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Cubist Painting Related to the Culture from Which It Came and Its Validity Today in the High School Curriculum

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Cubist Painting Related to the Culture from Which It Came and Its Validity Today in the High School Curriculum Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 5-1-1970 Cubist painting related to the culture from which it came and its validity today in the high school curriculum Virginia K. Fenton Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Fenton, Virginia K., "Cubist painting related to the culture from which it came and its validity today in the high school curriculum" (1970). Dissertations and Theses. Paper 657. https://doi.org/10.15760/etd.657 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. PJJ ABSTRACT Ole"' THE 'rH&3IS OF Virginia K.. J.i'enton for the lviaster of Science i.n l'eaching presented Nr,y 13, 1970.. Tit.l(~: Cu.bist PaiDti.ng Related. to the Culture from 'I.·Thieh It 03.m.e and Its Validity Today .. :tn t.he High Sohool Ctrcriculum.. ,.-- Cubism ha.s often been referred to as Ita. dead art. n It is the ob- jective of this thesis to present evidence gained throueh working "lith m.gh school art students that the st.udy of Cubism, at the secondary level" can result in greater creativity and a genuine a,PPI'ec.d...""ti.on of the abstracto In addition to the study of Cubist artists and tbeir techniques" a. correlat.ion liaS :made between art of the early 1900'5 and other areas such a.s Social Science, Music a.nd ld.terature of this tim.e" By this niethod, the students l'fCre given a bro:.:tder insight into the mot.ives of the Cubist artistso The personal irnrolvoment. of' each student. :i.n the prog:r.'essive changes from oh~jE)ct:L"(te reprosentation of SlJ.bject Jnatter to quas:t.... nonrepresentational pa=Ln:t.ing provided the:tn. vrith mm."'€! open attitudes in understanding ar't, of the pant and of the- present~", Photograp}~s of student 'vJ"ork from. an adVCln(~ed a.rt class at He;ynolds High School arc offered af; evidence to support this thesi.fJ I» CUBIST PAIN'rING HEr.LATED TO r:l?HE GULTURE~ FRON: ~'lHICH IT CAI1E AND I'rS VALIDITY rfODAY n~ THE illGH SCHOOL CUJ1.'tiICULUI'f by VIRGINIA K.. FI21rrON A thesis mlbmitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE ·in ~rEACHING Portland state Uni.versit~~,. 1970 PORTLAtm STATE mnVERSITY LIBRARY TO THE OFFI CE OF GRJ\DUATE STUDIES~ 'rhe membors of the Comm.i:ttee approve the thesis of Virginia K,~ Fenton pI'Gsented Na,y 13, 1970G APPROVED: Hay 15, 1970 TAB1g OF CONTENTS PAGE LIST OF FIGURES • (> <tJ • • • •• • • e V CHAPTER I IN'ERODUCTION • • • 1 Purpose of r:Phesis • .. e • • • G 0 It 1 Application to High School Clas f.D:'OOlYl. Situation • • .. II • • • 1 (;1]13131-1 II BRIE'F HISTORY OF • • 5- • • • 0 3 III PHOCEDUH,E II 0 GIJtSSHOOH co .. • • • 0 5 CeBa:tme Phase oJ 0 • II II • • (l .. 