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Revisedimp&Postcurrheathcote07 FIRST CLASS - STYLES OF PORTRAITURE I. INTRODUCTION Since the early 1990s, elementary students at the Heathcote School in Scarsdale, New York have been introduced to great masterpieces of art through the Learning to Look program, an art appreciation and art history curriculum that teaches children how to look at art. Kindergartners at the school study “The Elements of Art,” specially-devised lesson plans that teach children to “read” a work of art according to the artist’s use of the Elements of Art—color, line, shape, texture, light/dark, and space. Grades 1 through 5 follow a five-year sequential curriculum plan that broadly covers the development of art history from the mid-eighteenth century to the 1960s in both Europe and America as follows: 2006-2007 Late 18th & 19th century European Painting & Sculpture 2007-2008 Impressionist & Post-Impressionist Art 2008-2009 Modern Art at the Metropolitan Museum of Art 2009-2010 Art of the 1950s & 1960s at the Museum of Modern Art 2010-2011 American Art: From Colonial Times to the 1890s This year students at Heathcote School are deepening their knowledge of 19th century European Art by studying one particular art historical period: Impressionist & Post- Impressionist Art. At the beginning of the first class, the teacher should introduce him- or-herself and welcome students to a new year of Learning to Look. Inquire if there are any students who have never had a Learning to Look class before. If so, ask some of their classmates to explain what we do together during the six times of the year that this class meets. Stress the importance of looking and of not being afraid to express one's ideas and feelings. Both the viewing and making of art should be enjoyable! In the process, everyone will also learn a great deal as well. Remind students that we will be talking about artworks together and then doing a project or activity that relates to the artworks that we have been looking at. What might we look for in a work of art? The elements of art—color, line, shape, texture, light/dark, space The subject matter: portrait, landscape, still life, history or genre painting The style of a particular artist This year we will be studying a specific period in French art history--the second half of the nineteenth century. Write the dates l850-l900 on the blackboard to make this clear. We will also be focusing on a specific group of artists known as the Impressionists and Post-Impressionists. Not all were born in France, but all of them lived there at some time during their careers. Have the students find France on a map. What is the capital of France? Point out Paris and explain to them that Paris was the center of much art activity over one hundred years ago. The artists we will be studying created very new styles of painting. As we look at their canvases this year, we will be asking ourselves what was new in their art. Why was it considered so modern, shocking or even revolutionary? And why are the same canvases that were severely criticized in the l870s now beloved by almost everyone and sold at auction for some of the highest prices ever paid for art--in the tens of millions of dollars. One of the best ways to understand what was new and different in Impressionist and Post-Impressionist art is to compare it to an example of a style of art that came just before it. Thus we begin this class on portraiture with a painting by an artist who wasn't an Impressionist at all. His name was J.A.D. Ingres, and he died before the Impressionist movement had even begun. II. EYE EXERCISES Many children who have had "Learning to Look" for a number of years enjoy doing these simple warm-up exercises. If students are too self-conscious, the exercises may be omitted. (See earlier curriculum for instructions.) III. STYLES OF PORTRAITURE A. Madame Jacques-Louis Leblanc Artist – Jean-Auguste-Dominique Ingres - French (l780-l867) Year Painted - l823 Medium - oil on canvas Props – map of France; poster of painting; magnifying glass, texture bag containing black velvet, black satin, tulle, embroidered cloth, costume jewelry Activity - texture bag BACKGROUND INFORMATION (for the teacher) J.A.D. Ingres (1780-1867) was born in Montauban, France, the first son of a mediocre painter and ornamental sculptor who acted as his son's first teacher. At the age of nine, the young artist felt proficient enough to sign one of his drawings, and throughout his life Ingres produced extraordinarily lifelike and compelling drawings. As a youth, Ingres studied music as well as art, and mastered the violin well enough to play in the Toulouse Orchestra. The