Smithsonian Institution, Washington, DC. Office of Smithsonian Office Of

DOCUMENT RESUME

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AUTHOR Andre, Linda; Casey, Douglas, Ed. TITLE Landscape Painting: Artists Who Love the Land. INSTITUTION Smithsonian Institution, Washington, DC. Office of Elementary and Secondary Education. PUB DATE 96 NOTE 17p. AVAILABLE FROM Smithsonian Office of Elementary and Secondary Education, Arts and Industries Building 1163, MRC 402, Washington, DC 20560 (free). PUB TYPE Collected Works Serials (022) Guides Classroom Use Teaching Guides (For Teacher) (052) JOURNAL CIT Art to Zoo: Teaching with the Power ofObjects; March-April 1996

EDRS PRICE MFOI/PC01 Plus Postage. DESCRIPTORS Art; Art Activities; *Art Education;*Artists; Elementary Secondary Education; Geography Instruction; Integrated Activities; *Painting(Visual Arts); Social Studies; *United States History;Visual Arts IDENTIFIERS Bierstadt (Albert); Catlin (George); Homer(Winslow); *Landscapes; Moran (Thomas); *Westward Movement (United States)

ABSTRACT Through the study of several works of artby Albert Bierstadt, George Catlin, Winslow Homer, and ThomasMoran, this resource explores the way thatpeople felt about their growing nation during the period of westward expansion untilthe end of the 19th century. It introduces students to basicprinciples of landscape painting and has students practice geographyskills to gain appreciation for the physical characteristicsof different regions of the United States. Lesson plans andsuggestions are provided. Black and white reproductions of work by severalartists are provided for use with suggestedactivities. (MM)

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4 U S DEPARTMENT OF EDUCATION PERMISSION TO REPRODUCEAND Offc of EduCatanai RaSoarcn ano improvement EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL CENTER (ERIC) HAS BEEN GRANTED BY This document has been reproduced as NDSCAPE PAINTING: eceived from the person or organization originating it 1 O Minor changes have been made to Artists Who Love theLand improve reproduction quality .fl;" ', Points of view or opinions stated in this TO THE EDUCATIONALRESOURCES document do not necessarly represent official OERI position or policy INFORMATION CENTER (ERICI . -. 4 . ; $.

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7 ./.t.4,1z.ft'ts.4.51;46 ... 14...WAr;f=';g411.:, . Art to tOo's pnriSose-IS tolief') teach'ers briii ink; '71otfina A.? ::§1. `44.- t.' their classroom§ the'ediicational power or Miseums-_!/:."7; . !ft. and other 6Ommunity feSources. . : version orA . . Art to Zoo draws on the Smithsonian's hundreds . by writuig to the of exhibitions andprogramsfrom art, history, and ddress listed.on science to aviation and fOlklife-7to Create classro-orn.-. :-back cover or bx faxing - tit% t ready materials for grades four through nine. to (202) 3572116. EachOf the fohr dnhual issues explOres'a single topic through an interdisciplinary, *multicultural " approach. The Smithsonian invitet techerS toduplicate -. BEST COPY AVAILABLE Art to Z;;47* Material§ z 3 LANDSCAPE PAINTING: Artists Who Love the Land

How does an artist create a landscape?A landscape artist is a sort ofmagician who can create a whole world on apiece of flat canvas. This world, of course,is made of paint. Trees that seemthick with foliage are made with afew flicks of a paintbrush. Lakes that shine, waterfallsthat splash. grasses that bendin the wind, and dark clouds that promise rain areall made of colors squeezed outof a paint tube. How amazing it is that smalldabs and smears of color can createplaces for us to go in ourimagination: a placid river winding,around hills, a rocky shoreline where we can almost hear thecrashing waves, an enormous canyonthat seems to stretch miles deep into the distance.

