FLORIDA STATS UNIVERSITY a STUDY to Determlne

.- FLORIDA STATS UNIVERSITY

A STUDY TO DETERMlNE WHETHER EIGHTH GRADERS CAN DEVELOP

CERTAIN SPECIFIC CONGEPTS CONtiERNING AMERICAN

ART THROUGH AN ESPECIALLY CONSTRUCTED LEARNING UNIT

BY MARGAKET G. VIOLETTE

Am Submitted to the Graduate School of f Florida State Universlty in partial fulfillment of the requirements for . the degree of Master of Science

Approved:

ProfessoroDirecting Paper

August, 1962

Dean of the Graduate School

TABLE OF CONTENTS

Page ACKNOWLEDGMENTS ...... ii LISTOFTABLES ...... iv INTRODUCTION ...... 1

Purpose of the Study Assumptions Limit8tion 5 Definition of Terms Procedure of the Study SUMMARYOFFINDINGS ...... 15 r Determining Significance of Raw Scores Essay Test Objective Test Student's Weekly Written Reactions Evaluated Student Work CONCLUSIONS ...... U.

Appblidice s A. LIST OF VISUAL MATERIAL USED IN LEBRNING UNIT ON AMERICAN ARTISTS ...... 25 E. VERBdL TEACHING OUTLINE ON AMfBICAN ARTISTS AND THEIHWORX ...... 28 C. ESPECIALLYDESIGFW TESTS ...... 43 D. CRITERfdUSEDINSGORING ...... 50 BIBLIOGRAPHY ...... 55

iii LIST OF TABLES

Table Page 1. Determining Significance of Raw Scores ...... 15 2. Written Essay Exam ...... 16 3. Written Objective Exam ...... 17 4. Student's Weekly Written Heactions ...... 18 5. Student Work as evaluated by Two Judges ...... 20 6. Judges' Rating of the Number of Paintings Under Each Category for the Class of 18 ...... 22

r iv INTRODUCTION

In the curriculum during the period between 1930 and 1950 art appreciation per se of the work of American artists was presented to

children in an indirect manner. Art appreciatibn, as found during this period, was more often a by-product for the student's learning experiences in art. The emphasis was on the immediacy of the student's own involvement in the creative process rather than learning any particular body of content about the artist and his way of working.

Jack Bookbinder points out that many art teachers have been wary and even skeptical in the past of formal art appreciation in their teaching.' Within the past decade increasing interest has been shown among art educators in determining methods of introducing to children

concepts of artists and their work and relating these concepts to the

student's problem-solving situations in art.

The writer, as a teacher in the public school system of Dade

County, Florida, has observed the lack of knowledge and understanding which junior high school students evidenced of the background of their

own country's art heritage. It was noted that although most students

could recognize the nams of Leonerdo da Vinci, or Michelangelo, and

an occasional student could cite several other artists who were all

European, few showed a knowledge of artists in America.

IJack Bookbinder, "The Problem of Art Appreciation," School -Arts, Vol. LXI, No. 9 (May, 19621, p. 5.

1 2 As young artists, themselves, interpreting their American environment in their art expression, the students were not relating a knowledge of American artists and the way they work to their own problem-solving situations.

It was because of this lack of relationship between the student's creative expression and the knowledge of the way in which artists in

America have created their art, that the writer became interested in and selected the subject of this study. In determining the nature and scope of the study, the writer examined literature and research pertaining to the teaching of art appreciation.

Research in art education has revealed the effectiveness of relating appreciation to the student's on-going learning and creating experiences in art. Although she was studying teaching methods for art appreciation for college students, Eleanor Armis' findings with regard to the relationship of appreciation to involvement in creative arh expression are significant. She concluded that lecture-studio learning in art appreciation was more effective, particularly for spontaneous students, than was the lecture method. 1

Burkhart's opinion is that courses in art appreciation should, through discussions and work in materials, encourage the developmant of art acceptance attitudes which help students become more open to new forms of art expression and more conscious of the intrinsic values of the art product itself .2 Appreciation relies on an understanding with which the learner

'Robert C. Burkhart, Suontaneous and Deliberate Ways of Learn- & (Scrantoh, Pa.: International Textbook Co., 19621, p. 194. 3 can identify and see meaning. Thus, relating the creative act to the knowledge (and understanding) of works of art is of great value to learning in art appreciation. As Schinneller points out: The uniqueness of art is that it is dependent upon the per- former for the final solution. Only he, since the activity is based on self-determination, can provide the answer. This is to imply not that various forms of assistance are unavailable for enlightenment, but rather, that, unlike other activities, the conclusion cannot be found in following rules and regulations. Instead, it is dependent on invention. Art is unique in indi- cating the supremacy of the doer, rather than the body of knowledge concerning the field. . . . An experience may be relived, details recalled, and life intensified through art activity. . . . What one can expect from art is, of cowse, dependent upon what one is willing to give to the field. Effort and study increase knowledge, and active participation-- from drawing and painting to carving to designing architectural forms--provides valuable insights and develops skills.'

If we may assume that learning in art appreciation is dependent on the relating of a student's experiences in art with a particular body of knowledge about artists, we should also look to the curriculum of the school for what it implies for this study. The junior high school, with which the writer is immediately concerned, has curricular organization in which the interdependence of learning in the various subject areas is sought. For example, art can serve to enrich social studies units on American life in the nineteenth century through the exploration of common problems and ideas as expressed in the creative work of the artists of the time. These creative wurks can be more meaningful to the student to the degree he can relate them to his personal creative experiences. We can appreciate, says Barkan, what others do and share with them only to the degree that we have common experience

lJames A. Schinneller, Art: Search and Self-Discoverp (Scranton, Pa.: International Textbook Go., 1Y61), pp. 2-3. 4 with them. Such experience requires involvement with ideas having

personal significance. 1

Another aspect of teaching art appreciation with art expression

is the nature of the concepts to be learned. According to de Francesco,

A concept is a generalized idea of a whole classification of people, objects, animals, things, or situations. Through learning, concepts expand by the inclusion of additional common elements of the classification and by the exclusion of differences. In addi- tion, a concept brings to mind pertinent situations and associations. For example, the term paint refers, among other things, to watercolor painting, oil painting, landscape, still-life, figure, mural, and portrait painting. But it also refers to house painting, painting a fence, or it may refer to the phrase "painting the town" or "painting a beautiful picture" with words. . . . Art education is educ tion in thinking, in seeing, in sensing, and finally in acting. 3

Education through creative art experience concenns itself with

the development of perception, insight, and action. The visual arts,

states Barkan, are a lenguage through which people express their ideas,

feelings, and understandings of the things they see in their world. When an individual draws or paints, designs or constructs, he creates

a visual art from out of his aesthetic-social-psychological insights.

