on sides H obson Richardson, symmetrical features Richardsonian Romanesque 326 The Art Teacher’s Book of Lists

10–8. Continued

Prairie Style, 1905–c. 1915 low-relief geometrical designs brick or stucco combined with wood set-back facade horizontal appearance terra cotta and glass ornamentation horizontal bands of casement windows International Style, 1920–1945 interior coordinates with exterior asymmetrical facade in homes large, low chimney box-like skyscrapers low-pitched roof cantilevered building square porch supports cast concrete forms terraces and balcony concrete, glass, and steel wide, overhanging eaves curtain walls of windows windows included stained glass eaves boxed in or flush with wall ARCHITECTURE BETWEEN THE WARS, 1920–1940 exposed steel structural elements Craftsman, 1905–1940 flat roof tops beamed ceilings little ornamentation cobblestone decorations natural wooden trim combination of materials smooth wall surface large porch low-pitched gabled roof roof rafters exposed small windows flanking chimney tapered porch posts to ground level wood shingles, stone, brick International Style

Art Moderne, 1930–1945 aluminum and stainless steel ornamentation & Sons, Inc. Copyright © 2010 by John Wiley circular patterns used on doors or glass curved window glass Craftsman Style, Wichita, flat roofs Kansas, 1905 horizontal bands of windows Pueblo Revival, 1910–present smooth wall finish flat roof, irregular, rounded edges POP-CULTURE, 1940–1965 roof beams, rough-hewn A-frames stepped-back roof line apartment living Art Deco, 1925–1940 Colonial revival concrete, stone, metal geodesic domes decorative colored mirrors mobile homes glazed ceramic ornamentation ranch houses hard-edged stylized low reliefs split-level homes

Late Modernism angular, flat-topped buildings curved glass panels homes adapted to site and location modern interpretation of classicism Art Deco Chapter 10 Architecture 327

10–8. Continued

plastic materials on exteriors computer-aided design pre-cast concrete elements decorative elements and color on skyscrapers rhythmical set-backs “green” architecture richness of texture irregular, curving metal building exteriors stretched skin-window walls loft living vertical, outside supports mega-mansions metal roofs, trim inside and out LATE 20th AND EARLY 21st CENTURIES recycled building materials alternative heating sources revivals: shingle style, classical, federal classical references on skyscrapers: base, shaft, capital, entablature

10–9. American Museum-Houses by General Style

Immigrants to North America often settled in locales that reminded them of the places they left because of climate, topography, and available building materials. They built homes that resembled those from the region they left behind. Fortunately, a few examples of these building styles are treasured reminders of an evolving American architecture.

ENGLISH COLONIAL SOUTHERN ARCHITECTURE Ashley House, c. 1733, Deerfield, Massachusetts Adam Thoroughgood House, 1636–1640, Bacon’s Castle, c. 1655, Surry County, Virginia Princess Anne County, Virginia Boardman House, 1686, Saugus, Massachusetts Burlington, 18th century, Charles City County, Virginia Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley DUTCH COLONIAL EARLY GEORGIAN Ackerman House, 1704, Hackensack, New Jersey Williams House, 1706–1707, Old Deerfield, St. Luke’s Church, East End, 1632, Isle of Wight Massachusetts County, Virginia MIDDLE GEORGIAN SPANISH COLONIAL Bries House, 1723, East Greenbush, New York Governor’s Palace, 1610–1614, Santa Fe, New Mexico Dalton House, 1775, Newburyport, Massachusetts San Estevan, 1610–1614, Acoma, New Mexico Independence Hall, 1731, Philadelphia The Alamo, 1744–1757, San Antonio, Texas Meetinghouse, 1779, Brooklyn, Connecticut Miles Brewton House, 1733, Charleston, FEDERAL STYLE, NEO-CLASSICISM South Carolina Monticello, 1770–1784 and 1796–1806, Westover, c. 1730–1734, Charles City, Virginia Charlottesville, Virginia Mount Vernon, 1775, Mount Vernon, Virginia FRENCH ARCHITECTURE Home Place, 1801, Charles Parish, Louisiana NEW ENGLAND HOMES Magnolia Mound, c. 1790, Baton Rouge, Louisiana Elihu Coleman House, 1722, Nantucket Island, Massachusetts SPANISH BAROQUE The Sisters’ House, 1743, Ephrata, Pennsylvania San Xavier del Bac, 1784–1797, Tucson, Arizona 328 The Art Teacher’s Book of Lists

10–9. Continued

GOTHIC REVIVAL First Baptist Church, 1884–1886, Lynchburg, Virginia

RICHARDSONIAN ROMANESQUE Lionberger House, 1886, Henry Hobson Richardson, St. Louis, Missouri

SECOND EMPIRE STYLE The Rosson House, 1895, Phoenix, Arizona, Victorian Eastlake Congregational Church, c. 1840, Tallmadge, Ohio Cornish House, 1886, Omaha, Nebraska Renwick Gallery, 1859–1861, Washington, D.C. Commercial Buildings, c. 1930s, Pekin, Illinois Stark House, c. 1820, Louisiana, Missouri Fox Theater, 1929, C. Howard Crane, St. Louis, Missouri EGYPTIAN REVIVAL Knabe Building, 1928, Edward D. Tanner, Apthorp House, 1837 Alexander J. Davis, Kansas City, Missouri New Haven, Connecticut Liberty Memorial, 1921–1926, Harold Van Buren Cabell House, 1847, Richmond, Virginia Magonigle, Kansas City, Missouri Egyptian Revival Railroad Station, 1922, Russell Lovell (Health) House, 1929, Richard Neutra, Warren, New Bedford, Massachusetts Los Angeles Washington Monument, 1848–1884, Washington, Penobscot Building, 1928, Smith, Hinchman, D.C., Robert Mills & Grylls, Detroit White Palace Cafe, 1938, Maben and Son, Gadsden, QUEEN ANNE STYLE Alabama

Gray House, 1891, Santa Cruz, California POST-MODERN SHINGLE STYLE Abstract Shingle Style, 1992, Robert Venturi, Maine Coast Low House, 1887, McKim, Meade, and White, Bristol, & Sons, Inc. Copyright © 2010 by John Wiley Rhode Island Meridian Condominiums, 1988, Maxwell Stockman, San Diego, California VICTORIAN EASTLAKE Shingle Style Revival, 1991, Robert A.M. Stern, Rosson House, 1895, Phoenix, Arizona New Jersey State of Illinois Building, 1985, Helmut Jahn, Chicago ART DECO Yale University Art & Architecture Building, Butler House, 1937, Kraetsch and Kraetsch, 1969–1972, Paul Rudolph, New Haven, Des Moines, Iowa Connecticut Chrysler Building, 1928–1930, William Van Alen, New York City

Low House, McKim, Meade, and White, Bristol, Rhode Island Chapter 10 Architecture 329

10–10. State Capitol Buildings and Their Architects

The buildings listed below are those currently in use in each state, and the architects listed are those who designed the buildings. Because of additions, renovations, and reconstructions, most capitol buildings involved a number of architects. Early capitol buildings were often in different locations, and many are now used as museums.

Alabama, Montgomery, 1851, George Nichols; south New Mexico, Santa Fe, and north wings designed by Frank Lockwood 1966, W. C. Kruger and Alaska, Juneau, 1929–1931, U.S. Treasury Associates; 1900 building, Nashville, Tennessee Department architects I.H. and W.M. Rapp Arizona, Phoenix, 1899–1900, James Reilly Gordon; New York, Albany, 1871–1899, Philip Hooker; 1911 west wing 1918–1919, A.J. Gifford renovation, Thomas Fuller Arkansas, Little Rock, 1899–1914, George R. Mann, North Carolina, Raleigh, 1833–1840, Alexander J. Cass Gilbert Davis California, Sacramento, 1874–1908, Miner F. Butler North Dakota, Bismarck, 1883–1902, L.S. Buffington, Colorado, Denver, 1894, Elijah J. Myers George Hancock, and Butler Brothers and Ryan; new capitol architects, De Remer, Kurke, Hola- Connecticut, Hartford, 1879, Richard M. Upjohn bird, and Root Delaware, Dover, 1933, William Martin Ohio, Columbus, 1838–1861, Henry Walter, Martin Florida, Tallahassee, 1902, Frank P. Milburn; new E. Thompson, and Thomas Cole; annex from addition, 1977, Edward Durrell Stone 1898–1901 Georgia, Atlanta, 1884–1899, Edbrooke and Burnham Oklahoma, Oklahoma City, Hawaii, Honolulu, 1965, John Carl Warnecke and 1917, S.A. Layton and Associates S. Wemys Smith Idaho, Boise, 1906–1912, John Tourtellette Oregon, Salem, 1876, Justus Illinois, Springfield, 1868–1888, John C. Cochrane F. Krumbein Indiana, Indianapolis, 1886, Edwin May/Adolph Pennsylvania, Harrisburg, Scherrer 1904–1906, Joseph M. Concord, New Hampshire Iowa, Des Moines, 1871–1886, Cochrane and Huston

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Pinquenard Rhode Island, Providence, Kansas, Topeka, 1866–1903, McDonald Brothers 1891–1903, McKim, Mead, and White Kentucky, Frankfort, 1905–1909, F.M. Andrews and South Carolina, Columbia, 1851–1904, Major John R. Company Niernsee, J. Crawford Neilson, J. Frank Niernsee, Louisiana, Baton Rouge, 1932, Weiss, Dreyfous and Frank P. Mulburn, and Charles C. Wilson Seiferth South Dakota, Pierre, 1908–1910, C.E. Bell; annex, 1932 Maine, Augusta, 1832, Charles Bulfinch Tennessee, Nashville, 1845–1855, William Strickland Maryland, Annapolis, 1772–1775, Joseph Clarke Texas, Austin, 1885–1888, Colonel Elijah E. Myers Massachusetts, Boston, 1795, Charles Bulfinch; addi- Utah, Salt Lake City, 1914–1916, Richard K.A. Kletting tions 1798–1899, William Chapmen, R. Clipston Vermont, Montpelier, 1838, Ammi B. Young; Sturgis, and Robert D. Andrews 1857–1858, J. R. Richards Michigan, Lansing, 1873–1878, Elijah E. Myers Virginia, Richmond, 1785–1792, Thomas Jefferson; Minnesota, St. Paul, 1898–1905, Cass Gilbert wings added in 1902 Mississippi, Jackson, 1903, Theodore C. Link Washington, Olympia, 1928, Wilder and White Missouri, Jefferson City, 1917, Tracy and Swarthout West Virginia, Charleston, Montana, Helena, 1896–1912, George R. Mann 1932, Cass Gilbert Nebraska, Lincoln, 1922–1932, Bertram Goodhue Wisconsin, Madison, 1906–1917, George B. Nevada, Carson City, 1871, Joseph Goseling Post and Sons New Hampshire, Concord, 1819, Steward James Park Wyoming, Cheyenne, 1888– New Jersey, Trenton, 1889, L.H. Broome; 1891 1917, D.W. Gibbs and Jefferson City, Missouri addition, James Moylan; 1907, George E. Poole Company 330 The Art Teacher’s Book of Lists

10–11. Vernacular Architecture

Vernacular architecture is often the simple solution to building with inexpensive local materials, usually without an architect. Methods of construction and immediate needs evolve over time, and only a few examples of early buildings in a region remain in place. We see examples when we drive by farms or visit historic regions of older towns. Movie-makers include these special sites in their films, and tourists take thousands of pictures of such buildings. Throughout the world we still see treasured examples that are maintained “as is” for people to learn about the past. World Heritage sites and a National Reg- ister of Historic Places attest to concerns that these buildings should be saved. Valley Park, Missouri, Grain Elevator Many countries have established parks where buildings that might be destroyed by “progress” are moved and maintained.

MATERIALS USED FOR VERNACULAR silo huts ARCHITECTURE smokehouse jails animal hides storm cellar libraries bundled reeds (columns) tack shed log cabins cement tool shed meeting houses mud (adobe) mills PERMANENT STRUCTURES reeds (thatched roofs) office buildings sand (adobe bricks) banks pole buildings stone city halls restaurants wood courthouses schools factories stilt houses NOMADIC HOUSING feed stores stores Arabian tents garages tract houses Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley canvas tents gasoline stations Victorian houses Chinese Junks grain storage facilities warehouses houseboats hospitals worship centers igloos hotels mobile homes houses tepees yurts

FARM BUILDINGS barns and sheds for animals blacksmith shop bunkhouses cabins hayloft hog pen horse barn milk house outhouse (privy) Back Lot, 1935, Frank Redlinger, pump house American, 1885–1951, block print, Dallas Museum of Art, gift of Mrs. root cellar Frank Redlinger Chapter 10 Architecture 331

10–11. Continued

EXAMPLES OF VERNACULAR ARCHITECTURE Images of these buildings may be found in books or on the Internet. Some of the terms refer to a particular style of house, while others are single houses that are representative of a regional building style.

Acoma Pueblo, Acoma, New Mexico, c. 1100 Miulea House, date unknown, Tokyo, Japan Brownstone houses, New York City, late 1800s Parson Capen House, Topsfield, Massachusetts, 1683 Charleston Single House, Charleston, South Carolina, Saltbox houses, New England, 1800s 1800–1900 Samuel Whitman House, Farmington, Connecticut, Chinese Courtyard House ancient tradition 1664 Cliff dwelling, Mesa Verde, Colorado, AD 550–1300 Shotgun houses, c. 1860-1920, New Orleans Danish farmhouse, Open Air Museum, near Stave churches, c. 1150–1350, Norway Copenhagen Storehouses, Norway, 1200–1900 Dogtrot house, several examples, Lubach, Louisiana Tikal, Tikal, Guatemala, 200–800 (and other Southern states), 1800–1900 Tower House of Yemen, date unknown, Yemen, English hall houses, England, 1200–1800 M iddle East Fairbanks House, 1640, Dedham, Massachusetts Tract houses, United States Galde House, Indonesia Trulli houses, pre-historic, Alberobello, Italy Greek island houses, 3000 BC–present Tuscan farmhouses, Tuscany I Houses (the letter i), Indiana, Illinois, Iowa, and other U.S. states, 1800 to 1900

10–12. Eccentric Architecture

These buildings are (or were) weird, wacky, whimsical, and wonderful—and serious! Some were designed by famous architects, others by visionaries. Although in a lifetime we might see only a few, all of these may be Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley found online. Architects and dates of construction are listed when that information is available.

AUSTRALIA Museum of Modern and Contemporary Art, 1988–1990, Yves Bayard and Henri Vidal, Nice Sydney Opera House, 1973, Jorn Utzon Solar Furnace, 1970, Odeillo

AUSTRIA GERMANY House Attack, 2008, Erwin Wurm, Vienna Forest Spiral, 2000, Friedensreich Hundertwasser, Kunsthaus (art museum), 2003, Graz Darmstadt Residential Car-House, 2004, Salzburg INDIA CANADA Lotus Temple, 1986, Fariborz Sahba, Delhi Habitat 67, 1967, Moshe Safdie, Montreal JAPAN Ripley’s Building, Niagara Falls, Ontario Nakagin Capsule Tower, 1972, Kirokawa Kisho, Tokyo Strawberry House, 1984, Tokyo CZECH REPUBLIC Fred and Ginger Building, 1996, Vlado Milunic MEXICO and Frank Gehry, Prague Nautilus House, Sinosiain Arquitectos, Mexico City The Washing Machine (Calakmul Building), Mexico City FRANCE Bubble House, c. 1974, Antti Lovag, Tourettes-sur-Loup POLAND Ideal Palace of Ferdinand Cheval, 1879–1912, Ferdinand The Crooked House, 2003, Szotynscy Zaleski, Sopot Cheval, Hauterives Upside Down House, Daniel Czapiewski, Szymbark 332 The Art Teacher’s Book of Lists

10–12. Continued

THE NETHERLANDS Cubic Houses, 1984, Piet Blom, Rotterdam ING Headquarters, 2002, Amsterdam, The Netherlands

SPAIN Agbar Tower, 2005, Jean Nouvel, Barcelona The Corn Palace, 1921, Mitchell, Casa Batllo, 1877–1906, Antoni Gaudi, Barcelona South Dakota Edificia Mirador, 2004, MVRDV architects, Madrid Guggenheim Museum, 1997, Bilbao Noah’s Ark Restaurant, 1967–2007, St. Charles, Torre Galatea, 1974, Figueres Missouri (destroyed) Saucer House, 1963, John Lautner, West Hollywood, SWITZERLAND California Blur Building, 2002, Yverdon-les-Bainz Spaceship House, c. 1970, Curtis W. King, Chattanooga, Tennessee UNITED KINGDOM Spaceship House, Urbandale, Iowa The Crooked House, Himley, West Midlands The Basket Building (Longaberger Basket Building), Low Impact Woodland House, c. 2006, Simon Dale, 1997, Newark, Ohio Wales The Pickle Barrel House, c. 1940, Grand Marais, Michigan UNITED STATES The Pod House, 1969, James Johnson, Rochester, Beer Can House, begun 1968, John Milkovisch, Houston, New York Texas The Steel House, 1974, Robert Bruno, Lubbock, Texas Brown Derby Restaurant, 1929–1994, Hollywood, The Storybook House, 1980s, Richey and Karen Morgan California (destroyed) (owners), Olalla, Washington Corn Palace, 1921, Mitchell, South Dakota (fresh corn The Teapot Dome, 1922, Zillah, Wyoming (now a gas and design each year) station) Country Music Hall of Fame and Museum, 2001, Tuck Hinton, Ralph Appelbaum Associates, Nashville, MISCELLANEOUS Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Tennessee Airplane House, 2002, Abua, Nigeria Dome House, 2002, Bob Bissett, Pensacola Beach, Banknote Office Center 1000, 2005–2008, Kaunas, Florida Lithuania Elephant Hotel, c. 1885–1896, Coney Island, New York Cybertecture Egg, 2010, James Law, Mumbai, India (destroyed by fire) Football House, c. 2003, Jan Sonkie, Blantyre, Malawi Haines Shoe House, 1948, Mahlon Haines, York County, Gangster’s Wood House, begun 1992, Nikolai Sutyagin, Pennsylvania Arkhangelsk, Russia Hovercraft House, 1984, Bart Prince, Albuquerque, Hang Nga Guesthouse (Crazy House), Dr. Dang Viet New Mexico Nga, Dalat, Vietnam Kansas City Public Library, 2004, Kansas City, Missouri McBride’s Dome House, c. 1959, McBride Charles Ryan, Kettle House, 1950s, Galveston, Texas Hawthorn, Australia Lucy the Elephant Hotel, 1881, Margate, New Jersey Stone House, Fafe, Portugal Mushroom House (Tree House), 2006, Terry Brown, The Errante’s Guest House, Chile Cincinnati, Ohio The UFO House, 1970s, Sanjhih, Taiwan (destroyed) Tjibaou Cultural Centre, 1998, Nouméa, New Caledonia Turning Torso, 2005, Santiago Calatrava, Malmö, Sweden

The Brown Derby Restaurant, 1929–1994, Hollywood, California CHAPTER 11 ART PROJECTS 11–1. Quotations 11–2. Subject Ideas 11–3. Better Composition 11–4. Ways to Change an Object in a Composition 11–5. One-Hour Projects 11–6. Ten Ideas for Combining Art with Language Arts 11–7. Fifteen Ideas for Combining Art with Math 11–8. Ten Ideas for Combining Art with Science 11–9. Ten Ideas for Combining Art with Social Studies 11–10. Art Field Trips 11–11. The Face 11–12. The Human Figure 11–13. Black and White 11–14. Colored Pencils 11–15. Markers 11–16. Crayons 11–17. Pastels 11–18. Mixed Media 11–19. Painting Information 11–20. Watercolor 11–21. Tempera 11–22. Finger Painting 11–23. Oil and Acrylic 11–24. Printmaking 11–25. Graphic Design 11–26. Paper 11–27. Papier Maché 11–28. Collage 11–29. Book Arts 11–30. Fiber Arts 11–31. Ceramics 11–32. Sculpture 11–33. Architectural 334 The Art Teacher’s Book of Lists

11–1. Quotations

“If you can dream it, you can do it.” WALT DISNEY, 1901–1966, AMERICAN CARTOONIST

“I’d asked around ten or fifteen people for suggestions. Finally one lady friend asked the right question, “Well, what do you love most?’ That’s how I started painting money.” ANDY WARHOL, 1928–1987, AMERICAN ARTIST

“The cornerstone of great art for me is a work that makes one person exclaim. ‘That’s fabulous!’ and another ask, ‘How can you have that hanging in your house?’” GORDON SONDLAND, COLLECTOR, SEATTLE

“Sir, when their backsides look good enough to slap, there’s nothing more to do.” PETER PAUL RUBENS, 1577–1644, FLEMISH PAINTER

“Painting is self-discovery. Every good artist paints what he is.” JACKSON POLLOCK, 1912–1956, AMERICAN ABSTRACT EXPRESSIONIST

“I am always doing what I cannot do yet, in order to learn how to do it.” VINCENT VAN GOGH, 1853–1890, DUTCH ARTIST

“Art is not what you see, but what you make others see.” GEORGIA O’KEEFFE, 1887–1986, AMERICAN PAINTER

“I’m basically the idea person. I’m not physically involved in the production. I don’t have the necessary abili- ties, so I go to the top people.” JEFF KOONS, 1955, AMERICAN SCULPTOR

“As the old saying goes, good work, good pay.” GIOTTO DI BONDONE, 1267–1337, ITALIAN PAINTER Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “There are two things in the painter, the eye and the mind; each of them should aid the other.” PAUL CEZANNE, 1839–1906, FRENCH IMPRESSIONIST

“One must from time to time attempt things that are beyond one’s capacity.” AUGUSTE RENOIR, 1841–1819, FRENCH IMPRESSIONIST Chapter 11 Art Projects 335

11–2. Subject Ideas

This list primarily reviews use of materials in different ways. Art teachers are so good at finding ideas that I’ve always assumed they would be able to easily motivate students, relying on “Things to Do” lists for giving a different look to traditional subjects. Here are some places to look for ideas, assuming the teacher will find appropriate materials or perhaps give students a choice of materials. Having acted as an art exhibition judge many times, I cannot stress enough that you should avoid allowing students to copy straight from a magazine photo. Students may be encouraged to use their own or family photos at times, but avoid anything that has been published except as reference material for a portion of a composition. I used to cut up travel magazines and mount photos on construction paper (later laminated) for my student file box of animals, mountains, trees, or flowers. The Internet is rich in resources for animals, clouds, patterns, and the same suggestions for adapting reference materials apply. That said, artists through the ages have copied artwork as homage to other artists. Some cultures feel that it is important to have a traditional look to their work. Others—famous artists such as Picasso, Roy Lichten- stein, photographer Sherrie Levine, and Yasumasa Morimura—also based their work on historical icons, But . . . the artwork was transformed to reflect the artist’s personal style and was usually given a title that gave credit to the original source. Artwork that will be meaningful to students must be personalized. Even when all students are doing a class assignment based on the same information, each one will personalize by choice of color, angle of view, intensity of media application, or the unexpected surprise. Encourage these surprises, these individual viewpoints and imaginative use of materials. Students will seldom disappoint you. Here is a grab-bag of subjects that are tried and true and may get your students motivated to try a new technique.

ART IDEAS fireworks stand a dream car in your favorite color fish aerial view of your home (check Google Earth®) florist’s shop window animals flower stall at the market antique shop forests bicycle furry animal billboard garden with “faces” in flowers Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley birds growing flowers buildings handful of beans butterflies homes – your own or others carnival ride imaginary world of the future carpet design jungles CD cover kaleidoscope design children’s playground King Tut’s tomb city in the future king’s palace/castle coin design landscape with focal point coral reef with fish swimming last person on Earth design chess figures: king, queen, knights, pawns leaves design for a carnival mask magazine cover design for a deck of playing cards me in my tent—night sounds design for stamps melting object draw a best friend’s eyes mermaid factory for . . . . . misty morning fireworks in the night sky modeling a new outfit 336 The Art Teacher’s Book of Lists

11–2. Continued my bedroom, clean your hand holding an object my bedroom, normal your jacket my family at a holiday celebration my favorite music group onstage WHERE TO FIND IDEAS my favorite song, painted A favorite non-illustrated book my last trip to the dentist Animals at various seasons: summer, fall, winter, myself and other(s) in the car spring nut and bolt Animals in their environments: forest, desert, one tree, four seasons water, sky, plains, mountains people portrait: old, young child, family Art history; other artists, times, and other cultures pick one season: yourself clothed for it Browse the Internet piece of cake Clothing: shoes, purses, jackets, patterns and reflections in a bottle colors refrigerator contents Conversations about the craziness of dreams—the unlikely images reptiles Ecology and environment roadways Family: culture, history, faces seascape Google Earth® (a wonderful place to find abstract seashells on a beach designs) seashore Illustrated books shoes Integrate art projects with other subjects space station Letters and numbers and symbols: not just one space travel alphabet, but other cultures: Egyptian, Old the contents of your backpack English, Middle Eastern, Native American the inside of your closet Listen to music of all kinds Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley three of a kind Listen to stories trees Newspaper or Internet headlines trees in early morning light People: body types, careers, celebrations, seasonal two of a kind or sports clothing, workplaces under the kitchen sink Personal favorites: food, color, collections, undersea world clothes, pets, places video game characters and background Spread recycled materials out for use in a project wallpaper design Stream-of-consciousness writing wooded areas Use a personal photo as a starting point your backpack Visit other parts of the world (even on the your feet Internet or in imagination) Chapter 11 Art Projects 337

11–3. Better Composition

We often talk with students about using the elements of art and principles of design, but here are some other simple reminders to help students as they struggle with composition.

CREATIVITY Personalize artwork. Every piece of artwork you do is personal. The colors you choose, your subject, and the method of applying pencil or paint to paper allows you to do something unique. Start with a mark. Some artists prefer to do studies first, but get going! Use your mistakes. Erasing and starting over is a huge waste of time, and perfection is impossible anyway. Sometimes those mistakes force you to approach something in an entirely new way.

THOUGHTS ON DESIGN Avoid clichés. Draw what something actually looks like rather than a cartoon version (balloon trees, rainbows, a sun in the corner, or stick figures). Baseline. Draw lines behind people instead of under their feet. Don’t let subjects just float in the air. Break up the background. Avoid huge areas of blank space by varying the background. Bump the edges. Let your drawing run outside the line sometimes, or even off the page. Different views of people. Draw people from different views: sideways, three-quarter, and even from the back, not always facing forward. Distribute weight. A good composition often has more weight at the bottom than at the top. Foreground, middle-ground, and background. Consider what you know about showing distance. The closer an object is, the larger and brighter it will be, becoming smaller and lighter farther away. Large subject. Try to have your subject at least as large as your hand so it can be seen at a distance.

ORGANIZATION Margin. Roughly draw a line 1 inch inside the edges of the paper to keep the table clean and to define the edges. The edge can be covered later with a mat. Rule of Thirds. Mentally divide the paper like a tic-tac-toe grid and place your main subject where the lines

ELEMENTS AND PRINCIPLES (ALSO SEE ELEMENTS AND PRINCIPLES, LISTS 1–7 AND 1–8) Emphasis. One area of an artwork might be the “center of interest” either by making it darker, lighter, larger, or surrounding it with open space. Repetition. If you use a bright color in one spot, repeat it in a small area someplace else. Rhythm. Vary the quality and thickness of line; examples: thick, thin, curvy. Texture. Use texture or pattern to vary the surface. Value. Include light and dark areas to make the composition more interesting. Variety. Repeat a shape sometimes in a different size or color. 338 The Art Teacher’s Book of Lists

11–5. One-Hour Projects

Sometimes you need a “filler” project until everyone catches up or because it is Friday or you have a substitute coming in. Try one of the following.