can enter the painting and Air is an important part hill, he can leave some of colors of naturethe soil. continue walking for miles. of any landscape as well. them out of his picture. If he the clouds, and the reflec- Landscape artists know although we seldom aive it thinks the trees are in the tions on water. He can study that there are certain tech- much thought. An artist has wrong place. he can move the patterns of sunlight and niques that work. Five "space to paint the air so skillfully them around. If a riverbank shadow that change with On tricks" that students can try that we seem to feel the heat looks too empty, he can every passing moment. out for themselves are of the sun and the rush of the add a few rocks that aren't the other hand, if he chooses described in this Art to Zoo: wind. He or she has to make really there. to paint inside his studio. A landscape artist also he can work more slowly, us believe that it might take 1. A winding path. has to decide what she rearrange the composition. hours for a bird to tly from Apath or river that winds wants us to see. If she is and adjust the colors and one side of the picture frame through the landscape from painting a field, she has to shapes to his own way of to the other. All of this is foreground to background decide whether she wants us seeing. Many artists find hard to do. There are no can make us believe that the to see each blade of grass or both methods useful. They paint tubes for sale labeled picture describes a deep whether she wants us to see make sketches outdoors and "sunshine." "frosty air." space. "gentle breeze." or -gloomy the field as a smear of color. then do the actual painting back in their studio. day." An artist has to create She can paint her landscape 2. Changes in size. the win J. the sunshine, and so that we see the field from A tree that is close to us the mist with the paint at the above, as if we were looking appears much larger than a end of the brush. down from an airplane. or CREATING ILLUSIONS tree of the same size that is It is important to remem- from the ground, as if we far away. No matter where the land- ber that a landscape artist is were lying flat on a picnic scape artist chooses to set not a camera that records blanket. 3. Overlap. whatever happens to be in Before making any of up his easel, he will have to A boulder that is close to us front of the lens. He is not these decisions, the land- confront the central problem overlaps and partially hides a required to paint exactly scape artist must decide posed by all landscapes much larger cliff behind it. what he sees. If he feels that whether to work outdoors creating the illusion of deep When there are too many trees on a on the land or indoors in the space on a flat canvas. studio. Working outdoors done well, the effect can be allows him to observe the spellbinding. Wc feel that we 4. Changes in clarity. seacoast of Maine. All four ABOUT THE ARTISTS A distant mountain range painters helped Americans appears more hazy and less see and love their land in a George Catlin Albert Bierstadt distinct than a mountain that time when photography was George Catlin was an east- Albert Bierstadt went to is closer. still in its infancy and travel erner who had been fascinat- California in 1859 with a films did not exist. Today ed with Native Americans land-surveying team after the 5. Diagonal composition. television floods us with since boyhood. When he gold rush had aroused the Land that moves away from images, and we can easily was thirty-four years old, he curiosity of the entire nation. us on the diagonal appears to travel by car, train, or plane decided that painting pictures At that time, easterners had move back into space. to whatever river, mountain. of Native Americans would to learn about the magnifi- canyon, or seacoast we wish be far more interesting than cent California wilderness George Catlin. Thomas to visit. Yet the silent paint- being a lawyer. So. in 1830 from small black-and-white Moran. Albert Bierstadt, and ings of these artists still he headed west. For six photographs brought home Winslow Homer were four speak to us of the majesty years. he moved from village by land surveyors. But American artists who used of our land. to village, using the Missouri Bierstadt was an artist these techniques well. Their Through the study of River as a means of travel. with a shrewd business ultimate purpose was not so several works of art, this He painted portraits of tribal sense. He knew that if much to impress us with issue of Art to Zoo explores chiefs and scenes of buffalo he produced impressive, their ability to fool our eyes the way that Americans felt hunts, dances, and other panoramic "great pictures" but to create pictures that about their growing nation Native American ceremonies. of California, easterners portray the great size and during the period of west- would pay money to Thomas Moran splendor of the American ward expansion until the end see them. Thomas Moran was an landscape. of the nineteenth century. It eastern artist who enjoyed Winslow Homer Catlin, Moran, and introduces students to some going on geological In 1893, Winslow Homer left Bierstadt were artist/explor- basic principles of landscape expeditions, although he his busy life in New York ers who were lured west by painting and has them prac- was not the rugged type. and built a studio in an old the raw power of unexplored tice geography skills to gain He joined an expedition to stable on the high shore of rivers, mountains, and appreciation for the physical the remote headwaters of Prout's Neck in Maine, only canyons. They joined geolog- characteristics of different the Yellowstone River in a few hundred feet from the ical and surveying expedi- regions of the United Wyoming and, two years ocean. He loved walking on tions into our nation's then- States. All of the paintings later, went to the Grand the cliffs during fierce storms unexplored territories, mak- discussed in this issue Canyon. which he sketched to study the wa:. the surf did ing a visual record of the are in the collections of the many times from an overlook battle with the rocks. On land with their paintings. Smithsonian's National called "Powell's Plateau." more pleasant days, he had Homer, on the other hand. Museum of American Art. preferred the East; his pas- When he returned to his little interest in the water. sion was the rocky Atlantic studio in the East. he When the ocean was calm, combined ideas from his he thought it looked like small sketches to produce "a duck pond." enormous paintings. By then he had established a fine reputation as an artist, and his glorious watercolors of Yellowstone had encouraged Congress in 1872 to designate it as the nation's first national park. 5 4 Art to Zoo Landscape Painting: Anists Who Love the LandhiarcWApril 1996 LESSON PLAN Step 1