The choice of subject for a painting is a selective process which

reveals an individual's attitudes and ideas about the subject. Similarly,

when he selects subjects to design or construct, he zeveals his under-

standing and his

When children's creative art expression is related to cognitive

lManuel Barkan, A Foundation for Art Education (New Pork: Ronald Press, CO., 19551, pp. 6.L-67. 21talo L. de Francesco, Art Education: Its Means and Ends (New York: Harper Bros., 1958), pp. 18-21. %nuel Barkan, & Foundation for Art Education (New York: Ronald Press, Co., 19551, p. 17. 5 understandings learning is enlarged. An example of this is described by June MoFee.

To make an African mask more meaningful to children, so they can respond more fully to its visual qualities, the teacher could read aloud the story of symbolic meaning behind the mask, its functions in the lives of the people who made it--its part in tribal ritualistic life. The class could learn how it was made, the tools used, and the role of the artist who made it. To understand the structure and possible forms of masks they should view it in many lights to see its contours and design, the textures and colors. 211 of these understandings increase the children's preparation for observing the object. This is an example of reciprocal action between cognitive understanding and visual perception. Knowing the nature of the mask increases the number of things one will look for. Being able to look at the mask in terms of its visual qualities enriches the concepts the children are developing about African masks. To give them less restricted learning about the mask, they could be encouraged to improvise on it by making masks of their own. More advanced children might like to design masks for OUT om ulture or for another group of people they are learning about. E

In literature of art education, the concepts most generally presented about works of art are:

1. A knowledge of biographical data about the artist which consti- tutes a frame of reference in understanding his work.

2. A knowledge of the society in which the artist worked and the forces that may have influenced him.

3. A knowledge of the artist's stated purpose, if any, and the values of his art expressed in a chosen medium. 4. A knowledge of the artist's way of uorking (or style). It is uithin this framework that this study to determine whether eighth graders can develop certain specific concepts concerning American art through an especially constructed learning unit wan evolved. The writer believes that art appreciation and studio art expression combined afford greaker involvement and learning opportunity than either of these

'June King McFee, Prenaration for Art (San Francisco, California: Wadsworth Publishing Co., Inc., 1961), p. 45. 6 alone. This belief is substantiated by other art educators and it has also led to the purposes and concepts stated in this paper.

Purpose of the Studz

The purpose of the study is to determine if through the experiences of an especially constructed learning unit eighth grade students can be helped to become aware of certain concepts concerning American painting and painters. Further, it was the purpose of this study to:

1. Examine the literature pertaining to the history of American art to ascertain the most pertinent and meaningful body of knowledge appropriate to a unit on American art in an eighth grade.

2. Devise the visual means for presenting this material to student8,

3. Study the kinds of creative learning activities in art in

the eighth grade that would relate to a study of American art, and select activities appropriate to the purpose of the study for the unit.

4. Integrate the material on Americen artists and their work with the creative activities in an especially constructed unit. 5. Determine by means of especially constructed tests, student's weekly written records, and evaluated student work whether knowledge was gained through the learning unit.

Assumptions

1. The artist, as s painter, seeks to provide in his work a

statement that is unique to him. Thus, each artist has a style and

concept of painting that enables us to study his work as a projection

of his values and experience in relationship to the time and conditions

in which he worked. 7

2. Eighth graders produce as many different kinds of paintings as there are people in the class. Students are influenced by their environment which is, in part, like that of the painters. They experience the same problems: (a) environment and its effect on their ideas and thinking; (b) getting materials and choosing among a variety; and

(c) what they feel a need to express according to their interest. 3. Children's learning of a body of knowledge is enhanced by actual involvement in a "doing" process of creating art.

Limitations

1. This study was limited to an eighth grade with an average range of student abilities, Bat is, 20% above average, @% average, and 20% below average. This class had been assigned to art as a regular part of its school curriculum for a nine-week period. They comprised one section of the total eighth grade group, moving together throughout the school day on a single-track program. The students were enrolled at Thomas Jefferson Junior High School in Miami, Florida.

2. The study was done during a four-week period between January 30 and March 1, 1962. 3. The study was limited to American painting between the seventeenth and twentieth centuries in order that one media could be explored in scope and depth and relate it to creative studio work. 4. In order to limit the media and techniques in the unit to those which would be most germaine to the study, chalk, tempera, ink, crayon, and watercolor were evaluated for their potential in requiring the similar compositional problems to those found in the work of

American painters. 8 5. Visual material was limited to that which could be used in slides or in an opaque projector.

6. This study was not concerned with behavioral aspects of students nor the teaching of painting techniques.

7. The presentations were limited to five which covered selected aspects of American painting and included the showing of a slide of an artist's painting, a brief introduction to his life and the work being shown, and discussion of the work by students.

Definition of Terms 1. By art appreciation is meant the visual and verbal material relating to concepts regarding American painting and painters.

2. By studio art expression is meant the personal involvement, by the students, in a creative problem-solving activity with the use of art materials available in the class. This activity was related to the concepts expressed by American artists in their work. 3. By relationship between the student's creative expression and the knowledge of the way in which artists in America have created their art is meant that students work under the guidance of the writer, in the manner of the artists: (1) identifying and selecting their own ideas, as did Stuart, Whistler, Hopper, et cetera, (2) using materials and tools, and (3) embodying their own ideas in painting forms. For example, a student choosing portrait painting as an area of work may proceed in terms of his own expression while having many different visual materials (portraits) of American painters available for observation. He may seek discussion with the miter and other students for points of reference. A student may choose to do a portrait of himself, 9 another person, or of an important mn of today. He may record some historically important or personal event of his time. Through this related studio and historical stndy experience he may more clearly understand that Gilbert Stuart, Charles Willson Peale, Winslou Homer, and others were recorders of great men and events and were influenced by the artistic, social, and economic values of their times.

4. By kinds of paintings is meant: (a) portraits of great men in American history, friends, family, clients, and self; (b) historical; (c) landscape; (d) seascape; (e) non-objective; (f) genre

painting; (g) individual ways of painting and the different use of media by the artist.

Procedure of the Studz

1. In order to construct an especial unit on art in American life for the purpose of the study, eighth grade social studies guides

and textbooks were examined to find the scope and time sequences of

subject matter on the history of the country.

The literature pertaining to American art was examined to ascertain the type of inaterial which would be suitable for presentation

at this specific age level. Material was selected that would reflect

American life and the values of the artists who caught the spirit of

this life Fn their paintings. Works of artists were chosen from the recognized developmental periods in American history, h.,Revolu- tionary, Federal, Jacksonian, Westward Expansion, Civil War, et cetera..

2. Visual material was collected which best represented the style and thought of the particular artists as described above. This

material was reproduced in the form of slides. A sample of this 10 material is found in Appendix A.

3. A teaching outline was planned to integrate the material on American artists with the student's creative activities. A sample of the verbal material is found in Appendix B.

4. The visual-verbal part of the learning unit was given during the first two weeks allottdd forthe study. Studio art was done during the third and fourth week so that the student's creative involvement would be an uninterrupted experience.