Aboriginal art. Make a small drawing based on aboriginal art by dipping the end of a pencil eraser or a cotton swab into tempera or acrylic paint to stamp colored dots. These are often based on day-to-day experiences that deal with nature and wildlife. All eyes. On one piece of paper, draw many variations of eyes (or lips or noses or ears) from a magazine or art book. Select one of each feature to make a face within the same general shape as yours. Ballpoint pen. Use ballpoint pen for a detailed drawing of your own hand holding something. Use crosshatching or dots to show shadows. Or do a doodle-line drawing of someone’s hair from the back. Copy paper tower. Make a high tower of white copy paper by manipulating the paper to give it strength, such as accordion folding, thin cylinders grouped together; square folded boxes, fans or pyramids grouped together. This could be done as a group project to see which group makes the highest tower. Describe an artwork. One person in a group will look at an artwork while describing it in great detail for the others to draw. The listeners are not allowed to see the artwork, nor would the describer be allowed to see what is drawn. When finished, a discussion about communication should be enlightening. Four-value ink drawing. Use the paper as one value and make the three other values with three different tools (for example, a brush, fine-line pen, bamboo pen or stick). Other possible tools are cotton swabs, long toothpicks, match sticks, or broken Popsicle® sticks, bamboo brushes, crow-quill pens (very fine), steel lettering pens, sharpened dowel stick, or brushes of various sizes. Flower gardens or forests are both forgiving subjects that allow for these experiments and might be enhanced by them. Fruit, five ways. On one piece of paper, draw an entire piece of fruit such as an apple or orange. Slice it vertically or horizontally or take a bite out of it. Show other views, seeds, or peels. It’s all in the details. Do a life-size or larger extremely detailed pencil drawing of an ordinary object such as crumpled paper, paper bag, soft-drink can, piece of popcorn, or candy wrapper. Jackson Pollock–like painting. Put a small amount of ink in a shallow dish: put a marble in it and roll it around. Roll the marble around on drawing paper, re-dip the marble and repeat the rolling process many Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley times (newspapers, smocks or aprons, naturally). Colored ink is effective, too. Perspective line drawing. Select a small corner of the room and do a perspective line drawing of it. Work in fine-line marker and do not use a ruler or an eraser. The mistakes you make will make it all the more interesting. Or draw the inside of your locker, your closet, or your room. Pointillist art self-portrait. Make a vertical self-portrait on a 5-by-7-inch card with dots, using color markers or colored pencil, varying colors slightly to make shadows and highlights. Small and personal. With colored pencil, draw something small and personal such as a wallet and cards, contents of purse, keys. Twig to tree. Draw a twig as if it were a giant tree. It still has a trunk, branches, and stems. 340 The Art Teacher’s Book of Lists

11–6. Ten Ideas for Combining Art with Language Arts

1. Artistic movement. Research one group of artists such as The Ashcan School, The Harlem Renaissance, F.64 (photography), or Impressionists. Work as a group to write a “newspaper” or “web-blog” about other things that were happening at that time. This could include a fashion section, headlines and an article about politics, an “art review,” literature review, comics, and other headline stories. Include photos whenever possible. 2. Biography. This is a wonderful all-classroom project. Over a two-month period, select someone to honor, such as a grandparent, other relative, or favorite neighbor, by writing the person’s biography. Interview questions can be asked in phone conversations or by e-mail. Make up a questionnaire on basic information such as full name, date of birth, name of spouse, parents, brothers and sisters, or children (and ages). Ask questions about his or her first job, what was the favorite food (or candy) as a child, how that person occupied time: (1) as a child, (2) as a teenager; (3) as a young adult; and (4) as a mature adult. Include photocopies and even your own drawings. When the book is finished, a luncheon celebration is a fitting way to complete it and present the completed book to the honoree. 3. Favorite color. Write a description of how you would decorate your room in your favorite color. What does the color remind you of? Do a painting or marker drawing using mostly that color with a tiny amount of the complementary color (for example, red/green, purple/yellow, blue/orange, red orange/blue green). 4. Inside looking out. Select a painting or photograph that features people. Imagine yourself as part of that scene. Write a letter to a friend or family member describing what you see around you: where you are, the appearance of some of the other people, the time of day and weather, and what you are going to do next. Alfred Stieglitz’s Steerage photograph of immigrants arriving in the United States by ship could inspire such a letter. 5. Journaling. Every day is special. Put a date on the page and sometimes just start with a mark. Or draw and write about what happened yesterday, even if it is just a list of what you saw out a window or a description of a movie or clothes at the mall. Even doodles are a form of artwork. 6. Kidnapping note. Although this is not something to joke about, it does involve looking at lettering in magazines and making an interesting collage of words and spaces. Instead of kidnapping a kid, suggest students “kidnap” a thing, perhaps a monument or special item in the student’s own house. We’re looking for humor here. 7. News event. Pretend you’re a reporter sent out to interview someone about a very important event (per- Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley haps a family member on a special occasion such as a wedding, birth, or graduation). Get the facts: Who? What? Where? When? Why? and How? Write the article, and give it a headline. 8. Poetry. Write a poem about an artwork or photograph. The poem should be at least fourteen lines (make it worth your while) and needn’t rhyme, but can be “free verse.” Mount the photograph and poem together. If you write several poems, copy them carefully by hand or on a computer and keep a collection of your personal poetry. If they are printed on a computer, make them more interesting visually with a border or little drawing (flower, faces, free-form design). 9. Surrealist artwork. Write a list of nouns (ice cream cone, shoe, bicycle), verbs (falling, running, skating, swimming), and adjectives (muscular, thin, checkered). Select one of each, then make a Surrealistic composition of the noun, changing it according to the other words chosen (checkered, falling ice cream cone). Use varied colors of torn white and fluorescent typing paper, glue, and black marker. 10. Surrealistic writing. Surrealistic art was an outgrowth of the stream-of-consciousness writers such as André Breton. Write thoughts as they come into your mind, not trying to make much sense of them, but working in complete sentences. When at least five sentences have been written, volunteer to read one aloud.

TOPICS FOR CONVERSATION OR WRITING Create a play Illustrate a short story Oral presentation about the art of a specific culture or time period Research the life of an artist, include visual examples Visual culture today—how it has changed from parents’ time Chapter 11 Art Projects 341

11–7. Fifteen Ideas for Combining Art with Math

1. Computer-designed vernacular architecture. On the computer, design a building using geometric shapes, as contemporary architects often do. Include a roof, entrance, windows, and building material to make a filling station, barn, dollar store, grocery, or city hall. 2. Geometric forms. Use colored railroad board to make several geometric forms such as pyramids, cubes, and cylinders. Plan before gluing them together, and include one “foreign” object that will make it interesting or amusing. 3. Geometry and nature. Find examples of symmetry in nature: butterflies, eyes, snowflakes, crystals. Create a drawing or collage. 4. Golden section. Create a golden section (roughly 8 by 13), which Renaissance artists Drawn from Villard de considered the perfect proportion for a painting or building. Honnecourt, c. 1240 5. Hex signs. Use a compass and ruler to make circular geometric designs like those used by farmers in Pennsylvania. These are brightly colored and sometimes had a drawing of a star or horse in the center. 6. Monetary system. Group project. Design money for your country, working from “pennies” through several “bills.” What symbols might be used? Yourself as king or queen? Places? Events? 7. Paper airplane competition. Use copy paper to investigate various ways to fold paper airplanes. Many books are available about this art form, or find information online. Go to the gymnasium or outdoors and have a distance flying competition. 8. Perspective drawing. Draw a city street using one-point perspective. Once the buildings are drawn, change storefronts, rooftops, signs, cars or other vehicles, and even put yourselves somewhere in there. Imagination rules! 9. Pi day celebration (March 14: 3-14). Dress like “math geeks,” serve pizza, make mandalas or hex signs (circular geometric forms based on circles). 10. Playing fields. Compare measurements of playing fields for baseball, football, basketball, soccer, ice hockey, field hockey, lacrosse, tennis, racquetball, and volleyball. 11. Scale drawing. Use graph paper and a measuring tape, yardstick, or ruler to measure your room. Make a scale drawing (1 foot equals ½ inch) to include your bed and the furniture. Cut out the furniture and rearrange the room on another piece

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley of graph paper. 12. Statistics. Find statistics in baseball: batting average, RBIs, ERA, fielding percentage, on-base average. Design a new uniform, including logo (name symbol) for your favorite team. If you’re not a baseball fan, do this for football or basketball or other sport. 13. Symmetrical designs. Fold white tissue paper in fourths. Dampen slightly in water (a spray bottle works well), then draw designs with water-based felt markers, which will bleed through to the back to create repeat patterns. 14. Units. Make a sculpture of units (single items) of manufactured materials for sculpture: items such as cotton balls, cotton swabs, foam cups, foam balls, toothpicks or straws, working in sets of five or ten. Glue onto a background (bas-relief), or make a three-dimensional form. 15. Write a check. Design a check, first looking at a real one to figure out the important parts. Use colored pencil to make a pretty soft-colored picture on it. Then fill it out with a Sharpie® pen, which will write over the colored pencil.

MATH-RELATED TOPICS FOR ART PROJECTS angles, measuring angles, drawing angles (acute, right, metric conversion obtuse, straight, reflex) monetary systems calendar systems pattern, repetition circles: radii, circumference, pi, segments planes: parallel, intersecting compass designs polygons floor plan of your house, include pictures sets Islamic designs (geometric), tessellations starfish, crystal lines: parallel, intersecting, perpendicular statistics measurement tessellations 342 The Art Teacher’s Book of Lists

11–8. Ten Ideas for Combining Art with Science

1. Bones and organs. Do an outline drawing of a partner who is lying flat on a piece of brightly colored roll paper. Work together to draw the skeleton and organs inside the outline, identifying the bones and organs correctly. When you are finished, cut out the drawing to mount for a display. 2. Earth Day poster. Identify what you perceive as the greatest threat to the environment. Create an Earth Day poster about this problem. Earth Day will be observed in your town. Do what you can to help call attention to it. 3. Factory machinery. Think about how things might work to manufacture something you like (a toy, candy, T-shirts, television sets). Use ballpoint pen or colored pencil to draw a factory where this might be manufactured. 4. Nature journal. Keep a weekly nature journal. Once a week, write the date in a corner and the temperature. Describe the sky and kind of clouds. Draw one or more natural objects on the page (a bug, weed, tree, shell, fish, animal, or ???). Write something descriptive about the object (size, color, smell, flight pattern, texture). 5. Periodic table. Many classes can work together to create a periodic table of the elements by having each student draw one element, using its symbol and name, and creating a cartoon “character” or humorous drawing to represent that element. Unify the composition by having a specific size and colors, working with marker or on the computer. 6. Picture the constellation. Select a real constellation (perhaps one that is visible in the month when you were born) and draw an imaginary person or creature using the locations of the stars within that constellation. 7. Seasons. Draw several trees when they have leaves, identifying them by shape. On the drawing, write the name of the tree and draw at least one leaf from each tree. When the leaves have fallen, draw the bare trees. 8. Useful plants. Select a plant that does great things for people (medicine; food; shade; quick-growing, therefore useful for fuel). Tell the story about this plant through a two-dimensional or three-dimensional work of art. 9. Watercolor leaf project. Gather leaves from several different trees. Use watercolor and a piece of 8½-by-11-inch white watercolor or construction paper. Remove the stems and place the leaves face down. Paint around the leaves with watercolor (the color will creep under the edges, leaving silhouettes). Leave the leaves in place to dry for several hours. These can be cut out, mounted, and identified by name. 10. Weather-related (clouds). Cut a piece of blue or black construction paper into eight small pieces. Use chalk to draw clouds that represent cumulous, stratus, cirrus, and nimbus clouds. Glue each small piece onto a piece of paper, identify it, give altitude at which it is generally found, and describe the appearance (examples: fluffy, storm clouds). Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

SCIENCE-RELATED TOPICS animals with a shell famous scientists migration astronomy fish nuclear energy atmosphere flowers oceanography aviation and space science fossils physics body systems genes and chromosomes planets camouflage geological formations plant science chemistry geysers: Old Faithful reptiles classification glaciers rocks constellations health and nutrition solar system dinosaurs insects space travel Earth science inventions substance abuse ecology light the ice age electricity machines underground caves elements magnetism volcanoes energy mammals weather environment medical discoveries evolution meteorology Chapter 11 Art Projects 343

11–9. Ten Ideas for Combining Art with Social Studies

1. Celebrations. Investigate special holidays in another country. Find out how homes are decorated for the occasion and make examples of the decorations to accompany a report. 2. Exploration. Select a famous explorer (land or sea) and learn what you can about that person to share with others. If sea voyages were involved, try to trace the voyage on a map. A few famous explorers are Magellan, Ponce de Leon, Cortez, Columbus, Leif Ericson, and Lewis and Clark. 3. Favorite photograph. Make a photocopy of a photograph and mount it on a larger piece of good paper or mount board. Write a poem on the background to accompany the photo, or simply start writing whatever words and thoughts come to your mind all around the photograph. Writing is another form of line, and many artists, such as Cy Twombly, use writing as part of their art. 4. Heritage. Paint or draw a portrait of yourself with something that represents your family in the background. This could be numbers such as your address, objects from your family’s history, patterned curtains, decorations from a celebration, or pieces from a board game the family enjoys. 5. Holiday food painting. Paint a special holiday food served by your ancestors. This could include turkey, Indian bread, Challah, dyed and decorated eggs, escargot (snails), Gouda cheese, chicken Kiev, and others. You may have to go to the Internet for more information. 6. Local approach to map making. Without looking at an actual map, draw a map of your state and the states that touch it. Or draw your state and your entire country. Include the shapes of states and their names. When you are finished, compare it with an actual map. 7. Neighborhood map. Create a map of your neighborhood. Include street names, stores, your house, and even fireplugs (hydrants). This could be done “to scale” (example: ¼ inch = 10 feet), but will be more visually interesting if you don’t worry too much about measurements. 8. Symbols. Discuss the use of symbols to identify the beliefs of large groups of people with special interests (political, religious, environmental). Create a circular design to be used on a flag, or a political button that would identify a group that may or may not exist. 9. Travel dreams. Picture in your mind the place you would most like to visit. Through the Internet or a book, find a scene or symbol to represent that place. Make a 12-by-18-inch vertical travel poster, including the name of the country and something you would typically see there. 10. Workplace. Think about where you would like to work. Draw yourself actually working—you might be

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley frying hamburgers, sitting at a desk, teaching, working in a hospital, in a cubicle in front of a computer, conducting a symphony, or painting a picture.

SOCIAL STUDIES TOPICS THAT COULD COMBINE WITH ART careers other cultures communities other times discovery voyages or journeys personal family history famous local person politics flags state history (pioneers) geography traffic signs local and national government travel other countries world regions (tundra, rain forests, deserts) 344 The Art Teacher’s Book of Lists

11–10. Art Field Trips

Field trips that involve getting students onto a bus are complicated and rare for many schools. Your school or district will have specific information for the procedure of arranging one. An in-school field trip is a possibil- ity that doesn’t usually involve too much planning on your part. However, if students are leaving the school grounds, even for a neighborhood “walkabout,” you must have permission slips and chaperones. In-school trips, of course, need permission of the principal and any teachers whose rooms you might be visiting for drawing.

COMMUNITY FIELD TRIPS aquarium botanical garden art museum florist shop artist’s studio greenhouse bicycle shop water: pond, lake, river, pool, ocean book store zoo

NEIGHBORHOOD WALKING TRIPS around the neighborhood for map making grocery store city hall historic building or old town farm nearby barn firehouse park

IN-SCHOOL FIELD TRIPS behind the scenes onstage music classroom cafeteria kitchen parking lot home economics kitchen school playground or stadium industrial arts or auto mechanics science room inside of your own locker sewing room maintenance person’s closet stairwells making an outside map of school the equipment storage room Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley measuring the gymnasium

11–11. The Face

Projects that usually interest students include drawing faces—their own or others. Chuck Close–style portrait. Make a monochromatic painting (variations of one hue) for the hair and skin and use analogous colors for the background. Cotton swabs or pencil erasers may be used in areas that need careful detail. Corrugated cardboard collage. Make a self-portrait on colored corrugated cardboard using found materials such as buttons, foil, cloth, and yarn. Autumn, and Winter, 1563, Distorted photocopy. Photocopy a portrait, moving it during the photocopying process (it will drawn from Arcimboldo, Kun- be distorted, with some areas fuzzy). Use pencil to exactly redraw the distorted copy. sthistorisches Museum, Vienna Hand and face. Notice that many news magazine portraits include one or both hands. Use pencil to draw a face with hands near or touching it. King or queen. Make a self-portrait as a ruler (President of the United States, king or queen of your imaginary country). Movie star. Paint yourself as a movie star in costume—think Dorothy in The Wizard of Oz, or a Pirate of the Caribbean, Cinderella, or Ariel—even Bambi (with a human face). Point of view. Draw the face by looking at it from a different angle—the person is seated looking down on you while you are sitting on the floor. Police artist composite. Cut out and mount features cut from magazines such as eyes, mouths, and noses on several individual cards; then draw a “police artist” composite photograph using selected features. Chapter 11 Art Projects 345

11–11. Continued

Seasonal fruits and vegetables. Represent a season of the year by replacing features and hair with seasonal fruits or vegetables. Giuseppe Arcimboldo did this in the 16th century. Self-portrait. Do a painted self-portrait using the style from one of these Post-Impressionists: Seurat, Monet, Beardsley, Gauguin, Toulouse-Lautrec, Matisse, van Gogh, or Cezanne. Sharpie circles. Find a portrait photo that is somewhat old-fashioned. Use fine marker and pencil and make an 8-by-10-inch outline of the photo, Draw tiny circles with the marker, overlapping to make areas darker or lighter (this is only for someone with great patience). Stencil letter face. On 18-by-24-inch paper, lightly draw the outline of the subject. Use purchased letter stencils and lightly trace a few letters (or non-words) with pencil onto the background overlapping the face and hair. Lightly paint the face, hair, and background, leaving some letters blank, or making them darker or lighter. The idea is to not overdo the letters. From a distance they should barely be visible. Symbol face. Draw a realistic self-portrait outline in pencil. Use meaningful symbols to make eyes, nose, hair (dollar signs for eyes, hamburger for the mouth, cell phone for ear). Keep some areas realistic and think about what is important to you. Watercolor resist grid. Lightly draw a pencil portrait outline on watercolor or white construction paper. With white crayon and a ruler, firmly draw a grid on the entire paper, spacing the lines 1 inch apart. Loosely paint the portrait with watercolor. Write in or around the face. Lightly draw an outline of a face with eyes, mouth, and nose, then fill it with writing in ballpoint pen. Use the words of a song or as many words that start with your initial as you can think of (use a dictionary if you need to). Or write around the outside of the face.

11–12. The Human Figure

No two artists see or interpret the human figure exactly the same way and it is an endlessly fascinating subject because, unlike a building or an orange, it is never the same.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Body part. Draw one larger-than-life body-part (arm, torso, leg and foot) of the human figure on 24-by-36-inch paper. Cartoon-like figures. Fill an entire page with such figures (think Keith Haring). Place them in a specific environment such as a circus, department store, cityscape, night- club, or restaurant.

Finding triangles. Notice how the human figure in action seems to have many triangles Drawn from Leonardo (even the spaces between widespread fingers are triangles). Make a pencil figure da Vinci’s The Vitruvian drawing, emphasizing the triangles by drawing firmly over them. Man, c. 1487 Foam-core action figure. On kraft paper, draw a life-size friend “in action.” This is the pattern to put on foam core and trace around. Cut it out with a utility knife and paint details with acrylic paint. Display it so both sides may be seen by making a stand to go underneath. Safety note: always keep your non-cutting hand behind the blade when cutting. Foreshorten. Have a partner sit facing you with his or her feet straight toward you. Hold a ruler straight up and “measure” (close one eye to look) how big the feet are in comparison to the (farther away) face. Draw this foreshortened figure. Hands and feet. Cover a sheet of paper with drawings of only hands or drawings of only feet. High or low view. Have your model elevated (on a stepstool or table) to offer a different aspect to the figure while you draw, looking up. Or you sit higher and draw while looking down at a model seated on the floor. Drawn after Keith Haring figures 346 The Art Teacher’s Book of Lists

11–12. Continued

Human form sculpture. Use clear packing tape to encase portions of the figure that have been wrapped in plastic wrap. Several layers of tape will hold a shape. Cut apart with scissors, remove the form, and re- tape it together. An alternative is to do this with plaster gauze. Medallion design. Create a design for a medallion (a small, round medal), using from one to three figures. Your design should be in a 12-inch circle. These medallions were sometimes given to seal a treaty between the United States Government and Native Americans. Parody an artwork. Select a photo with human subjects. Interpret the people in paint or pastel. Change the background completely. Consider the parodies on Grant Wood’s American Gothic. Standing poses: five poses, two minutes, one paper. Draw five different standing poses on one 18-by-24-inch sheet of paper. The model should rotate every two minutes for five different poses. Use marker or Conté crayon. Three-dimensional figure. Create a three-dimensional human form from found materials such as toothpicks (glued to a background) or sticks. Join sticks together with a glue gun or wire. Torn-paper human form. Use black paper mounted on white or gray paper. This could also be effective with two forms of different shades of gray mounted on black. Wrapped in a blanket. Have a model do a seated pose with a blanket over his or her shoulders. The human form will emerge as you draw value differences. R.C. Gorman, a famous Native American, was noted for this style.

11–13. Black and White

People who love to draw often prefer working in black and white rather than color. Although it may appear stark, it does sometimes display the skill of the artist better than color. Often it is the beginning point of a colored composition. Certainly charcoal allows one to make quick “studies,” which are interpreted in another medium that may take more time to complete. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

PENCIL Cross hatch. Make light and dark values by repeatedly making parallel lines in opposite directions. Negative shapes. Make a pencil composition by carefully drawing a cityscape. For some buildings, draw the outlines, but draw short pencil strokes coming away from the buildings rather than filling them in (creating clean, negative shapes). On this same composition, draw a detailed area map of a few city streets. Remember to leave clean space, which will simplify a complex composition. Ten-hour drawing. Select a subject that is sufficiently complex that ten (or twenty-four) hours of drawing on the same subject and piece of paper will give a wonderful result (old typewriter, lawnmower, bicycle, seashell collection, playing card). This is a drawing that may be kept a long time, so use good paper. Varied lines. Make lines of various thicknesses using different pressure and different widths of the tool. Make different kinds of strokes: zigzag, series of dots or dashes, “nervous” line, series of loops, short overlapping strokes, stipple marks (dots), tiny circles.

INK Calligraphy picture. Use calligraphy pens and make a bird, eagle, tiger or other animal as Colonial calligraphers did. A very light outline could be pencil drawn and erased later. Colored ink. Paint butterflies or sea forms with ink in its many varieties of color. It has a different look from watercolor. Gesso first. Crudely brush gesso onto heavy paper. Allow it to dry, then draw on it with pen and ink. The “uncontrolled” effect is dramatic. Chapter 11 Art Projects 347

11–13. Continued

Rock forms. Coat a piece of paper with an ink wash— darker at the bottom. While the paper is wet, crumple plastic wrap and blot into it to make rock forms near the bottom. Or leave the plastic in place, using the palms of the hand to scrunch it slightly and allow it to dry overnight. Remove the plastic when it is dry, use ink to accent the rocks. Add grasses and detail in a distant background. Rorschach (blotted ink). Pour a small amount of ink into the center of a paper, fold it in half, and press the paper along the fold and outward. Open the paper and allow it to dry. Examine the blots to find the hidden insect, animal, or tree form that just needs a little more work to make it fascinating. Spatter ink. Create a spatter pattern by dipping a toothbrush into liquid ink and rubbing a thumbnail (or wooden stick) across the brush. Practice first on scrap paper. If using India ink, this can be done before or after painting. Light spatter- ing would be effective on the Rock Forms project above. Wet ink wash. Draw into an ink wash with the ink while it is wet, allowing the darker, drawn ink to “bleed.” Do a line drawing in ink. Fill in some areas with dark-colored ink and a brush; pour or brush on water to allow the lines to run. This would be effective on a drawing of trees. White ink. Draw on dark gray or colored charcoal Seated Worker, 1880, James Ensor, charcoal on paper, The Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley paper with white ink (or combine white ink and Nelson-Atkins Museum of Art, Kansas City, Missouri, gift of white pencil). Dr. and Mrs. Nicholas S. Pickard in memory of Dr. M. W. Pickard, photograph by Jamison Miller

CHARCOAL Charcoal, eraser, white pencil. Completely cover the paper (lightly) with charcoal. Draw a portrait or landscape by removing the lightest areas with the eraser and emphasizing other areas by making the charcoal darker. Use a white pencil for emphasis if needed. Media frenzy. Start with a charcoal drawing. Add any or all of the following: ink wash, pencil, Conté crayon, turpentine, or oil pastel. Safety note: Use turpentine only under adult supervision. Tonal study. Draw around a ruler to make a 1-by-10-inch strip on the paper. Make ten different values (hint: white and black are values). Use the value scale to do a tonal study of the human figure in charcoal, making ten value differences. 348 The Art Teacher’s Book of Lists

11–14. Colored Pencils

Students usually enjoy working with colored pencils. Here are some suggestions for assignments.

GENERAL SUGGESTIONS Allow the edges of the subject to fade. It is not necessary to go all the way to the edges of the paper. Appropriate paper size. Select smaller-sized paper for younger students. Carefully apply colored pencil. It is effectively used when carefully applied, not scribbled. Colorless blender. In combination with colored pencils, this will change the surface or add texture. Combine lines with blended areas. Use water with water-soluble pencils, or turpentine with wax-based pencils. (Safety note: Use turpentine only under adult supervision.) Combine. Combine the pencil art with other materials such as watercolor or collage. Hand-held sharpeners. Use on colored pencils to make them last longer. To alter the appearance of a color. Try one of these: use different colors in short diagonal strokes; vertical and horizontal strokes; cross-hatched; or solid color laid over solid color.

ASSIGNMENTS Face grid. Lightly draw a pencil grid over a face drawing, and color each square individually with colored pencil, not quite touching the lines and varying colors slightly. Erase the pencil lines. Burnish (rub firmly) with white pencil over colored areas, use black pencil over dark areas and a vinyl eraser to lift color and further enhance light areas. Face. Draw a face on 12-by-18-inch paper, transferring the outline to a second sheet of the same size. Lightly trace around a 4-by-4-inch tagboard square randomly on the paper, including the face and hair. Refer to the original portrait and use colored pencil to complete selected portions of the face and background, leaving several four-inch square areas blank. Fantasy color. Draw a tree shape as realistically as possible, but change it with totally unrealistic colors. Flower graffito. Do a richly colored drawing of flowers, then use an X-Acto® knife to remove pencil, create pattern, or make value differences. Safety note: Handle the knife carefully. Fool the eye (trompe l’oeil). Colored pencil is an ideal medium for an absolutely realistic composition. Make

a 4-by-6-inch drawing of one object such as a piece of fruit or a large shell. & Sons, Inc. Copyright © 2010 by John Wiley Graffiti portrait. Use a copy machine to reproduce a photo of a friend and use colored pencil to create patterns or graffiti on the face and background. High key (light). Draw very firmly with mostly light colors. Low key (dark). Draw with mostly dark pencils, using a kneaded eraser to create some highlights. Portrait. Draw a portrait using at least five colors to render the skin and five colors for the hair. Side lighting. Light a still-life from one side and reproduce the light and dark sides through the use of color only—no blacks and whites. Soap drawing. Draw a city (buildings, trees, sky, people) on black paper or tar-paper with a bar of soap (motel soap is a perfect size). Do a colored pencil (or Art Stix®) drawing on top of the soap as if it were not there. Briefly put the paper in warm water to melt the soap; allow it to dry. It can be reworked and enhanced with pencil if accents are needed. Textured surface. Place texture under drawing paper when creating a colored pencil drawing. Turkish rug. Do a small intensely colored design for a Turkish rug. White line. With pencil, firmly draw a design on a piece of tracing paper on top of drawing paper. When colored pencil is used on the drawing paper, white lines that are impressed in the drawing paper surface will remain visible. Chapter 11 Art Projects 349

11–15. Markers

Markers really are a wonderful invention, aren’t they? And just when it seems that every possible improvement has been explored by the manufacturers, they come up with new and creative ideas.

A FEW SUGGESTIONS FOR STUDENTS always replace the cap when you are not using the marker avoid scribbling color carefully mostly in one direction protect the table from markers by working on a sheet of newsprint take the cap off only one color at a time when the marker doesn’t write any more, bring it to the teacher for recycling

TECHNIQUE Marker and watercolor. Use a water-based fine-line black marker to draw a detailed picture of a Victorian house or old building. As you brush watercolor on it, the marker will bleed, which gives a charming effect. Permanent colored markers and rice paper. Work on a soft, porous paper (such as rice paper or tracing paper) with permanent markers, which will bleed through to the back. Leave plenty of white space around your composition. Turn the paper over and emphasize the design from the back with a fine- line marker. Suitable subjects might be an undersea world or a garden. You may end up choosing either side for the finished product.

ASSIGNMENTS Invented texture. Select a famous architectural structure and re-interpret it in black marker, filling it completely with invented texture and pattern (small squares, circles, stripes, or dots within circles).

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Moving parts. Make drawings of trains or an industrial complex with machinery; to adapt this to an indoor situation, draw from equipment that has moving parts such as a clock, motor, or appliance. One subject two ways. For two different approaches to the same subject (human figure, fruit still-life, landscape), do a drawing using only line or only shape. Pencil and tissue paper. Draw a figure with pencil. Apply colored tissue paper to it with polymer medium. Let it dry. Repeat the original drawing on top of the tissue with black marker. Plein-air with markers. Make a quick outdoor drawing using only wide-line markers. Simplify details and allow white space to show. Avoid scribbling to fill space. No suns in the corner! Three cars. Draw a group of cars in a parking lot, either from a side, back, or front view. 350 The Art Teacher’s Book of Lists

11–16. Crayons

Just when you think there’s nothing new that could be done with crayons, they invent crayon sharpeners, True-to Life crayons (Crayola®), and cultural set rubbing plates. Crayons are still wonderfully clean and can be beautifully bright. The secret is to size the project according to patience and physical limitations. Young students just don’t have the stick-to-it ability to complete large crayon compositions.

SUGGESTIONS FOR USE Candle encaustic. Hold the end of a crayon in a tea light candle flame to soften it, then apply it to paper. Build up colors for an encaustic effect. Safety note: Use for appropriate age groups, and experiment first. Crayon resist and finger paint. Draw with white crayon on white paper, then finger paint over it with liquid starch colored with tempera. Fabric crayons. Heavily color a design on paper with fabric crayons; turn this face down on cloth and iron the paper on the back for thirty seconds to transfer the design. Fake batik. Color heavily, then crumple the paper. Paint over it with dark paint. Watercolor crayons. Rub crayon on a damp paper towel or sponge for stenciling through a tagboard stencil. Use of random letter stencils from a hardware store also offers variety to a drawing.