French expression, “le violin d'Ingres” refers to one's avocation. Painting ultimately attracted Ingres more strongly than music, so he traveled to Paris to study with Jacques Louis David from 1797 to 1799. Ingres became his most celebrated pupil and the champion of the neo-classical style in art. Ingres's greatest inspiration, however, was not David but rather the Renaissance artist Raphael. In l80l Ingres won the Prix de Rome, a scholarship that allowed the winner to study in Italy. Because of government financial difficulties, Ingres did not receive the prize until l806. For the next l8 years he lived in Italy (largely in Rome and Florence) where he supported himself by doing portraits in pencil as well as oil, even though he yearned to paint more important subjects such as scenes from history. His female nudes and odalisques are famous for their purity of line. Ingres once commented on the liberties he took with correct anatomy, that he painted an impossibly lengthened back, as it ought to be, not as it is. Returning to Paris in l824, Ingres received many commissions and honors, including being elected a member of the Académie des Beaux-Arts and a recipient of the Legion of Honor. A decade later, however, after his paintings were repeatedly criticized in the Salon, he returned to Italy as the Director of the French Academy in Rome where he remained until 1841. Back in Paris, Ingres was lionized as the greatest neo-classical painter of his time, although his style now clashed with the new Romantic style of painting that stressed color over line and emotion over restraint. Ingres had hundreds of pupils and followers but few possessed his talent. Although Ingres' own paintings display personal idiosyncrasies such as his sensuous elongation of figures, his neo- classical style with its porcelain-like finish, clear contours, and realism of details, became the accepted mode of painting and dominated the French Academy for much of the nineteenth century. DIALOGUE SUGGESTIONS (for classroom presentation) Show the students the poster of Madame Jacques-Louis Leblanc without revealing its title. What is this a picture of? A woman Do you know what type of painting this is? Hint: what do you call a painting of a particular person? A portrait What can they tell about the woman from merely looking at the way the artist, Ingres, presents her? Describe her clothing. She was well-to do. She wears an elegant black dress made of expensive materials, and some jewelry. She sits on a patterned cashmere shawl. Look carefully at the shawl. Can you find the letter “E” embroidered into its design? The letter “E” stands for Grand Duchess Elisa, Napoleon’s sister. Mme Leblanc knew her, hence the shawl’s letter is a reference to her years of service at the Grand Duchesses’ court. Can you find a purse on the sitter’s lap? It is near her left hand and is black and silver. Use a magnifying glass to look at her jewelry up close. Can you describe it? Point out the gold chain and watch, two rings, and earrings. Ingres painted both Mme Leblanc (née Françoise Poncelle) and her husband when he was in Florence, Italy in l823. They were close friends of the artist and supported his work financially. They both had been part of Napoleon's court before 1814. Ingres also painted their children and other paintings for them. They were important patrons of the artist. Do you think Ingres has idealized his subject, made her more perfect than she really was? Most students think so. Notice how Ingres paints the skin on her face almost like a china doll. There are no wrinkles or imperfections. What pose does the artist choose? Madame Leblanc is seated, in a somewhat relaxed pose. One arm drapes over the chair back and the other rests at her side, in imitation of a famous pose from classical Roman art. It is a 3/4 length pose. It doesn't show her whole body. Where is the sitter looking? Directly at the viewer with her head slightly tilted. What mood does the woman's pose and facial expression suggest? Tranquil, relaxed, graceful, serene, quiet, cool, imperious. Can you imagine any noise in this painting? It seems very silent. Perhaps only soft classical music could be heard in the background. What main compositional shape did Ingres use in this portrait? Help the students trace it with their finger. A triangle There is a large triangle made up of Mme. Leblanc's figure and the chair, as well as a smaller triangle made up of her head and shoulders. Are triangles stable, restful shapes? Yes Is this a formal or informal portrait? Formal What is the setting? Inside a house. This was actually the Leblanc's own home.
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