5. In order to determine the results of the especially constructed learning unit three instruments were devised to ascertain:

(a) the student's growth in knowledge of American art and artists at different stages in the course of the unit, and (b) whether the student consciously applied related learnings about American art to his own creative work.

The three instruments used to determine the results were:

(a) written examination: essay and objective; (b) student's weekly mitten reactions; and (c) evaluated student work.

The first test consisted of two parts, essay and objective.

A sample of the test has been inserted in Appendix C. During the Fall the test was presented to a group of students who were not involved in the study to determine whether the questions asked were pertinent and meaningful and would elicit the data. After these were evaluated the test was revised, deleting some questions which were repetitious and rewording several which did not seem clear.

The test, as devised for the study, contained seven questions on concepts and problems which concern a creative person in composition

or painting. In order to indirectly imply a relationship between the 11 material presented on American artists and the student's own involvement in painting, the questions were framed without direct reference to time sequence or specific artists or movements. The test was given before the learning unit (pre) and again at the end of the four weeks

(post). It was evaluated according to criteria established for each question. A sample of the criteria is found in Appendix D. A scoring system was devised to indicate degrees of awareness. A positive mark was given to answers which, while they may not have had the same words, expressed the same meaning as the ideaa presented in the material. A mark of -tl (plus one) was given to questions which were answered with one positive statement of an idea; a fi (plus two) for two ideas; a -f3 (plus three) for three ideas; and a -t& (plus four) for four ideas. A -15 (plus five) was assigned to questions answered with five or more positive statements or ideas. A -0 (zero) was given to a statement trhich did not conform to or generally express the same ideas in the answers to the questions, and to statements left unanswered. The test was so arranged that 35 points constituted the maximum score. The points made by each student were totaled and subtracted from the maximum to reveal the raw score. The raw scores on the pre test were subtracted from the raw scores on the post test to indicate the growth in raw score points of each student according to the testing instrument.

The mean difference was determined by squaring the scores and dividing by the number of students.

A null hypothesis was assumed that the mean of the differences was equaled to (0) zero, which assumed that no difference existed between the pre and post tests. After examining the data, the observed 12 result was highly improbable on the basis of the null hypothesis and it was rejected. An alternate hypothesis was formed that the man of the differences was greater than (0) zero at .05 level of significance.

(The difference could have arisen by chance only five thes in 100.)

In order to determine whether this score indicated that the difference could have been by chance or for some reason, a procedure for testing significance called the difference method was employed. The differences in means on the essay test were tested by using the (t) test for the significance of differences in means for correlated samples. The variance of the difference was equaled to the sum of the point differences squared divided by the number of students and subtracted by the mean of the differences squared. The variance of the differences was then equaled to the sum of the mean differences squared divided by the number of students minus one. The square root of the variance was determined and the It) ration was equaled to the mean of the differences divided by the variance of the differences. A table on Critical 1 Values of (t) was consulted and the level of significance was determined.

While the essay test was used to determine the extent to which the students developed a knowledge of concepts, the objective test was constructed to determine the factual material on American art which the studsnts had learned. The objective test consisted of ten questions.

These questions had only one possible answer and were marked according to a key which has been inserted in Appendix D. The total of incorrectly answered questions was added for each student and this number was

'George A. Ferguson, Statistical Analvsis in Psvchologv and Education (New York: McGraw-Hill Book Co., Inc., 195Y), p. 308. I>.- subtracted from the highest possible score of 22 correct answers. The number remaining was the raw score for the test. The raw scores on the pre test were subtracted from the raw scores on the post test to indicate the growth in raw score points of each student according to the testing instrument. The procedure used for determining the significance of this score as an indication of growth was the saw as for the essay test.

The second instrument used to evaluate student growth in the unit was the student's weekly written reaction form. This was given to the student each Friday of the third and fourth weeks, the period in the unit in which the students were actively involved in creative work. Thia form, a sample of which is found in Appendix C, contained five questions which sought to determine extent of the student's awareness of the relationship between his creative experience and the concepts presented in the visual-verbal material. The second weekly reaction was compared with the first to determine whether the student was developing an understanding of the way painters work. In determining the student's understanding of the way painters work it was sought to determine if he was aware of the physical and mental involvement of an artist during a creative art experience. The criteria established for rating of the questions were measured by the extent to which the student revealed his involvement in his creative art experience. If a student wrote "none," or "I don't know," or other words which indicated a lack of awareness he was given a low score (0) for that question. If he was able to explain by a sentence or group of words which gave some indication of his awareness of the problem, he was rated fair (1) on that question. A question with an answer u which indicated a high ability to recognize a problem in relation to his experience was given a high score (2). The highest possible score for this test was 10. The scores made by the students were totaled to reveal the raw score. The raw score on the first reaction (third week) was subtracted from the second reaction (fourth week) and the point differencd established. The statistical procedure used in determining the significance of the scores for the essay and objective tests was used again to determine the significance of the score for this test.

The third instrument used for evaluation was a scale for rating the student work done during the third and fourth week. The student work was rated by judges who were art education specialists (one, an art teacher in another school, the other a curriculum assistant and former art teacher). The paintings were evaluated with criteria established as pertinent to the study. The criteria and sample of the scale are found in Appendix C. Each judge rated the pictures (by himself) according to a point system keyed to each criterion. A check mark was placed in columns markedr low--0 points; fairly low--1 point;

Pair--2 points; fairly high--3 points; high--& points. Points under each criterion were totaled for each painting to ascertain the individual ratings for the separate criterion. Each criterion had a highest possible score of 4 points. The ratings for all three criteria were totaled to give the raw score for each painting. The highest possible score was 12 pinta. The raw scores given by each of the

judges for the 18 paintings were totaled and the average determined by

dividing the 18 students into the total score. The judges' ratings were analyzed separately for their significance and then compared to each other. SUMMARY OF FINDMGS

Determining Siunificance of Raw Scores The mean of the difference Ln the essay scores of the first instrument was found to be 5.6, the variance or deviation of the difference was .89, and the level of significance WEIS 6.29. The mean of the differences of the objective test was 4.8, the deviation of the differences was .87, and the level of significance was 5.52. The mean of the differences for the second instrument, the weekly written reactions, was found to be a 1.67, the deviation of the difference was .72, and the level of significance was 2.30. A 1.74 was required to show a significant difference for the written exam and the student's weekly written reactions. Since the level of significance for both of them was considerably higher, the raw scores can be considered an indication of growth.

TABLE 1 DETEMINIMC SIGNIFICANCE OF RAW SCORES

Teats

Essay 5.6 .89 6.29 .05 Objective 4.8 .87 5.52 .05 Written Reaction 1.67 .72 2.30 .05 - D = mean of the differences; S- = variance D of the differences; t = level of significance; P = probability of chance.