SPACE TRICK 2 VIEWS OF THE AMERICAN Procedure West. Indian villages. Catlin makes foreground WEST: TRUE OR FALSE? 1.Give each student a fur-trading posts, and forts photocopy of Activity Pages were built along its banks. forms larger than Objectives IAC. which show three C. Refer to the "About the background forms. To understand that a views of the American West. artists" section on page 4 to Tell students to compare landscape painting may or After they have studied the introduce students to George the height of the bluffs in the may not accurately represent images for a few minutes. Catlin. Have them read foreground with the height oi a specific place. ask students the following Catlin's description on the bluffs in the background. To identify techniques questions: Which painting Activity Page I A of how he Explain that Catlin had to that create the illusion of was painted outdoors? Which painted River Bluffs, 1.320 three-dimensional space on painting was painted in an Miles above St. Louis. Ask make them different sizes to create the illusion of a flat surface. indoor studio from sketches them what they can learn deep space. Ask students to made outdoors? Which from his words that they measure the height of the Materials painting was painted outside might not be able to see Copies of Activity Pages of the United States? from the black-and-white man and then draw a second 1AD. 2. Introduce students to reproduction of his painting. person exactly the same size ill Pens or pencils. River Bluffs, 1,320 Miles D. Read space trick 1 on one of the islands in the Map of the western above St. L,ouis by George to students: middle ground and on one of United States. Catlin on Activity Page IA. the bluffs on the horizon line. A. Ask them to describe Discuss why the results are Subjects the painting, making sure SPACE TRICK 1 so comical. Art, geography. U.S. history that they notice the winding Catlin uses a winding river 3. Introduce The Chasm river with occasional islands: to lead into space. af the Colorado by Thomas the conical hills, or "bluffs"; Moran on Activity Page 1B. Ask students to put a fin- the Native American man: A. Ask students to ger on the river at thelower the scarcity of trees; the lack describe this place. making left corner of the picture. of buildings and roads: and sure that they notice the mas- This part of the river, closest the wide-open sky. sive rock cliffs, the small to the front, is in the fore- patch of grass (the only veg- B.Use a map of the west- ground. Ask them to move ern United States to locate etation), the mighty storm their fingers along the river breaking over part of the the two-thousandmile until they reach the islands. canyon. and the steam rising stretch of the Missouri River between Fort Union, North This is the middleground. between the rocks. When they have moved their Use a map of the west- Dakota. and Saint Louis, B. fingers as far back as they ern United States to locate Missouri. Estimate where can go along the river, they 1,320 miles above Saint the Colorado River, which Louis would be. Explain are in the background. Ask cuts through the Grand students to run their fingers Canyon in northern Arizona. that during the years before along the bumpy line where C. Use the "About the trains and cars were invent- ed, traveling by boat along the top of the bluffs meets artists" section on page 4 to the sky. This line, called the introduce Thomas Moran. the Missouri River was one horizon line, is the farthest of the only ways to reach the 1.:xplain that, although he had point that the eye can see. E. Read space trick 2 to students:

