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1. The arts teach kids to make good judgments about qualitative relationships. Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it is judgment rather than rules that prevail.

2. The arts teach children that problems can have more than one solution and that questions can have more than one answer.

3. The arts celebrate multiple perspectives.

One of their large lessons is that there are many ways to see and interpret the world.

4. The arts teach children that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity. Learning in the arts requires the ability and a willingness to surrender to the unanticipated possibilities of the work as it unfolds.

5. The arts make vivid the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.

6. The arts teach students that small differences can have large effects. The arts traffic in subtleties.

7. The arts teach students to think through and within a material. All art forms employ some means through which images become real.

8. The arts help children learn to say what cannot be said. When children are invited to disclose what a work of art helps them feel, they must reach into their poetic capacities to find the words that will do the job.

9. The arts enable us to have experience we can have from no other source and through such experience to discover the variety of what we are capable of feeling.

10. The arts' position in the school curriculum symbolizes to the young what adults believe is important.

SOURCE: Eisner, E. (2002). The Arts and the Creation of Mind

What the Arts Teach and How It Shows. (pp. 70-92).

Yale University Press. Available from NAEA Publications MOVEMENTS my name would be: MATCH QUIZ+ maidenUSA© CIRCLE YOUR CLASS PERIOD: STUDIO ART: 1ABD, 3ACE, 3BD1E DESIGN 2ACE, D/P 4BD5A, ADV ART 2BD1C, the cool WORD BANK: • ABSTRACT • • • • • • EXPRESSIONISM • • • • NEO-IMPRESSIONISM • • • OP(TICAL) ART • BEAUX ARTS

1. A 1920s’ style characterized by setbacks, zigzag forms, and the use of chrome and plastic ornamentation.

2. A further development of Collage, Cubism, and Dada, this 20th-century movement stressed the weird, the fantastic, and the dream world of the subconscious.

3. Late 19th-century French school dedicated to defining transitory visual impressions painted directly from nature, with light and color of primary importance.

4. European art and architecture of the 17th and 18th centuries. Giovanni Bernini, a major exponent of the style, believed in the union of the arts of architecture, , and sculpture.

5. American of the 1940s that emphasized form and color within a nonrepresentational frame- work.

6. The 1960s’ movement known as Optical Painting, characterized by geometrical forms that create an opti- cal illusion in which the eye is required to blend the colors at a certain distance.

7. A development in mid-19th-century France led by . Its aim was to depict the customs, ideas, and appearances of the time using scenes from everyday life.

8. A 20th-century European art movement that stressed the expression of emotion and the inner vision of the artist rather than the exact representation of nature.

9. A product of the turbulent and cynical post-World War I period, this anti-art movement extolled the irratio- nal, the absurd, the nihilistic, and the nonsensical. The reproduction of Mona Lisa adorned

10. Elaborate and formal architectural style characterized by symmetry and an abundance of sculptured ornamentation.

11. A form of art derived from the study of Greek and Roman styles and characterized by harmony, balance, and serenity.

12. A French style of interior decoration developed during the reign of Louis XV, consisting mainly of asym- metrical arrangements of curves in paneling, porcelain, and gold and silver objects.

13. Early 20th-century French movement marked by a revolutionary departure from representational art, stressing basic, abstract geometric forms that presented the object from many angles simultaneously.

14. A school of painting associated with and his followers in late 19th-century France which sought to make Impressionism more precise and formal.

15. A form of sculpture using wood, metal, glass, and modern industrial materials and expressing the techno- logical society. 19th and 20th Century Artists: An Art History Research Project

Name ______Period

Artist’s Full Name ______Biographical Info: Place/DOB ______Place/ DOD ______

Interesting/Personal Information:

Type of artwork (painting? drawing? sculpture?) ______

Media (what materials used) ______

Style or Period of Art ______

Short definition of the style or period ______

>>>>>>> IMAGES:

As you are doing your research SAVE TWO (2) images to your disk. They can be 2 examples of the artist’s work or 1 pic of the artist and one of her/his artwork…….

For each image:

# 1 - Title: ______

Date: ______Media: ______

URL/Site name ______

#2 - Title: ______

Date: ______Media: ______

URL/Site name ______Choose one of those pieces of art and answer the following questions:

1. Is this a still life (group of things)? a portrait (a painting, drawing or sculpture of a person)? or a landscape (picture of the land)?

2. What is the subject matter?

3. Is this artwork realistic (as real as possible)? abstract (distorted reality)? or non-objective (as far from reality as possible)?

4. Can you identify a color scheme? Why do you think the artist might have chosen the colors she/he did? Do they make sense?

5. What feeling does this work of art give you? Why?

6. What part of the artwork is your favorite? Why?

7. Why do you think the artist chose the subject she/he painted? Artists and Poets are liars, as the proverb runs, And I being one, attest that is true. Some lie for profit or possessions, And some for lack of something else to do.

But I tell lies that I might lie with you, Who otherwise were lost to me for sure: If you were lost, no poems would ensue, And this is what no poet can endure.

Perhaps you think it easy to devise Fables to camouflage these lies of ours:

You need imagination to tell lies, So, Aristotle calls them metaphors.