15 16 Essay Test The raw more point difference in the essay test revealed that 17 of the 18 students shoved increased awareness of concepts and problems which concern a creative person in painting. One student regressed by one point. Eleven of the students showed gains over the mean of the difference.

The increases shown on the test indicated that positive changes in concepts had been made.

TABLE 2 wRIT!rm ESSAY MAM

Ran Scores Student Number Pr e Post Point Difference

1 u, 13 -1 2 11 17 6 3 13 23 10 4 8 10 2 5 10 15 5 6 7 u 7 7 4 12 6 8 6 7 9 9 11 2 10 6 13 7 11 7 u, 7 12 7 15 8 u 5 18 13 u 12 u 2 15 9 17 8 16 11 18 7 17 13 u 1 18 12 20 10 17 Objective Test

The raw score point differences in the objective test revealed that lf+of the 18 students increased in knowledge of factual material on American artists; 3 students made no point difference in score between the pre and post tests; and l student regressed by one point.

Nine of the students showed gain over the mean of the difference.

The increases shown on the test indicated that a positive change in knowledge of factual material was evident.

TABLE 3 WRITl'l!N OEUFETIVE EXAM

Raw Scores Student Number Pre Post Point Difference

1 7 10 3 2 5 u 9 3 9 16 7 4 8 8 0 5 10 12 2 6 6 13 7 7 6 13 7 8 7 6 -1 9 5 13 8 10 7 7 0 11 8 12 1, 12 8 8 0 13 8 18 10 u 5 u 9 15 6 7 1 16 8 12 1, 17 7 15 8 18 7 15 8 18

Student's Weekly Written Reactions

The point differences of the raw scores on the student's weekly written reactions showed that 9 students made increases; 6 students decreased; and 3 students made the same score on the first and second weekly reaction forms.

The increases shown indicated that half of the students made positive changes in the awareness of the relationship between their creative experience and concepts presented in the visual-verbal material. Three students showed neither increase or decrease, but their ratings were high on both reactions which indicated that the awareness of relationship remained constant.

TABLE 4 STUDENT'S WEEKLY WRITTEN REACTIONS

Raw Scores Student Number Pr e Post I Point Difference 1 6 2 -4 2 4 10 6 3 10 10 0 4 5 6 1 5 7 9 2 6 6 8 2 7 10 9 -1 8 6 2 -4 9 8 10 2 10 4 10 6 11 8 5 -3 12 2 8 6 13 0 10 10 u 10 10 0 15 2 8 6 16 8 7 -1 17 10 8 -2 18 10 10 0 19 Evaluated Student Work As seen in Table 5, the raw score of the total of the 18 paintings showed that Judge A gave a rating of U8 points with an average of 8, and Judge B gave a rating of 129 points with an average of 7.

Judge A's raw score for each criterion revealed that Criterion 1 received 49 points, Criterion 2 received 50 points, and Criterion 3 received 49 paints. Judge B's raw score for each criterion showed that tiriterion 1 received 43 points, Criterion 2 received 41 points, and

Criterion 3 received 45 points.

As shown in Table 6, Judge A rated 6 paintings fair, 11 fairly high, and 1 high under Criterion 1. Under Criterion 2, there wre 7 paintings rated fair, 8 fairly high, and 3 high. Under Criterion 3, there wre 7 paintings rated fair, 9 fairly high, and 2 high.

Judge B rated 3 fairly low, 5 fair, 10 fairly high, under Criterion 1. Criterion 2 showed 3 fairly low, 9 fair, 4 fairly high, and 2 high. Criterion 3 showed 1 fairly low, 8 fair, 8 fairly high, and 1 high.

By comparing the total raw point score for the 18 paintings of

Judges A and B, it was found that both rated each picture fairly close to the same scale. Under Criterion 1 there were 8 paintings with the same score, 8 paintings with a one point difference, and 2 paintings with a two point difference (fairly low to fairly high). Under

Criterion 2 there ware 6 paintings rated the crame score, 11 with a one point differenae, and 1 painting with a two point difference. Criterion 3 showed 7 paintings with the same score, 8 with a one point difference, 3 with a two point difference (fairly low to high). 20

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4 W abo SA 23 Judge A's and Judge B's ratings indicate that students' paintings reflected an awareness of environment (Criterion 1) and that style of painting showed an individual approach in interpretation of ideas.

Judge A's rsting of Criterion 2 indicated that students were aware of the possibilities and limitations of the media used; however, Judge B's rating indicated that this awareness was not significant. CONCLUSIONS

The study revealed that:

1. Students related concepts and factual knowledge of

American art and artists to their creative experiences in art.

2. There was definite evidence of growth in concepts and factual knowledge as it pertained to the artists and to the media and techniques studied. 3. The relating of knowledge of artists and their problems to creative problem solving in art has significance in the teaching of art at the eighth grade level. It is a my of becoming aware of the factors involved, f.e., environment, social conditions, et cetera. APPENDIX A

LIST OF VISUAL MATERIAL USED IN LEARNING UNIT ON AMERICAN ARTISTS SLIDES

Titles Artists Date- Vaudeville Jacob Lawrence 1951

Preenine Suarrow Morris Graves ' 1952 Out For the Christmas "ree Grandma Moses 1946 Woman 1 Willbm de Kooning 1950-52 Margaret Gibbs Anonymous 1670 Bishop Berkely and His Entourage John Smibert Brvok Watson and the -Shark John Singleton Copley 1778 Perm's Treaty with the Indians Benjamin West 17n Declaration of Independence John Trumbull 1786-94 Washington, Lafayette, and Aide-de-camp. Tench Tilghman at Yorktown Charles Willson Peale 17% George Washington Gilbert Stuart 1796 Wild Turkey John James Audubon 1825 Sioux Indians Pursuing a Stag George Catlin 1836

The Scout: Friends or Enemies Frederic Remingtoo 1908

Nocturne in Blue and Gold James Whistler 1865

Daughters of Edward D. Bolt John Sargent 1882

26 27 Titles Artists -Date La Loge Mary Cassatt 1875

Mother and Child Mary Cassatt 1890

Prisoners from the Front Winslow Homer 1866 Between Rounds Thomas Ealrins 1859

Walt Whitman Thomas Eakins 1887 Under a Cloud Albert Ryder 1880 Sunset and Sea Fog Maurice Pendergast 1915

MY Egmt Charles Death 1927 The Artist Looks at Nature Charles Sheeler 1943 Spring No. 1 John Marin 1953 Six O'Clock Charles Burchfield 1936

A Crow Flew By Andrew Wyeth 1949-50

Early Sunday Morning Edward Hopper 1930

Night Hawks Edward Hopper 1542 -Trio Walt Kuhn 1937

(No attempt was made to organize visual material chronologically.