PROJECTS Crayon etching. On 12-by-18-inch paper, draw an exotic bird and background, then firmly color the entire composition. Paint over with black ink that has liquid detergent added to make it stick. Let it dry, then scratch very closely spaced, straight vertical lines through the ink (use a large nail and ruler). Crayon resist. Draw a reptile (frog, crocodile, lizard, snake) and its habitat with white crayon on white construction paper, then paint with watercolor. Crayon rubbings (frottage). Use pencil to make a light outline drawing of a wild animal or a forest

landscape. Fill in the outlines by using the sides of crayons to make rubbings of a variety of & Sons, Inc. Copyright © 2010 by John Wiley things such as netting, leaves, bark, brick, coins, needlepoint plastic, or plastic texture screens. Go over the outlines with crayon to give a finished look. Encaustic painting. Melt crayons in a wax melter to paint on mat board, canvas board, or wood. Safety note: Handle the melter with care. Homemade scratchboard. Draw firmly with crayon on tagboard (avoid working too large—hard coloring becomes a bit boring). Safely use a sharp instrument to scratch small patterns in the surface (the dye from the crayons remains underneath). Sandpaper print. Color firmly with crayon on medium-weight sandpaper with a newspaper pad underneath it. Place printing paper on the sandpaper (colored side of sandpaper on the bottom, face up) and put newsprint on top. Iron to transfer the print. This will also work on a T-shirt or cloth (old sheets are good). Chapter 11 Art Projects 351

11–17. Pastels

The word pastel is somewhat misleading, in that people expect a pastel “painting” to be softly colored. Quite the contrary. It is sometimes difficult to tell the difference between a pastel painting and another painting medium from a distance. It purely depends on the method of application and the artist’s intent. It is an ideal medium for painting outdoors because the painting will not be wet and water isn’t needed.

SUGGESTIONS FOR USING SOFT PASTELS Alternate. Work with a watercolor under-painting, accenting with pastels. Blend with tissue. Use the sides of the pastel to draw, and then blend with a tissue. Blend with water. Dip the pastel in water and draw with it. Cross hatch. Build up layer after layer by having short lines going in opposite directions. Dark to light. Start with dark colors and put lighter colors on top. End or side. Pastels can be used on the sides or from the tip. You get entirely different effects from either, and they are often used in combination. Feather. Work only in short lines, with pastel marks all going the same direction. Grayed colors. Combine primary colors with their complementary colors to make shades of gray. Pastel dust. Scrape a pastel to make dust, then apply the dust with a cotton ball or palette knife to paper. Use a stencil or kneadable eraser to create some light areas. Shake off excess. Scumble. With the side of a pastel, drag one color over another, allowing the underneath to show through. Spray fixative. Some artists never use it. Others use it between coats, then draw on top of it again. It should be fixed outdoors rather than in a classroom.

SOFT PASTEL PROJECTS Tops of buildings. Have students observe differences in the tops of the buildings: castles with turrets; adobe roofs with rounded edges; skyscraper top floors; home roofs. Have them cut a building rooftop from a 2-inch strip of tagboard, scribble soft pastel on the edge of this stencil, then place it on a piece of paper. Use a tissue to gently wipe the pastel upward onto the background. Move the stencil down the paper slightly and apply a different, closely related color, once again transferring it to the background paper. Students can exchange “rooftops” for variety.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Triadic color scheme. Create a color scheme of three warm or cool colors, accented with a complementary color. Winter landscape. Draw on light gray paper with soft pastels and white chalk. The picture should include yourself (and perhaps friends) dressed in winter clothing. The picture should have a foreground, middle ground, and background.

SUGGESTIONS FOR USING OIL PASTELS Build up pastel thickly. Just like oil paint, when colors are layered, they blend together. Combine with gum tragacanth. Oil pastel and mineral spirits. Oil pastels work on canvas board just like oil paint. Dip oil pastel into mineral spirits or turpentine and draw with it or blend with a cotton ball dipped in mineral spirits. Be careful! Scratch details. With a nail, pencil, or sharp knife, scratch a design into oil pastels to reveal dye left on paper underneath. Use one color on top of another, and scratch through the top color, doing a form of etching.

OIL PASTEL PROJECTS Fluorescent marker and pastel. Use fluorescent markers underneath, then apply designs on top with pastels. Monotype and pastel. Make a monotype (ink impression on paper). Allow it to dry and enhance it with oil pastel. Oil pastel palette. Make a pastel “palette” of several small areas of solid colored scribbles on paper, then dip a cotton swab in solvent and lift color, transferring it to pastel “painting.” Roofing paper mural. Bring in scraps or a roll of roofing paper from a local hardware store. Oil pastels are brilliant enough to look wonderful on black or gray. This could be an ongoing all-class mural, as it can be rolled up until completed. Watercolor and pastel. Paint a background with watercolor, let it dry and emphasize areas with oil pastels. 352 The Art Teacher’s Book of Lists

11–18. Mixed Media

Sometimes a crayon or watercolor project yields less-than-perfect results and serious changes are needed. Mixed media to the rescue! Combinations such as these may not be for purists, but it certainly can be used to improve a single-medium composition. It also gives the lesson that artwork is usually worth per- severing to “make it right.”

Here are a few suggestions for subjects for any one of these techniques. a family party or picnic castle at the top of a hill city of the future playing a game at the beach varicolored flowers completely filling the page

SUGGESTIONS FOR MIXED MEDIA Black fine-line marker. Let a watercolor dry, then outline with black fine-line marker. Or, first draw the composition in fine-line marker and then paint. The marker bleeds, for an entirely different effect. Black or white crayon resist. Draw heavily with white or black crayon, then paint over with tempera. Collage. Make a collage by cutting areas from a finger painting and combining them with colored paper and one or two magazine photos. Delicate texture. Apply ArtistColor® transparent liquid acrylic color on top of a dried watercolor painting. Gesso paper and tempera. Work on a gessoed background on any surface with tempera mixed with polymer medium (which makes tempera shiny). Gesso, polymer medium, and watercolor. Paint watercolor paper with a mix of gesso and polymer medium, allowing the brush strokes to show. When dry, paint on it with watercolor. Glass jar or bottle person. Paint gesso on a glass jar or bottle. A decision about the gender of the bottle Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley person and how face, arms and clothing will look must be made before drawing on the gesso with pencil. Paint with acrylic paint; allow to dry, then finish with acrylic medium. A suitable hat or hair could be added to the lid or bottle top. Pastel and charcoal. A charcoal accent sometimes gives needed contrast to a pastel drawing. Or, start with charcoal, then add pastel. Work from your own photo (not anything that has been published). Pastel and modeling paste. Draw with pastel, coat it with modeling paste, allow it to dry, then draw again with pastel. Continue alternating layers. Really mixed media. Use various other materials with a finished watercolor such as pastels, watercolor pencils, colored pencils, ballpoint pen, or charcoal pencil. Go over a finished painting with water- soluble colored pencils to add detail. Watercolor and pastel. Do a watercolor painting or ink drawing of flowers, allow the painting to dry, then go over it with oil or dry pastels. Chapter 11 Art Projects 353

11–19. Painting Information

These are not projects, but simply information that might be useful when introducing painting or drawing projects.

WORKING SUGGESTIONS Border. If painting on paper, draw a 1-inch border around the edge for easier handling and matting. Viewfinder. Use a viewfinder as if it were a camera (a slide mount or a paper with a hole cut in it). Isolate the area you might paint in a landscape.

COMPOSITION POSSIBILITIES Diagonal lines. Use these as part of the composition to make it more dynamic. Formal balance. Create a formally balanced painting with a central subject. Framing. Frame the composition by looking through a doorway, window, or arch. Golden section. Use this (roughly 8/13) as the perfect proportion for a painting. Horizon line. Use either a high or low horizon line—avoid one in the middle. One-point perspective. Make a central vanishing point with everything leading to it. Rule of thirds. Divide the surface with a tic-tac-toe grid and place the main subject on an intersection. Triangular group. Arrange figures as the great Renaissance masters often did.

VARIATIONS FROM REALITY Dramatic brush strokes. Use short brush strokes of pure color. Foreshortening. Paint the part of the figure closest to the viewer dramatically larger to create depth. Geometry. Use geometric forms as part of a composition on nature. Selective realism. Depict one area of the canvas realistically, while allowing the rest of the composition to be very loosely interpreted. Shallow space. Create shallow space by making all figures approximately the same size. Side lighting. Employ side lighting to call attention to your subject. Unusual format. Paint within an uncommon format such as an oval, triangle, or square.

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley COLOR Balance. Almost any painting needs both light and dark areas to be effective. Color. Advancing colors are red and yellow; retreating colors are blue, violet, and green. Complementary color scheme. Use colors opposite each other on the color wheel: examples, red/green, yellow/violet, and blue/orange in equal or unequal intensity. Create mood. Work with light or dark gray values to create a tranquil or menacing mood. Differing color intensities. If using complements in a color scheme, it is effective to use: red 50 percent/green 50 percent; blue 66 percent/orange 33 percent; and violet 75 percent/yellow 25 percent. Figure/ground relationships. These are especially important in using color, with choices of color calling attention to or minimizing a specific area. Flat color. Color is of unvarying intensity and value of a given hue or color. High key. A high-key painting shows dramatic differences in colors because of bright, reflected light; color is used in its purest intensity. Low key. A low-key painting features subdued changes and hazy effects. Color is subdued and neutralized, often with the addition of its complement. Model. Vary the color by adding white or a complement to show depth and roundness. Monochromatic color scheme. Add a single complement to heighten intensity. Neutral colors. Neutrals are black, white, brown, and grays that are made by mixing complements together, sometimes with the addition of white. Seasonal light changes. The light in seasonal changes such as summer or autumn can be controlled by subtle changes in intensity. 354 The Art Teacher’s Book of Lists

11–20. Watercolor

Most watercolorists create the “magic” in their paintings by practice, planning ahead (sometimes lightly drawing in pencil), and knowing when to quit. Here are some techniques that are used in painting with amazing, versatile pigment. Try experimenting with some of them on a separate piece of paper before beginning a painting. Use materials safely!

TECHNIQUES AND SUGGESTIONS FOR USE Alcohol. Spray, drip, or use a brush to draw with alcohol into wet or dry pigment. Cardboard as a brush. Spread broad areas of watercolor using a small rectangle of cardboard. Dry-brush. Eliminate most of the water, leaving pigment, to give a striped effect or dry-brush on top of a painted area. Glaze with watercolor. Apply light colors and build the intensity of these transparent colors. Gouache. Add white pigment to watercolor (gouache) for occasional use or contrast. Happy accident. Take advantage of the “happy accident” when color runs, tilting the paper to use it advantageously. Resists. White crayon, frisket, rubber cement, white glue (non-removable), masking tape can be used. Scratched texture. Scratch into a dry or wet watercolor surface with a sharp instrument for interesting texture effects. Spatter or drip. Drip liquid frisket onto paper before painting or into wet paint. Or spatter dark or white paint on a surface by rubbing a paint-laden toothbrush. Sponge. Lightly apply watercolor with a small piece of sponge for tree leaves or shrubbery. Stamp. Add details such as bricks, limbs, or a roof edge with the edge of a small piece of cardboard (corrugated or mat board). Stipple. Hold a stiff brush vertically and dab small strokes. Texturize. Use a cotton swab, cotton ball, sponge, wadded paper towel, crumpled wax paper (allow to almost dry) or damp tissue. Or add pebbles, Kosher salt, sand, or beads to watercolor paint when it is wet to make textural differences. Allow it to dry before rubbing off. Turpentine. Brush turpentine onto paper before painting to give a wonderfully oily, somewhat uncontrollable resist— interesting for skies and water. Wash. Make even strokes across the page for skies and water. Make a graduated wash by diluting pigment as you go down the page. Wet-in-wet. Apply pigment into an already wet area, allowing it to spread.

PROJECTS Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Black marker. Draw with fine-line felt-tipped black marker before painting it with watercolor. The black line will run and bleed through. This is especially effective when drawing architecture. Crumpled paper into wet areas. Indicate rocks at the foreground of a landscape by crumpling plastic wrap or waxed paper and placing it on a still-wet area. Leave it in place until dry. Spatter with slightly darker paint. Leaf prints. Loosely paint light values of watercolor on paper and, while the paper is wet, press leaves into the background (underside up), adding extra medium or dark paint around the edges of the leaves. Allow to dry completely, then remove. Emphasize the use of dark and light values. Paper batik. Make by using melted wax as part of the design; apply on white paper or to preserve certain areas of dried color. Iron out the wax between sheets of newsprint. Tissue paper under-painting. For a textured surface, crumple tissue paper and glue it in place on dry paper with polymer medium. Allow it to dry before beginning to paint in watercolor. Or use a few large torn pieces of rice paper strategically placed. The textures are subtle but effective.

Watercolor Leaves Chapter 11 Art Projects 355

11–21. Tempera

Tempera is powdered pigment mixed with water, egg yolk, or acrylic gel medium. It was used in ancient Greece and Egypt.

SUGGESTIONS FOR USE Alcohol and tempera. While it is wet, “spritz” with water or alcohol from a spray bottle. Dilute. Thin tempera to make it somewhat transparent. Disposable paper palette. Make a painting palette of a double-page fold of a slick news magazine or wax paper. Egg carton palette. Pour a small amount of each color into an egg carton, mixing colors in the lid. Paint with a brayer. Cover paper with art paste or Media Mixer® and use a brayer to “paint” with tempera while the paper is wet. Paint with a sponge. Dip a piece of sponge in tempera and use it as your painting tool. To make bushes or tree leaves, dab it to apply. Stamp pad. Make a stamp pad in a foam meat tray by pouring tempera on folded paper towels or a pad of felt stapled in place. Starch and tempera. Mix tempera with liquid starch, Media Mixer® or Elmer’s Art Paste® for finger painting.

PROJECT IDEAS Chalk on black paper. Use chalk to draw a combination of geometric and free-form shapes. Draw a second, parallel chalk line one-fourth inch around the shapes. Paint to the chalk lines with undiluted paint, leaving a few open shapes unpainted. Add pattern in one or two segments. Circular format. Draw around a cardboard pizza circle. Distort the subject to make it fit to the edges. Color wheel. Experiment mixing paint by cutting twelve identical tagboard shapes (for example, ovals, free- form, stars) approximately 3-by-5 inches. Begin with only red, blue, and yellow, and mix these colors (R, RO, O, YO, Y, YG, G, BG, B, BV, V, RV), painting a different one on each piece of tagboard. Make a complete color wheel by gluing the shapes onto a white or black background. Dark and light. Paint an entire “dark” composition, then use a small brush to enliven it by making numerous fine details with white paint. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Fauve painting. Color firmly with crayons in “crazy” colors (pink trees, orange sky). Paint over it with regular colors, allow to dry slightly, then wash off most of the tempera. Leaf stencil. Make a stencil of a leaf and spatter paint it with tempera rubbed across a screen with a toothbrush; move the leaf. Magnify sometimes. Draw three circles of different sizes on drawing paper. Do a still-life drawing, but use the circles like magnifying glasses, enlarging what is “seen” through the glass. Monochromatic color scheme. Make a monochromatic painting of one hue, adding white or black to change it. Mural. Paint a tempera mural on butcher paper with a theme such as cave art, at the swimming pool, winter sports, or your state’s history. Self-portrait. Lightly draw a self-portrait in pencil before selecting only two colors—one light and one dark— to interpret the differences in value in your face, blending with fingers as necessary. Portraits can be laminated to prevent further loss of pigment. Tempera batik. Do a painting with tempera. Let it dry completely, go over it with black ink and gently wash off the ink (sometimes the washing off is better done by the teacher). 356 The Art Teacher’s Book of Lists

11–22. Finger Painting

Finger paint is enjoying a resurgence as students and adults find joy in the accidental effects achieved by painting without brushes. Palms, fingers, sides of a fist, fingertips, and fingernails are simply tools.

FINGER PAINT METHODS • Put paint on paper and create a design using first the forearm, then the bottom of a fist, then the fingers, then fingernails. • Use both hands and arms at the same time, trying reverse motions. • Use two or three fingers together to make pattern designs such as scallops, circles, zig-zag, curvy, spirals, squares, and triangles. • Experiment with mark-making with different parts of the hand. Chinese paintings may serve as inspiration. • Make a monochromatic scheme with values of one hue, adding white or a dark color to change, or work with two or three analogous colors on the color wheel. • Use man-made tools such as a comb, can top, toothbrush, pastry brush, cardboard, hair curlers, paint rollers, cork, toothpicks, dowels, clothespins, or cardboard to create a design.

FINDING IDEAS • Paint a place in your memory such as a waterfall, ocean, mountain scene, park, or home. • Paint to music, allowing the hands to “dance” in the painting. • Think about a specific season of the year or kind of day (rainy, sunshiny, cloudy, windy). • Suggested subjects for finger painting include living creatures, undersea scene, tornado, flowers or trees, or the beach.

FINGER PAINT MONOTYPE • Cover a sheet of paper with a finger painting, then while it is still wet, place a clean sheet of paper on top and rub with the palm or a brayer to transfer the print. You can add a resist by placing string, confetti, lace, grass, tape, Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley or paper on top of the painting before transferring. Make sure the surface is still wet. • A stencil can be made by cutting large shapes from one piece of paper. Place it on a second piece, then finger paint on top. When the stencil sheet is removed, finger- painted areas on the bottom sheet may be changed with marker or paint. • A monotype line drawing is made by placing a clean sheet on top of a damp finger-painted paper, and drawing on the clean paper with pencil. When it is removed, the colored line drawing will be on the reverse side.

COMBINING FINGER PAINTS WITH OTHER TECHNIQUES • Make a tagboard shape and scribble around the edges This iris painting was created with the fist, side of with crayon several places on the finger-paint paper; hand, fingertips and fingernails, using watercolor paint then finger paint on top of the crayon. mixed in the top of the watercolor container. Created in a class with artist Marilyn Bradley, who demonstrated • Make a collage by cutting out areas of a dried finger- this technique. painting and combining them with other materials. Chapter 11 Art Projects 357

11–23. Oil and Acrylic

Oil (including water-soluble oil) and acrylic paint allow the painter to paint much the same subjects with either one. Acrylic may be used as an under-painting for oil, but not the reverse.

ACRYLIC ASSIGNMENTS Extend a photograph. Apply a photograph or postcard to heavy poster board, then use acrylic paint to “extend” the photo out to the edges, leaving the photograph unpainted. Jackson Pollock–style mural. Do an action-style dripped acrylic mural on a heavy rubberized painter’s drop cloth with donated “oops” paint from a local store or students’ families. Landscape abstraction. Divide a paper with two lines horizontally to represent background (sky) middle ground (hills), and foreground (land). Divide each of these areas with several lightly drawn lines in any direction. Vary the color very slightly at the dividing lines. Depth is normally shown by having the painting slightly darker at the top and bottom, and fainter the further away objects are (hills tend to be purplish in the far distance). Include only one realistic subject such as a barn, rock, or house. Not one straight line. Consciously create a painting without a single straight line. Old master reproduction. Work as a group to do a wall-sized reproduction on Foam Core® of an “old master” painting. Make two photocopies, making a grid and numbering each square on both. Cut up one photocopy of the master’s artwork, numbering each piece, and giving one portion to each participant. Write the participant’s name on the other photocopy to make reassembling easy. Distribute to each person a Foam Core® piece pre-cut in exact proportion (put a matching number on the back). Have each person sign his or her section. Assemble on a wall. Straight-line tape stencil. Apply masking tape to make a straight-line design on canvas. Paint with acrylic and allow it to dry. Remove the tape. Re-tape and add different colors. Make something realistic in one segment. Tall and thin. Paint a three-dimensional figure painting on a surface such as a heavy cardboard carpet tube or a section of 4-by-4-inch or 6-by-6-inch fence post. T-shirt silk-screen. Do a photo silk-screen on paper or a T-shirt. Vegetable print. Use vegetables such as the ends of celery, carrots, broccoli, green pepper, and potatoes to stamp designs on T-shirts. These designs may be flowers, abstractions, or geometric figures. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley OIL ASSIGNMENTS Palette knife. Paint with a palette knife, mixing colors on a palette before applying them to a canvas. Under-painting. This European tradition of painting with a thin wash of burnt umber (or violet) mixed with turpentine allows you to work out value differences in advance before adding more color on the entire canvas. Some artists use warm colors such as golden yellow or rose for under-painting.

OIL AND ACRYLIC PAINTING IDEAS At the table. Portray a tabletop of any kind and what is on it (office, dinner, entry hall, bedside, computer, coffee shop, cafeteria). Crowd of people. Create a painting overlapping many figures such as a crowd in the theater or at a parade. Deliberate distortion. Paint a portrait with a deliberately elongated face in the manner of Amedeo Modigliani or a fat face in the manner of Fernando Botero. Expressions. Do a portrait from a photo of yourself or a friend making a “funny face,” rather than in a normal smiling portrait expression. Interior frame. Do a painting of the view out your window, showing the frame, curtains and window-sill. Post-Impressionist Pierre Bonnard was a master of the interior, looking out. Isolate with a viewfinder. Use a viewfinder (or camera) to isolate a tiny area of a huge room. If you make it fill the canvas, you have a wonderful abstract. Make the small monumental. Take something such as a shell, flower, or cup and saucer and cause it to dominate the canvas (it might be in the foreground, with a far distant background). 358 The Art Teacher’s Book of Lists

11–23. Continued

Neutral colors. Make a painting in neutral colors only (grayed complements, black, white, tan). If you must, add one or two accents of pure color, but use it sparingly. Old master and you. Reproduce an “old master” painting as perfectly as possible, but substitute your own face for that of the person in the painting. Paint to music. Listen first, allowing colors and shapes to go through your mind, then begin painting. Personal parody. Paint a parody of a famous masterpiece such as Grant Wood’s American Gothic or Botticelli’s The Birth of Venus, substituting your own face and personal symbols. Perspective painting. Use one-, two-, or three-point perspective to paint a cityscape. Open space should be an effective part of this composition. Pointillism. Create form with dots of color, allowing the eye to mix the color, as Georges Seurat did. Round painting (tondo). In the manner of the old masters, paint something within a “pizza circle.” Caution: it appears to roll unless weight is kept at the bottom. Staple it. Staple black-and-white photographs to canvas board or plywood. Almost obliterate the photos with paint, allowing the staples to remain, and adding many more staples later, wherever they will enhance the design. Boy in Short Pants, c. 1918, Amedeo Modi- Two figures. Do a composition of two figures. They may face each gliani, Italian, 1884–1920, oil on canvas, other, be side-by-side, or overlap. Perhaps an old family photo Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc. could serve as inspiration. Variations in white. Paint a still life of a bowl of eggs on a white background, using strong directional light from a photo flood-lamp. It can be abstract or realistic.

Victorian-style glass painting. Paint on glass, a plastic panel, or an overhead transparency taped to a firm clear & Sons, Inc. Copyright © 2010 by John Wiley surface. This will be seen from the unpainted side, so highlights go on first, with the background done last.

11–24. Printmaking

The printing press has only been around since 1440, yet printmaking of one form or another existed centuries before that. Although a printing press is a nicety, rubbing on the back of the paper with a baren, the back of a spoon, or your palm gives a satisfactory effect. Safety note: Use all materials/tools carefully.

MISCELLANEOUS PRINTMAKING SUGGESTIONS Clean hands. As master printer Jeff Sipple says “To keep your hands clean, don’t touch the ink.” Simple! Working with a printing partner can be helpful, one with dirty hands—one with clean hands. Clean up. Use water-based ink for easy clean up. If you must use oil based ink, use vegetable oil as your cleanup solution and a final spritz with alcohol. Easy proof. Place paper on the printing plate and rub it with crayon to make a simple proof. Ghost print. Print a plate on clean paper a second time without re-inking. When it is dry, draw on it with colored pencil or pastels to make a new composition, as Edgar Degas sometimes did. Overprint. Use a dry print by printing a different design on top. Paper pickers. Folded 2-by-4-inch strips pieces of heavy paper or mat board can be used to handle paper. Rainbow roll. Put two or three colors of ink on the inking surface. Load the brayer with ink, allowing the colors to overlap slightly. Transfer to the plate, then print. Chapter 11 Art Projects 359

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Tagboard or cardboard plates. If you will be using cardboard “plates” repeatedly, coat the back with polymer medium or clear contact paper. Transform a dry print. Accent with ink, colored pencil, oil pastels, pencils, or paint.

COLLAGRAPHS Art Deco collagraph. The geometry found in Art Deco design was inspired by Egyptian and Aztec art. Popular motifs were jaguars, the sun, dancers, eagles. Use tagboard to cut strips, circles, and rectangles for an elevator front design (such as those found at Rockefeller Center). Glue the designs to mat board. Varnish with polymer medium or thinned white glue and allow the plate to dry before inking and transferring the design to paper. Cloth. Glue various textures of cloth onto a Masonite or mat board background to create an abstract design. Corrugated cardboard. Cut up or tear corrugated cardboard apart and glue to a plain cardboard background. Varnish with polymer medium before printing. Glue print. Draw a design on tag-board, and go over the line with white glue. Allow it to dry overnight, then coat the board with polymer medium and allow it to dry before inking and printing. For reuse, coat the back of the plate with Con- Tact® paper or a coat of polymer medium. Landscape collagraph. Work horizontally and place materials going that direction. Make a center of interest such as a building, trees, mountings, or roads leading off to the distance. Nature collagraph. Glue grasses to a piece of mat board, then cover the surface with gesso. Coat the plate with polymer medium before printing. Shiny skin. The Art Deco collagraph plate can be covered with aluminum foil after it has dried. Press the aluminum so it allows the design to be raised. Adhere it to the print with spray adhesive and spray it with inexpensive black paint. Use fine steel wool to polish the highlights. For younger students, the previous two steps are not necessary, and India ink may be substituted for spray paint. String print. Glue string of various textures and sizes onto tag-board to create a line design. Or use string, modeling paste, leaves and twigs, to make an outdoor country scene.

STENCIL Stamp it. Cut a raised initial on an art gum eraser (backwards). Either as an individual or working as a group, these initials can be used to fill in the outlines of a famous building. If stamp pads are not available, this works on a paper towel folded in a butcher tray that Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley has a small amount of tempera paint poured on.

MONOTYPE Brayer printing. Spread ink over a large sheet of paper with a brayer, using several different colors. For variety, allow white to show; you may use the flat part or end of the brayer; interrupt the line sometimes; or make a plaid by alternating colors vertically or horizontally. Make circular designs by holding one end of a brayer in place while you swirl the other end. Dark line drawing. Draw a pencil design on paper the same size as a plastic or glass plate. Use a brayer to apply ink evenly onto the plate. Place the drawn design on top of the inked plate (original pencil drawing facing up) and redraw the design. Lightly rub the paper in a few places to transfer more ink. Dark surface monotype. This monotype requires you to fully ink a plate, then use cloth, a sharp instrument, or brush to create a picture in the ink. Place damp paper on it (remember to use a cover sheet). Use firm pressure all over and lift off the design. Draw a design on an inked brayer. You will get an unexpected pattern when it is rolled. Or glue string or slip rubber bands onto a brayer to create a Lake of the Ozarks View. This string print variety of patterns. Patterned brayers are available for purchase. was glued on mat board, coated with poly- Spritz water. Lightly spritz a small amount of alcohol (for water-based ink) mer medium, and allowed to dry overnight. or mineral spirits (for oil-based ink) to an inked or painted surface before It was inked with several related colors printing on paper. before printing. 360 The Art Teacher’s Book of Lists

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Watercolor marker on plastic. Two forms of thin plastic that will hold marker or watercolor are Mylar® or Yupo®. They can be cut any size, but 5-by-7 inches is adequate, and fits nicely on 8-by-10-inch white construction paper. After creating a marker drawing, place damp paper on the marker or watercolor drawing to transfer. Use a cover sheet on the back of the paper to keep it from roughing up. The plates are reusable. Ordinary sheet plastic from a hardware store can be sanded to roughen it, allowing you to print much larger, but if using in a press, the edges should be beveled before applying the marker drawing. White line drawing. Change the surface of an inked plate by drawing into it with stiff cardboard or a pencil. Apply ink over grass or weeds arranged on a metal or plastic plate, inking the entire plate. Remove the grasses, then print the resulting design (the “grasses” will be white).

RELIEF PRINT Linocut. Carve a design in sheet linoleum. What is cut away will remain white. Reduction print linocut. Remove part of the linoleum plate each time you change color. Start with a light color and make several prints. Cut away more of the plate, then print over the original print. This process can be repeated several times. Styrofoam and pencil. Draw a design on Styrofoam® with pencil. Ink the “plate” and print from it.

STAMPING Chinese stamp. Carve calligraphy characters into an eraser. Print it with red ink. Shaped sponge stamps. Use small pieces of shaped sponge to stamp designs. Change colors as you change shapes. Stamp with food. Fruit and vegetables such as apples, oranges, or lemons or onions, carrots, potatoes, or green peppers. Stamp with kitchen objects. Try a fork, potato masher, tin can, or cookie cutters. Thumb and finger stamps. Use your thumb and fingers inked on a stamp pad. Chuck Close made a huge black-and-white portrait called Fanny Fingerpainting using this method.

THINGS TO DO WITH A PRINTING PRESS Prepare damp paper in advance by alternating wet and dry sheets and placing in a plastic bag overnight. Remember to use a cover sheet (newsprint or copy paper) to protect the press blankets and to keep the paper from “pilling.” Abstract woodcut. Make abstract designs in a piece of plywood by hammering chains, scratching with a nail, drilling holes, stapling, & Sons, Inc. Copyright © 2010 by John Wiley or carving with a wood-cutting tool. The grain is very effective when the plate is inked and run through a printing press with damp paper. Dry-point. Do a detailed drawing of the print the same size as a plastic plate, attaching it at the top with masking tape. Use a sharp needle to scratch the design onto the plate. Apply ink, then wipe most of the ink from the surface before printing, leaving ink in the incised lines. Print on damp paper, which will lift the ink. Remember, printing is backwards, so if the design must face a certain way, it must be transferred to the plate backwards. Oil pastel and vegetable oil. Draw a composition firmly with oil pastels on canvas or canvas-paper. Coat the pastel with ordinary vegetable oil, using a foam brush. Allow it to set for fifteen minutes to soften the oil pastel. Run it through a printing press with dampened paper. It will transfer the oil, but leave most of the original drawing intact. Relief print. Make an embossed print by cutting a design in a linoleum block. Without inking, run dampened paper through a printing Earth Mover. The top photo is oil pastel on press on top of the plate. If you want to add color, place colored canvas. The lower photo is a print (notice it is tissue paper (test to make sure it is the kind that bleeds) between reversed) made by softening the pastel on canvas the block and the plate. with ordinary vegetable oil, then running the plate through a printing press with damp paper on top. The original painting appears almost untouched after this process. Chapter 11 Art Projects 361

11–25. Graphic Design

Although most graphic design projects are computer-generated today, good graphics still rely on good ideas. Drawing skills, the ability to think creatively, and imagination are still needed in the graphic design field. Any one of these projects will be good experience for the future professional.