Art to Zoo Landscape Painting. Artists Who Love the Land March/April1996 5 LESSON PLAN Step 1 (continued)

never before spent much time 4. Introduce Among the Ask students if they can approve of Bierstadt's in the outdoors, during his Sierra Nevada Mountains. explain the first fact by the method of combining and first few expeditions he CalifOrnia by Albert second. If they cannot. ask manipulating sketches from quickly became used to Bierstadt on Activity them to make a small sketch many locations to compose a traveling by horse through Page IC. of an outdoor place they vis- scene that looks realistic. unknown territory. Ask A. Ask students to locate ited a long time ago. When E. Read space trick 4 students if they have ever the alpine peak. waterfall, they are finished, ask them to to students: succeeded in doing some- herd of deer. and flock of describe what they remem- thing for which they felt ducks among the grasses in bered about the place. Press ill-equipped at first. Bierstadt's painting. them for details, such as the SPACE TRICK 4 D. Have students look at B. Use a map of the west- exact shape of the tree or the Bierstadt makes the Moran's painting and read ern United States to locate precise position of the sun. If distant mountains hazy his description of the Grand the Sierra Nevada Mountains they are unable to remember and indistinct. Canyon on Activity Page l B. in eastern California. These all the details, ask them how Ask students to use their Have them list words that are the highest and steepest they were able to draw their fingers to trace the outline of would describe his view of mountains in the United picture. When they admit the cliff on the left side of the Grand Canyon. States. They include that they made up many of the painting. Then ask them E. Read space trick 3 Yosemite National Park. the details, tell them that to use their fingers to trace to students: C. Refer to the "About the Bierstadt did the same thing. artists" section on page 4 to D. Tell students that the outline of the most distant mountain they can introduce Albert Bierstadt. Bierstadt also changed the find in the picture. Ask them SPACE TRICK 3 Tell students two facts about shape of the Sierra Nevada why Bierstadt made the Moran overlaps the rocks. Among the Sierra Nevada Mountains because he knew outline of the closer cliff Mountains. California: that Americans wanted to Ask students to put one of think that their native moun- so much clearer than the their hands in front of the Although the scene looks tains were more majestic outline of the distant mountain. Explain that when we other to see how the closer extraordinarily realistic, than those of Europe. Give hand overlaps and partially nobody has ever found a each student a photocopy of are outdoors, the atmosphere hides the hand behind it. place in the Sierra Nevadas Activity Page ID. Have them between our eye and a Explain that Moran arranged that looks exactly like it. compare these photographs distant mountain (not to rocks and cliffs in the same Bierstadt painted of actual mountainsMount mention the imperfections way. The rocks that you see Among the Sierra Nevada Matterhorn in the Swiss of human vision) makes its in full appear closest. Those Mountains. California while Alps and the Sierra Nevadas outline appear less distinct. that are partially obscured he was in Europe, nine years in Californiawith the appear farther back. after leaving California. mountains in Bierstadt's painting (Activity Page IC). Have students guess which mountains Bierstadt used as a model for the highest snow-covered peak in his painting. Ask them if they

6 Art to Zoo Landscape Painting: Artists Who Love the Land Marrh/April /996 ACTIVITY PAGE 1A

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GeorgeCatlin. River Bluffs. In the artist's words: "I took my easel and canvas and brushes to 1.320 Miles above St. Louis the top of the bluff, and painted two views from the same spot. These hills [were' five or six hundred feet hi.(2h and every foot of them, as far as they can he discovered in distance, covered witha vivid green turf. From this enchanting spot there was nothing to arrest the eye from ranging over I the Missouri's waters for the distance of twenty or thirty miles.-

William H. Truettner. neNatural Man Observed: A Study of Catlin's Indian Gallery (Washington. D.C.: Smithsonian Institution Press. 1979). p. 247.

8 Art to Zoo Landscape Painting: Artists Who Love the Land Marrh/April 1996 7 ACTIVITY PAGE 1B

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In the artist's words: "I was completely carried away by its Ithe Grand Canyon's] magnificence. I will not attempt to say anything about it as no words can express the faintest notion of it.-

Ron Tyler.Visions qffl,neriea: Pioneer Artists in a New Land (New York: Thames and Hudson, 1983), p. 58.