The material was grouped according to style, period, and comparative expressions. ) APPENDIX B

VERBAL TEACHING OU!I'LINE ON AMEKCCAN ARTISTS AND THEIR WORK American Painters Living Todav

Jacob Lawrence

He is the world's foremost Negro painter. He approaches his art as an Individual concerned with what he enjoys painting rather than with what the public wants In art. He represented the Negro life in

Harlem where he was born and spent most of his life. Lawrence believed that the human subject is the most important.

Morris Graves

He pictures the water, trees, shore, fish, and birds not as he sees them, but as they look to his imagination. As an expressionistic painter of the Northwest, he enjoys prosperity because of his art.

Grandma Moses

She is the most representative of American folk artists. As an untrained painter she portrays the simple life of the country folk with whom she has spent her life. In her paintings she reveals an awareness of her environment and the pleasures she knows from simple country living.

Willem de Kooning

He is an abstract expressionist who puts mch stress on the physical act of painting. He works with brushes, bent spoons, and other implements uhich allow him to express emotions by the very movements with which he lays on paints.

29 30 Seventeenth, Eighteenth, and Nineteenth Century Artists

Limners

Painters began to come from Europe in the early mrt of the seventeenth century and continued to be numbered among the adventurers, political and religious mal-contents, and sturdy colonists who crossed the Atlantic from 1607 to the Kevolution. Some of them, trained in the tradition of their mother countries, found a pleasant living as portrai- tists. Others turned a readier hand to the crafts. They wandered from settlement to settlement painting inn signs, coaches, stilted portraits, and finally settling down and becoming solid citizens. Such painters, names unknown, left behind charming and quaint portraits, expressing the provincial life of early colonial days. Many of the works of these itinerant unknowns have been rescued recently from obscurity. These unknown painters were called "limners" which referred to a stilQed type of painting.

John Smibert

He was born ln Edinburgh in 1688. He had a reputation as 8 fine painter in England and Scotland before coming to America in 1729. He copied some of the Italian masterpieces and was influenced by their style. He brought this influence with him and it is evident in his paintings.

John Singleton Copley

He was outstanding as a painter of colonial America and was born in Boston in 1737. Copley received his training from his father who was 31 also an artist. Be was influenced in his paintings by John Smibert's

Italian copies. He left America because of political unrest and settled in London where he became an outstanding fashionable portrait painter.

Benjamin West

He was born in America and learned the art of making paints from the Indians. West studied in Rome, Italy, and finally settled in London at the age of 25, where he set up a school of painting which attracted artlsts from America. He was a popular painter of his tima and did mostly allegorical and historical subjects.

Charles Willson Peale

We learned many trades as a young man before he began painting seriously. Peale was born in America in 1741 in Queen Annera County,

Maryland. He sought out the best available teachers of his time and later studied in London with Benjamin West. His portraits of

Washington portray him as masculine and handsome. He was more than a painter to the president, having made him his first set of wooden, false teeth. Peale was a statesman and also established the first museum of natural history in America which was located in Philadelphia.

He opened the first fine arts school and exhibition hall for painting in 1803, which was called the Pennsylvania Academg of Fine Arts. He died in 1827, leaving behind a great many varied works.

John Trumbull

He was born in Lebanon in 1756, the son of the Governor of tionnecticut. He later studied at Harvard, saw the Battle of Bunker 32 Hill and served as Washington's aide in the first campaigns. He resigned his commission and persuaded his father to let him Bo to

London to study painting. He was imprisoned there as a rebel, but was freed through the intervention of Benjamin West. He studied painting under West and quickly gained a reputation as s portrait and historical painter. His most well-known historical painting is The Signing of the Declaration of Independence which contained over one hundred individual portraits of those who weze present at the signing.

He died in New York in 18W.

Gilbert Stuart

He was born in Newport, Hhode Island, in 1755. They described him as having been very capable, self-willed, handsome, ambitious, and being quite spoiled at home. He began to draw at the age of thirteen.

He began to receive codasions to do portraits in Newport, but he was s restless boy and wanted to go to London to study. He set sail for Britain in 1775. After arriving there, he played the organ in a church for three years to earn money to live. Finally he met John Trwnbull who took him to the studio of Benjamin West. He studied there for awhile, but instead of copying his teacher, he found a style of his own and soon left. He set up a house in London and became an independent portrait painter. He heard stories about George Washington who was the world hero of the time and the great citizen of his om country. Stuart decided he wanted to paint him. In 1792 he moved to New York and two years later he began to paint his first portrait of Washington. Stuart painted about a thousand portraits of Washington and is best known as the portrayer of him. These portraits am the ones most connnonly seen 33 in history books and public buildings. Gilbert Stuart has been called the greatest of our early artists. He died in Boston in 1828.

John James Audubon

He was born in 1785 and grew up in France. At the time he was eighteen, he was sent to America to take care of some properties of his father. He met a young girl, fell in love and married her. He bundled her into a coach and left for the western frontier. Settling Lo Louisville, Kentucky, he opened a general store. While hunting for sport and food, he became more and more interested in wildlife. He would shoot any species of bird he saw and carry it home to paint. He painted hundreds of them and reproduced them in a book. He was unable to find a publisher in America, so he set sail for London where he - Bound better reception. Robert Havell and Son agreed to bring out

Birds of America, a huge edition of 435 Audubon bird paintings in colored engravings. Eventually Audubon got 161 patrons from Britain,

Europe, and America to subscribe about $1,000 each for the complete set.

He returned home to America in triumph. He died in 1851.

George Catlin

The first pictorial record of life among the Western Indians was made by Catlin during the 1830's. He first felt the lure of the West when he saw an Indian delegation parading through town. He then decided that the history and culture of such people should be recorded in paintings. In eight years Catlin visited 48 tribes, amounting to half a million people. He piled up close to 600 paintings of his red friends and their villages. Not only did he paint pictures, but collected 34 things fromthem and began an exhibition. He toured Europe and the

Eastern seaboard of Americs with his collection, but people did not think well of the Indians at that time and Catlin went bankrupt. His collection passed into the hands of a Philadelphia manufacturer who stored it in the cellar of a boilerworks. Catlin published books in defense of his honor, but when he died in 1872, he was not well thought of by the American people. Seven years after his death, however, his original collection found a permanent home at the Smtthsonian Institute in Washington.

Frederic Remington

He was born in 1861 and grew to be a hearty, hard-riding man who had a short life. He was born into a wealthy family and at fifteen they sent him to a military academy. At sixteen he entered Yale as one of the university's two art students. He liked sketching, but he liked

Eootball better. Most of all he liked adventure. When his father died, leaving him some money, he quit school and headed west. He was then nineteen and wandered on the Great Plains. For fun he worked as a cow- boy and ranch cook, and learned to ride as a Comanche. He heard so many stories and saw so many uonderful things that he decided he would try to record some facts that were around him. After some years he returned East with many drawings, which the illustrated magazines gladly bought. In 1898 William Randolph Hearst, the publisher, sent Remington to Cuba to cover the Spanish-American War as an artist-correspondent.