GRAPHICS PROJECTS Abstracted subject. Take a subject and distort, fracture, change color, hide, or otherwise make changes that still allow the viewer to recognize the original subject. We always knew what Picasso’s subject was. Book cover. Design a paperback book cover for a classic piece of literature. Make it eye-catching, using only lettering, no pictures. Department or specialty store packaging. Come up with a logo that could be instantly recognizable to complement the store’s name. Design a shopping bag or create a complete department store packaging line, including gift boxes, a shopping bag, and small sacks. From sketch to final. Make a simple graphic drawing of the subject (person, motorcycle, skateboard, shoes, purse, or cell phone). When you are satisfied with your idea, photocopy and enlarge it and adhere it to illustration or canvas board with gel medium The gel medium both glues and seals. Paint with gouache to develop the idea, working from light to dark. You can use lighter gouache for highlights. Prismacolor® can be used on top of the gouache as accent. Carefully seal with a fixative. Magazine cover portrait. Create a portrait illustration of a famous person for a national newsmagazine cover using one or more of the following: clay, wire, collage, cut paper or other sculpture material, remembering to leave space for the magazine name and other information. Masterpiece to advertising piece. Change a recognizable artwork for use in an advertisement for a local restaurant. Select a typeface, and work up a complete advertisement. Movie theater ad. Approach a local business and offer to design an advertisement to be flashed onscreen at the local theaters. Make a list of what it needs to say and how best to say it without being trite or boring. Incorporate a photo or drawing to make it more interesting. New magazine. Design a brand-new magazine cover exclusively for one of the following groups: men, women, teens, or children between five to ten years old. Newspaper redesign. Your local newspaper needs a new format. Decide on the width and length of the pages,

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley the banner headline, how wide columns will be, whether you will use color, and what the new typeface will be. Postage stamp. Make a postage stamp to honor your favorite musician. As an alternative, design an appropriate stamp for love letters or bridal invitations. Public-service poster. Make a public-service poster for one facet of “going green.” Restaurant identity. A team can work to design a total restaurant table setting and front-office necessities. This can include logo; restaurant sign; business cards and stationery, menu, place cards, napkins, and chinaware (use a plastic plate). Display by setting a “tabletop” to include everything. This could be done by hand or on the computer. Sporting goods. Advertise your favorite sport’s stuff. Allow special shoes, a tennis racquet, or ball and equipment to dominate the page. Vary the size of the font that you use. 362 The Art Teacher’s Book of Lists

11–26. Paper

This readily available, inexpensive material is the backbone of school art activities. It can be the basis of something extraordinary, and it must be valued by both student and teacher. Students should be encouraged to keep their work, look at it later and reflect on it, or perhaps use it in the next artwork.

THREE-DIMENSIONAL PAPER PROJECTS Black-and-white bas relief. Select white or black paper for the background to be hung on a wall or from the ceiling. Make a bas relief of the contrasting paper changed by a variety of methods: braided, coiled around a pencil to make tubes, a circle cut into a spiral, or accordion fold. Japanese fish kites. Create fish kites by making a 9-by-12-inch long cylinder of paper (decorated before joining). To join, glue a 1-by-8-inch wide tagboard strip on the 9-inch side. Glue one side over the other to form a cylinder at the top, flatten the cylinder at the bottom, glue it, then cut a tail shape. Large stuffed animal sculpture. Cut an animal shape from a folded large piece of colored Kraft paper, which will give two identical shapes joined at the fold. Staple the edges, leaving a small opening. Decorate the animal. Give it eyes first, then with marker designs (perhaps using changeable markers) such as spirals, circles, and geometric shapes. Stuff the shape with newspaper, complete stapling shut, attach a string, and hang from the ceiling. Paper character portrait. One sheet of paper will be rolled (horizontally) to make a face after the features have been added. A three-dimensional nose, eyes, eyelashes, cheeks, and mouth may be made and glued in place on the front. Join the two sides of the paper (slightly smaller at the bottom). Hair can be curled, rolled, or fringed, and a hat can be added if desired. Rolled copy paper sculpture. Colored copy paper may be rolled tightly around a pencil (make twenty to thirty pieces). These are taped, then tied with string before joining them together to make a sculpture. Units may be made by tying several together to form a square, triangle, octagon, and so on before joining them all together in a larger sculpture. This could be an effective team project. Rolled newspaper sculpture. Beginning at a corner, tightly roll twenty to thirty single full sheets of newspaper. They may be taped or tied with string. Join them together with white or colored string, using the string for a decorative effect. Paint if desired, but they are interesting, even if left unpainted. Units for sculpture. Make cardstock or tagboard units such as cones, cubes, and pyramids. After a group of units is complete, they can be joined together with pins to hold them together while the glue dries. A found object could be included for surprise. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

TWO-DIMENSIONAL PAPER PROJECTS Colored chalk marbleizing. Scrape colored chalk on plain water, swirl with a straw or comb, then gently lay paper on top and carefully remove it for a marbleized effect. Dip’n dye. Dip corners of folded or tied white tissue paper or paper towels into dye. More than one color gives an exciting effect. Feathery-edged flowers. Dip a fine-tipped brush in water and draw the outline of a flower on a small piece of construction paper. While the paper is wet, carefully tear the flower. Keep the negative shapes also, as they may become part of a glued composition. Marbleized paper. Make marbleized paper for book covers, bags, wrapping paper, or for drawing on with ink or marker. Negative shapes on black. Cut designs in black paper that might be displayed on a window. A theme such as an undersea world, jungle, or space gives the display continuity. Use tissue, origami, foil, or fadeless paper to cut out individual pieces to place underneath specific areas of the paper cut. Select a color scheme and remember to repeat colors throughout the composition. Paper garlands. Paper flowers or garlands may be made of tissue, wrapping paper, or construction paper. This familiar technique has variations around the world. Shopping bag for hospitalized kids. Decorate plain white shopping bags with winter designs (snowmen, penguins, kids in winter clothing) to be donated to a local hospital for children’s use during the holiday season (as art teacher Linda Packard’s students did). Snowflakes. This age-old, universal cutting technique can be effectively displayed by spacing them apart on string and hanging the strings from the ceiling. Chapter 11 Art Projects 363

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PAPER TREATMENTS accordion fold fold and dye quilt batik gesso roll bend make a fan score braid make a kite sew burn the edges make flowers shape chlorine bleach make greeting cards snip coat with oil make masks stencil collage make mobiles tear crayon resist make mosaics tie-dye crumple make pop-ups twist curl paint wad cut and expand papier maché watercolor cut holes pleat weave dip and dye print on wet and drape emboss punch holes in finger paint quill

11–27. Papier Maché

The armature is crucial in papier maché. It can be a balloon, wadded and taped paper, chicken wire, plastic soft drink bottles, wadded aluminum foil, purchased plastic forms, or a gallon milk jug cut in half vertically Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley (for masks, the handle can be a nose). Safety note: Be careful of sharp edges. Elmer’s Art Paste® (which appears to last indefinitely) is safer for young students than wallpaper paste (which may have pesticides in it). Alternate newspaper with brown paper or paper towels so you can see areas that have to be covered. Four coats of paper makes it self-supporting. With a bottle inside, two coats will do. Paint with tempera or acrylic paints. If you use tempera, you may spray varnish or paint with polymer medium to make it shiny.

PROJECTS Cover wooden furniture. Cover an old chair or table in papier maché; gesso, then paint with designs; varnish. Famous artist. Pay homage to an artist’s work by creating a portrait bust over a balloon (rest the balloon on a can for stability). Decorate it in recognizable colors or designs that people will recognize from famous artists such as Georgia O’Keeffe, Salvador Dali, Gustave Klimt, M.C. Escher, or Keith Haring. Paper towels dipped in paste make wonderful hair. Gargoyle. Create gargoyle forms with masking tape and newspaper. Further details may be added with plaster gauze. Gargoyles had open mouths as roof drains for water and were used in Medieval buildings. Giant animals. First make a chicken-wire armature attached to a wooden base. Paint the completed sculpture in unlikely colors or patterns. It will still be a specific animal by its shape. Greek vase or chalice designed with two soft drink bottles. Cut off the bottom two thirds of a 1- or 2-quart soft-drink plastic bottle. Invert the top of the bottle and tape the mouth to the mouth of a second (intact) bottle. Fold or roll a full sheet of newspaper for each handle, and tape it on the side(s) of the bottle. Cover with papier maché; paint. A shallow chalice may also be made with this method by cutting the bottom bottle to be short. 364 The Art Teacher’s Book of Lists

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Mirror frame. Mount a mirror on cardboard, then mold paper pulp around the edges in a design such as human or animal forms, a Baroque design, or any organic object; under-paint, then gild if desired, allowing the under-painting to show through. Oaxacan animal figure. Use Mexican animal figures from Oaxaca, Mexico, as inspiration. Make the armature of aluminum foil; cover with papier maché. Paint in patterns and bright colors completely unrelated to the actual color of the animal. Vegetable table. Use a chicken-wire armature to create carrot legs with a covered cardboard top to look like the cross-slice of a carrot (onion? red pepper legs? a banana?)

MASKS Body-sized heads. Create huge heads for a parade with a chicken-wire armature (open at the bottom for a person to wear, covering almost the entire body, or at least four times normal size if it will be worn on the shoulders. Human or animal mask. Rest a balloon on an inverted jar lid (to hold it steady) to create a mask. Add eyes, ears, noses, and teeth. Reinforce the edges. Identical papier maché masks from a plaster mold. Make a plaster mold by first creating a clay form (flat on the back). Grease it with vegetable shortening or something similar and place it in a greased box, face-side up. Pour plaster into the box; when the plaster is set, remove it from the box and remove the clay from the mold. Pulp can be formed repeatedly in this mold. Out-of-this-world face. This is a variation on the project above. Create a distorted face of clay; cover it with plastic-wrap, then do papier maché on it. The mold may be used repeatedly if you keep it moist. Pitchy patchy puppet heads. Entirely cover a medium-sized balloon to make a round head that will be supported on a stick. Paint it. Make shoulders of a 4-inch wide piece of cardboard and arms of cardboard, then attach 1-by-30-inch strips of cloth to the neck to hang down and cover the cardboard. Have a “Pitchy Patchy Carnival” parade as they do in some areas of the Caribbean.

PULP Bowl. Form papier maché pulp on the outside or inside of a bowl, sanding afterward. Cover with gesso before

finishing. Make photocopies of scientific illustrations on colored paper to decorate papier mâché bowls. & Sons, Inc. Copyright © 2010 by John Wiley Form puppet heads. Mold papier maché pulp over a light bulb to make a face. Leave until it is dry, then cut the pulp in half, remove the bulb, and rejoin with glue. You will have an opening of the right size for the puppeteer to manipulate. Jewelry. Make bracelets, earrings, pins, and pendants of papier maché pulp. Sand and then paint in bright colors with acrylic paint.

PAPIER MACHÉ SURFACE DESIGNS Paint. Acrylic or tempera paint may be used to paint color on the surface. If using tempera, varnish with polymer medium. Chapter 11 Art Projects 365

11–28. Collage

Variety is the essence of collage, with differences in texture, color, and other elements taking it beyond cut and paste. It is communication from the artist to the viewer, whether through written words or the subtle inclusion of a humorous object, or simply a beautiful composition that has not-too-much/not-too-little—just-the-right-amount of everything.

SUGGESTIONS FOR USE Broken crockery. Work as a group to carefully make a large realistic human figure with broken crockery glued on a plywood background. Use oil pastel or paint to fill in areas on the plywood you know will show through before applying the china with a glue gun. Simon Rodia’s Watts Towers or Antoni Gaudi’s architecture both made use of broken ceramics to create art. Julian Schnabel’s huge paintings (he uses Bondo® to attach the broken crockery) exploit this new/old technique. Change the background. Cut out the figures from a reproduction or photocopy of a famous work of art. Paste them onto a new background, changing various features and accessories, yet keeping enough of the original that it can be identified. Clear mailing tape. Apply tape to a magazine photo and cut out. Soak the photo and tape in water until the paper softens (fifteen minutes) and remove the paper by rubbing it with a finger. Use polymer medium to adhere the photo in place, shiny side up. Collage and acrylic. After creating a collage, paint some areas of it with acrylic paint, allowing texture to show. Collage half figure. Make an almost-life-size portrait collage (include a hand or arm) on a large sheet of mount board or foam core, placing the person within an environmental background (factory, farm, restaurant, amusement park). Tear magazine colors for skin, lips, eyes, and background. If you happen to find a few words that enhance your idea, they can be subtly included in the background. Keep in mind that the most important part of this collage is the face, so don’t allow the background to detract from it. Liquid transfers. Purchase Citra-Solv (available at Whole Foods stores) or oil of wintergreen (drugstores and cake decorating stores). Use a brush to coat the photo or photocopy with liquid, turn it over and rub firmly on the back with a pencil. Peek from time to time to make sure it is transferring. Caution: Work in a well-ventilated room. Machine or hand stitch a completed collage. Use a variety of papers or cloth in a collage, then stitch with different weights and colors of threads. Map. Use a map as a background for a collage/painting. Melted paraffin finish. On mat board make a magazine picture collage and apply melted paraffin all over it with a brush. This gives a slightly hazy effect. A hair dryer will smooth it completely. Safety note: Paraffin will ignite spontaneously if it gets too hot. For safety, melt it in a coffee can placed in boiling water. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Montage. On mat board create a montage of cut-out photographs or photocopies. This can be done with real photos or on the computer. Humor adds significantly to the composition. Music titles and images. If you don’t have access to old music that could be photocopied, go online and find titles of music and groups that appeal to you. These can be printed out and actually pasted or “cut out” and put together in one online composition. Nature collage. On tagboard create a flat collage of grasses and a few leaves. When finished, coat with polymer medium and apply white tissue paper on top, pushing it flat with the brush, while at the same time adding a coat of polymer medium as a varnish. Sew decoratively with colored thread or fine brass wire. It may be necessary to coat the back to equalize “pull.” Photo transfer. Several different media work to combine photographs with collage. Liquid transfers work especially well with fresh black-and- white photocopies. Keep the bottle capped when not in use, and work in a well-ventilated room. Picture frame. Glue found objects on an open picture frame and suspend various objects within it and hanging from it with fine wire or fishing line. Go for a theme and a title. Plan before pasting. Layer upon layer, a line here, repetition there. Refer to List 6–13, “Collage Equipment and Materials.” Three Non People Posts, 1978, Clyde Con- Polymer gel medium or polymer medium. Polymer medium may be applied nell, American, 1901–1998, Dallas Museum to a torn magazine photo or photocopy. Brush two to three coats on of Art, Foundation for the Arts Collection, paper, alternating direction. Allow this to dry. Soak in warm water and purchased with funds donated anonymously gently rub the paper away. Glue to the receiving paper. 366 The Art Teacher’s Book of Lists

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Portrait collage of yourself or a friend. Reflect what really is of interest to them. This might be a collage of found materials (bags from chips, candy wrappers, grocery bags) that would normally be thrown away, but are colorful, and reflect that you (or your friend) really likes to eat junk food. For a musician, the collage might include a photocopy of music and pictures of a favorite instrument. Sew around it with raffia. Paint a portrait with acrylic paint on paper. Draw where you will cut it apart into four to five straight-edged pieces. Before cutting, make dots paralleling the line on opposite sides, approximately one-fourth inch from the line and 1 inch apart. Punch these with a needle. Leave half an inch between the pieces and sew the paper onto a background in an X pattern with raffia or string (pin the pieces in place first). To display, mount the entire composition on a larger background. Tissue paper and acrylic. As a background for painting birds with acrylic paint, apply tissue paper onto mat board with polymer medium, allowing wrinkles to become part of the composition. For an aged finish, apply thinned dark-brown paint to the finished composition and quickly wipe off. Variations of one color. Make a landscape using pictures of only one color cut from magazines. Use the complementary color sparingly just to make it interesting. (orange/violet–red/green–yellow/blue).

11–29. Book Arts

Creating a book is a fulfilling project for anyone of any age. Often these include the printed or handwritten word, a stamped or computer-generated “saying,” or personal photographs. While a theme is not crucial, it simplifies what will go inside the book and allows the artist/bookmaker to create an item of personal significance.

SUGGESTED PROJECTS Accordion-folded book. This is fairly simple to make. Prepare the cover first. Cut two 6-by-6-inch squares of book board or railroad board and cover with two pieces of cover paper 8-by-8 inches (decorated, brayer-printed, paste-paper, wrapping paper, or pastel). Glue the outside cover paper to the book board before beginning, mitering corners. Glue ribbon across the inside cover. Use 18-by-24-inch drawing paper, cutting to make two pieces 5-by-24 inches long. Glue the two long sheets together, overlapping 1 inch in the middle and accordion fold at 5-inch intervals, beginning

in the middle (the 2-inch leftover ends will be uneven). Place the accordion-folded book on the inside of the book & Sons, Inc. Copyright © 2010 by John Wiley covers and glue one end on each cover. The two 6-inch end covers (inside cover page) are glued in place last, covering the ribbon and the 2-inch ends of the accordion-folded book. (See the accompanying figures.) Almost any semi-flat object could be a useful book cover. Artist Billie Shelburne used the bottoms of tennis shoes as covers for a book she created. Other artists have used tiles, shaped ceramic covers, CDs, and other found objects. Altered book. A hardcover book may be transformed by using gesso to cover the old exterior prior to painting a new cover in acrylic paint with a favorite color. With the base coat in place, the cover may be collaged with flat materials (letters, pictures, painted designs). The inside may have holes cut through a series of pages, more than one page gessoed and painted, or a self-portrait drawn or painted, meaningful items or photos glue on pages, or poetry written and illustrated. A visual and written diary is possible. House book. An ongoing book about a student’s home may also be done in a loose-leaf notebook style. It can include information about when the house was built, remodeling that might have been done, information about the neighborhood, and photos used to illustrate “before and after.” Illustrated family cookbook. Collect recipes from relatives and either hand write or type them on the computer to be reproduced many times. These could be combined in recycled hardbound books, and each page could be made into a work of art by painting or pasting borders. Nature journal. It can be as simple as a single sheet of paper that has ongoing entries about (for example) flowers, trees, clouds, animals, weather, or water. It might be a combination of simple drawings and written observations about what is seen, felt, or heard. Sewn signature book. Sew several folded pages together to make a signature, then join three to four signatures to make a book. Single-sheet copy paper book. Experiment with making tiny books from a single sheet of copy paper. The paper can be cut and folded many different ways to yield small books suitable for writing. Small book board covers may be prepared, as discussed in the accordion-folded book instructions above, and glued onto the ends of the folds. Fold and crease the paper with a thumbnail from both sides to allow folds to be made any direction. Copyright © 2010 by John Wiley & Sons, Inc. 11–29. Continued 368 The Art Teacher’s Book of Lists

11–30. Fiber Arts

Fiber arts offer such wonderful choices, and most art teachers agree that many of these techniques are popular with both male and female students. Students can personalize their own clothing such as jeans and T-shirts or create something such as hand-woven cell-phone holders for themselves or friends. Changes can be made in the surface of fabrics by painting with textile paint, changing color with dye, ink, or paint, silk-screening, iron-on transfer paper photos, spatter painting, and cutting through layers to reveal fiber backing.

PROJECT SUGGESTIONS Accessorize with a walking stick. Who says that a walking stick can’t be a beautiful accessory? Many people have access to wonderful fallen branches that can be turned into such an accessory (it is even nicer if it is really tall and curved at the top). Paint it in horizontal stripes, wrap it in yarn in some places and tie things on and around it: exciting things like shiny stars, feathers, ric rac or bits of heavy trim such as ribbons or bells. Even if you can’t really carry it anywhere, it still looks wonderful propped in a corner. Art quilt. The final definition of an art quilt is that it can be rolled or folded. A design for an art quilt (not the actual quilt) may be all that you have time for. Draw and color (with colored pencil or pastel) an idea of something that is meaningful to you such as the disappearance of species, global warming, your pet, or family travel). These are not like your great grandmothers’ quilts. Art quilts are smaller (average 3-by-3 feet) and often quite intricate. Some are painted to resemble traditional quilting and involve almost no sewing. Think about colors and designs that would be interesting if interpreted in cloth. Materials, technique, and colors can be anything. Materials range from plastic to the finest cottons and silks. Batik. This technique, which originated in Indonesia, is done by applying molten wax to paper or cloth. The hot wax penetrates the surface, preventing color changes when the cloth is immersed in a dye bath. In the traditional batik process, intricate designs are painted on white cloth with wax, then given a dye bath. Much traditional cloth is dyed with only one or two consecutively darker colors, allowing the white to show. The wax is removed by ironing between clean sheets of newsprint. Batik may be done on paper with melted crayons and the paper crumpled to allow ink or a dark colored tempera to seep into the cracks made in the wax. Change your jeans. Put waxed paper inside the jeans to protect the fabric underneath. Pre-plan a design. It might be used only on a pocket or the hem. A bleach pen (found near detergents in the grocery store)

can be used to make designs. Put the jeans outside in the sun to speed up the process, then wash out the & Sons, Inc. Copyright © 2010 by John Wiley bleach. Hobby shops carry a variety of snaps, rhinestones, and beads that can be added. Or you can use iron-on designs or patches. Appliqué cutouts can be enhanced with beads of a variety of colors. Some of these additions may need special tools, usually also available at hobby shops. Needle weaving. One large loom can be left set up for needle weaving by all students. This can be a floor loom (available from art catalogs) or a tapestry loom. The loom must have a warp put on, then, after a few rows are woven, students can take turns weaving even a small part of the tapestry over the period of a semester. Textile paint on silk or cotton. Make a pillow top or scarf. Obviously, any design will do, but make it simple for yourself by dividing the area into sections, each of which could be painted with a different geometric pattern. The similarity of forms will give it unity, and you could easily allow one section to hold an organic form such as a flower or animal. Note: If you use silk, it stretches when it is painted (iron freezer paper to the underside while you paint). Most textile paint becomes permanent when heat-set (do it with an iron). Tie-dye. So many variations are possible with tie-dye, depending on what the artist has in mind. Concentric circles can be made by pinching a bit of fabric between the fingers, then tightly coiling string around its length or tightly applying rubber bands half an inch to an inch apart. Straight-line folds are made by using clamps to hold two small boards in place on either side of a folded area of cloth. Although a single color may be used, multiple intense colors never seem to lose popularity. The fiber should be steamed or chemically treated to make the colors permanent. Weaving with paper and yarn. For the younger crowd, make a warp by cutting slits in construction paper (leaving it joined at the top and bottom). Weave with contrasting construction paper and yarn, gluing it at the end when all the weaving is complete. Chapter 11 Art Projects 369

11–30. Continued

Yarn-wrapped basket. Thread a needle with yarn and poke it through the end of a 1- to 2-yard piece of clothesline rope or heavy jute (the core for a wrapped basket). Wrap the yarn five times around the rope and begin a coil, wrapping once around a second row of rope before going five times again around the original rope, then once around the second rope. This method is used to build sides to considerable height, controlling the slope of the sides and changing colors as desired.

POSSIBLE CLASSROOM PROJECTS

adinkra cloth hooking silk-screening appliqué knitting small loom weaving basketry knotting stamping batik painting with textile paint stitchery beading paper batik tapestry weaving book arts paper weaving tatting cardboard loom weaving paper-making waxing crochet printing cloth weaving with paper and yarn embroidery pulling threads in burlap wrapping fabric collage quilting felting silk painting

FIBER ARTS MATERIALS

beads reed fabric shells found materials string metal wire paper yarn

11–31. Ceramics

Ceramics projects are seldom thrown away by students or parents. It is worth the time it takes to create them. If you are in a ceramics classroom, you should have adequate storage, but for storing work-in-process in a normal art classroom, you may find it is easiest to deal with one class or grade level at a time to have countertop space.

CARVING Abstract sculpture in clay. Begin with a rectangle and only remove clay, leaving no area thicker than 1 inch. Art Deco. Art Deco sculpture often features straight edges on curved forms such as an eagle or panther. Use only straight lines and edges (planes) and few rounded areas. Casting. Using a purchased mold, pour slip (clay thinned with water) into the mold, and allow the edges to harden to a thickness of one-fourth of an inch before pouring out the excess; allow to dry slightly.

COIL BUILDING Face jugs (sometimes called “ugly jugs”). This Southern tradition features pots that were larger near the top (the shoulders) and had a narrow neck. Handles on the side might be ears. The eyes, nose, and mouth (sometimes including teeth) were on just one side. This project is also suitable for wheel throwing. 370 The Art Teacher’s Book of Lists

11–31. Continued

Fantasy teapot. Use slab or coil building to make a fantasy teapot. Remember that to qualify as a teapot, it must have a handle and a spout. Serving container. Design a serving container to hold your favorite fruit or vegetable. Soup tureens sometimes were shaped like a turtle or had a vegetable on top of the handle.

DRAPING Draped bowl. Roll out a slab of clay to a thickness of one-fourth to one-half an inch. Drape it over a deep plastic bowl and allow the sides to hang until the shape is set. To make it fit the bowl, cut a wedge or two from the draped form and join the edges with slip, smoothing carefully. Draped mask. Use taped paper or a plastic mask form as a base to drape a slab. Cut wedges from the edge and trim to make it fit. Cut holes for eyes, and add features as necessary.

PINCH POTS Double pinch pot. Stack two pinch pots together, scoring and joining with slip. Create an opening between them with a knife. Japanese tea bowl. Make a pinch pot bowl and add a rim to the bottom with a roll or flat length of clay. Press a weed into the clay around the outside, which will burn away in the firing. Wipe the finished bowl with shoe polish. Multiple pinch pots. Combine five to ten pinch pots in various directions, again adhering them by opening between them, scoring, and using slip. If they don’t balance, use wadded newspaper to support them until they dry. The center pot should be larger to support the smaller side pots, just as a saguaro cactus has a strong central stem to support all its arms.

SLAB BUILDING Ceramic birdhouse. Make a tagboard pattern. Roll out a slab and cut four sides, a bottom, and a top. Cut a hole in the back for a large cork that can be removed to clean out the house each year. In the front, make a hole large enough for a small bird (sizes for various species can be found on the Internet). Remember that holes will shrink when the clay is fired. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Ceramic picture frame. Create a picture frame suitable for a wedding picture, graduation picture, baby present, a photo of the family dog, or some momentous occasion. Hanging flower pot. Roll clay approximately half an inch thick and cut out two identical shapes (rectangles or irregular shapes). Put paper in the center to hold them apart in the drying stage. Use slip, pinch them together at the edges, and decorate. Put paper in the center to hold them apart in the drying stage. Put holes on the sides for hanging by a leather thong. Outdoor ceramic mural. A gigantic freestanding outdoor mural/sculpture could be created of thick fired and decorated slabs and assembled on a cement core. Tiles. Design a unique group of tiles for a specific place such as around a door or window frame, a kitchen sink or a fireplace. Or a tile could be used on a table as a hot plate holder. Four smaller tiles could be designed for a symmetrical pattern.

CERAMIC SCULPTURE Miniature garden gnome. These 8-inch-tall figures with their white beards and red-pointed hats sometimes hold a watering can or are seated holding a pipe or perhaps playing a musical instrument such as an accordion. Plentiful information about them is available online. People pot. Transform a vegetable or fruit shape into a character pot by adding features—think Mr. Potato Head® (examples include eggplant, squash, pumpkin, banana, or strawberry). Portrait bust. Work with an egg-shaped piece of solid clay and make features. Join it to a neck. Cut it behind the ears with a wire, then hollow it out to a thickness of 1 inch and rejoin it with slip, being sure to leave a hole in the bottom for air to escape. Add hair. Chapter 11 Art Projects 371

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Self-portrait with your favorite thing. Roll out a slab and cut a simple figure (half an half inch thick by about 8 inches long) with head, torso, legs, and arms held close to the body or head. Allow the figure to sit by putting wadded clay under its knees and behind it to hold it upright. Complete by adding hair and favorite things (sports accessories, a pet, laptop computer, a book).

WHEEL THROWING Ceramic place setting. Design a place setting for your new restaurant. It should have a plate, cup and saucer, bowl, and salad plate. This could be done as a group project. The design should complement the restaurant’s name or décor and would be displayed, along with a menu, on a tabletop. Smallest possible opening. Throw a round pot with an opening just large enough to hold one weed stem.

Categories of sculpture are assemblage, carving, casting, and modeling. Materials over the history of sculpture have usually depended on what materials were available to the artisan/craftsman. Traditions were, of course, local until relatively recent history. Now an artist has a wide range of materials. Knowledge of techniques may be learned by reading or by going to a computer website.