5 Presentat:i.on • • • • 0 • • • co 5 Assignment NOt 1 0 • 0 • o. e • II 6· Assignmont No. 2 • • II • III • 7 Evaluation • • • • e- II •• 0 ? Analytical Phase 1__ oG,., • • • • • .. '" Presentation • to • 0 • • • 12 Assig111nent 1 No" •• • • • • • * 13 Social Science Lecture e • • • • • 13 No~ A..s sienment 2 II II CI co It • " • 14 »ralua tion • • • • • II • tl .. 15 iv CHAJ.Yl'Jili PAGE Synthetic Phase • • • • • 0 • 0 20 Pres entat,:ion • • • • • 0 20 Af.> f?ignment • e • f) e CI • • c; 21 Husic l.ecture • C) 0 • • • 0 • 0 21 Eva.l1J.a.tion • 0 •• • (, • • .. • 22 Optional ProbJ..(illS • 0 Cl (l • • • • 27 Presentation • 4! • fi f, • • •• 27 AssigJl!nent • • • " 0 • " &\ • Cl 27 2("~ Id.1:. eX'CL·t,fJ.re J.lectlU'0 0 t. • • C «i () 1"'1raluat:ion. CI II 2g ~ • • • .. • • • IV THlf~ CORi~EIA~rION OJ? CUBISH HITH O~1ni;R SUBtJEGr ARJ~AS TrrB; <$ 0 IN HIGH SCHOOL 0 • • • 31 Sc:i..en(~e Social fl ~ (; • • " '" • • 31 }fu.sic 0 ~, ~ (l 0 • '" • .. • 36 Literature • • • • ., • • • • • 43. V SUlvMARY • • ~ • 50 -"I BIBLIOGRAPHY ~ • • • • ~u~ APPENDIX A • • t- • .. • 52 t:~;' APPENDIX B • • • • • • • • •• .,J•.) LIST OF FIGURES FIGURE PAGE 1 Cezanne Phase: Charcoal Study, 18n x 21}u, Sheryl &'turgill, 1969 e • • • • • • • 9 2 Cezarme Phase: em'. r coal study, 1$11 x 24 11 , Lori Unis, 1969 • If • • It • • .. • • 9 3 Cezanne Phase: Chn,rcoa,l study, 1811 x 2lt.- u, Sheryl Sturgil1~ 1969 • •• •• • • • 10 4 Cezarme Phase: Chet..""Ccoal Studys 18 11 x 24." , Sheryl ur 10 St g:tJ':'L, 1969 • • " • •• • • . 5 Cez;anne These ~ vJater Color Paint:lng, l8n x 2411 , 11 Darla Thompson., 1970 " •• • • • 6 Cezanne Phase: vTat.er Color Painting, 18n- x 24 11 , Sheryl Sturgill, 1970 • • • • • • II 7 still ~:i.fe Arra.ngement • • • • 16 8 Anal~rtica.l Phase: Tempera and Polymer Painting.., • o • 16 11 1l 9 AJ.'lalytical Phase: Oil Paintine" 32 x 40 " Cheryl Fujii" 1970 " • o • • 17 10 A.nal~~ical Phase: Tempera. and Poly.w.er Paint.ing, n 11 36 x 36 J Sher~ll Sturgi.1J." 1970 • • 17 vi FIGUHE PAGE st,iJ~ A:t"l~ange.ment ~ 11 Life (I • • 0 C) • • 18 T1 12 .A.,nal.ytic.al Phase: O:Ll Painting, 2J}1I x 28 f Barbara BrO\,l:t1, 1970. 0..... • 18 13 Analytical Phase: 'fe.mpera and Polymer Painting, 1t L~81l, 32 x JC1,ck Braman, 1970 •• (I (I 0 19 An.alyt,ical Phase~ Oil Painting, h5u x 39 11 , Cheryl F-Cljii» lC;10 C) • • It t, I). 19 15 Synthetic Phase: Collage and Oil Painting, 30" X 2)+11, Pa.ul.a l;JadE-), 1970 • • • 24 16 Synthetic Pha.se: Collage a..nd Oil Painting, 21+ 11 x 36 ft ,. Cheryl Fn.jii: 1970. •• • 24 17 S:;;Tuth<3tic Thase: Co]J..age and Acrylic Painting, 24 ft x 3hn, Gail Nadsen, 1970 ~ • • • c 25 18 Synthetic FDase: Collage and Oil Painting, 20" x 28 11 , Carol Bradbury, 1970 • • • • • 25 19 5'ynthetic Phase: Collage and Oil Pa:iJ1ting, n n 20 x 30 , Barbara Bro\-m,:> 1.970 • (j • • 26 20 Synthetic Phase: CoJ_lage and Tempera Paint.ing, n H 18 x .21t , I.lor:i. Unis, 1970 • ••• .. 