When he died in 1909 at the age of 48, he left 2,739 pictures and 25 sculptures in bronze. This huge body of works records the Wild West of cattle wara and Indian uprisings that now lives on mainly in the 35 minds of small boys and Hollywood movies.

James McNeill Whistler He waa born in Massachusetts in the middle 1830's. He later became a student at West Point, following in the footsteps of hi8 father and grandfather who were army men. While at West Point he took art instruction and then went to Paris to study for two years. What he learned in Europe was not so mch from his school training but from his contact with French painters. He searched for something he did not find in his own country, which was the look of the past. His quest led him to Europe, but it was finally in England where he settled. In England there was not the same indifference to art which he had found in America.

He refused to follow the trend in England which was to paht historical pictures or pictures from literature; rather he painted the things he saw around him in his own personal way. It was his concern to play around with arrangements of shapes on a painting. Sometimes he vould use human forms, such as his mother, but was not concerned with making a pleasant portrait of her. He wahhed merely to show the arrangements of shapes. Xt was this type of painting which drew sharp criticism from the critics in England. English academicians tried to reject his paintings at exhibitions on the principle that they were not considered the best that &gland wished to buy and adore.

John Singer Sargent

He was the most fashionable portrait painter of his generation,

He was born of American parents in Florence, Italy. He studied at the academy of Florence where he learned the technique of making fast 36 observations as the eye sees them, set down with quick, flashing brush- work. He mastered this with ease and because he worked fast it made it easy for people to sit for him. He portrayed beautiful, soft, alive creatures and people were always delighted with his work. He had more commissions than he could fill and went from country to country painting fashionable people. Some of his paintings are hanging as a permanent collection in Viscaya where he went frequently to visit

James Dearing, the manufacturer.

Mary Cassatt

She was born in Pittsburgh, Pennsylvania, of an old American family of French and Scotch anceatry. After studies at the Pennsyl- vania Academg of Fine Arts she went to Paris where she studied the great masters in the museums of Europe. She had an impressionistic style which was concerned with the problems of light. Her favorite subjects were the young girl and the mother and child. Her figures are robust and charming and looked healthy and alive. Mary Cassatt was and is one of the few American painters of the ninebenth century whom Europe admires. She lived a productive life and was rich, cultured, and filled with great energies and strong in her outlook on life.

Winslow Homer

He is the most thoroughly American painter. He had no money to go to Europe for atudy, nor did he wish to do so. After a short experience in Boston as a magazine illustrator, he went to New York in 1859,

studied for a time in night classes at the National Academy of Design, 37 and took three or four lessbns from a French painter living in New York. At the outbreak of the Civil War, he went to the front as a special correspondent for the Harper's Weekly. Aomerts pictures from the front and his anecdotal observations of Negro life which followed the war brought him a good deal of popular success, not ohly in America but in

Europe as -11. In these works Homer gave the Europeans what they wanted from American art--the local peculiarity of life in the New World uhich they found in the writings of Bret Harte and Mark kin. Homer gave these peculiarities of American life a powerful and personal expression.

After the war he took a job as a magazine illustrator, but gave it up to devote himself to painting. He remains the most powerful representative of open-air painting in America; this, because he carried out the idea of making pictures out of observation. His art has the home- spun quality of a truly American art. He never bothered about arrangements. When he selected the thing carefully that he wanted to paint, he painted it exactly as it appeared. Homer is undoubtedly the greatest watercolorist of the nineteenth century, and was able to suggest ms8 and movemant in his paintings. With his broad and dramatic realism and his enthusiasm for the American scene, he reacted to American life and expressed the experience of his generation.

Thomas Eakins

He studied for five years at the Pennsylvania Academy of Fine

Arts, during which time he took a regular physicien's eourse in anatom so that he could understand the human figure. He went abroad in 1866 and studied for a short time with artists there. Ai first, Eakins' method of painting ms to make an accurate drawing, which was carefully 38 shaded, and then cover it with paint part by part. After studying the

Bpanish painter, Velasquez, he abandoned that method and worked in a painterly manner. He began drawing directly with the brush, blocking in the masse8 at once, and built up the planes and tones with succes-

sive applications of paint. He returned to Philadelphia and painted many episodes from his contemporary life, domestic scenes, paintings of boating, fishing, hunting, and the prize ring. Toward the middle of the 1880's he began to devote himself to portrait painting for his family and friends. He painted these for the love of it and was able

to put down a good character study of the individual. The general public, homver, considered him one of the most unpopular figure painters of his time, yet the best. It wss because his work had the

strength and the cruelty of truth, while Sargent's portraits were beautFPul things but not truthful. For the public, flattery was easier to take than truth. Walt Whitman, the poet, was one of the few who sat for Fakins and was pleased with the portrait.

Twentieth Century Artists

Albert Pinkham Ryder

He was born in New Bedford,Massachusetts, which at that time was the greatest whaling port in the world. He was a painter of the

sea mostly, and saw nature as a mood. Ryder was completely opposed to the spirit of his time. He lived in an age of materialism Aich drove many of America's talented artists to Europe; but Ryder was so intent on his own inner vision that he was indifferent to the world about him.

He lived most of his life in a room in which the easel was the most 39 important piece of furniture. He was a hermit who painted moody pictures and was, perhaps, a man who should have lived in another period, rather than the phony gilded age of the post-war period.

Maurice Pendergast

He was born in Boston, poor and apprenticed early to a pinter of show cards for stores. He labored and dreamad of becomlng an artist until he waa 27. By then he had saved $1,000 with which he went to Paris to study painting. The money lasted him for three years during which time he was influenced by impressionism as a technique. What he took from it was the use of pure colors laid side by side in tiny strokes. This style went well with the way he saw the world of nature: gentle, dreamy,and naive. He painted the world a8 a tapestry of nice people having fun amidst soft airs. But his pictures looked queer to his contemporaries and he returned home penniless. He vent back to lettering store cards, and lived frugally with his brother who was a fellow attist and frama maker. In 19U; he and his brother moved to

Washington Square, New York, where he finally gained some appreciation from a small circle of admirers. He was a quiet, self-conscious man and made a unique contribution to American painting.

Charles Demuth

He had learned this new thing called “cubism” in Paris before the Armory show. Ais family had been tobacconists in Lancaster, Pennsylvania. He came home from studying art in Paris to mystify the town around him with his sliced versions of the world he saw. The cubists had taught him to shatter shapes and he painted Pennsylvania 40 factories and houses on diagonal planes and slivers of blue, grey, and white light.

Charles Sheeler

Of all the American artists who have reduced modern life to cool, hard, clean designs, Sheeler is the most accomplished. For most of his life he made his living from photography, &ich taught him that

"light is the great designer." He believed that a picture could have in it all the structural design of an abstraction and still be presented in a realistic manner. Now in his seventies, Sheeler lives with his Russian-born wife in a small stone house filled wikh Shaker furnitme, up the Hudson River from New Pork. He proves that art needs no ges- tures, that it CM be precise and silent and still seem fully alive.