ASSEMBLAGE Bas-relief design (low relief, flat on one side). Use one sheet of foam board, cutting out and reassembling the design, holding it together with glue. This might be a favorite place to vacation, a bird’s eye-view of a student’s own room, or an interpretation of a famous painting. Finish it with one or more colors of acrylic paint. Box sculpture. Use the inside of a shallow box (preferably wood) as the base for a box-sculpture, using maps, paper and found objects in the manner of Joseph Cornell and Betye Saar. Attach with a glue gun; cover with Plexiglass® before hanging. Group environmental outdoor art. For this temporary sculpture, rearrange objects found in nature (ex: arranging leaves in a circle, making a pattern with rocks, forming designs in sand, mud hand-print patterns, or inserting found objects in a chain link fence). Make it never-to-be-forgotten by photographing it, as so many environmental artists do. Interpret a painting three-dimensionally. Use cardboard and other found materials. 372 The Art Teacher’s Book of Lists

11–32. Continued

Natural materials. Bones, cones, and stones can be unified by attaching them to each other or to a frame with wire or with a glue gun. Wonderful found-object sculptures used to be found on the beach in Oakland and San Francisco, as walkers on the beach stacked and assembled sticks and stones into evolving, witty sculptures. Today’s Earth Day sculptures on beaches take advantage of natural materials. Plastic scraps. Use various thicknesses. Make a tagboard pattern to make sure the sculpture will support itself. Saw and sand the edges. Use colored light underneath for color reflections on the edges. Three-dimensional collage. These may be made on plywood with wood scraps, nails, found metal, and wood. Wire animal. Open space is good! The animal does not have to support itself, but needs to be of heavy enough wire to hold its shape. Make them large enough to hang from the ceiling. Wrap the wire with strips of colored tissue paper to hide it, and fill in a few sections with tissue paper. Wire figure in action. Tack a figure in action (sports, dance, running) to a board. Wrap the figure in plaster gauze. Paint or stain. Wood-scrap sculpture. Wood may be purchased (or donated) from a carpentry shop or shop class. Assemble scraps with glue to make a living creature. Attach it to a stand so it is Seated Man #4, 1995, David Bates, American, b. steady, and paint it with acrylic paint. 1952, paint, wood, Dallas Museum of Art, Texas Artists Fund, and gift of Mr. and Mrs. Bryant M. Woodland sculpture. Make a 10-inch wire and papier maché or Hanley, Jr., the Professional Members League, plaster gauze figure, involved in an outdoor activity (planting Mr. and Mrs. I. D. Flores III, and Mr. and Mrs. a garden, climbing a tree, or walking a dog). Patiently cover John Ford Lacy the figure with small bits of tree bark, using glue to attach the bark. The hair, hands, or arms could be small twigs with lots of “branches.” & Sons, Inc. Copyright © 2010 by John Wiley

CARVING PROJECTS Bas-relief sculpture. Interpret a tree, a mountain, or flower in a bas-relief sculpture. If a carving “mistake” is made, natural objects are “forgiving,” whereas something such as a realistic portrait is not. Carved “shop sign.” Create one for yourself or a friend. Make a shop sign by combining the name with an appropriate symbol such as glasses or a shoe. Firebrick. Carve a sculpture from firebrick with rasps, knives, and regular carving tools. Natural wood transformation. Find a piece of wood in nature and change it by sawing, removing, or adding something to it to create an entirely new form. Plaster carving. After mixing plaster, pour liquid plaster into a milk carton. After it has set, carve with a knife or plaster rasps. Shells and bones. Carve or incise designs on shells and bones. Slate. Make a bas-relief sculpture, carving with stone tools, rasps, and sandpaper. Soap carving. This is an age-old art form, but continues to be a good introduction to carving, as it demonstrates the technique of removing only small amounts of material at a time. Plastic knives will cut, and kitchen scrubbers are great for smoothing. Wood transformation with one tool. If you have access to several electrical tools, create a sculpture by limiting yourself to only one tool: a saw; a drill; the lathe; a sander. Safety note: Be careful! Chapter 11 Art Projects 373

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MODELING TECHNIQUES Mood swings. This is done with softened modeling clay. Have students spend five to ten minutes sculpting one mood (I suggest you begin with calm; second could be angry; third could be sad). After an average of seven minutes, each effort is placed on a table for observation by the group before the clay is “scrunched up” and molded into the next example. After completing the first three words, a personal choice mood is interpreted, with the group trying to guess what it is. This lead-in is helpful for abstract modeling with clay. Styrofoam® assemblage. Join several pieces of Styrofoam packing material with dowels to hold them together. Use rasps and sandpaper to smooth the Styrofoam, and cover with plaster spackling if desired.

OTHER THREE-DIMENSIONAL THINGS TO DO 3-D line drawing. Create a sculpture of line such as string, wire, or thread on an armature of dowels or plastic. Dream chair. Using modeling clay, design your dream chair. This could be a throne, soft lounge chair, bar stool, or Western chair. (Hint: if it isn’t well constructed, after a few days, bits and pieces will drop off.) Maquette. Make a maquette (small model) for a monumental piece of sculpture for a public sculpture garden from thin cardboard or foam board, gluing it and holding with pins until it dries. Origami. Try this Japanese method of paper-folding or other methods of changing the appearance of paper through carefully folding. Repoussé. Create a tooling-foil repoussé bas-relief drawing of a coin of your choice. Transform 2-D to 3-D. Make a two-dimensional painting on a hard surface such as foam board or wood and allow one object to project out into space from the painting. Frank Stella’s painting technique evolved to such three-dimensional wall paintings. Wire sculpture. Select something organic, such as a giraffe or tree, and interpret it in copper wire. Anchor it on a quality piece of rock such as marble. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley

This student sculpture from firebrick was primarily “carved” with rasps. The shape of the brick helps determine the design. 374 The Art Teacher’s Book of Lists

11–33. Architectural

Architecture is a natural tie-in for teaching students about historical buildings in their neighborhood, city, state, nation, and world. Help them become aware of their surroundings starting with their own rooms and branching outward. American kitsch. Design a 1930s American kitsch building (examples are The Brown Derby in Hollywood, The Elephant Hotel in New Jersey, and a doughnut shop shaped like a doughnut). Examples may be found on the Internet. Architectural model. One of the following is appropriate for making an architectural scale model: foam board, cardboard, or mat board. Designs could be the student’s own home; a museum for his or her collection, a dream house, an “embassy” for a foreign location, or a green building. Keep them relatively small to have places to exhibit and store them. Chair design. Many architects design furniture for their American Kitsch Buildings clients’ buildings. Use colored pencil to design a chair based on the shape of a Greek vase or container. Use imaginative colors. Changing times. Interview people from an older generation about how houses of their time differed from those of today. Ask for their opinions about why some of the changes might have been made. Historic preservation. Select an area or old house near you that will be changed because the space is “needed” for something else. Find out what is needed to save that heritage from destruction. Decide how you might go about raising money and gaining support to save it. Perhaps a park could be created on that land, or a small group of houses or buildings could be formally designated historic places by obtaining government approval. Take charge! House diary. Even if you live in a brand-new home, your house will develop a history. Start with yourself and write about the people who live there. Find out who built the house or land, who lived there before you did, even if you must go back many years (much of this information is on a deed). Draw a floor plan as the house looks today, and include pictures. Pocket park playground. Use found materials (wood scraps, foam board, boxes) to design a scale model for a

children’s playground in a local park or vacant lot. Make safe climbing areas, slides, bridges, tunnels, and & Sons, Inc. Copyright © 2010 by John Wiley other exciting places that invite children to use their imaginations. In the doghouse. Design a doghouse for a specific breed of dog (long for a dachshund, very tall and thin for a greyhound). Consider appropriate color, size, and opening. Spectacular vernacular. Identify old buildings in the area where you live. These old filling stations, barns, feed stores, and drug stores are fast vanishing. Take photos or draw them to record them. Try to locate old photos of the same buildings (perhaps at a city hall or historical society). This can be assembled into a book that could be added to as more buildings are drawn or photographed. Theme park architecture. A team’s three-dimensional theme park could be painted foam board models mounted together on one background. Tile designs. Tiles have been used for decoration throughout history because they are heat-resistant and enduring. Students can research tiles used in structures such as the Ishtar Gate or Islamic Mosques or decorative tiles from the Art Nouveau and Art Deco periods. A tile can be made with either an incised or raised design. If a kiln is not available, acrylic paint will stick to a purchased glazed white tile. Or tempera paint works on white mat board squares! Vertical eclecticism. Turn a 9-by-18-inch piece of paper vertically. Make a three-story house, with each story being from a different architectural time period (Victorian, Art Deco, Colonial, Contemporary). Tempera, acrylic, or watercolor resist (crayon and watercolor) would be appropriate. CHAPTER 12 SCHOOLS AND CAREERS IN ART 12–1. Quotations 12–2. Preparing an Admissions Portfolio 12–3. Careers in Art 12–4. Degrees Available in Art and Related Fields of Study 12–5. Abbreviations for Art(s) Degrees 12–6. Independent Art Schools and Art Institutes 12–7. American Art Schools, Colleges, and Universities 12–8. Summer Programs for High School Juniors and Seniors 12–9. Professional Summer Development for Teachers 376 The Art Teacher’s Book of Lists

12–1. Quotations

“It’s real art if you have no choice but to do it.” HOLLY SOLOMAN, 1934–2002, ART COLLECTOR AND GALLERY OWNER

“Art is the only way to run away without leaving home.” TWYLA THARP, 1941, CHOREOGRAPHER

“Good art should elicit a response of ‘Huh? Wow!’ as opposed to ‘Wow! Huh?’” EDWARD RUSCHA, 1937, AMERICAN ARTIST

“An artist cannot fail; it is a success to be one.” CHARLES HORTON COOLEY, 1864–1929, AMERICAN SOCIOLOGIST-EDUCATOR

“When my daughter was about seven years old, she asked me one day what I did at work. I told her I worked at the college—that my job was to teach people how to draw. She stared back at me, incredulous, and said, ‘You mean they forget?’” HOWARD IKEMOTO, 1939, UNIVERSITY PROFESSOR

“An artist is someone who produces things that people don’t need to have but that he—for some reason— thinks it would be a good idea to give them.” ANDY WARHOL, 1928–1987, AMERICAN ARTIST

“Art is a car, kitsch is a horse.” ODD NERDRUM, 1944, NORWEGIAN PAINTER

“An artist’s career always begins tomorrow.” JAMES MCNEILL WHISTLER, 1834–1903, PAINTER-PRINTMAKER

“Art is making something out of nothing and selling it.” FRANK ZAPPA, 1940–1993, MUSICIAN, FILM MAKER Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley “Art is a guarantee of sanity. That is the most important thing I have said.” LOUISE BOURGEOIS, 1911–2010, SCULPTOR/PRINTMAKER, B. FRANCE

“Art addresses itself to the mind, and not to the eyes. It has always been considered in this way by primitive peoples, and they are right. Art is a language, instrument of knowledge, instrument of communication.” JEAN DUBUFFET, 1901–1985, FRENCH SCULPTOR

“Art is not made for anybody and is, at the same time, for everybody.” PIET MONDRIAN, 1872–1944, DUTCH ABSTRACTIONIST

“Art is everywhere, except it has to pass through a creative mind.” LOUISE NEVELSON, 1899–1988, AMERICAN SCULPTOR, B. RUSSIA Chapter 12 Schools and Careers in Art 377

12–2. Preparing an Admissions Portfolio

A portfolio remains what it has always been—a display of the best work an artist has produced. Go online or read a school catalog to find out what each institution prefers. Most are quite specific. If sending slides, make several sets, or if you take digital photos, make several CDs. Include a portfolio inventory sheet with name, address, phone, title of each piece, media, size, and date of completion. Include a self-addressed stamped envelope if you wish to have the work returned. An “artist’s statement” may also be requested, and may be short and simple.

SEVERAL WAYS TO SHOW YOUR PORTFOLIO • Be sure the picture is evenly lit, without any dark or light spots. A cloudy, bright day is ideal. • Take original work to National Portfolio Days held at universities throughout the United States (eight to ten • Pin the artwork on a vertical surface such as black foam works of art are suggested for this). core, which creates a natural border and avoids distortion. • Make your work look professional by matting. • To avoid “border problems” entirely, take the picture within the edges of the work. • Send slide sleeves containing between ten to twenty slides (quality is better than quantity). • For three-dimensional work, avoid shadows behind the work either by lighting the background or mov- • Send work digitally on the Internet (follow each ing the artwork far enough away from the background school’s specific directions). If you are sending several that there are no shadows. artworks, computer-generated work should be saved as JPEG files, saved at 72 dpi screen resolution with a • If you send slides, put them in a slide sleeve with your minimum height/width of 1,000 pixels, quality of 10. name on it. Label each slide with your name, a number, and an arrow indicating viewing direction. • Send work on CDs or USB flash drives. • To accompany slides or a CD, include a sheet that has • Complete a suggested “test” offered by a particular your name and address, with numbers that correspond institution. to the artwork, listing the size, medium, title, and date the artwork was completed. On the disk, write your WHAT ADMISSIONS PEOPLE ARE LOOKING FOR name and phone number and the year you are submit- • Original, creative artwork in black and white or color ting the work. (no copies of published work, more emphasis on inde- • Keep a master copy for yourself of work you have sent, pendent work than classroom assignments). as it is not always returned. • Strongest and most recent artwork or work that has been done over a period of years that demonstrates DIGITAL CAMERA progression. Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley • Examples of drawing or painting from observation • Use a high-resolution camera (5 to 8 mega-pixel mini- (nature, figure, portrait or self-portrait, still-life). mum). If you take photos, you may also have a CD made • Exploration of several techniques or an in-depth explora- where you have the photos developed. tion of a subject of special interest (drawing, design, fiber • Preferred formats for sending high-quality photos are art, printmaking, ceramics, fashion, painting, collage, on a CD in JPEG at 300 dpi (dots per inch). Make the photography, digital) or a composite example such as a images approximately 4 × 6 inches in an e-mail attach- flyer, poster, photo, or layout that shows design ability ment or a print. • Variety of media: paint, ink, pastels, marker, collage, • Images taken on cell phones are not of print quality. digital, photography, 3-D work, pencil. • Current sketchbooks or journals may be included. TO TAKE SLIDES FOR REPRODUCTION

PHOTOGRAPHING ARTWORK FOR PORTFOLIO OR • To take slides outdoors, use daylight slide film, 100 or PUBLICATION 200 ISO. • If taking slides indoors with photoflood lighting, use • Most artwork is now photographed using a digital cam- slide film for tungsten lighting, 160 ISO. era. You may photograph work either indoors or out- • Use two tungsten photo floodlights (3200 K) with doors. A tripod will allow you to take sharper photos. reflectors. • Photographs, slides, or digital images on a CD are usu- • Place the floodlights at a 45-degree angle, picture ally acceptable. height, about halfway between the artwork and the camera. Inspect the artwork through the viewfinder to GENERAL SUGGESTIONS be sure it is evenly lit. • Have the camera viewfinder eye-level with the work to • For best results, take a reading from a gray card (avail- avoid distortion. able at photo supply stores) placed in front of the • If you are taking film outdoors, work on a calm day. artwork. 378 The Art Teacher’s Book of Lists

12–3. Careers in Art

ART-RELATED CAREERS public relations tattoo artist artist’s agent textbook author totem pole carver art manufacturer’s representative weaver attorney for artists ART HISTORY woodworker color specialist archaeologist lithographer archivist DESIGN make-up artist art appraiser advertising merchandise display coordinator art historian autos auction house cataloguer bookplates ADMINISTRATION audiovisual librarian cartographer art buyer conservator embroidery and needlework art director curator exhibits arts administrator display artist/designer floor covering corporate art director editor floral design gallery owner or assistant developer of funding furniture graphic designer gallery director gift items librarian product planner house wares museum director industrial design ARCHITECTURE museum educator interior design museum exhibit designer packaging design architect museum lecturer paper-product design architectural drafter museum photographer store display person architectural engineer public relations specialist textile design architectural historian publication permissions theatrical design architectural model builder purchasing agent for bookstore toy design architectural renderer researcher urban graphics design architectural writer writer wallpaper design audio specialist city planner ART THERAPY environmental designer DIGITAL MEDIA Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley historic preservation specialist art therapy administrator advertising artist interior architect grief therapist for children animator interior designer hospital therapist, all ages art director landscape architect teacher of art therapy aviation consultant lighting consultant broadcast designer marine architect ARTISAN/CRAFTSPERSON cartoonist media specialist blacksmith cinematographer mural artist bookbinder computer graphics teacher theme park designer ceramist digital photographer urban planner commemoratives designer editor fiber artist film director ART EDUCATION fiber restorer game designer and programmer art historian furniture designer/maker graphic designer art lecturer glass-blower lighting designer art museum educator historical home restorer make-up artist art researcher jewelry designer motion graphics designer art supervisor metalsmith music videos maker art teacher model maker photography retoucher art therapist paper maker producer artist-in-residence sculptor special effects arts grant writer sign painter video operator dean of art school silk-screen artist weather graphics fund-raiser silversmith website designer Chapter 12 Schools and Careers in Art 379

12–3. Continued

FASHION DESIGN brochure layout PHOTOGRAPHY accessories designer calligrapher (hand-lettering) aerial photographer cartographer (map maker) color consultant animator desktop publishing couturier architectural photographer font designer dress designer camera operator graphic artist dressmaker catalog illustrator greeting cards fabric designer cinematographer illustration fashion art director crime scene photographer industrial design fashion consultant digital technician layout designer fashion coordinator darkroom technician logo design fashion critic fashion photographer fashion editor/writer magazine layout newspaper layout film producer fashion illustrator fine arts photographer fashion merchandiser outdoor advertising designer paste-up artist food photographer fashion photographer industrial photographer fashion production sign painter interior design photographer fashion show coordinator silk-screen artist medical illustrator fur designer museum photographer hair stylist ILLUSTRATION newspaper or magazine handbag or shoe designer advertising photography teacher hosiery designer animator photojournalist jewelry designer botanical illustrator portrait photographer milliner (hat designer) car illustrator photographer/videographer pattern maker catalog illustrator: retail or mail studio, industrial theatrical costumer CD and DVD covers designer children’s book illustrator videographer FINE ART corporate illustrator animator editorial illustrator PUBLISHING art appraiser fashion illustrator art book copy editor medical illustrator

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley art auctioneer art critic art conservator scientific illustrator art historian art consultant technical illustrator author of books about art art critic book cover illustrator art dealer INDUSTRIAL DESIGN magazine designer caricaturist airline equipment designer page designer courtroom sketcher appliance designer public relations designer art director researcher for writers engraver color consultant etcher decorative metalwork designer THEATRICAL DESIGN fiber artist design consultant art director fine art copyist designer of automobiles muralist factory layout designer cinematographer painter furniture designer costume designer police sketch artist heavy equipment designer courtroom video operator portrait painter model maker film director printmaker package designer graphic artist sculptor product designer lighting designer renderer make-up artist GRAPHIC DESIGN safety clothing and equipment producer art editor sign painter program designer billboards sports equipment designer puppet maker book cover designer stencil designer set designer book designer tool designer special effects person 380 The Art Teacher’s Book of Lists

12–4. Degrees Available in Art and Related Fields of Study

The College Blue Book: Degrees Offered by College and Subject, published by Macmillan and Thomson and Gale, is updated annually and available in most library reference rooms. It has a complete listing of degrees by specialty and the schools where they may be earned.

ARCHITECTURE Technology Architectural and Building Engineering Technology Transportation Design Architectural and Civil Engineering Technology ART HISTORY Architectural and Environmental Design Art History Architectural Construction Art History and Appreciation Architectural Design Art History and Archaeology Architectural Design and Construction Art History and Criticism and Conservation Architectural Design Technology Art History and Librarianship Architectural Drafting Art History and Museum Studies Architectural Engineering Art History and Religion Architectural Engineering Technology Art History and Studio Art Architectural Graphics Art in Business Architectural History Art Management Architectural History and Urban Development Art Marketing Architectural Science Art Production Architectural Studies Art Theory and Practice Architectural Technology Art Therapy Architecture Architecture and Planning ARTS Architecture and Structural Engineering Arts and Crafts Architecture and Urban Planning Arts and Humanities Arts and Letters ART Arts and Science Program Animation Arts and Sciences Assemblage Arts Administration Management

Art Conservation Arts for Children & Sons, Inc. Copyright © 2010 by John Wiley Art Direction Arts in Christian Education Art Education Arts in Religion Art Therapy Arts Management Arts, General Automotive Design Basketry COMPUTER GRAPHICS Blacksmithing Computer Graphics Calligraphy Children’s Programs CRAFTS Collage Crafts Commercial Art Crafts Management Communication Conceptual Art ADVERTISING Copywriting Creative Advertising Creative Writing Design PHOTOGRAPHY Ethnic Art Studies Creative Photography Fresco Photographic Illustration Furniture Design Photographic Science Graphic Communication Photographic Technology Media Photography Mural Design Photography and Film Papermaking Photography and Multimedia Photography Photojournalism Chapter 12 Schools and Careers in Art 381

12–5. Abbreviations for Art(s) Degrees

A bachelor of arts normally takes four years for completion. A bachelor of fine arts requires sixty to ninety credit hours in art and thirty to sixty credit hours in academic requirements, for a total of 120 hours. A master of fine arts requires thirty to forty credit hours in studio art and twenty to thirty credit hours in “distributive requirements,” for a total of sixty credit hours. Although available in other countries, a doctoral degree is not presently offered in the United States in the visual arts, except in art history and art therapy.

ASSOCIATE’S DEGREES FIVE-YEAR COMBINED DEGREES AA Associate of Arts BA/BFA Bachelor of Arts/Bachelor of Fine Arts AAS Associate of Applied Science BFA/MAT Bachelor of Fine Arts/Master of ABpA Bachelor of Applied art Teaching ABT Bachelor of Arts in Teaching BS/BFA Bachelor of Science/Bachelor of Fine Arts AFA Associate of Fine Arts AOS Associate of Occupational Studies MASTER’S DEGREES AS Associate of Science MA Master of Arts C Certificate of completion of study MAAH Master of Arts in Art History BACHELOR’S DEGREES MAAT Master of Arts in Art Therapy MAE Master of Education BA, AB Bachelor of Arts MAEd Master of Art Education BAA Bachelor of Applied Art MArch Master of Architecture BAE Bachelor of Art Education MAT Master of Art Therapy BAEd Bachelor of Arts in Education MAT Master of Arts in Teaching BApS Bachelor of Applied Science MDes Master of Design BArch Bachelor of Architecture MFA Master of Fine Arts BCA Bachelor of Creative Arts MID Master of Industrial Design Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley BEd Bachelor of Education MLandArch Master of Landscape Architecture BFA Bachelor of Fine Arts MS Master of Science BFAEd Bachelor of Fine Arts Education MSArch Master of Science in Architecture BGD Bachelor of Graphic Design MST Master of Science in Teaching BID Bachelor of Industrial Design BIntArch Bachelor of Interior Architecture OTHER BLandArch Bachelor of Landscape Architecture O Other degree BLArch Bachelor of Landscape Architecture Ed.D. Education doctorate BS Bachelor of Science Ph.D. Doctoral degree BSAEd Bachelor of Science in Art Education X Diploma, Canada BSD Bachelor of Science in Design BSEd Bachelor of Science in Education BSPA Bachelor of Science in Professional Arts BUP Bachelor of Urban Planning BVA Bachelor of Visual Arts 382 The Art Teacher’s Book of Lists

List 12–6. Independent Art Schools and Art Institutes

The art schools in this list specialize in art and design and are not a department of a larger university. They grant BFA and/or MFA degrees and are accredited by both the National Association of Schools of Art and Design (NASAD) and the Association of Independent Colleges of Art and Design (AICAD).

Art Academy of Cincinnati www.artacademy.edu 1212 Jackson Street, Cincinnati, OH 45202 Art Center College of Design www.artcenter.edu 1700 Lida Street, Pasadena, CA 91103 The Art Institute of Boston www.aiboston.edu 700 Beacon Street, Boston, MA 02215 California College of Art and Craft www.ccac.art.edu 5212 Broadway, Oakland, CA 94618 California Institute of the Arts www.calarts.edu 24700 McBean Parkway, Valencia, CA 91365 College for Creative Studies www.ccscad.edu 201 East Kirby, Detroit, MI 48202-4034 College of Visual Arts www.cva.edu 344 Summit Avenue, Saint Paul, MN 55102 Art Academy of Cincinnati www.artacademy.edu 1212 Jackson Street, Cincinnati, OH 45202 Cleveland Institute of Art www.cia.edu 11141 East Boulevard, Cleveland, OH 44106 Columbus College of Art and Design www.ccad.edu

107 North Ninth Street, Columbus, OH 43215-3875 & Sons, Inc. Copyright © 2010 by John Wiley Cooper Union School of Art www.cooper.edu 41 Cooper Square, New York, NY 10003 Corcoran School of the Arts www.corcoran.edu 17th and New York Ave. N.W., Washington, D.C. Cornish College of the Arts www.cornish.edu 1000 Lenora Street, Seattle, WA 98121 Kendall College of Art and Design www.kcad.edu 17 Fountain Street NW, Grand Rapids, MI 49503-3002 Kansas City Art Institute www.kcai.edu 4415 Warwick Blvd., Kansas City, MO 64111 Laguna College of Art and Design www.lagunacollege.com 2222 Laguna Canyon Road, Laguna Beach, CA 92651 Lyme Academy College of Fine Arts www.lymeacademy.edu 84 Lyme Street, Old Lyme, CT 06371 Maine College of Art www.meca.edu 522 Congress Street, Portland, ME 04101 Maryland Institute College of Art www.mica.edu 1300 Mount Royal Avenue, Baltimore, MD 21217 Chapter 12 Schools and Careers in Art 383

12–6. Continued

Massachusetts College of Art and Design www.massart.edu 621 Huntington Avenue, Boston, MA 02115 Memphis College of Art www.mca.edu 1930 Poplar Avenue, Overton Park, Memphis, TN 38104 Milwaukee Institute of Art and Design www.miad.edu 273 East Erie Street, Milwaukee, WI 53202 Minneapolis College of Art and Design www.mcad.edu 2501 Stevens Avenue South, Minneapolis, MN 55404 Montserrat College of Art www.montserrat.edu 23 Essex Street, Beverly, MA 01915 Moore College of Art and Design www.moore.edu 1916 Race Street, Philadelphia, PA 19103 New York Studio School of Drawing, Painting, and Sculpture www.nyss.org 8 West 8th Street, New York, NY 10011 Oregon College of Art and Craft www.ocac.edu 8245 SW Barnes Road, Portland, OR 97225 Otis College of Art and Design www.otisart.edu 9045 Lincoln Boulevard, Los Angeles, CA 90045 Pacific Northwest College of Art www.pnca.edu 1241 NW Johnson Street, Portland, OR 97209 Parsons The New School for Design www.parsons.newschool.edu 66 Fifth Avenue, New York, NY 10011-8878 Pennsylvania Academy of the Fine Arts www.PAFA.org

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley 118 N. Broad Street, Philadelphia, PA 19102 Pennsylvania College of Art and Design www.pcad.edu 204 N. Prince Street, Lancaster, PA 17603 Pratt Institute www.pratt.edu 200 Willoughby Avenue, Brooklyn, NY 11205 Rhode Island School of Design www.risd.edu Two College Street, Providence, RI 02903 Ringling School of Art & Design www.rsad.edu 2700 North Tamiami Trail, Sarasota, FL 34234-5895 San Francisco Art Institute www.sfai.edu 800 Chestnut Street, San Francisco, CA 94133 School of The Art Institute of Chicago www.saic.edu 37 South Wabash Avenue, Chicago, IL 60603 School of the Museum of Fine Arts, Boston www.smfa.edu 230 The Fenway, Boston, MA 02115 School of the Visual Arts www.schoolofvisualarts.edu 209 East 23rd Street, New York, NY 10010-3994 University of the Arts www.uarts.edu 320 S. Broad Street, Philadelphia, PA 19102 384 The Art Teacher’s Book of Lists

12–7. American Art Schools, Colleges, and Universities

This list includes some two-year colleges, independent art institutes, state colleges and universities, and non- degree institutions that offer specialized training for the visual artist. Degrees range from associate to BA, BFA, MFA, or Ph.D. in art. These are schools that offer good art programs. The College Blue Book is updated yearly and offers current information, or go directly to a website for more complete information specifically about the art program or summer programs for students or for teachers. To find out addresses, go to Contact or Admissions.