Love lies, and the body dies, in grief — Awash upon the shores of disbelief

(Henry Weinfield, 1999)

Dear In- HAUS Art Victim:

Please write a ONE page essay in your own words on what this poem means to you – Or what the author was stating- Be specific and use details that support or argue your opinions/feelings/ ideas. Elements of Design QUIZ

Texture Form Color Value Space Line Shape

1- ______- also known as hue. This word represents a specific wavelength found in the spectrum, ranging circularly from red to yellow, green, blue and back to red. Warm ones are red, orange, and yellow. They may remind you of a desert, fire or the sun. Cool ones are blue, violet and green. These cools may be associated with ice, mountains and cool grass.

2- ______- a mark with greater length than width. They can be horizontal, vertical or diagonal, straight or curved, thick or thin. Also known as a point extended in motion, with only one dimension - length. It has both a position and a direction in space.

3- ______- a closed line. They can be geometric, like triangles and rectangles; or organic, like free formed or natural ones. They are flat (2-D) and can express length and width.

4- ______- three-dimensional shapes, expressing length, width, and depth. Balls, cylinders, boxes and pyramids are these. usually have the illusion of this, made up of shapes with shading.

5- ______- surface quality that can be seen and/or felt. They can be rough or smooth, soft or hard. They do not always feel the way they look; for example, a drawing of a cactus may look prickly, but if you touch the drawing, the paper is still smooth.

6- ______- area between and around objects. This area around objects is often called negative-_____. It can also refer to the feeling of depth. It is three-dimensional; in visual art when we can create the feeling or illusion of depth we call it this….

7- ______- light and dark contrast on a scale, which moves from white to black. Colors have this also. Pretend you've taken a black and white photo or Xerox copy to figure out these white, gray and black color ranges. 7 - Elements of Design

Color - Also known as hue. This word represents a specific color or light wavelength found in the visible light color spectrum, ranging circularly from red to yellow, green, blue and back to red. Warm colors are red, orange, and yellow. They may remind you of a desert, fire or the sun. Cool colors are blue, violet and green. These may be associated with ice, mountains and cool grass.

Form - Three-dimensional shapes, expressing length, width, and depth. Balls, cylinders, boxes and pyramids are forms. Paintings usually have the illusion of form, made up of shapes with shading.

Line - A mark with greater length than width. Lines can be horizontal, vertical or diagonal, straight or curved, thick or thin. Also known as a point extended in motion, with only one dimension - length. Line has both a position and a direction in space.

Shape- A closed line. Shapes can be geometric, like triangles and rectangles; or organic, like free-formed shapes or natural shapes. Shapes are flat (2-D) and can express length and width.

Space- Area between and around objects. The space around objects is often called negative space. Space can also refer to the feeling of depth. Real space is three- dimensional; in visual art when we can create the feeling or illusion of depth we call it space.

Texture - Surface quality that can be seen and/or felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way they look; for example, a drawing of a cactus may look prickly, but if you touch the drawing, the paper is still smooth. Effects you tactile sense (of touch!).

Value- Light and dark contrast on a scale, which moves from white to black. Color has value also. Pretend you've taken a black and white photo or Xerox to figure out the value ranges.

Paintbrushes …

Are used for applying ink or paint. These are usually made by clamping the bristles to a handle with a ferrule.

Short handled brushes are for watercolor or ink painting while the long handled brushes are for oil or acrylic paint. The styles of brush tip seen most commonly are:

 Round: Long closely arranged bristles for detail  Flat: For spreading paint quickly and evenly over a surface. They will have longer hairs than their Bright counterpart.  Bright: Flat brushes with short stiff bristles, good for driving paint into the weave of a canvas in thinner paint applications, as well as thicker painting styles like impasto work.  Filbert: Flat brushes with domed ends. They allow good coverage and the ability to perform some detail work.  Fan: For blending broad areas of paint.  Angle: Like the Filbert, these are versatile and can be applied in both general painting application as well as some detail work.  Mop: A larger format brush with a rounded edge for broad soft paint application as well as for getting thinner glazes over existing drying layers of paint without damaging lower layers.  Rigger: Round brushes with longish hairs, traditionally used for painting the rigging in pictures of ships. They are useful for fine lines and are versatile for both oils and watercolors.  Sumi: Similar in style to certain watercolor brushes, with a generally thick wooden or bamboo handle and a broad soft hair brush that when wetted should form a fine tip.  Hake: An Asian style of brush with a large broad wooden handle and an extremely fine soft hair used in counterpoint to traditional Sumi brushes for covering large areas. Often made of goat hair.  Spotter: Round brushes with just a few short bristles. These brushes are commonly used in spotting photographic prints.

Common brush sizes are:

 ⅛ in, ¼ in, ⅜ in, ½ in, ⅝ in, ¾ in, ⅞ in, 1 inch, 1¼ in, 1½ in, 2 inch, 2½ in, 3 inch, 3½ in, 4 inch.

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Roch...