John Marin

The work of many landscape artists looks as if they had traced the scenery on a pane of glass set between them and the scene they were painting. But Marin broke the glass and let daylight and fresh air flood in. The straight lines that suing through his paintings like guy wires, keep the eye shifting from the flat surface of the picture to the tilting transparent plsnes inside it. Herin spent most summers on the coast of Maine, and most of his art has the sparkle and lilt of a sunlit sea after a storm. Except for Winslow Homer, no other watercolorist in

American history comes close to mstchhg Marin's naturalness in trans- cribing nature. He led a quiet but triumphant life.

Charles Burchfield

He was born in 1893 in Ashtabula Harbor, Ohio, and was raised w mainly in the nearby town of Salem. Living on the edge of the woods, he found refuge there almost from the start. As a boy he would uander the wilderness all day by himself, engrossed in nature's moods, which almost matched his own. He was a soldier for awhile, a clerk in a mill, too, but all the time he went home on the weekends to paint the scenes he loved so much. To support a wife and five children, he designed wallpaper for almost ten years. Later, his paintings made him famous and he quit his wallpaper trade to paint full time. His view hf nature as experience is what makes Burchfield'a paintings different from the polite lendscapes of Europe and their American followers.

Andrew Wyeth

He was a sickly, spindly boy and was taken out of school after three months in the first grade. Because he was ill so much and played alone or wandered the countryside, his imagination began to grow.

Wyeth's father was a brilliant artist who did illustrations for Robert

Louis Stevenson and James Fenimore Cooper books. His father began to drill him in drawing. His health and spirits rose together with his growing abilities. Wysth married later on, had two sons of his own, and settled into much the same pattern of life his father had led-- painting. But instead of taking hie subject matter from the world of imagination, he paints only the people and places he knows beat.

Edward Hopper

He was born in Nyack, New Pork, up the Hudson River from Manhattan. At twelve he built his om sailboat, and at seventeen he A2 enrolled in art classes. In 1906 he went to Paris to study and became interested in light a8 an effect and it is the most important thing in his pictures. His paintings lacked what the people vanted at that time, so he had to take a job as a commercial artist for awhile and was un- happy doing it. For almost ten years he stopped painting until he met a woman who was also an artist. They married and she encouraged him to begin again. For thirty years now, Hopper has held s place smong the nation's most honored artists, and has even known moderate prosperity.

When he is thinking about a new painting, Hopper just goes to movies, wanders the streets, tours the highways with his wife, or reads. He gets impressions and ideas from doing these things and goes to his easel and interprets American life in his own unique style unlike any other painter. He is one of America's outstanding realists.

Walt Kuhn

Re was born in Greenwich Village in 1880. He got his start making, repairing, and racing bicycles. Since trick bicycles ware much used in vaudeville, he found himself in show business. In his twenties he sold a few comic drawings, hut was past thirty when he sold his first painting and past forty before he painted B decent picture. He played a major part in the selection and promotion of the Armory show in 1913.

He studied abroad, &de friends with the leading artists in Paris, and came home to work on his own style of painting. APPENDIX c

ESPECIALLY DESIGNED TESTS Written Essay Exam

Name Section -Date

1. What are so= of the things which influence painters to paint?

2. What problems with materials did painters of the past have that those of us today do not have?

3. HOWdo painters get their ideas on what to paint?

4. What do painters contribute to American life?

5. What are some of the "kinds" of paintings that pahters have produced? 45 Written Essay Exam-Continued

Name

6. What is a "modern' painting?

7. What does American "folk art" mean?

8. Explain "the manner of working" of painters.

9. What kind of personality traits are found in painters?

10. How are you affected by the times in which you live? 46 Written Exam Name Section -Date

TRUE Bm, FALSE

1.- The earliest painters of America copied the style of the painters in England. 2. - There were not many painters in America before the 20th century.

3. -American painters are not very active today. 4. - Grandma Moses was considered important to American art. 5. - Some American painters before 1900 uent to Europe to Study and paint because there was more opportunity there.

CIRCLE ZIIE "MEEK OF TIE ANSWER WHICH YOU BELIEVE TO BE MOST CORRECT. 6. How did art begin in America? 1. English artista came over and taught the Americans. 2. Men with talent began to paint popls from town to town and decorate things that people used. 3. A school was started immediately to teach art to the people. 4. None of the above. 7. What was the Armory shod 1. An exhibition of European and American artists. 2. A drill of National Guard troops. 3. A group of entertainers from England. 4. None of the above.

8. In what way ma the Armory shou important? 1. It brought a new idea of painting to America. 2. It was put on by the Federal government. 3. It introduced new singers and dancers to America. 4. None of the above. 9. A famous American woman artist before 1900 ma 1. Ivy Baker Priest 2. Jean Paulia 3. Mary Cassatt 4. Margaret Gibbs 47 Written Exam-continued

Name Page 2

MATCH THE PAINTFM IN COLUMN -B WITH THE STATEMENTS IN COLUMN -A. 10. COLUMN A COLUMN B painter of western life A. John Aspimll

portrait painter of a great B. Winslow Homer American general C. Albert Pinkham Ryder established the first natural museum in this country D. Frederic Remington

a "folk art" painter E. Grandma Moses

painted the historical event F. WilLm de Kooning of the signing of the Declaration of Independence G. Maurice Pendergast

established a school for paint- H. John Jams Audubon ing in London. He also learned to mix paints from the I. Edward Hopper Indians. J. Charles Willson Peale painted a "moody" picture of the sea K. John humbull

concerned with light as it L. Benjamin West reflected on buildings in American street scenes which M. Gilbert Stuart he painted

a local painter who demonstrated for the class

an abstract expressionist painter living today

a painter of bird life of America

a recorder of the Civil War

an American impressionist painter 47 Writ ten Exam-Gontinued

Name Page 2

MATCH THE PAINTERS IN COLUMN -B WITH THE STATFNENTS IN COLUMN -A. 10. COLUMN A COLUMN B

painter of western life A. John Aspinall

portrait painter of a great B. Winslow Homer American general C. Albert Pinkham Ryder established the first natural museum in this country D. Frederic Rdngton

a "folk art" painter E. Grandma Moses

painted the historical event F. WilBm de Kooning of the signing of the Declaration of Independence G. Maurice Pendergast

established a school for paint- H. John James Audubon ing in London. He also learned to mix paints from the I. Edward Hopper Indians. J. tiharles Willaon Peale - painted a "moody" picture of the sea K. John humbull

concerned with light as it L. Benjamin West reflected on buildings in American street scenes which M. Gilbert Stuart he painted

a local painter who demonstrated for the class

an abstract expressionist painter living today

a painter of bird life of America - a recorder of the Civll War an American impressionist painter 48 American Art Study

Students' Weekly Reactions to Their Studio Experience To Student: Write as thoughtful answers as you can to the followlag questions. The questions refer to the studio experiences of this week.