ALASKA Alaska Pacific University, Anchorage www.alaskapacific.edu University of Alaska at Anchorage www.uaa.alaska.edu

ALABAMA Auburn University, Auburn www.auburn.edu Stillman College, Tuscaloosa www.stillman.edu University of Alabama at Birmingham www.uad.edu

ARIZONA Arizona State University, Tempe www.asu.edu Grand Canyon College, Phoenix www.gcu.edu Northern Arizona University, Flagstaff www.nau.edu Phoenix Community College, Phoenix www.pc.maricopa.edu University of Arizona, Tucson www.arizona.edu

CALIFORNIA Academy of Art College, San Francisco www.academyart.edu Art Center College of Design, Pasadena www.artcenter.edu Brooks Institute of Photography, Santa Barbara www.brooks.edu California College of the Arts, San Francisco www.cca.edu California Institute of the Arts, Valencia www.calarts.edu Laguna College of Art and Design, Laguna Beach www.lagunacollege.edu Otis College of Art and Design, Los Angeles www.otis.edu San Francisco Art Institute www.sfai.edu San Francisco Studio School of Drawing, Painting, www.sfstudioschool.org & Sons, Inc. Copyright © 2010 by John Wiley Photography & Mixed Media (graduate level) University of California at San Diego, La Jolla www.ucsd.edu University of California, Berkeley www.berkeley.edu University of Southern California, Los Angeles www.ucla.edu

COLORADO Colorado Institute of Art, Denver www.artinstitutes.edu Rocky Mountain College of Art and Design, Denver www.rmcad.edu University of Colorado at Boulder www.colorado.edu

CONNECTICUT Lyme Academy College of Fine Arts, Old Lyme www.lymeacademy.edu University of Hartford, West Hartford www.hartford.edu University of Bridgeport, Bridgeport www.bridgeport.edu Yale University School of Art, New Haven www.art.yale.edu

DISTRICT OF COLUMBIA American University, Washington, D.C. www.american.edu Corcoran School of Art and Design, Washington, D.C. www.corcoran.edu

FLORIDA Art Institute of Fort Lauderdale www.aifl.edu Miami International University of Art and & Design www.mymiu.com Chapter 12 Schools and Careers in Art 385

12–7. Continued

Ringling College of Art and Design, Sarasota www.ringling.edu University of Florida, Miami www.nwsa.mdc.edu University of Miami, Coral Gables www.miami.edu

GEORGIA Art Institute of Atlanta www.artinstitutes.edu Atlanta College of Art www.atlantaart.edu Savannah College of Art and Design www.scad.edu

HAWAII University of Hawaii at Manoa, Honolulu www.uhm.hawaii.edu

ILLINOIS Blackhawk College, Moline www.bhc.edu Columbia College, Chicago www.colum.edu Northern Illinois University, DeKalb www.niu.edu School of The Art Institute of Chicago www.artic.edu/saia Southern Illinois University at Carbondale www.siu.edu/siuc Southern Illinois University, Edwardsville www.siue.edu University of Illinois, Urbana-Champaign www.uiuc.edu

INDIANA Herron School of Art, Indiana University, Indianapolis www.herron.iupui.edu

IOWA Drake University, Des Moines www.drake.edu Iowa State University, Ames www.iastate.edu University of Iowa, Iowa City www.uiowa.edu

KANSAS Kansas State University, Manhattan www.ksu.edu

KENTUCKY Berea College, Berea www.berea.edu

LOUISIANA Loyola University, New Orleans www.loyno.edu Tulane University, New Orleans www.tulane.edu

MAINE Maine College of Art, Portland www.meca.edu

MARYLAND Maryland Institute College of Art, Baltimore www.mica.edu University of Maryland, College Park www.maryland.edu

MASSACHUSETTS Boston University, School of Fine Arts www.bu.edu Massachusetts College of Art and Design, Boston www.massart.edu Montserrat College of Art, Beverly www.montserrat.edu School of the Museum of Fine Arts, Boston www.smfa.edu The Art Institute of Boston at Lesley University, Boston www.lesley.edu University of Massachusetts, Amherst www.umass.edu 386 The Art Teacher’s Book of Lists

12–7. Continued

MICHIGAN College for Creative Studies, Detroit www.ccscad.edu Kendall College of Art and Design, Grand Rapids www.kcad.edu University of Michigan School of Art, Ann Arbor www.umich.edu

MINNESOTA College of Visual Arts, St. Paul www.cva.edu Minneapolis College of Art and Design www.mcad.edu University of Minnesota, Minneapolis www.umh.edu

MISSOURI Kansas City Art Institute www.kcai.edu St. Louis Community College at Florissant Valley www.stlcc.edu St. Louis Community College at Meramec www.stlcc.edu University of Missouri St. Louis www.umsl.edu Washington University, St. Louis www.wustl.edu Webster University, St. Louis www.webster.edu

NEW HAMPSHIRE New Hampshire Institute of Art, Manchester www.nhia.edu

NEW MEXICO Institute of American Indian Arts, Santa Fe www.iaia.edu Santa Fe Art Institute www.sfai.org

NEW YORK Alfred University, Alfred www.alfred.edu Art Students’ League of New York, New York City www.theartstudentsleague.org Cooper Union School of Art, New York City www.cooper.edu Cornell University, Ithaca www.cornell.edu Fashion Institute of Technology, New York City www.fitnyc.edu Long Island University, Brookville www.liu.edu Munson Williams Proctor Arts Institute, Utica www.mwpai.org & Sons, Inc. Copyright © 2010 by John Wiley New York Academy of Art, New York City www.nyaa.edu Parsons The New School for Design, New York City www.parsons.newschool.edu Pratt Institute, Brooklyn www.pratt.edu Rochester Institute of Technology, Rochester www.rit.edu School of Visual Arts, New York City www.schoolofvisualarts.edu Sotheby’s Institute (Grad. Level), New York City www.sothebysinstitute.com Syracuse University, Syracuse www.syracuse.edu Woodstock School of Art, Inc., Woodstock www.woodstockschoolofart.org

NORTH CAROLINA East Carolina University School of Art, Greenville www.ecu.edu North Carolina State University, Raleigh www.ncsu.edu University of North Carolina at Asheville www.uncg.edu University of North Carolina at Chapel Hill www.unca.edu University of North Carolina at Greensboro www.unc.edu

OHIO Art Academy of Cincinnati www.artacademy.edu Cleveland Institute of Art www.cia.edu Columbus College of Art and Design www.ocad.edu Ohio University School of Art, Athens www.ohio.edu

OREGON Oregon College of Art and Craft, Portland www.ocac.edu Pacific Northwest College of Art, Portland www.pnca.edu Chapter 12 Schools and Careers in Art 387

12–7. Continued

PENNSYLVANIA Art Institute of Philadelphia www.aiph.artinstitutes.edu Art Institute of Pittsburgh www.aiip.artinstitutes.edu Carnegie Mellon University, Pittsburgh www.cmu.edu Drexel University, Philadelphia www.drexel.edu Moore College of Art and Design, Philadelphia www.moore.edu Pennsylvania Academy of the Fine Arts, Philadelphia www.PAFA.org Pennsylvania College of Art and Design, Lancaster www.pcad.edu Temple University, Tyler School of Art, Philadelphia www.temple.edu University of Pennsylvania Graduate School of Fine Arts, www.upenn.edu Philadelphia University of the Arts, Philadelphia www.uarts.edu

RHODE ISLAND Rhode Island College, Providence www.ric.edu Rhode Island School of Design, Providence www.risd.edu

TENNESSEE Memphis College of Art, Memphis www.mca.edu

TEXAS Art Institute of Dallas www.aid.edu Art Institute of Houston www.aih.artinstitutes.edu Sam Houston State University, Huntsville www.shsu.edu Southern Methodist University, Dallas www.smu.edu University of Houston www.uh.edu University of North Texas, Denton www.unt.edu

UTAH Brigham Young University, Provo www.byu.edu

VERMONT

VIRGINIA Virginia Commonwealth University, Richmond www.vcu.edu

WASHINGTON Art Institute of Seattle www.ais.artinstitutes.edu Cornish College of the Arts, Seattle www.cornish.edu

WISCONSIN Milwaukee Institute of Art and Design www.miad.edu

OTHER These are international affiliates of AICAD (Association of Independent Colleges of Art and Design). For international websites, type in the name of the institution. Alberta College of Art and Design, Alberta, Canada Burren College of Art, Ballyvaughan, Ireland Emily Carr Institute of Art and Design, Vancouver, Canada Nova Scotia College of Art and Design University, Halifax, Canada Ontario College of Art and Design, Toronto, Canada Osaka University of Arts, Osaka, Japan Sotheby’s Institute of Art–London, New York, www.sothebysinstitute.com Singapore (graduate level) Studio Art Centers International, Florence, Italy www.saci-florence.org 388 The Art Teacher’s Book of Lists

12–8. Summer Programs for High School Juniors and Seniors

The art institutes have one common e-mail address (www.artinstitutes.edu) from which regional art institutes may be contacted. Many of the state universities listed in List 12–7, art museums, or community colleges also offer summer art programs for high school students. Specific information may be obtained online.

NORTHEAST Yale Summer Session, New Haven, Connecticut www.yale.edu/summer Boston University School of Visual Arts [email protected] The Art Institute of Boston, Lesley University www.lesley.edu The New England Institute of Art, Boston www.aisummerstudio.com/boston The Art Institute of New York City Summer Studio www.artinstitutes.edu/newyork The Art Institute of Philadelphia Summer Studio www.artinstitutes.edu/philadelphia The Art Institute of Pittsburgh, Pennsylvania www.aisummerstudio.com/pittsburgh The Art Institute of York, Pennsylvania www.artinstitutes.edu/york Nantucket Island School of Design and Arts, [email protected] Nantucket Island, Maine Rhode Island School of Design, Providence www.risd.edu

SOUTHEAST AND SOUTH Miami International University of Art and Design, www.artinstitutes.edu/ Florida The Art Institute of Fort Lauderdale, Florida www.ai.artschools.com/artinstitutes/ftlauderdale The Art Institute of Jacksonville, Florida www.artinstitutes.edu/jacksonville The Art Institute of Tampa, Florida www.artinstitutes.edu/tampa The Art Institute of Atlanta–Decatur, Georgia www.artinstitutes.edu/decatur The Art Institute of Charlotte, North Carolina www.artinstitutes.edu/charlotte The Art Institute of Raleigh–Durham, North Carolina www.artinstitutes.edu/raleigh-durham The Art Institute of Washington, Arlington, Virginia www.artinstitutes.edu/arlington

The Art Institute of Tennessee–Nashville www.artinstitutes.edu/nashville & Sons, Inc. Copyright © 2010 by John Wiley The Art Institute of Charleston, South Carolina www.aih.artinstitutes.edu/charleston Chapter 12 Schools and Careers in Art 389

12–8. Continued

SOUTHWEST The Art Institute of Phoenix, Arizona www.artinstitutes.edu/phoenix The Art Institute of Tucson, Arizona www.artinstitutes.edu/tucson The Art Institute of Austin, Texas www.aih.artinstitutes.edu The Art Institute of Dallas, Texas www.aid.edu The Art Institute of Houston, Texas www.aih.artinstitutes.edu/houston The Art Institute of Houston–North, Texas www.aih.artinstitutes.edu/houston-north

MIDWEST Interlochen Arts Academy, Interlochen, Michigan www.interlochen.org The School of the Art Institute of Chicago www.saic.edu Cranbrook Summer Art Institute, Bloomfield Hills, www.cranbrookart.edu Michigan The Art Institute of Denver, Colorado www.aih.artinstitutes.edu/denver The Illinois Institute of Art–Chicago www.aih.artinstitutes.edu/chicago The Illinois Institute of Art–Schaumburg, Illinois www.aih.artinstitutes.edu/Schaumburg The Art Institute of Indianapolis www.aih.artinstitutes.edu The Art Institute of Kansas City, Missouri www.kcai.edu The Art Institute of Michigan, Detroit www.aih.artinstitutes.edu The Art Institutes International Minneapolis, www.aih.artinstitutes.edu Minnesota The Art Institute of Ohio–Cincinnati www.aih.artinstitutes.edu

WEST The Art Institutes of Sacramento, California www.artinstitutes.edu/sacramento The Art Institute of Sunnyvale, California www.artinstitutes.edu/sunnyvale The Art Institute of California, San Diego www.artinstitutes.edu/sandiego

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley The Art Institute of California, San Francisco www.artinstitutes.edu/sanfrancisco The Art Institute of California, San Bernardino www.artinstitutes.edu/inlandempire The Art Institute of Los Angeles, Santa Monica www.artinstitutes.edu/losangeles The Art Institute of California–Orange County, www.artinstitutes.edu/orangecounty Santa Ana The Art Institute of Idyllwild Arts, Idyllwild, www.idyllwildarts.org California The Art Institute of Las Vegas, Nevada www.artinstitutes.edu/lasvegas The Art Institute of Portland, Oregon www.artinstitutes.edu/portland The Art Institute of Salt Lake City, Utah www.artinstitutes.edu/saltlakecity The Art Institute of Seattle, Washington www.ais.artinstitutes.edu

OTHER The Art Institute of Vancouver, British Columbia www.artinstitutes.edu/vancouver 390 The Art Teacher’s Book of Lists

12–9. Professional Summer Development for Teachers

If you are looking for a summer enrichment course, either for credit or not, this list includes some institutions that offer exciting experiences. Art educators cannot help but come away with enrichment experiences for themselves and activities their classes. The art institutes are listed under student summer experiences in List 12–8, but often also include special classes for art educators.

NORTHEAST Art New England, Bennington College, Vermont www.MassArt.edu/ane Chautauqua School of Art, Chautauqua, New York www.ciweb.org Fashion Institute of Technology, New York City www.fitnyc.edu Haystack Mountain School of Crafts, Deer Isle, Maine haystack-mtn.org International Center of Photography, New York City www.icp.org New York Academy of Art, New York City www.nyaa.edu School of the Museum of Fine Arts, Boston www.smfa.edu Skidmore College Summer Studio Art Program, www.skidmore.edu Saratoga Springs, New York The Professional Institute for Educators, [email protected] The University of the Arts, Philadelphia Fallingwater, Mill Run, Pennsylvania www.fallingwater.org

MIDWEST Anderson Ranch Art Center, Snowmass Village, www.andersonranch.org Colorado Kansas City Art Institute, Missouri www.kcai.edu

SOUTHEAST AND SOUTH Arrowmont School of Arts and Crafts, Gatlinburg, www.arrowmont.org Tennessee Miami International University of Art and Design, www.mymiu.com Miami, Florida Savannah College of Art and Design, Georgia www.scad.edu Tennessee Arts Academy, Belmont University, www.tennesseeartsacademy.org Nashville National Gallery of Art Teacher Institute, Washington, D.C. www.nga.gov/education/teacinsti.shtm Penland School of Crafts, Penland, North Carolina www.penland.org Chapter 12 Schools and Careers in Art 391

12–9. Continued

SOUTHWEST Santa Fe Art Institute, New Mexico www.sfai.org Scottsdale Artists’ School, Arizona www.ScottsdaleArtSchool.org

WEST California College of the Arts, San Francisco www.cca.edu Laguna College of Art and Design, Laguna Beach, www.lagunacollege.edu California San Francisco Studio School www.sfstudioschool.org The Getty, Villa Summer Institute, Los Angeles www.getty.edu

OTHER Sotheby’s Institute of Art, London, New York, www.sothebysinstitute.com Singapore Studio Art Centers International, Florence, Italy www.saci-florence.org The International School of Painting, Drawing, and www.giotto.us Sculpture in Umbria, Italy Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley Credit Notes

List 2–8: Green Pepper # 30, 1930, Edward Weston, gelatin silver print (printed c. 1938), 9 3/8 × 7 ½ inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc., Photograph by John Lamberton © The Nelson-Atkins Museum of Art List 2–9: Fans and Stream, 1820–1828, Sakai Hôitsu, sliding door panels mounted as a pair or two-panel screens: ink, color, gold, and silver on silk, each panel 67 × 35 1/8 inches, Saint Louis Art Museum, Friends’ Fund © The Saint Louis Art Museum, Natalie Musser List 2–15: Jolly Flatboatmen in Port, 1857, George Caleb Bingham, oil on canvas, 47 1/16 × 69 5/8 inches, Saint Louis Art Museum, Museum Purchase © The Saint Louis Art Museum, Natalie Musser List 3–16: Houses at Auvers, 1890, Vincent van Gogh, oil on canvas, 29 ¾ × 24 3/8 inches, Museum of Fine Arts, Boston, Bequest of John T. Spaulding © Museum of Fine Arts, Boston List 3–22: Teaching a Mustang Pony to Pack Dead Game, c. 1890, Frederic Remington, oil on canvas, 20 1/4 × 30 1/4 inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase: acquired through the generosity of the Union Pacific Foundation, photograph by Jamison Miller © The Nelson- Atkins Museum of Art List 3–22: Still Life No. 24, 1962, Tom Wesselmann, acrylic polymer with fabric (mounted on board) 48 × 59 7/8 inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of the Guild of the Friends of Art, Photograph by Jamison Miller, Art © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY © The Nelson-Atkins Museum of Art; VAGA List 3–25: Mound Magician, 1997, Radcliffe Bailey, paint, canvas, paper, wood, cardboard, cloth, Plexiglas, baseballs, feathers, and other media on plywood, 118 × 168 × 26 inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase: gift of the Unus Foundation and Marc and Elizabeth Wilson in honor of John J. “Buck” O’Neil, photograph by Jamison Miller © 1997 Radcliffe Bailey List 4–13: King Tawhiao. The Second Maori King, Tawhiao Matutaera Potatau Te Wherowhero, 1882, Gottfried Lindauer, oil on canvas, 880 × 700 mm. The Auckland Art Gallery, Toi o Tãmaki, New Zealand, gift of Mr. H. E. Partridge. King Tawhiao led a deputation of Maori people to England in 1884 in an unsuccessful attempt to “petition Queen Victoria over the dishonoured Treaty of Waitangi.” © Auckland Art Gallery, Geoffrey Heath List 4–18: Salmon Clan Hat, Tlingit, 1850–1925, wood, paint, abalone shell and operculum, 15 × 28 ½ inches,

Saint Louis Art Museum, Gift of Morton D. May © The Saint Louis Art Museum, Natalie Musser & Sons, Inc. Copyright © 2010 by John Wiley List 4–23: Spring Woods, Passing Rain, 1856, Hine Taizan, Japanese, 1813–1869, hanging scroll: ink and color on paper, 76 × 37 inches, Saint Louis Art Museum, Museum Shop Fund © The Saint Louis Art Museum, Natalie Musser List 5–7: Hollywood, 1937–1938, Thomas Hart Benton, tempera with oil on canvas (mounted on plywood panel), 56 × 84 inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri. Art, Bequest of the artist © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY. (The female in the middle supposedly was modeled on Jean Harlow, Hollywood’s “Blond Bombshell,” who was born in Kansas City, Tom Benton’s home town.) © The Nelson-Atkins Museum of Art; VAGA List 6–20: I Was Beatin’ ‘is Face, 1914, crayon, ink, and graphite on paper, 24 ¼ × 18 inches, George Wesley Bellows, The Nelson-Atkins Museum of Art, Kansas City, Missouri, gift of Mr. and Mrs. Herbert O. Peet, photograph by Mel McLean © The Nelson-Atkins Museum of Art List 6–25: American Gothic, 1930, Grant Wood, oil on beaver-board, 30 11/16 × 25 11/16 inches. The Art Institute of Chicago, Friends of American Art Collection, Photograph by Bob Hashimoto © Art Institute of Chicago List 6–29: The Kirifuri Waterfall at Mt. Kurokami, c. 1831 Edo Period (1615–1868), Katsushika Hokusai, color woodblock print, 14 5/8 × 9 5/8 inches, The Nelson-Atkins Museum of Art, Purchase: William Rockhill Nelson Trust, Photograph by Robert Newcombe © The Nelson-Atkins Museum of Art List 7–5: St. Louis Artists’ Guild Poster, 1986, Milton Geis, original painting in water media. Courtesy, Donna Geis Zang, www.geisart.com © Donna Geis Zang

392 Credit Notes 393

List 7–6: Ballet Dancers on the Stage, 1883, Edgar Degas, pastel on paper, 24 ¼ × 18 5/8 inches, Dallas Museum of Art, gift of Mr. and Mrs. Franklin B. Bartholow © Dallas Museum of Art List 7–7: Dining Room in the Country, 1913, Pierre Bonnard, oil on canvas, 64 ¾ × 81 inches, The Minneapo- lis Institute of the Arts, The John R. Van Derlip Fund, © 2010 Artists Rights Society (ARS), New York/ ADAGP, Paris List 7–9: Four Heads, 1513 or 1515, Albrecht Dürer, brown ink on paper, 8 1/4 × 7 7/8 inches, The Nelson- Atkins Museum of Art, Kansas City, Missouri, Purchase: William Rockhill Nelson Trust, photograph by Mel McLean © The Nelson-Atkins Museum of Art List 7–11: Under the Wave off Kanagawa, also known as The Great Wave, from the series Thirty-six Views of Mount Fuji, 1830–31, Katsushika Hokusai, woodblock print, ink and color on paper, Museum of Fine Arts, Boston, William S. and John T. Spaulding Collection, Photograph © Museum of Fine Arts, Boston List 8–16: Two faced, 2010, Simon Baker, 18. This brightly colored “fire and water” self-portrait was enhanced with textures downloaded from a copyright-free Internet site. Simon was in Kim Foster’s Computer Graph- ics I class at Kirkwood High School, Kirkwood, Missouri, and created this self-portrait independently. © Simon Baker List 8–18: Don’t Slow Children, 2005, John Dyess. This digital montage is from photographs taken by the artist. Photoshop filters were used to enhance the photographs. Courtesy the artist. © John Dyess List 8–19: Five African Animals and a Moose, Suzanne L. Swoboda, digital print, 13 × 38 inches, printed on Epson matte heavyweight paper. Sue Swoboda’s unexpected use of pattern on familiar shapes in this large witty print demonstrates the potential of the computer as a drawing and painting tool. Courtesy, the artist. © Suzanne Swoboda List 9–7: The Bronco Buster, 1895, cast 1907, Frederic Remington, bronze, 23 × 21 ½ × 13 inches, Saint Louis Art Museum, Gift of J. Lionberger Davis © The Saint Louis Art Museum, Natalie Musser List 9–8: Little Dancer of Fourteen Years, c. 1840, Edgar Dégas, bronze, gauze, and satin ribbon, Saint Louis Art Museum, Funds given by Mrs. Mark C. Steinberg List 9–9: Shuttlecock (one of four), 1994, Claes Oldenburg and Coosje van Bruggen, aluminum, fiberglass- reinforced plastic, paint, height × diameter: 230 9/16 × 191 7/8 inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase: acquired through the generosity of the Sosland Family, photograph by Jamison Miller © The Nelson-Atkins Museum of Art List 10–3: Chartres, Flying buttresses at the Crossing, Neg. date, 1929, Charles Sheeler, gelatin silver print, 20 × 8 inches, The Lane Collection, Courtesy, Museum of Fine Arts, Boston © Museum of Fine Arts, Boston

Copyright © 2010 by John Wiley & Sons, Inc. Copyright © 2010 by John Wiley List 10–11: Back Lot, 1935, Frank Redlinger, American, 1885–1951, block print, 8 ¾ × 11 3/8 inches, Dallas Museum of Art, gift of Mrs. Frank Redlinger © Dallas Museum of Art List 11–13: Seated Worker, 1880, James Ensor, charcoal on paper, 28 ½ × 22 ½ inches, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Dr. and Mrs. Nicholas S. Pickard in memory of Dr. M. W. Pickard, photograph by Jamison Miller © The Nelson-Atkins Museum of Art List 11–23: Boy in Short Pants, c. 1918, Amedeo Modigliani, Italian, 1884–1920, oil on canvas, 39 ¼ × 25 ½ inches, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc. © Dallas Museum of Art List 11–28: Three Non People Posts, 1978, Clyde Connell, American, 1901–1998, Dallas Museum of Art, Foun- dation for the Arts Collection, purchased with funds donated anonymously. © Dallas Museum of Art List 11–32: Seated Man #4, 1995, David Bates, American, b. 1952, paint, wood, 88 × 37 ½ × 15 ½ inches, Dal- las Museum of Art, Texas Artists Fund, and gift of Mr. and Mrs. Bryant M. Hanley, Jr., the Professional Members League, Mr. and Mrs. I. D. Flores III, and Mr. and Mrs. John Ford Lacy © Dallas Museum of Art Index

A American Revolutionary period, 108 111–112; American Revolutionary period, American scene painting/regionalism, 118–119 108; American scene painting/regionalism, Abstract, 6; woodcut, and printing press, 366 American Western art, 54 118–119; Art Nouveau, 114; Arte Povera Abstract Expressionism, 5, 125–127 Analogous colors, 6 movement, 125; Barbizon School, 5, 112; Abstraction: artists/subjects, 229; landscape Andy Warhol Museum, location/web site, 40 Baroque art, 106–107; Bauhaus center of abstraction (project), 363 Animals, artists/subjects, 229 modern design, 120; Byzantine Empire art, Academic art, 6 Anime, 205 103; careers in, 384; Color Field Painting, Accordion-folded book (project), 372–373 Anti-roll crayons, 208 124; Constructivism, 120; Contemporary Acid-free paper, 196 AP seal, Art and Craft Materials Institute, 34 Realism, 127; Cubism, 116; Dada movement, Acronyms, 4 Aperture (F stop), 272 117; De Stul, 120; degrees available in, 386; Acrylic, 5, 212; gel, 218; medium, 218; paint, 216; Appliqué cutouts, 374 Der Blaue Reiter Group, 119; Die Brücke retarder, 212 Aquatint, 220 movement, 119; early Christian art, 103; Action painting, See Abstract Expressionism Arabesque, 6 Egyptian art, 103; Eight, The, 115; Environ- Adapt-A-Cut®/Adapt-A-Hold® scissors, 24 Arches® paper, 197 mental Art, 128; Etruscan art, 103; Fauvism, Additive drawing, 220 Architects, artists/subjects, 229 116; Federal Arts projects, 120; feminist art, Adhesives, 200–201; glue dots, 200 Architecture, 309–338, See also American build- 128–129; Funk Art, 125; Futurism, 116–117; Administration, careers in, 384 ing styles; American building styles, 328–333; German Expressionism, 119; Gothic art, 104; Admissions portfolio, 383 American museum-houses, 333–334; archi- Greek art, 103; Happenings (performance Advertising, degrees available in, 386 tectural icons by unknown builders, 323; art), 123; Harlem Renaissance, 121–122; Aerial perspective, 5, 213 architectural model (project), 380; building Hudson River School, 109–110; Impres- Aesthetics, 19; discussions, 6, 91–93; innovations, 326–327; careers in, 384; con- sionism, 112–113; Italian Renaissance art, conversation starters, 92; guidelines, 92 temporary, 324; degrees available in, 386; 105; Mannerism, 95, 106; Middle Ages art, Afghanistan: art museums/collections, 63; public eccentric, 337–338; elements, 314–316; 103; Minimalism, 129; Modernism, 122; art pieces (sculpture), 300 famous architects/buildings, 317–323; Nabis, 114; Neo-expressionism, 129; neo- Africa: art museums/collections, 63; arts and crafts Frank Lloyd Wright architecture, 324–325; expressionism, 129; neoclassicism, 108–109; projects, 161; building innovations, 326; magazines, 182; quotations, 310; state Neoclassicism, 108–109; new media, 130; contemporary artists, 131; sculptures, 291 capitol buildings, 335; terms, 311–313; Northern Renaissance art, 104–105; African American: art, Hollywood films about, vernacular, 336–337 Op Art, 125; photo secession movement, 189; artists, 137–140; arts and crafts, 165; Archival: mount board, 199; tape, 201 115; Pop Art, 123; Post-Impressionism, celebrations, 154 Area equivalents, 35 113; Pre-Raphaelite Brotherhood, 112; Alabama: art museums/collections, 56; art Argentina, art museum/collection, 63 pre-Renaissance art, 104; precisionist paint- schools/colleges/universities, 390; state Arizona: American Western art, 54; art ers, 117; Realism, 111; Realism and figura- capitol building/architect(s), 335 museums/collections, 56; art schools/ tive painting, 121; Rocky Mountain School, Alaska: art museums/collections, 56; art schools/ colleges/universities, 390; Frank Lloyd 110; rococo art, 108; Roman art, 103; colleges/universities, 390; public art pieces Wright architecture, 324; museum with Romanesque period, 104; Romanticism, (sculpture), 301; state capitol building/ outstanding photographic collections, 46; 108–110; romanticism, 108–110; Social architect(s), 335 rock art sites, 170; state capitol building/ Realism, 121; Spiral Group, 122; Superreal- Albumen print, 269 architect(s), 335 ism, 127; Surrealism, 117–118; symbolism, Aleene’s Tacky Glue®, 200 Arkansas: art museums/collections, 56; state 114, 119; Ten, The, 115; Western art, 103 Alkyd, 212 capitol building/architect(s), 335 Art materials: inexpensive, where to find, Alla prima, 5, 213 Armory Show, 5 225; substitutes for expensive materials, Altarpiece, 6 Art: admissions portfolio, 383; aesthetic discus- 222–224 Altered book, 204; project, 372 sions, 91–93; classicism in, 94; education, Art Nouveau, 5, 114 Amate, 197 careers in, 384; elements, 12; history Art objects, famous, 102 American Bauhaus, 120 periods (acronyms), 5; institutes, 394–395; Art room, safety reminders, 34 American building styles, 328–333; American knife, 200; magazines, 182; museums/ Art schools and art institutes: American, neo-classicism, 329; architecture collections, 56–63; quotations, 38, 382; 390–393; independent, 388–389 between the wars (1920-1940), 332; print resources, 185; production, 19; quilt, Art supply resources, U.S., 193–194 Carpenter Gothic, 330; early 20th-century 374; recycling for teachers of, 226; romanti- Art teacher: acronyms for, 4; art definitions, architecture, 331–332; exotic revivals, cism in, 94; schools and careers in, 5–8; art lesson plans, writing tips, 20; art 330; Federal style, 328; Folk Victorian, 381–397; writing your own definition of, 91 newsletter, 29; art-related articles, writing 331; French colonial, 329; Georgian archi- Art & Creative Materials Institute, Inc. (ACMI) for publication, 33; assessment strategies, tecture, 328; Gothic revival, 329; Greek website, 3 22; competitions, 27; design principles, revival, 329; Italianate, 330; Jeffersonian Art appreciation: activities, 90; documentary 13; family involvement in art program, 29; (Roman revival), 329; late 20th/early 21st films about, 188 gifted and talented students, 26; National centuries, 333; New England colonial archi- Art class materials/equipment, 194–196 Visual Arts Standards (5-8), 15; National tecture, 328; New Republic, 329; octagon, Art criticism questions, 94 Visual Arts Standards (6-9), 16–17; 329; pop culture, 332–333; Queen Anne, Art Deco, 5; collagraph (project), 365; sculpture National Visual Arts Standards (K-4), 14; 330; Renaissance revival, 329; Richardson (project), 375 parent volunteers, 29; personal growth, Romanesque, 331; second empire, 330; Art degrees, 386; abbreviations for, 387; 28; photographing artwork, 31; principal, shingle style, 331; Spanish baroque, 329; independent art schools and art institutes, acting as resource person to colleagues, Stick/Eastlake, 330; Stick Victorian, 330; 388–389 28; professional summer development for, Tudor, 331; Victorian architecture, 329; Art display area, general equipment for, 194 396–397; public relations/photography Victorian Gothic, 331 Art gum eraser, 207 guidelines, 30; publicity photography, 31; American colonial painters, 106 Art history, 19, 103–130; Abstract Expression- quotations about art for the classroom, American Impressionism, 114 ism, 125–127; American Bauhaus, 120; 2; recycling for, 226; sample art lesson American kitsch (project), 380 American colonial painters, 106; American plan, 21; showcasing students, 27; special American Modernism, 118 Impressionism, 114; American Modern- needs students, accommodations in art for, American Realistic paintings, 111–112 ism, 118; American Realistic paintings, 24–25; websites for, 3 394 Index 395

