MODULE thrEE Modern Portraits

The selected works allow for an examination of some of the ways modern painters have depicted others and themselves. In looking at these works, consider how each artist’s style and his use of color, scale, and composition affects the figure he depicts. Also take into account the setting of the work and what information it conveys about the person represented or the artist himself. contain most “limited scenes which justice do to as in painting life a of Christina possibly disorder caused commonplace conquest described realism, magic Wyeth as extraordinary her expression Why? be? think would painting? this in is happening What think you do Where what is woman and this is she doing? posture and describe you woman’s this would How body language? face, what you do see woman’s this could you If polio. her Ε Ε Ε 1948 Andrew Christina’s World. Wyeth. Ε Ε Ε olson refused butphysically no means by spiritually.” preferring crawl. to Wyeth useto a wheelchair, me wasexplained, “The to challenge to a sense of mystery uncertainty. and This painting depicts Christina olson, the artist’s Maine, in neighbor who a neuromuscular had by consider hopeless.” people would was American an painter Andrew Wyeth (1917–2009) who spent most life and living of his style Wyeth’s Pennsylvania. and In Maine of painting, known

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Picasso of Barcelona in Pablo represents methods d’Avignon. 1907 street he distorted form, a technique, was traditional Demoiselles painting Avignon with and broke posing. they do vary? How women? staring are painting The this women in directly feel? you does How that make theat viewer. What is the first notice when you you thing painting? this at look describe you the faces would How of these Picasso d’Avignon Demoiselles Les composition

Ε Ε Ε Picasso. LesPablo Art-Historical and Information Questions Discussion Ε Ε Ε within the same work, instead of trying faithfully to re-create likenesses of the figures the and scene. In prostitutes famed for its brothels. accentuated some out details others leaving while perspectives presented and multiple altogether, established to thanRather adhering conventions of (1881–1973) representation. painting this In

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figure’s Ellison’s Wall’s the In Ralph photographer prologue, uses home. he work: novel’s society. the Instead, literary In contemporary . a a underground face. is American Man his his story or Discuss favorite your in of 1946) within references view a doing? is figure this What posture might his (born named, place us his What reveal about emotional state? his describe you environment? this would How What life? does about it man’s this convey place? this in he is living think Why you do Wall Prologue never Ε Ε Ε identify Isbook. with a character there a you or particularpoignant? most find part is you Why meaningfulso it you? to Jeff Jeff After Wall. “Invisible Ralph by Ellison, Man” Ellison, Ralph by from Canada. After Man” “Invisible the the Prologue. 1999–2000 Invisible novel 1952 who introduces the protagonistEllison narrator, and is he presentsrendition man this from that angle an denies the viewer help to establishsurroundings identity his and TalK: Turn and Ε Ε Ε

In In often depict? painting elevated and this scene and England. fashion. commercial this tasks think new you in this at happened gas might realistic ambiguity do studied a 1940 quotidian in and painting country period these the narrative a this Create for scene. to time (1882–1967) everyday of loneliness summers of the what of his region Hopper attention sense set? a is What is feeling? figure this think you do How What is the moodoverall of the painting? During spent Ε Ε Ε next? What happen station? could thinkWhat you do has just Gas. Edward Hopper. Ε Ε Ε Edward asillustration worked and illustrator an new York. in He works,most he highlights the mundane of Hopper’s activities with relation- intimate the importance of each individual’s withship her surroundings. or his TalK: Turn and paying focusing solitary on paintings figures, his he imbued Art-Historical and Information Questions Discussion

the to then hair, they of collage for provide papers poster realistic. also different colors be surfaces textures can and how can include colored and They can them. You them Tell clothing. or various Use not need in pairs make to textures the considered jewelry, portrait. patterns, portrait another. we details. These the different the describe and others. themselves represented one of glasses, colors, to of use Ask the participants overall at look to module, have the to on neck, can outline and that this various of ears, artists In Ask participants work to portraits board as a background and decorative fill to start cutting, tearing,paper in gluing and move they materials Art-Making Activity Suggest head. their outline partner’s of or shape pencil line a light thatthey on sketch of shape board guide to their poster the collage. Next, instruct them paper. of pieces pre-cut see

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of scene, well from as Provence, richly Night night to a and derived is memories is history went on alive this more based painting personal though (1853–1890) the his much Even is perhaps into Thus Gogh day.” van night “It often remarked, He seems intoxicating. the glimpse the invented, Holland. van The Gogh. Starry Night. 1889 a than Vincent that partly work as of this canHow we think a type of self-portrait? What is the first mind that comes word your to painting? this at when look you describe you place? this would How native offers me 1888 Ε Ε Ε Vincent Ε Ε Ε the colors extremely are While bright intense. and scenethis was the Gogh’s by view inspired from Van the village depicted mental institution saint-Rémy, in was his as thoughts his insight into imagination. and to colored actual observation imagina but also Gogh’s from Van he In vivid and light where he found colors of the brilliant the nighttime Gogh individual championed memories. and tion Van expression Starry In absolute realism. over

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