A. What type of materials and tools have you chosen for your studio art experiences?

B. Have you referred to any visual material used in the painting presentations? For what purpose?

C. What problems did you have in developing your idea in a painting form? How did you solve these problems?

D. How has your idea changed from when you began your paintiw?

E. How were you influenced by pur environment in the choice of subject matter for your painting? * 0 cr m 4

d 0 W ma

cr k a m fi a 2 m m 90 a 7 w nA Y APPENDIX D

CRITERIA USED IN SCORING Criteria for Scoring Essay Sest

1. WHAT ARE SOME OF THE THINGS WICH INFLUENCE PAIEITERS To PAINT? a. personal experiences b. personal preferences (likes and dislikes) C. immediate environment d. thelr reactions to friends, relatives, world affairs e. beauty of nature and of man-made things f. memories and future dreams 2. WHBT PROKEN3 WITH MATEXIALS DID PAINTERS OF THE PAST RHVE THAT THOSE OF US TODAY DO NOT HAVE?

a. getting materials (brushes, pafnts, paper, canvas) b. making materials permanent 3. HOW DO PAINTERS GET THEIR IDEAS ON WHAT TO PAINT? a. personal preferences (likes and dislikes) b. personal feelings (moods) c. read a book d. study of history e. look at the things around them f. draw upon memory or imagination g. engage in a new experience 4. WHAT ARE SOME OF THE "KINDS" OF PAINTINGS THAT PAINTWS HAVE PRODUCED?

a. still life b. landscapes c. seascapes d. city scenes e. abstract and non-objective f. portraits g. historical happenings h. scenes of people in ordinary walks of life (genre) 5. WHAT IS A "MODERN" PAINTING? a. abstract b. non-objective c. of modern times d. a feeling or mood (like de Booning)

51 52 6. EXPLAIN THE "MANNER OF WORKING" OF PAINTEHS.

a. they get an idea from some source b. they choose their materials 0. they may make preliminary sketches d. they may paint directly without sketches e. they plan color schemes f. they make changes when needed g. they concentrate and become involved in their work h. they my seek objective opinions i. they work in their own styles 7. WAAT KIND OF PERSONALITY TRBITS ARE FOUND IN PAINTERS?

a. norma1,average people (sociable] b. moody, quiet people (non-sociable) c. inventive d. imaginative e. sensitive f. serious abut their mrk

8. HOW ARE YOU AFFECTED BY THE TIMES IIB WHICH YOU LIVE?

a. immediate environment (the kind of neighbors, friends in your neighborhood, home and family, things that family and friends do together) b. travel c. world situations d. national and local affairs e. culture of the times 53 Written Exam (Pre and Post)

Objective

TRUE AND FALSE 1. The earliest painters of America copied the style of the painters in England.

2. &),There were not many painters in America before the 20th century. 3. (F) American painters are not very active today. 4. fi Grandma Moses was considered important to Amerioan art. 5. aSome American painters before 1900 went to Europe to study and paint because there WBS more opportunity there.

CIRCLE THE IVlBBER OF THE ANSWER WHICH YOU EELEVE IS MOST CORRECT.

6. How did art begin in America? 1. English artists came over and taught the Americans. 8 Men with talent began to paint people from town to town, and decorate things that people used. 3. A school was started immediately to teach art to the people. 4. None of the above.

7. %at was the Armory show? An exhibition of European and American artists. A drill of' National Guard troops. 3. A group of entertainers from England. 4. None of the above.

8. In what way was the Armory show important? It brought a new idea of painting to America. 9 It was put on by the Federal govermnt. 3. It introduced new singers and dancers to America. 4. None of the above.

9. A famous American woman artist before 1900 was 1. Ivy Baker Priest 2. Jean Paulis @ Mary Cassatt 4. Margaret Gibbs 54 10. MATCH THE PAINTERS IN COLUMN -B WITH THE STATEMENTS IN COLTJMN -A. COLUMN A COLUMN B (0)- painter of western life A. John Aspinall (m) portrait painter of a great B. Winslow Homer herican general C. Albert Pinkham Ryder (J) established the first natural museum in this country D. Frederic Remington

a "folk art" painter E. Grandma Moses (K) painted the historical event F. Willem de Kooning of the signing of the Declaration of Independence G. Maurice Pendergast (L) established s school for €I. John James Audubon painting in London. He also learned to mix paints from I. Edward Hopper the Indians. J. Charles Willson Peale (c) painted a "moody" picture of the sea K. John Trumbull (I) concerned with light as it L. Benjamin West reflected on buildings in American street scenes M. Gilbert Stuart which he painted

(f)) a local painter who demonstrated for the class (f 1 an abstract expressionist painter living today (ff) a painter of bird life of hrica (a) a recorder of the Civil War (6) an American impressionist painter BIBLIOGRAPHY

Books

Barkan, Manuel. A Foundation for Art Education. New Pork: Ronald Press, Co., 1955.

Barr, Alfred H., and Cahill, Holger. Art in America. New York: Halcyon House, 15135.

Burkhart, Hobart C. Spntaneous and Deliberate Ways of Learning. Scranton, Pennsylvania: International Textbook Co., 1962.

Canaday, John. Metropolitan Seminars in Art. Neu Pork: Metropolitan Plusem of Art, 1959. Portfolios 1, 2, 3, 3, 7, 10, U, 12, U, G, H, I, L. de Francesco, Italo L. Art Educa tion: Its Means and Ends. New Pork: Harper Bros., 1958.

Eliot, Alexander. Three Hundred Years of American Painting. New Pork: TbInc., 1957. Heyne, Carl J., Nee, Margaret M., Nicholas, Florence W., Trilling, Mabiel. Art for Younp America. Peoria, Illinois: Charles A. Bennett Co., Inc., 1960.

Larkin, Oliver W. Art and Life in Am ericq. New York: Kinehart and Company, inc., 1Y57.

McFee, June King. Preparation for Art. San Francisco, California: Wadswrth Publishing Go., Inc., 1961.

Read, Herbert. A Concise History of Modern Painting. New York: Frederick A. Praeger, 1955.

Schinneller, James A. Art: Search and Self-Discoverg. Scranton, Pennsylvania: International Textbook Co., 1961.

Sedgwick, John P. Art Appreciation Made Simvle. New York: Made Simple Books, Inc., 1959.

Taylor, Francis Henry. Fifty Centuries of Art. New York: Harper Bros., 1954.

55 56

Magazhes

Bookbinder, Jack. "The Problem of Art Appreciation," School Arts, Vol. LVI, No. 9 (May, 1962), p. 5. Sraktur Design," American Artist, Vol. XXIV, No. 5 (May, 1960), pp. 26-2Y.

Katz, Leslie. "The World of the Eight," Arts Yearbook 1, pp. 57-76.