Art techniques, pronunciation guide, 9 Behavioral disabilities, accommodations for museums with outstanding photographic Art therapy, careers in, 384 students with, 25 collections, 46; museums with special Art tools and materials, See Tools and materials Belgium: art and architecture museum, 52; art ancient and classical art collections, 45; Artcyclopedia website, 3 museums/collections, 64; Art Nouveau, museums with special folk art collections, Arte Povera movement, 125 114; artists known for fine-quality draw- 42; public art pieces (sculpture), 301; Artifact, 6 ings, 244; famous architects/buildings, rock art sites, 170; state capitol building/ Artisan/craftperson, careers in, 384 317; Fauvism, 116; international artist, 41; architect(s), 335 Artists, 75–102; art and culture timelines, 77–84; museum specializing in photography, 47; Calligraphy, 6, 197; ink/pen, 210; markers, 210 art history timelines, 87–88; birthdays, 10–11; notable photographers, 267; painters and Calotype (Talbotype), 269 documentary films about, 188; formal art photographers, 254; printmakers, 246; Camera direction, 274 analysis, 89; Hollywood films about, 187; public art pieces (sculpture), 300; sculp- Camera obscura, 6, 254, 269 known for fine-quality drawings, 244–245; tors, 297; sculptures, 291; Surrealism, 117; Canada: art and architecture museum, 52; art names, pronunciation guide, 9; quotations, women artists, 134 museums/collections, 64–65; art schools/ 76; reference books for, 181; selling prices Bellows, 269 colleges/universities, 393; contemporary at auction, 85–86; subjects, 229–232 Bench hook, 219 artists, 131; eccentric architecture, 337; Artist’s proof, 220 “Big Idea,” 19 famous architects/buildings, 317; museums ArtLex website, 3 Biomorphic art, 6 specializing in photography, 47; national/ Artnet website, 3 Bisque (biscuit ware), 303 religious holidays, 150; notable photogra- Arts and crafts: movement, 5; projects, 161–166 Bistre, 204 phers, 267; public art pieces (sculpture), Arts Education Partnership (AEP) website, 3 Black marker (project), 360 300; sculptors, 297; women artists, 134 ArtsConnectEd2 Walker Art Center website, 3 Blankets, 218 Canvas, 212; paper, 197 ARTSEDGE website, 3 Bleach pen, 374 Car aesthetics, 91 ArtsEdNet website, 3 Bleed-proof paper, 197 Carbon: compounds, 212; pencil, 206 Artsonia website, 3 Bleeding, 213 Carcinogens, pigments as, 215 Artwork, photographing, 31–32 Blender brushes, 208 Card stock paper, 197 Ashcan School, 5, 118 Blending, 213 Cardboard, 199, 202, 226 Asia: artists, 174–175; building innovations, 326; Block-out, 219 Careers in art, 384–385 painting themes, 233 Block printing, 197, 220, 221; foam, 219 Caricature, 6, 205 AskArt website, 3 Blockbook, 6 Carte de visite, 269 Assessment; standards, 22; strategies, 22 Blotters, 218 Cartoon, 205 Association of Independent Colleges of Art and Blotting paper, 197 Carved shop sign (project), 378 Design (AICAD), 388 Body art, 157–158 Carving, 6; hardwoods/softwoods for, 290; Asymmetry, 274 Body-sized heads (project), 370 materials/tools, 288 Atmospheric perspective, 5 Bogus paper, 197 Casein, 212 Auguste Rodin Museum, location/web site, 40 Bond paper, 197 Casting, 6; carving, 305; project, 375 Augustus, Saint-Gaudens Historic Site, location/ Book arts, 372–373 Ceiling hooks, 202 web site, 40 Book board, 204, 372 Cellophane paper, 197 Australia: art museums/collections, 63–64; Book-making equipment/definitions, 204 Celtic art, 5 artists, 173; eccentric architecture, 337; Book of Hours, 6 Center-of-interest, 6 famous architects/buildings, 317; museum Book of the Dead, 6 Centigrade to Fahrenheit conversion, 35 of decorative arts and contemporary crafts, Bowl from papier maché pulp (project), 370 Ceramics, 6; birdhouse (project), 376; carving, 44; museums specializing in photography, Box sculpture (project), 377 305; carving materials/tools, 288; 47; national/religious holidays, 150; Bracketing, 273, 274; exposures, in casting, 305; casting materials/equipment, Post-Impressionism, 113 photographing artwork, 32 304; ceramic sculpture, 305; clay model- Austria: art and architecture museum, 52; art Brad, 202 ing equipment, 304; coil building, 305; museums/collections, 64; Art Nouveau, Brayer printing (project), 365 defined, 303; definitions, 303; draping, 114; artists known for fine-quality draw- Brayers, 219 305; famous artists, 307; hardwoods/ ings, 244; eccentric architecture, 337; Brazil: art museums/collections, 64; contem- softwoods for carving, 290; materials/ famous architects/buildings, 317; Jewish porary artists, 131; famous architects/ equipment, 304; picture frame (project), museum, 51; Modernism, 122; museum of buildings, 317; public art pieces (sculpture), 376; pinch pots, 306; place setting (proj- decorative arts and contemporary crafts, 44; 300; sculptors, 297; women artists, 134 ect), 377; quotations, 286; repairing, 306; printmakers, 246; public art pieces (sculp- Breakfast piece, 5 resources, 193–194; slab building, 306; ture), 300; sculptures, 291 Bristol board, 199 stone carving materials/tools, 289; teach- Avant garde, defined, 6 Bronze, 6 ing, 305–306; underglaze pencil, 206; Brush pens, 210 vessels, decorating methods for, 307; Brushes, 24, 211–212; watercolor, 217 wedging, 306; wheel throwing, 306 B Brussels, Jewish museum, 51 Ceramics room supplies, 195 Back-lit, defined, 274 Buddhist religious holidays, 155 Chaim Gross Studio Museum, location/web Baker’s clay, recipe for, 223 Bulldog clips, 202 site, 40 Balance, 6, 13 Buon (true) fresco, 213 Chair design (project), 380 Ballpoint pen, 210 Burin (graver), 218 Chalk, 6, 24, 204; pencils, 208 Bamboo pen, 217; sketching pen, 210 Burning-in, 273 Chamois, 208 Banana paper, 197 Burnish, 6 Changing times (project), 380 Barbizon School, 5, 112 Burnisher, 218; and blender, 206 Charcoal, 204; paper, 197; pencil, 206 Baren, 219, 364 Burnishing roller, 218 Charles Burchfield (museum), location/ Bark paper, 197 Burnt plate oil, 218 web site, 40 Baroque: architectural innovations, 327; art, Burr, 220 Charles Demuth House and Garden Museum, 106–107; architecture, 311, 317–321, 329, Butcher paper, 197 location/web site, 40 333; art, 95, 106–107; defined, 5 Byzantine Empire art, 5, 103 Chiaroscuro, 5, 205, 213 Bas-relief, 6; design (project), 377; sculpture Chile: contemporary artists, 133; eccentric (project), 378 architecture, 338 Bateek-O, 197 C China: art museums/collections, 65; artists, Batik, 6, 374 California: African American art, 53; American 174; arts and crafts projects, 161; Asian Battleship gray linoleum, 219 Western art, 54; art museums/collections, art collections, 49; contemporary artists, Bauhaus: center of modern design, 120; 56; art schools/colleges/universities, 390; 131; dynasties, 176; famous architects/ defined, 5 Asian art collections, 48; Frank Lloyd buildings, 317; ink, 210; marker, 206; offi- Beads, 374 Wright houses/buildings, 325; Hispanic art, cial holidays, 150–151; public art pieces Beaux-Arts, 5 53; Jewish museums, 51; museum of deco- (sculpture), 300; religious observances, Beeswax, 212 rative arts and contemporary crafts, 44; 151; sculptors, 297; sculptures, 291 396 Index

China ware, defined, 303 Cotton (rag) paper, 196 art collections, 48; Jewish museum, 51; Chinese/North American artists, 174 Covered wooden furniture (project), 369 museum of decorative arts and contempo- Chinese stamp, 366 CP seal, Art and Craft Materials Institute, 34 rary crafts, 44; museums with outstanding Chipboard, 199 Craft scissors, 200 photographic collections, 46; public art Christian: painting themes, 233; religious Craft snips, 200 pieces (sculpture), 301; special folk art holidays, 155 Crafts, degrees available in, 386 collections, 42 Cibachrome®, 269 Crafts magazines, 182–183 Diverse cultures: African timeline, 146; Asian Cities, artists/subjects, 229 Crayola® Lesson Plans website, 3 timeline, 149; international holidays, 150; CitraSolv, 222, 371 Crayons, 24, 205, 208–209 Mexico/Central/South American timeline, Class discussion, 22 Crepe paper, 197 145; Middle Eastern timeline, 147; Native Classical music in the art room, 243 Crepe rubber cement pickup, 200 American timeline, 144; North American Classicism in art, 6, 95; gods in, 96–97 Criticism/analysis, 19 timeline, 143; Oceania timeline, 148; Clay: abstract sculpture in (project), 375; Cromlech, 7 quotations, 142 defined, 303; modeling equipment, 304; Cropping, 274 Do Not Photograph (FERPA/Family Education safety reminders for working with, 34 Crosshatching, 7, 205 Rights and Privacy Act) list, 31–32 Clear packaging tape, 222 Crow quill pen, 210 Dodging, 273 Clips, 202 Crowd (project), 363 Doghouse (project), 380 Cloisonné, 7 Crumpled paper into wet areas (project), 360 Donor, 7 Close up, 273 Cubism, 5, 116 Double color pencil, 206 Clothespins, 202 Cultural art magazines, 183 Double exposure, 273 Codex, 7 Cutting equipment, paper, 200 Double pinch pot (project), 376 Coil building, 305 Cutting knives, 34, 199, 200, 203 Double-sided tape, 201 Coiling, defined, 303 Cutting mat, 200 Drafting brush, 199 Cold press, 199; watercolor paper, 196 Cutting tools, safety reminders for working with, 34 Drafting tape, 199, 201, 217 Collage, 205, 371–372 Cy Twombly Gallery, The Menil Collection, Draped bowl (project), 376 Collagraphs, 220; Art Deco (project), 365, land- location/website, 40 Draped mask (project), 376 scape (project), 365; nature (project), 365; Cyanotype (blueprint), 269 Draw and iron pencil, 206 printmaking materials for, 218 Czech Republic: art museums/collections, 65; Drawing, 7: definitions, 205–206; ink, 210; mag- Collodion wet-plate process, 269 Art Nouveau, 114; eccentric architecture, azines, 182; materials, 204–205; paper, 197; Colombia: contemporary artists, 131, 133; 337; international artist, 41; notable pho- templates, 199; and writing pencil, 206 sculptors, 297 tographers, 267; printmakers, 246; public Drawing room supplies, 196 Color, 12; pens, 210; pigments, 215; wheel, 7 art pieces (sculpture), 300 Dream chair (project), 379 Color-aid paper, 197 Dry brush painting, 213 Color Field Painting, 124 Dry Erase® markers, 210 Colorado: American Western art, 54; art Dry measure equivalents, 35 museums/collections, 57; art schools/ D Dry plate, 269 colleges/universities, 390; rock art sites, 170; DAB N’Seal®, 200 Drypoint, 220; and printing press, 366 state capitol building/architect(s), 335; Dada movement, 117 Dual-control training scissors, 24 vernacular architecture, 337 Daguerreotype, 269 Duck® brand duct tape, 201 Colored pencil, 204, 206 Dark line drawing (project), 365 Duco Cement®, 200 Colored tape, 201 Dark surface monotype (project), 365 Duct tape, 201 Colorless blenders, 206, 210 De Stul, 120 Dye transfer, 269 Compass cutter, 200 Decal, 303 Compass pencil, 206 Deckle, defined, 196 Complementary colors, 7, 213 Deckle edges, 196 Composite, 273, 277 Decorative arts and contemporary crafts, E Composition, 7; photography, 274; using video museums of, 44 Early Christian art, 103 camcorder, 281 Delaware: art museums/collections, 57; museum Early Italian sculpture, 292 Computer graphics: degrees available in, 386; of decorative arts and contemporary crafts, Earth colors, 212 magazines, 183; terms used in, 277; 44; special folk art collections, 42; state Earthenware, 303 without a camera, 279 capitol building/architect(s), 335 Earthworks, 7 Connecticut: art museums/collections, 57; art Deliberate distortion (project), 363 Easel, 5, 7 schools/colleges/universities, 390; Asian Denmark: art museums/collections, 65; arts Ebony layout pencil, 206 art collections, 48; museum of decorative and crafts projects, 161; contemporary Eccentric architecture, 337–338 arts and contemporary crafts, 44; public artists, 133; museum of decorative arts and Educational collections, 37–73 art pieces (sculpture), 301; special folk contemporary crafts, 44; museum special- Educational games, purchased, 186 art collections, 42; state capitol building/ izing in photography, 47; printmakers, 246; Educational magazines, 183 architect(s), 335; vernacular architecture, 337 public art pieces (sculpture), 300; Edward Hopper House, location/web site, 40 Construction paper, 197 sculptors, 297; vernacular architecture, 337 Egg tempera, 212 Constructivism, 120 Departmental equipment, 194 Egypt: art museums/collections, 65; artists, Consumables, 195 Der Blaue Reiter (The Blue Rider), 5, 119 172; building innovations, 326; famous Contact printing, 269 Design, 7; careers in, 384 architects/buildings, 317; public art pieces Conté, defined, 7 Design principles, 13 (sculpture), 300; sculptures, 292 Conté crayon® (sanguine), 204, 208 Developmental disabilities, accommodations for Egyptian art, 103 Conté pastel pencil, 206 students with, 25 Egyptian paste, 303 Contemporary art, analyzing, 89 Diamante poem, 91 Eight, 115 Contemporary artists, 131–133 Die Brücke movement, 5, 119 Electronic flash, 273 Contemporary Realism, 127 Digital: camera, and admissions portfolio, 383; Elementary students, songs to paint by, 243 Contour drawing, 205 graphics photography projects, 277–278; Elements, 7 Contrapposto, 7 images, 31; media, careers in, 384; print, 277; Elephant dung paper, 197 Contrast, 13; photography, 274 resources, 185 Elmer’s®: Art Paste, 200, 202, 361, 369; Painters® Contrast-O® paper, 197 Dip pen, 210 Neon Paint Marker, 210; Sticky Out, 200 Cool colors, 213 Disability specialists (acronyms), 4 Elongated, use of term, 7 Cordless rechargeable eraser, 207 Discipline-Based Art Education (DBAE), 19–20 Embossed paper, 197 Cornstarch finger paint, recipe for, 224 Display boards, 199 Embossed print, 366 Corrugated board, 199 Distortion, in photographing artwork in, 31 Embossing, 220 Corrugated cardboard (project), 365 District of Columbia: African American art, Emphasis, 7, 13 Corrugated paper, 197 53; art museums/collections, 57; art Emulsion, 273 Cotton linter, 196 schools/colleges/universities, 390; Asian Enamel, 7 Index 397

Encaustic, 5 Flat lead sketching pencils, 206 in photography, 47; Neo-Expressionism, End paper, 204 Flexible curve, 199 129; new media, 130; Northern Renais- England, See United Kingdom: Abstract Expres- Flexible printing plates, 219 sance art, 104–105; notable photographers, sionism, 125; Art Nouveau, 114; artists Flextex®, 218 267; painters and photographers, 254; known for fine-quality drawings, 244; Con- Florida: American Western art, 54; art museums/ printmakers, 246; public art pieces (sculp- temporary Realism, 127; Environmental collections, 57; art schools/colleges/ ture), 300; Realism, 111; Romanticism, 109; Art, 128; famous architects/buildings, 318; universities, 390–391; Frank Lloyd Wright sculptors, 298; sculptures, 292; Surrealism, Modernism, 122; neoclassicism, 109; new architecture, 325; state capitol building/ 118; women artists, 134 media, 130; notable photographers, 267; architect(s), 335 Gesso, 202, 212, 218; homemade, recipe for, 224 Op Art, 125; painters and photographers, Flowers, artists/subjects, 230 Ghost print (project), 364 254; Pop Art, 123; printmakers, 246; public Foam board, 199 Giant animals (project), 369 art pieces (sculpture), 300; Rococo art, 108; Focus, using video camcorder, 281 Gilt, 7 romanticism, 109; sculptors, 297; Surreal- Foil, 198 Glair, 213 ism, 117, 127; vernacular architecture, 337; Food: artists/subjects, 230; stamp with, 366 Glare, avoiding with indoor photo floodlights, 32 women artists, 134 Foreshortening, 7 Glaze, 7, 213 Englobe, 303 Formal balance, 13 Glicée, 220 Engraving, 220 Fragrant markers, 210 Glitter glue, 200 Environmental Art, 128 France: Abstract Expressionism, 125; art and Gloss medium, 212 Epoxy, 200 architecture museums, 52; art museums/ Glue, 24, 200–201; gun pad, 200; print (project), Equipment, art room, safety reminders for collections, 67; artists known for fine- 365; sticks, 24, 34, 200, 200–201 working with, 34 quality drawings, 244; arts and crafts proj- Glue It®, 201 Erasable color pencils, 206 ects, 161; Asian art collections, 50; Baroque Gods in classical artworks, 96–97 Eraser holder, 207 art, 106–107; contemporary artists, 131; Golden section, 7 Eraser stick, 207 Cubism, 116; Dada movement, 117; eccen- Google Images website, 3 Eraser strips, 207 tric architecture, 337; famous architects/ Gothic art, 5, 104 Erasers, 199, 207, 217 buildings, 318; Impressionism, 112–113; Gouache, 5, 204, 212, 360 Erasing shield, 207 international artists, 41; mannerism, 106; Gouge, 219, 220 ERIC (Education Resources Information Center– museum with special ancient and classical Gradation, 205 U.S.A. Government) website, 3 art collections, 45; museums of decorative Grade Level Expectations (GLEs), 20 Ernest L. Blumenschein museum, location/ arts and contemporary crafts, 44; museums Grain, 269; paper, 196 website, 40 specializing in photography, 47; neoclassi- Grant Wood Studio, location/web site, 40 Estonia, art and architecture museum, 52 cism, 109; notable photographers, 267; Op Graph paper, 198 Etching, 220; ink/needle/press, 218; printmaking Art, 125; painters and photographers, 254; Graphic arts, quotations, 227 materials for, 218–219 Post-Impressionism, 113; printmakers, 246; Graphic design: careers in, 385; tools, Etching paper, 197 public art pieces (sculpture), 300; Real- non-digital, 199 Etruscan: art, 103; sculptures, 292 ism, 111; Rococo art, 108; romanticism, Graphite, 204 Expressionism, 5 109; sculptors, 297–298; sculptures, 292; Graphite pencils, 206 Surrealism, 117; women artists, 134 Greece: art museums/collections, 68; building Frank Lloyd Wright Foundation, location/ innovations, 326; famous architects/ web site, 40 buildings, 319; folk art museums, 43; Jewish F Frederic Remington Art Museum, location/ museum, 51; museum specializing in pho- F stop, 272 web site, 40 tography, 47; public art pieces (sculpture), Fabriano® paper, 197 French curves, 199 300; sculptors, 298; sculptures, 292–293 Fabric: glue, 200; markers, 210 Fresco, 5, 213 Greek art, 103 Face jugs (project), 375 Fresco secco, 213 Greek vase/chalice (project), 369 Factis Extra-Soft Eraser®, 207 Frottage, 7 Greenware, 303 Fadeless: art board, 199; duet paper, 198; Funk Art, 125 Grisaille, 5, 213 paper, 197 Futurism, 5, 116–117 Ground, 213, 220 Fahrenheit to Centigrade conversion, 35 Group art appreciation activities, 91 Family cookbook, illustrated (project), 372 Group environmental outdoor art (project), 377 Family involvement in art program, 29 Group F.64 photographers, 253 Fantasy, artists/subjects, 229 G Group photo, 275 Fantasy teapot (project), 376 Gargoyle (project), 369 Guatemala, vernacular architecture, 337 Farm Security Administration photographers, 253 Gel: markers, 210; medium, 212 Gum bichromate, 269 Fashion design, careers in, 385 Gelatin brayer, 219 Gummed paper, 198 Fasteners, 202 General art definitions, 6–8 Gummed paper tape/paper hinging tape, 201 Fauvism, 116 Genre, 7 Feather, 219 Georgia: American Western art, 54; art museums/ Federal Arts projects, 120 collections, 58; museum of decorative Feminist art, 128–129 arts and contemporary crafts, 44; public H Fiber arts, 374–375 art pieces (sculpture), 301; special folk Handcrafter’s knife, 200 Figure, 7 art collections, 42; state capitol building/ Hanging flower pot (project), 376 Figure/ground relationship, 213 architect(s), 335 Happenings (performance art), 123 Film, using for slides, 32 Georgia O’Keeffe Foundation, location/ Hard ground, 220 Film/darkroom photography, 196 web site, 40 Hardwoods, 290 Filters, 269 Germany: Abstract Expressionism, 125; art and Harlem Renaissance, 121–122 Fine art, careers in, 385 architecture museums, 52; art museums/ Hatching, 205 Fine line markers, 210 collections, 67–68; artists known for Hawaii: art museums/collections, 58; art Finger paint, 212; cornstarch, recipe for, 224; fine-quality drawings, 244; arts and crafts schools/colleges/universities, 391; state methods, 362; monotype (projects), 362; projects, 161; Asian art collections, 50; capitol building/architect(s), 335 paper, 198; recipe for, 224 Baroque art, 107; contemporary artists, Heritage months, 157 Finland: art and architecture museum, 52; 131–132; Dada movement, 117; eccentric Heroes in classical artworks, 98 art museums/collections, 66; famous architecture, 337; famous architects/build- High-key photo, 273 architects/buildings, 318 ings, 319; German Expressionism, 119; High school juniors/seniors, summer art Firebrick, 226; project, 378 Impressionism, 113; international artists, programs for, 394–395 Firing, 303 41; Jewish museum, 51; museum of deco- Highlight, 7, 205, 213; in photography, 273 Fish-eye lens, 273 rative arts and contemporary crafts, 44; Highlighter, 210 Fixative, 208 museum with special ancient and classical Hindu religious holidays, 155 Flanders, Baroque art, 106 art collections, 45; museums specializing Hispanic/American artists, 171 398 Index

Hispanic art, 53; Hollywood films about, 188–189 building/architect(s), 335; vernacular Korea: art museums/collections, 70; artists, 174; Historic preservation (project), 380 architecture, 337 Asian art collections, 50; contemporary Historical photo terms, 269–270 Iran: art museums/collections, 69; artists, 172; artists, 132; folk art museums, 43; History, inventing, 90 famous architects/buildings, 319 sculptors, 298 Holidays: international, 150; national/religious, Iraq: art museums/collections, 69; artists, 172; Korean American artists, 174 150–154 famous architects/buildings, 319 Kouros, 7 Hologram, 269 Ireland: art museums/collections, 69; art Kraft paper, 198 Homemade glue, recipe for, 222 schools/colleges/universities, 393; Horizontal line, varying, 274 museum specializing in photography, 47 Hot press, 199; watercolor paper, 196 Iris print, 220 L House book (project), 372 Iron gall ink, 205 Laid paper, 198, 205 House diary (project), 380 Isamu Noguchi Garden Museum, location/ Laid pattern, 196 Hudson River School, 109–110 web site, 40 Landscapes, 7: abstraction (project), 363; artists/ Hue, 7, 213 Islam, arts and crafts projects, 162; Islamic subjects, 230; collagraph (project), 365 100-exposure box camera, 269 religious observances, 155 Latvia: art and architecture museum, 52; Hungary: art museums/collections, 68; Jewish Israel: art museums/collections, 69; artists, 172; museum specializing in photography, 47 museum, 51 Jewish museums, 51; Op Art, 125 Layers, 277 Italy: Abstract Expressionism, 125; art and Layout: markers, 210; pencils, 207 architecture museums, 52; art museums/ Leaf prints (project), 360 collections, 69–70; art schools/colleges/ Leafing pens, 210 I universities, 393; artists known for fine- Leather hard, 303 Idaho: art museums/collections, 58; state capitol quality drawings, 244; Baroque art, 107; Lebanon: art museums/collections, 70; artists, 172 building/architect(s), 335 contemporary artists, 132; famous archi- Lecturer’s chalk, 208 Illinois: African American art, 53; art museums/ tects/buildings, 319–320; futurism, 116; Length/distance equivalents, 35 collections, 58; art schools/colleges/ international artist, 41; Italian Renaissance Lenses, 273 universities, 391; Asian art collections, art, 5, 105; mannerism, 106; Modernism, LePages® glue, 201 48; Frank Lloyd Wright architecture, 325; 122; neo-expressionism, 129; neoclassi- Letters/shapes, artists/subjects, 230 Jewish museum, 51; museum with special cism, 109; notable photographers, 267; Life-drawing, 205 ancient and classical art collections, 45; painters and photographers, 254; Pop Art, Light box, 199 museums with outstanding photographic 123; pre-Renaissance art, 104; printmak- Lighting, photography, 274 collections, 46; public art pieces (sculpture), ers, 247; public art pieces (sculpture), 300; Linear perspective, 7, 213 301; state capitol building/architect(s), 335; Rococo art, 108; sculptors, 298; sculptures, Lines, 12 vernacular architecture, 337 293; Surrealism, 118; vernacular architec- Linocuts, 220, 366 Illuminated manuscript, 205, 213 ture, 337; women artists, 134 Illumination, 5 Linoleum, 219–220, 221, 366; cutters and Illustration, 205; board, 199; careers in, 385; handles, 219; relief plate, 219 supplies, 199 Liquid measure equivalents, 35 Impaired hearing, accommodations for students J Literature and supply resources, 179–189; art magazines, 182; quotations, 180; reference books with, 25 Jackson Pollock-style mural (project), 363 for artists, 181; visual art book publishers, Impasto, 5, 213 James McNeill Whistler House Museum of Art, 184; visual art images, where to find, 185 Implied textures, 12 location/web site, 40 Litho pencil, 207 Import, 277 Japan: art museums/collections, 70; art schools/ Lithographic crayon, 205 Impressionism, 5, 112–113; artists, 241 colleges/universities, 393; artists, 174; arts Lithography, 8, 220 Indelible pencils, 206 and crafts projects, 162–163; Asian art Lithuania, eccentric architecture, 338 Independent art schools and art institutes, collections, 50; contemporary artists, 132; Lost-wax (cire perdue), 8 388–389 eccentric architecture, 337; famous archi- Louisiana: art museums/collections, 58; art India: 337, eccentric architecture; art museums/ tects/buildings, 320; Frank Lloyd Wright schools/colleges/universities, 391; state collections, 68; artists, 175; arts and crafts architecture, 324; historical periods, 176; capitol building/architect(s), 335; vernacu- projects, 162; eccentric architecture, 338; museum specializing in photography, 47; lar architecture, 337 famous architects/buildings, 319; ink, new media, 130; notable photographers, Low-key, defined, 214 205, 211; national/religious holidays, 151; 267; official/national holidays and festi- Low-key photo, 273 printmakers, 246; sculptures, 293 vals, 151; printmakers, 247; Realism, 111; Indian painting themes, 233 sculptors, 298; sculptures, 293; vernacular Indiana: art museums/collections, 58; art architecture, 337 schools/colleges/universities, 391; Asian Japanese/North American artists, 174 M art collections, 48; state capitol building/ Japanese tea bowl (project), 376 Macro lens, 273 architect(s), 335; vernacular architecture, Jewelry (project), 370 Magic Rub®: erasers, 207; sack, 207 337 Jewish religious observances, 156 Magna, 213 Indonesia: artists, 173; arts and crafts projects, Magnetic clips, 202 162; vernacular architecture, 337 Maine: art museums/collections, 58; art schools/ Indoor photography: with flash, 31; with photo colleges/universities, 391; museums with floodlights, 31 K special folk art collections, 42; state capitol Industrial design, careers in, 385 Kaleidoscope crayons, recipe for, 223 building/architect(s), 335 Informal balance, 13 Kansas: American Western art, 54; art museums/ Malawi, eccentric architecture, 338 Infrared, 273 collections, 58; art schools/colleges/ Maloof Foundation, location/web site, 40 Ingres® paper, 198 universities, 391; Frank Lloyd Wright Mandorla, 8 Ink, 210–211: daubers, 219; pencils, 207; architecture, 325; museum of decorative Manga, 205 stick, 211; stone, 211 arts and contemporary crafts, 44; state Manila drawing paper, 198 Inkjet paper, 198 capitol building/architect(s), 335 Mannerism, 95, 106 Intaglio printing, 7, 218–219, 220 Kennedy Center website, 3 Manuscript, for art-related articles, 33 Intensity, 213 Kentucky: art museums/collections, 58; art schools/ Maquette, 8; project, 379 Interior frame (project), 363 colleges/universities, 391; special folk Marbleized paper, 198 International artists’ homes or museums, 41 art collections, 42; state capitol building/ Marker ink/watercolor, recipe for, 223–224 International holidays, 150 architect(s), 335 Markers, 210 International museums: Asian art collections, Keyboard shortcuts, 277 Maryland: art museums/collections, 58; art 49–50; Jewish, 51 Kitchen objects, stamp with, 366 schools/colleges/universities, 391; Jewish Interviews, 22 Kitsch, 7 museum, 51; public art pieces (sculpture), Iowa: art museums/collections, 58; art schools/ Kneaded rubber eraser, 207 301; special folk art collections, 42; state colleges/universities, 391; state capitol Kodak Education, Art (website), 3 capitol building/architect(s), 335 Index 399