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10 Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996 LESSON PLAN Step 2

THE ROCKY SHORE Procedure argue the advantages and 7. Hand out copies of the I. Introduce Wins lov, disadvantages ot' composing Take-Home Page and tell stu- Objectives Homer', High Cliff Coast of landscape paintines indoors dents that they will each 'le To compare a realistic Maine by giving each student and outdoors. creating their own interpreta- landscape painting with a a photocopy of Activity Page 5. Ask them to compare tion of the scene on that page photograph of the same 2. Ask students to describe Homer's painting of High as homework or in class. place. the cliff that slopes down to Cliff with a 1938 photouraph First, have them imagine To use space tricks to meet the ocean. Is it smooth of High Cliff taken from the walking around in the photo- create a landscape painting. or rough? How steep is it? If same point of view. Discuss giaph. asking themselves the they went for a walk on the the weather in each picture. Materials followine questions: Where lower part of this cliff, would What was it like on the day would I go first'? Is the land Copies (1. Activity Page 2. they want to wear shoes? Homer made his painting? hilly or flat'? What is growing II Map of Maine. 2. Use a map of Maine to What was it like on the day in this place? What is the Take-Home Page. point out Prout's Neck, a the photograph was taken? weather like? Does anything rocky peninsula jutting out Ask students how Homer's Subjects about this place puzzle or into the Atlantic Ocean just painting emphasizes the way Art. geography surprise me? Remind stu- south of Portland. High Cliff, that the sea and land cut into dents of the five space tricks the subject of Homer's paint- each other. that landscape artists use. ing. is the steepest rock wall 6. Have students look Have them try to incorporate on Prout's Neck. During for a horizon line in the these tricks into their own storms, the waves crash up photograph and in Homer's interpretation of the picture. against it. painting. Discuss how the 8.Inclass, discuss and 3. Use the "About the artist's elimination of a compare students' interpreta- artists- section on page 4 to horizon line allows him to tions. Refer to the Nast print tell students about Winslow fit in more of the rough on the cover, which shows Homer. Ask them to imagine ocean. Read space trick 5 how every artist sees a that they are standing close to students: landscape from his or her enough to the bottom of the own point of view. painting to get their feet wet. How long would it take them SPACE TRICK 5 to walk to the top of the Homer makes the scene painting? Make sure thq appear to stretch far back look closely at the upper into space by using a right-hand cornerthey will diagonal line between find a surprising clue. land and sea. 4. Have students read Homer's words below his Ask students to imagine painting on Activity Page 2. the line separating land and Ask them how the artistic sea as horizontal instead of methods of Homer differ diagonal. How far back from those of Bierstadt. To would the land take them? extend the activity, have If the land were horizontal. students stage a mock debate would the three figures look between the two artists to like full-sized people or small dolls?

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Philip C. Beam, HighCliff Prout's Neck

Winslow Homer, HighCliff Coast of Maine

In the artist's words:

"I prefer... a picture composed and painted outdoors. This making studies and then taking them home to use them is only half right. You get composition but you lose freshness."

Lloyd Goodrich, Winslow Homer (New York: The Whitney Museum of American Art, 1973), p. 28.

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12 Art to ZooLandscape Painting: Artists Who Ltr,e the Land March/April /9% TAKE-HOME PAGE To the teacher Publication of Art to Zoo is III Duplicate this page made possible through the You're the Artist for students. generous support of the Use with Lesson Pacific Mutual Foundation. Plan Step 2.

Directions:Make a landscape basedon the photograph on thispage. As the landscape artist,you can use colored pencils, markers,crayons, paints, pieces of cloth,or colored paper. Try to usesome of the techniques used by George Catlin, Thomas Moran, AlbertBierstadt, Winslow Homer,or other landscape artists you like.

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Alt to Zoo Landsca Paintin : Artists Who Love t Al maestro la) Esta publicación ha sido TRABAJO PARA Copie esta pagina para posible Qracias al generoso los alumnos. aporte de la Pacific RACER EN LA CASA Usela con el segundo Mutual Foundation. Tu Eres el o la Paisajista paso del plan de la lecciOn.

Instrucciones: Haz un paisaje basado en la fotograffa que yes.Como paisajista. puedes usar liipices de colores, marcadores. pinturas,pedacitos de papel de colores o retazos de telas. Trata de usaralgunas de las técnicas artisticas que usaron los paisajistas George Catlin. Thomas Moran. Albert Bierstadt.Winslow Homer u otros que te gusten.