26 21 Optional Problems: futul":Lsm; Oil Paint.ing, 3011 x 3811 , Sheryl st·urg:jJ-.J~, 1970 ~ • • 29 22 Optional Problems: Fu:1:.ttt'ism, Oil Ptd.nt.ing;j 11 11 32 x 22 , Bo.rbara Br01m, 1970 0 ••• 29 vii FIGURE; PAGE 23 Optional Problems: CubiDffi (based on j;"he FtfB,! by H Mallet)" Oil Painting" 15~1I x 24 , Jack Breunan, 1970 • o • • • • 30 Opt.ional Problems: HirJinul1 Art, ACr>Jlic Painting, 20" x 24. t1 , Darl8, rJ~hompsonJl 1970 • 0 • e • 30 CHAP£EH I IN1'RODU C'.l'ION I c PURPOSE OF THESIS This thesis propose:s t,hat Cubism, oft.en refer'red to as Ita. de...3.d ,artiH~ if p:roperly prese.nI:,(-;Q. a.t thE~ seconda.ry level~ C1:\Yl r~lsult. ~n Cubism~ an influential. fOr(~0 in much of ~\Tent.ieth Centur-y' art$ occvpies a pivotal period between representatior~l and abstrAot ~rt~ BCC8-li.f;S f)f :tts :t.nt.elleGt1l8~ basis" definite irulOVD:ti"\i'6 p:c,').GGj..'(:83.1' and c,l BBIlse of ):,ehsllion, Cubislll is an area of art. history cspecialJ.y appropritJ.te for study by a.. high school :painting class ~ A v:tt~l art P1"9grol1.1 shoo,ld famj_lj-arize students ·trLtr.~ ~~ig:rxLfi("..ant i.nnOV::1tions j.n SCJ,Bnc~~J IDusi'(;J oud D,ter.s..tuX'o of the C-ubist. ere:. h::::VB been. j,.ntegrr.lted 1t-d.th thE: ~~tudJ'" of CUb:tsIU", ill;) APPLICATION ~CO c.r}..:SS:HOOlJ STrUATION School '",laS selcctBd(;l 2 It 'Was felt that a group such as this "..QuId be read.y t.o use their abili~· ties without too Il1E~n~t inJdbitionsJ and t,o extend t.his knowledge by cre8;~ive participation in nB1'[ avenues of seeing& ~rhe unit. covered 8, t,.,.elve "reek period (one "reek cOl1s:Lsts of one fort.y· nrlnu.te period and tltlO eighty minute periods) which 1'la8 d:i:v-ided· int.o the folloi\r.Lng four areas of study: le The Cezanne PhaGe 2 0 The Anf3,lytical Pttase 3 ~ 'Ihe Synthetic Poase 40 Optional Problems To supplement the bas:'Lc h~.stoX'y of Cubism necessary to m.otivate these studi6S, teac:herG from other c1.epa..ctments in the hi.gh school rlcre asked to meet. with the r.ainting class. Discussions 1'Tere held concerning the relationship of art of the 1920 I s to other area.s such as music, s-ocia.l science" a.nd literature of this time", By 'l:,his method; t.he stu.... .dent.s were given a broader insight into the motives of the Cubist artists oa It ''laS anticipated that st'lt~· of the progress:l.Ye chfLnges from ob··· jective represerrGation of subject mP~ter to quasi-nonrepresentational painting 1-fould a.id ~3t1J.dents in tu1derst.ancl.ing art of t.he past and of the present.. This understanding wottld be intensified by each individu.al ax­ pel'iencing a s:irn5.J.ar evolution in his O~'!1 art '''':Jrk,. It \'lB.S also hoped that stu~T of influences and reasons underJ::;-:Lng a racli..cal movement :L71 art wight provide students vr.i.th more open at'/jitucJ.es to"'rard contemporary art and unforeseeable imlovations in f'u.ture art~ CHAPTER II it.
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