Masking tape, 202 Mosaic, 8 painters and photographers, 254; Post- Masks, 277; papier maché, 277 Motor impairment, accommodations for students Impressionism, 113; printmakers, 247; Masonite, 213 with, 25 Surrealism, 118; women artists, 134 Mass equivalents, 35 Mounting board (mat board), 199 Neutral colors, 214; painting (project), 364 Massachusetts: art museums/collections, 59; art Mulberry paper, 198 Nevada: art museums/collections, 60; schools/colleges/universities, 391; Asian Multicultural materials: rock art sites, 170 art collections, 48; museum of decorative markers, 210 New Caledonia, eccentric architecture, 338 arts and contemporary crafts, 44; museum pencil, 207 New England, vernacular architecture, 337 with special ancient and classical art col- products, 185 New Hampshire: art museums/collections, 60; lections, 45; public art pieces (sculpture), tempera, 213 art schools/colleges/universities, 392; 301; special folk art collections, 42; state Multiple pinch pots (project), 376 Frank Lloyd Wright architecture, 325 capitol building/architect(s), 335; Mural, 8 New Jersey: art museums/collections, 60; Asian vernacular architecture, 337 Museums, 37–73; African American art, 53; art collections, 49; public art pieces Master painters, work examples, 236–240 American Western art, 54; of art and (sculpture), 302; state capitol building/ Matte finish, paper, 196 architecture, 52; art museums/collections, architect(s), 335 Matte gel, 213 56–63; Asian art collections, 48; of deco- New media, 130 Measure equivalents, 35 rative arts and contemporary crafts, 44; New Mexico: American Western art, 54; art Mechanical pencil, 207 Hispanic art, 53; international artists, 41; museums/collections, 60; art schools/ Medieval architectural innovations, 327 Jewish museums, 51; one-artist studios, 40; colleges/universities, 392; public art pieces Medium, 8, 213 outsider artists, 42; with outstanding pho- (sculpture), 302; rock art sites, 170; special Metal: foil, 198; ruler, 219 tographic collections, 46–47; preparing stu- folk art collections, 42; state capitol building/ Metallic: markers, 210; pencils, 207 dents for a visit to, 39; quotations, 38; with architect(s), 335; vernacular architecture, 337 Mexico: art museums/collections, 70; artists special ancient and classical art collections, New York: African American art, 53; American known for fine-quality drawings, 244; arts 45; with special folk art collections, 42; Western art, 55; art museums/collections, and crafts projects, 163; contemporary traditional folk artists, 42; visionaries, 42 60–61; art schools/colleges/universities, 392; artists, 132; eccentric architecture, 337; Music in the art room, 243 Asian art collections, 49; Frank Lloyd Wright Mexican artists, 171; museums specializ- Muted light, 274 architecture, 325; Hispanic art, 53; Jewish ing in photography, 47; national/religious Mycenae sculpture, 292–293 museums, 51; museums of decorative arts and holidays, 152; painters and photogra- Mylar®, 198, 218 contemporary crafts, 44; museums with out- phers, 254; printmakers, 247; Realism and Mythology, 96–99; gorgons, 99; Greek gods, 96; standing photographic collections, 46; muse- figurative painting, 121; sculptures, 293; mythical creatures, 99; mythological paint- ums with special ancient and classical art Surrealism, 118; women artists, 134 ings, 100–101; nine muses, 99; Roman gods, collections, 45; museums with special folk Mezzotint, 220 96; special locations in, 99; Three Furies, 98; art collections, 43; public art pieces (sculp- Michigan: African American art, 53; art museums/ Three Graces, 98; Three Hours, 98; titans/ ture), 302; state capitol building/architect(s), collections, 59; art schools/colleges/ titanesses, 96; Zeus, wives/loves of, 97 335; vernacular architecture, 337 universities, 391; Asian art collections, New Zealand: art museums/collections, 71; art- 48; Frank Lloyd Wright architecture, 325; ists, 173; national/religious holidays, 152 museum with special ancient and classical Newsprint, 198 art collections, 45; public art pieces (sculp- N Nigeria, eccentric architecture, 338 ture), 301; special folk art collections, 42; Nabis, 114 Nighttime photo, 274 state capitol building/architect(s), 335 Naive painters, 230 Noncarcinogenic paper, 198 Middle Ages art, 103 Narrative (storytelling), artists/subjects, 230 Nonobjective, 8 Middle Eastern artists, 172 National Art Education Association (NAEA), 30; Nontoxic paper, 198 Minerals, 214 website, 3 Norman Rockwell Museum, location/ Miniature garden gnome (project), 376 National Association of Schools of Art and web site, 40 Minimalism, 129 Design (NASAD), 3, 388; joining, 28; North Carolina: art museums/collections, 61; art Minnesota: art museums/collections, 59; art website, 3 schools/colleges/universities, 392; Asian schools/colleges/universities, 392; Asian National Visual Arts Standards, 13; grades K-4, 14; art collections, 49; museums of decorative art collections, 48; Frank Lloyd Wright grades 5-8, 15; grades 6-9, 16–17; selected arts and contemporary crafts, 44; museums architecture, 325; public art pieces (sculp- glossary from, 18 with special folk art collections, 43; state ture), 302; rock art sites, 170; state capitol Native American art: artists/subjects, 167, 230; capitol building/architect(s), 335 building/architect(s), 335 arts and crafts, 166; celebrations, 154; craft North Dakota: art museums/collections, 61; pub- Mirror frame (project), 370 specialties by region, 168–169; Hollywood lic art pieces (sculpture), 302; state capitol Miscellaneous art terms, pronunciation guide, 9 films about, 188; painting themes, 233 building/architect(s), 335 Mississippi: art museums/collections, 59; Natural light, 274; photographing artwork in, 31 Northern Renaissance art, 104–105 Jewish museum, 51; Mississippi Virtual Natural materials (project), 378 Norway: art museums/collections, 71; artists Public School, museum of decorative arts Natural wood transformation (project), 378 known for fine-quality drawings, 245; arts and contemporary crafts, 44; state capitol Naturalism, 8 and crafts projects, 163; contemporary art- building/architect(s), 335 Nature collagraph (project), 365 ists, 133; international artists, 41; painters Missouri: American Western art, 54; art museums/ Nature journal (project), 372 and photographers, 254; printmakers, 247; collections, 60; art schools/colleges/uni- Navajo Gallery, location/web site, 40 sculptors, 298; sculptures, 293; vernacular versities, 392; Frank Lloyd Wright archi- Near-Eastern sculpture, 293 architecture, 337 tecture, 325; museum with outstanding Nebraska: African American art, 53; American Notable photographers, 267–268 photographic collections, 46; museum with Western art, 54; art museums/collections, Nupastels®, 208 special ancient and classical art collec- 60; state capitol building/architect(s), 335 tions, 45; public art pieces (sculpture), 302; Needle weaving (project), 374 state capitol building/architect(s), 335 Neo-Expressionism, 129 Mobile/stabile, 8 Neoclassicism, 108–109 O Modeling, 8, 206, 214; dough, recipe for, 223; Neon fluorescent art, 198 Oak tag, 198, 199 paste, 213, 218 Netherlands: Abstract Expressionism, 126; art Oatmeal paper finish, 198 Modernism, 122 and architecture museums, 52; art museums/ Oaxacan animal figure (project), 370 Monchromatic, 8 collections, 71; artists known for fine- Odalisque, 6 Monoprint, 220 quality drawings, 244–245; Baroque art, Ohio: art museums/collections, 61; art schools/ Monotransfer, 220 107; eccentric architecture, 338; Envi- colleges/universities, 392; museum of Monotype, 220 ronmental Art, 128; famous architects/ decorative arts and contemporary crafts, Montana: American Western art, 54; state capitol buildings, 320; folk art museums, 43; 44; museum with special ancient and clas- building/architect(s), 335 international artists, 41; Jewish museum, sical art collections, 45; public art pieces Mood swings (project), 379 51; Modernism, 122; Northern Renais- (sculpture), 302; state capitol building/ Mormon holidays, 156 sance art, 105; notable photographers, 267; architect(s), 335 400 Index

Oil-based paint markers, 210 44; public art pieces (sculpture), 302; state Portraits, artists/subjects, 231 Oil of wintergreen, 222 capitol building/architect(s), 335 Portugal: art museums/collections, 71; contem- Oil paint, 6, 216 People (groups), artists/subjects, 230–231 porary artists, 132; eccentric architecture, Oil pastel and vegetable oil, drawing a People pot (project), 376 338; famous architects/buildings, 320; composition with, 366 Permanent markers, 210 women artists, 134 Oil pastels, 208 Personal art collection, 90 Post-Impressionism, 113; artists, 241–242 Oklahoma: American Western art, 55; art Personal growth, 28 Postcard blanks, 198 museums/collections, 61; Frank Lloyd Personal parody (project), 364 Postcards activity, 91 Wright architecture, 325; museum with Perspective, 8; painting (project), 364 Poster: board, 199; markers, 24, 210; outstanding photographic collections, 46; Photo-appreciation activities, 270–271 resources, 185; tempera, 213 special folk art collections, 43; state capitol Photo essay, 275 Posterization, 273 building/architect(s), 335 Photo oil pencil, 207 Powdered pigments, 214 Old Master paintings, 85; reproduction (project), Photo secession movement, 115 Prang Freart® chalk, 208 363, 364 Photo transfer, materials for, 222–224 Pre-Raphaelite Brotherhood, 112 Old Masters, 206 Photogram, 269 Pre-Renaissance art, 104 Olympians, 96 Photographing artwork, 31–32; bracketing expo- Precisionism, 269 Onion skin, 198 sures, 32; indoor photography with flash, Precisionist painters, 117 Op Art, 125 31; indoor photography with photo flood- Preliminary drawing, 206 Opacity changes, 277 lights, 31; in process, 32 Primary colors, 8, 214 Opaque, 214 Photographs, 231; for art-related articles, 33; Print, 8 markers, 210 extending (project), 363 Printmakers, famous, 246 white, 217 Photography, 249–283; aperture (F stop), 272; Printmaking: artists/subjects, 231–232; collagraph Oregon: art museums/collections, 61; art assignments, 275; composition, 274; projects, 365; collagraphs, materials for, 218; schools/colleges/universities, 392; Asian contrast, 274; controls, 272; defined, 273; definitions, 220–221; product resources, art collections, 49; state capitol building/ degrees available in, 386; digital graphics 194; relief prints, materials for, 219; silk- architect(s), 335 photography projects, 277–278; equipment, screen, materials for, 219; timeline, 245 Organza, 218 272–273; events in, 251; famous contem- Prismacolor Art Stix®, 207 Origami: paper, 198; project, 379 porary photographers, 255–260; Farm Prismacolor®, 205, 207 Original drawing, 206 Security Administration photographers, Projection markers, 210 Original print, 221 253; Group F.64 photographers, 253; his- Pronunciation guide, 9 Out-of-this-world face (project), 370 torical photo terms, 269–270; international Proof, 221 Outdoor ceramic mural (project), 376 museums specializing in, 47; lighting, 274; Proportion, 13 Outsider artists, 42 magazines, 183; master photographers and Proportional scale, 199 Ox gall, 213, 217 masterworks, 261–266; notable photogra- Protractor, 199 phers, 267–268; and painters, 254; photo- Psalter, 8 appreciation activities, 270–271; Photo Public relations/photography guidelines, 30 Secession movement, 252; photographing Publicity photography, 31 P artwork for portfolio or publication, 383; Pulp, 197, 202; papier maché, 277 Packaging tape, 201, 219; clear, 222 photojournalism assignments, 275; quota- Puppet heads (project), 370 Paint, types of, 216 tions, 250; room supplies, 196; shutter Purchased educational games, 186 Paint pens, 210 speed, 272; suggested subjects for, 276; Push pins, 202 Paint to the music (project), 364 techniques, 273 Putti, 8 Painters, and photography, 254 Photogravure, 269 PVA glue, 202–204 Painting: definitions, 213–214; and drawing Photomontage, 269, 371 room supplies, 196; materials, 212–213; PhotoShop, 31 plein-air, 235; quotations, 38; terms (acro- Pigments, 8, 214, 215 Q nyms), 5–6; themes, 233; titles, pronuncia- Pinch pots, 306, 376 Quire, 197 tion guide, 9 Pinhole camera, 269 Quotations: architecture, 310; art, 38, 382; artists, Palestine, artists, 172 Pink Pearl® eraser, 207 76; diverse cultures, 142; graphic arts, 227; Palette, 6, 213; knife, painting with (project), 363 Pins, 202 literature and supply resources, 180; muse- Panel on the Nonprofit Sector, 213 Pitchy patchy puppet heads (project), 370 ums, 38; paintings, 38; photography, 250 Panoramic camera, 269 Pith, 197 Paper: batik (project), 360; clips, 202; collage Plaid® Mod Podge, 201 equipment/materials, 203; cutters, 200; def- Planographic print, 221 initions, 196–197; fasteners, 202; tape, 201; Plast-Tak®, 201 R paper treatments, 369; pickers (project), 364; Plaster carving (project), 378 Rabbit skin glue, 201 projects, two- and three- dimensional, 368; Plaster of Paris, 226 Railroad board, 199 types of, 197–198; weight, 214 Plastic cutting tool, 200 Rainbow roll, 221; project, 364 Paper Mate® white pearl eraser, 207 Plastic scraps (project), 378 Raku, 303 Papier maché: equipment/materials for, 202; Platinum, 269 Real textures, 12 glues, recipes for, 222; instant, 202; masks, Plein air, defined, 8 Realism, 8, 111; and figurative painting, 121 from a plaster mold (project), 370; surface Plein-air painting, 235 Ream, 197 designs, 277 Plush pins, 202 Recommended materials, for art room, 34 Papyrus, 8, 198 Plywood blocks, 219 Recto, 206 Parchment, 8, 198, 205 Pocket park playground (project), 380 Recycled paper, 198 Pastel, 8, 25, 205, 208; paper, 198, 208; Pointillism, 8; project, 364 Recycling, 226 pencils, 208 Poland: art museums/collections, 71; arts and Reduction: block print, 221; firing, 303; Pastes, 201 crafts projects, 163; eccentric architecture, print linocut, 366 Pattern, 13 337; sculptors, 298 Reed pen, 205 Paupau New Guinea, artists, 173 Polaroid® Land camera, 269 Reference books for artists, 181 Pearlescent ink, 211 Pollock-Krasner House and Study Center, Reflex camera, 273 Pen cleaner, 211 location/web site, 40 Regional art magazines, 183 Pencils, 199, 206–207 Polychrome, 8, 214 Registration, 221 Penetrating glue for wood, 201 Polymer gel medium, 222 Release paper, 198 Pennsylvania: African American art, 53; art Polymer medium, 222 Relief plate, 219 museums/collections, 61–62; art schools/ Polynesia, public art pieces (sculpture), 300 Relief prints, 221, 366; printmaking materials colleges/universities, 392–393; Frank Pop Art, 5, 123–124 for, 219 Lloyd Wright architecture, 325; museum Portfolios, 22 Religion, artists/subjects, 232 of decorative arts and contemporary crafts, Portrait bust (project), 376 Religious holidays/festivals, 155–156 Index 401

Remarque, 221 Seamless paper, 198 Stencil/stenciling, 8, 221; burner, 200; filler, 219; Renaissance: architectural innovations, 327; Seascapes, artists/subjects, 232 paper, 198; project, 365 geometry, 90 Secondary colors, 8, 214 Stereograph, 270 Repetition, 13 Self-assessment, 22 Stikki clips, 202 Repoussé (project), 379 Self-opening scissors, 24 Still life (nature morte), 6, 8, 206; artists/ Rhinestones, 374 Self-portrait with a favorite thing (project), 376 subjects, 232; Rhode Island: art museums/collections, 62; art Serbia, art museums/collections, 72 Stipple board, 199 schools/colleges/universities, 393; Asian Serigraph, 221 Stone carving materials/tools, 289 art collections, 49; state capitol building/ Serving container (project), 376 Stoneware, 303 architect(s), 335 Sewn signature book (project), 372–373 Stopping out, 221 Rhodes, public art pieces (sculpture), 301 Sfumato, 6, 8, 214 Storytelling, 230 Rhythm, 13 Shade, 214 Straight-line tape stencil (project), 363 Rice paper, 198, 217 Shaped sponge stamps, 366 Stretchers, 213 Rives® paper, 198 Shells and bones (project), 378 String print (project), 365 Rock art sites, 170 Shiny skin (project), 365 Strip-e-doo® emulsion remover, 219 Rocky Mountain School, 110 Shorthand for diversity among students Student tools and supplies, 195 Rococo art, 108 ( acronyms), 4 Studio lighting, 274 Roller-ball pen, 211 Shutter speed, 272 Study, 206 Rolling pin, 195, 202, 219, 304, 306, 307 Sidewalk chalk, recipe for, 222 Stump/tortillon, 205, 208 Roman architectural innovations, 326 Signature, 204 Stylize, 8 Roman art, 103 Silhouette paper, 198 Stylus and tablet, 277 Romanesque: architectural innovations, 327; Silk screen, 219; printmaking materials for, 219 Styrofoam®, 366; assemblage, 379 period, 104 Silver point, 206 Sugar-lift, 221 Romania: Abstract Expressionism, 126; art Singapore, art schools/colleges/universities, 393 Sumi ink/ink stick, 205, 211 museums/collections, 71; sculptors, 298 Single-edge razor blades, 200 Summer art programs for high school juniors/ Romanticism, 6, 8, 95, 108–110 Single-sheet copy paper book (project), 372–373 seniors, 394–395 Rotary cutter, 200 Sizing, paper, 197 Super Glue®, 201 Rothko Chapel, location/web site, 40 Sketch, 206 Superrealism, 127 Round painting (tondo) project, 364 Sketchbook/journals, 22 Surebonder 9001®, 201 Rubber brayer, 219 Skin tone pencils, 207 Surrealism, 117–118; artists/subjects, 229–230 Rubber cement/rubber cement thinner, 201 Slab, 303; building, 306 Sweden: art museums/collections, 72; arts and Rubric, 22 Slate (project), 378 crafts projects, 165; eccentric architecture, Rule of thirds, 274 Slides: for reproduction, 383; resources, 185; 338; famous architects/buildings, 321; inter- Rulien-Bareis, Kathryn, 24 using film for, 32 national artist, 41; notable photographers, 267 Russia: Abstract Expressionism, 126; art museums/ Slip, 303 Switzerland: Abstract Expressionism, 126; art collections, 72; artists known for fine- Slovenia, art museums/collections, 72 and architecture museum, 52; art museums/ quality drawings, 245; contemporary Small monument (project), 363 collections, 73; artists known for fine- artists, 132; eccentric architecture, 338; Smallest possible opening (project), 377 quality drawings, 245; eccentric architec- famous architects/buildings, 320; notable Snap-off blade knives, 200 ture, 338; famous architects/buildings, 321; photographers, 267; painters and photog- Snaps, 374 international artists, 41; museums special- raphers, 254; printmakers, 247; public art Soap carving (project), 378 izing in photography, 47; new media, 130; pieces (sculpture), 301; sculptors, 298; Soap eraser, 207 notable photographers, 267; Pop Art, 123; Surrealism, 118; women artists, 134 Social Realism, 121 printmakers, 247; sculptors, 298; Surreal- Soft ground, 221 ism, 118; women artists, 135 Softwoods, 290 Swivel cutter, 200 Solarization, 269, 273 Symbolism, 114, 119 S South Carolina: art museums/collections, 62; Symbols, universal, 159 Safety scissors, 200 state capitol building/architect(s), 335 Symmetrical balance, 13 Safety tape, 201 South Dakota: art museums/collections, 62; pub- Symmetry, 274 Sakura Cray-pas®: extender, 208; pastel sticks, 208 lic art pieces (sculpture), 302; state capitol Syria, artists, 172 Salt print, 269 building/architect(s), 335 Salvador Dali Museum, location/web site, 40 Space, 12 San Blas Islands (Panama), arts and crafts Spain: Abstract Expressionism, 126; art museums/ projects, 164 collections, 72; artists known for fine- T Sandpaper, 218; block, 207 quality drawings, 245; Baroque art, 107; T-pins, 202 Saturated color, 8 Cubism, 116; eccentric architecture, 338; T-shirt silkscreen (project), 363 Scan, 277 famous architects/buildings, 321; Impres- T-square, 199 Scgraffito, 303 sionism, 113; international artists, 41; man- Tabletop (project), 363 School mural, painting, 234–235 nerism, 106; notable photographers, 267; Taboret, 199 Scissors, 200 painters and photographers, 254; print- Tag board, 199 Scoring, 303 makers, 247; public art pieces (sculpture), Taiwan: art museums/collections, 73; Asian art Scoring guide, 22; creating, 23–24 301; romanticism, 109; sculptors, 298; collections, 50; eccentric architecture, 338 Scotch Magic Tape®, 201 Spanish artists, 171; Surrealism, 118 Talc, 303 Scotland: art museums/collections, 72; famous Special folds, 204 Tape, 201, 218 architects/buildings, 320; notable photog- Special needs students, accommodations in art Tarlatan, 219 raphers, 267; painters and photographers, for, 24–25 Teacher recycle centers, 226 254; women artists, 134 Spectacular vernacular (project), 380 Teachers’ shears, 200 Scraper, 219 Spiral Group, 122 Technical ink, 211 Scraping, 206 Spray adhesive, 199, 201 Technical pens, 199, 211 Scratch–Art® paper, 198 Spritz water (project), 365 Tempera, 6, 213, 216; egg, 212; multicultural, Scratchboard, 199 Squeegee, 219 213; poster, 213; project ideas/suggestions Sculptural triangles, 90 Squizzors, 24 for use, 361 Sculpture: artists/subjects, 232; definitions, 287; Stabilo® pencil, 207 Temperature conversion, 35 famous sculptors, 297–299; looking at, Stamp pad ink, 211 Ten, 115 90; master sculptors, 294–297; materials/ Stamping, 366 Tenebrism, 6 equipment, 288–289; public art pieces, Stapled photographs (project), 364 Tennessee: art museums/collections, 62; art 300–302; quotations, 286; safety reminders State, 221 schools/colleges/universities, 393; museums for, 291; by unknown artists, 291–293 State capitol buildings, 335 of decorative arts and contemporary crafts, Scumbling, 214 Stationers’ shears, 200 44; state capitol building/architect(s), 335 402 Index

Tertiary colors, 214 UHU®, 201 W Texas: American Western art, 55; art museums/ Underglaze, 303 collections, 62; art schools/colleges/ Underpainting, project, 363 Wales, art museums/collections, 73 universities, 393; Asian art collections, United Arab Emirates, artists, 172 Walking stick, accessorizing with, 374 49; Frank Lloyd Wright architecture, 325; United Kingdom: art and architecture museums, Warm colors, 214 museum of decorative arts and contempo- 52; art museums/collections, 66; Asian art Wash, 6, 206, 214, 360 rary crafts, 44; museums with special folk collections, 49; contemporary artists, 131; Washable colors, 210 art collections, 43; public art pieces (sculp- eccentric architecture, 338; folk art muse- Washington State: American Western art, 55; art ture), 302; rock art sites, 170; state capitol ums, 43; international artists, 41; Jewish museums/collections, 62–63; art schools/ building/architect(s), 335 museum, 51; museum with special ancient colleges/universities, 393; Asian art collec- Textile paint on silk or cotton (project), 374 and classical art collections, 45; museums tions, 49; public art pieces (sculpture), 302; Texture, 8, 12, 277 of decorative arts and contemporary crafts, state capitol building/architect(s), 335 Thailand: art museums/collections, 73; artists, 175 44; museums specializing in photography, Water-soluble oil paints, 216 Theme park architecture (project), 380 47; national/religious holidays, 152–153 Watercolor, 6, 205, 213, 216; equipment, 217; Themes, paintings, 233 United States: Abstract Expressionism, 126–127; paper, 198, 213; pencils, 207; projects, 360; Thomas Hart Benton Home and Studio, location/ art and architecture museums, 52; Art Nou- techniques/suggestions for use, 360 web site, 40 veau, 114; artists known for fine-quality Watercolor marker on plastic, 366 Three-dimensional art, 31 drawings, 245; arts and crafts projects, Watercolor paint, recipe for, 222–223 Three-dimensional collage, equipment for, 203; 164–165; Color Field Painting, 124; con- Watermark, 197 project, 378 temporary artists, 132–133; Contemporary Wax resist, 303 Three-dimensional painting, interpretation of Realism, 127; Dada movement, 117; eccentric Wedging, 303, 306 (project), 377 architecture, 338; Environmental Art, 128; Weight: equivalents, 35; paper, 197 Three-dimensional paper products, 368 famous architects/buildings, 321–323; futur- West Virginia: art museums/collections, 63; state 3M White Tape®, 201 ism, 117; Modernism, 122; national/religious capitol building/architect(s), 335 Throwing, 303 holidays, 153–154; new media, 130; notable Western art, 103 Thumb and finger stamps, 366 photographers, 267–268; Op Art, 125; paint- Wet collodion, 270 Tie-dye (project), 374 ers and photographers, 254–255; Pop Art, Wet-in-wet, use of term, 214 Tile designs (project), 380 123; printmakers, 247–248; public art pieces Wheat paste, 201 Tiles (project), 376 (sculpture), 301; sculptors, 298; sculptures, Wheel throwing, 306 Tint, 214 293; Surrealism, 127; women artists, 135–136 White line drawing, 366 Tintype (ferrotype), 270 Unity, 13 White paste (library paste), 201 Tissue paper, 198 Universal: arts and crafts, 160; painting themes, White standard classroom glue, 201 Tissue paper under-painting (project), 360 233; symbols, 159 Whiting, 214 Tone, 8 U.S. art supply resources, 193–194 Wire animal (project), 378 Toolbox, 277 U.S.A. Department of Education’s Teacher Site Wire figure in action (project), 378 Tools and materials, 191–226; adhesives, (website), 3 Wire sculpture (project), 379 200–201; art class materials/equipment, Utah: American Western art, 55; art museums/ Wisconsin: art museums/collections, 63; art 194–196; book-making equipment/ collections, 62; art schools/colleges/ schools/colleges/universities, 393; Frank definitions, 204; brushes, 211–212; color universities, 393; rock art sites, 170; Lloyd Wright architecture, 325; special folk pigments, 215; crayons, 208–209; drawing special folk art collections, 43; state capitol art collections, 43; state capitol building/ definitions, 205–206; drawing materials, building/architect(s), 335 architect(s), 335 204–205; erasers, 207; expensive materi- Utility knife, 200 Women artists, 134–136 als, cheap substitutes for, 222–224; graphic Utility snips, 200 Wood cutting tools, 219 design tools, non-digital, 199; inks, 210–211; Wood engraving, 221 markers, 210; painting definitions, Wood-scrap sculpture (project), 378 213–214; painting materials, 212–213; V Wood transformation with one tool (project), 379 paper, 196–204; pastels, 208; pencils, Woodcuts, 219, 221 Value, 8, 12, 206 206–207; printmaking materials, 218–219; Wooden/metal frames, for silk screen, 219 Vanishing point, 8 quotations, 192; U.S. art supply resources, Woodland sculpture (project), 378 Vegetable print (project), 363 193–194; watercolor equipment, 217 Woodless drawing pencil., 207 Vegetable table (project), 370 Tooth, paper, 197 Work a subject, use of term, 274 Velcro® hook and loop tape, 202 Tracing paper, 198 Wove paper, 205 Vellum, 8, 198, 205 Traditional folk artists, 42 Writing pencil, 207 Velour, 198 Transfer: paper, 198; pencil, 207 Written critiques, 22 Venezuela, art museums/collections, 73 Transitions, using video camcorder, 281 Written tests, 22 Vermont: art museums/collections, 62; art Transparent colors, 214 Wyeth family, Brandywine River Museum, schools/colleges/universities, 393; muse- Tri-Tix Rubber Cream Glue®, 201 location/web site, 40 ums with special folk art collections, 43; Triangles, 199 Wyoming: American Western art, 55; art state capitol building/architect(s), 335 Tripod, 273 museums/collections, 63; state capitol Vernacular architecture, 336–337 Triptych, 6 building/architect(s), 335 Vertical eclecticism, 380 Trompe l’oeil, 6 Victorian-style glass painting (project), 364 Tunisia: art museums/collections, 73; artists, 172 Video camcorder: composition, 281; projects, Turkey: art museums/collections, 73; artists, 172; Y 282; using, 281; video storyboard, 283 famous architects/buildings, 321; public Video, definitions, 280 Yarn-wrapped basket (project), 375 art pieces (sculpture), 301 Vietnam, eccentric architecture, 338 Yemen, vernacular architecture, 337 Turning, 303 View camera (field camera), 270 YES glue, 201 Turquoise drawing pencils, 207 Viewfinder, isolating with (project), 363 Yupo, 198 Tweezers, 199 Virginia: art museums/collections, 62; art Twentieth-century building innovations, 327 schools/colleges/universities, 393; Asian Twenty-first century building innovations, 327 art collections, 49; Frank Lloyd Wright Two-dimensional collage, equipment for, 203 Z architecture, 325; museums with special Two-dimensional painting, transforming to Zone system, 270 folk art collections, 43; public art pieces three-dimensional (project), 379 (sculpture), 302; state capitol building/ Two-dimensional paper products, 368 architect(s), 335 Two figures (project), 364 Visionaries, 42 Visual arts: art program, 27–28; book publishers, 184; gifted and talented students in, 26; U images, where to find, 185; magazines, 182 Ugliest building in town activity, 91 Visual impairment, accommodations for Ugly jugs (project), 375 students with, 25