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ta Art te Zoe Landscane Paintine: Artists Who Love the Land March/Apri1 1996 RESOURCES

BOOKS TEACHER RESOURCES PHOTOGRAPHS Page 13: Saint Mary's, Cumberland The artists and their work Lewis, Tony, and Thomas Covet: Island, Georgia, home page, Goehner. Land and Thomas Nast. The Artist in http://www.gacoast.com/ Anderson, Nancy K., and Landscape: Views of the Mountains. navigator/stmarys.html Linda S. Ferber. Albert America's History and Bierstadt: Art and Culture. National Museum of Page 7: Enterprise. New York: American Art, Smithsonian George Catlin. River Bluffs. ACKNOWLEDGMENTS Hudson Hills Press in Institution, 1994. This study !,320 Miles above St. Louis. association with the guide is included in the National Museum of Nora Panzer Brooklyn Museum, 1990. museum's media-based American Art, Smithsonian National Museum of resource kit, which also Institution. Gift of Mrs. American Art Beam, Philip C., Lois Homer contains a video and work- Joseph Harrison, Jr. Smithsonian Institution Graham, Patricia Junker, book. Distributor: Crystal David Tatham, and John Productions, 1812 Johns Page 8: Wilmerding. Winslow Homer Drive, P.O. Box 2159, Thomas Moran. The Chasm ART TO ZOO in the 1890s: Prow's Neck Glenview, IL 60025-6159; of the Colorado. National Observed. New York: telephone: (800) 255-8629. Museum of American Art, Art to Zoo is a publication Hudson Hills Press, 1990. Smithsonian Institution. of the Office of Elementary Lent by the U.S. Department and Secondary Education, Flexner, James Thomas. ELECTRONIC RESOURCES of the Interior, Office of the Smithsonian Institution, The World of Winslow Secretary. Washington, DC 20560. Homer. New York: Time, Visitors to the National Incorporated, 1966. Museum of American Page 9: Writer Art's home page can view Albert Bierstadt. Among the Linda Andre Kloss, William. Treasures selections from the Sierra Nevada Mountains, from the National Museum of permanent collection as C'alifornia. National Editor American Art. Washington, well as highlights of Museum of American Art, Douglas Casey D.C.: Smithsonian Institution temporary exhibitions at Smithsonian Institution. Press, 1985. http://www.nmaa.si.edu/ Bequest of Helen Huntington Translator artdir/treasures.html. Hull, granddaughter of Suite Rodriguez William Brown Dinsmore, Landscape painting The University of North who acquired the painting Design Carolina at Chapel Hill's in 1873 for "The Locusts." Karlic Design Associates,LLC Gussow, Alan. A Sense of SunSITE features a the family estate in Dutchess Baltimore, Maryland Place: The Artist and the Web Museum with images County. New York. American Land. New York: of hundreds of famous Publications flirector Seabury Press, 1971. paintings. The home page, at Page 10: Michelle Knovic Smith http://sunsite.unc.edu/wm- Mount Matterhorn, southern Trenton, Patricia, and Peter paintl, includes a glossary of Switzerland. H. Hassorick. The Rocky painting terminology as well ART TO ZOOONLINE Mountains: A Vision for as an index of painters and Photograph by Ansel Adams. Artists in the Nineteenth periods, from thirteenth- Copyright © 1995 by the This publication is available Century. Norman: University century Gothic painting to Trustees of the Ansel Adams electronically through the of Oklahoma Press, 1983. twentieth-century pop art. Publishing Rights Trust. All Internet via anonymous ftp rights reserved. to educate.si.edu. Follow The University of Montana the path pub/publications_ Museum of Fine Arts home Page 12: for_teachers/art-to-zoo. page, http://www.umt.edu/ Philip C. Beam. High Cliff Reccnt issues and supple- partv/famus/painting.htm, Prout's Neck. Figure 42 in mentary materials are features a variety of period Beam, Philip C. Winslow offered in hypertext format paintings by artists from Homer at Prow's Neck. via the World Wide Web at across the United States. Boston: Little, Brown and http:lleducate.si.edu/ Company, 1966. art-to-zoo/azindex.htm. Note: Because of the rapidly Current and back issues evolving nature of the Winslow Homer. High Cliff (starting with spnng 1993) Internet, it is possible that Coast of Maine. National arc also available through the uniform resource locators Museum of American Art, America Online (keyword (URLs) above may have Smithsonian Institution. Gift SMITHSONIAN). changed since publication. of William T. Evans.

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