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PAINTING MOVEMENTS that your brain should soak in….. At least you’ll be able to answer Jeopardy Q’s and look super intelligent - Movement in painting, originating in in the 1940s. It emphasized spontaneous personal expression, freedom from accepted artistic values, surface qualities of paint, and the act of painting itself. Pollock, de Kooning, Motherwell, and Kline, are important abstract expressionists. art deco Design style prevalent during the 1920s and 1930s, characterized by a sleek use of straight lines and slender form. art nouveau A decorative art movement that emerged in the late nineteenth century. Characterized by dense asymmetrical ornamentation in sinuous forms, it is often symbolic and of an erotic nature. Klimt worked in an art nouveau style. Ash Can School Group of American artists active from 1908 to 1918. It included members of The Eight such as Henri and Davies; Hopper was also part of the Ash Can group. Their work featured scenes of urban realism. An association of French landscape painters, c. 1840-70, who lived in the village of Barbizon and who painted directly from nature. Theodore Rousseau was a leader; Corot and Millet were also associated with the group. baroque A movement in European painting in the seventeenth and early eighteenth centuries, characterized by violent movement, strong emotion, and dramatic lighting and coloring. Bernini, Caravaggio and Rubens were among important baroque artists. byzantine A style of the Byzantine Empire and its provinces, c. 330-1450. Appearing mostly in religious mosaics, manuscript illuminations, and panel paintings, it is characterized by rigid, monumental, stylized forms with gold backgrounds. classicism Referring to the principles of Greek and Roman art of antiquity with the emphasis on harmony, proportion, balance, and simplicity. In a general sense, it refers to art based on accepted standards of beauty. painting A technique in abstract painting developed in the 1950s. It focuses on the lyrical effects of large areas of color, often poured or stained onto the canvas. Newman, Rothko, and Frankenthaler painted in this manner. A movement of the 1960s and 1970s that emphasized the artistic idea over the art object. It attempted to free art from the confines of the gallery and the pedestal. constructivism A Russian abstract movement founded by Tatlin, Gabo, and Antoine Pevsner, c. 1915. It focused on art for the industrial age. Tatlin believed in art with a utilitarian purpose. cubism A revolutionary movement begun by Picasso and Braque in the early twentieth century. It employs an analytic vision based on fragmentation and multiple viewpoints. dadaism A movement, c. 1915-23, that rejected accepted aesthetic standards. It aimed to create antiart and nonart, often employing a sense of the absurd. The Eight A group of American painters who united out of opposition to academic standards in the early twentieth century. Members of the group were Robert Henri, Arthur Davies, Maurice Prendergast, William James Glackens, Ernest Lawson, Everett Shinn, John Sloan, and George Luks. expressionism Refers to art that uses emphasis and distortion to communicate emotion. More specifically, it refers to early twentieth century northern European art, especially in Germany c. 1905-25. Artists such as Rouault, Kokoschka, and Schiele painted in this manner. From the French word fauve , meaning "wild beast ." A style adopted by artists associated with Matisse, c. 1905-08. They painted in a spontaneous manner, using bold colors. folk art Works of a culturally homogeneous people without formal training, generally according to regional traditions and involving crafts. An Italian movement c. 1909-19. It attempted to integrate the dynamism of the machine age into art. Boccioni was a futurist artist. Gothic A European movement beginning in France. Gothic sculpture emerged c. 1200, Gothic painting later in the thirteenth century. The artworks are characterized by a linear, graceful, elegant style more naturalistic than that which had existed previously in Europe. impressionism A late-nineteenth-century French school of painting. It focused on transitory visual impressions, often painted directly from nature, with an emphasis on the changing effects of light and color. Monet, Renoir, and Pissarro were important impressionists. A style, c. 1520-1600, that arose in reaction to the harmony and proportion of the High . It featured elongated, contorted poses, crowded canvases, and harsh lighting and coloring. A movement in American painting and sculpture that originated in the late 1950s. It emphasized pure, reduced forms and strict, systematic compositions. Nabis From the Hebrew word for "prophet." A group of French painters active in the 1890s who worked in a subjective, sometimes mystical style, stressing flat areas of color and pattern. Bonnard and Vuillard were members. naive art Artwork, usually paintings, characterized by a simplified style, nonscientific perspective, and bold colors. The artists are generally not professionally trained. and Grandma Moses worked in this style. neoclassicism A European style of the late eighteenth and early nineteenth centuries. Its elegant, balanced works revived the order and harmony of ancient Greek and Roman art. David and Canova are examples of neoclassicists. An abstract movement in Europe and the United States, begun in the mid-1950s, based on the effects of optical patterns. Albers worked in this style. A figurative movement that emerged in the United States and Britain in the late 1960s and 1970s. The subject matter, usually everyday scenes, is portrayed in an extremely detailed, exacting style. It is also called superrealism, especially when referring to sculpture. pointilism A method of painting developed by Seurat and in the 1880s. It used dabs of pure color that were intended to mix in the eyes of viewers rather than on the canvas. It is also called divisionism or neoimpressionism. A movement that began in Britain and the United States in the 1950s. It used the images and techniques of mass media, advertising, and popular culture, often in an ironic way. Works of Warhol, Lichtenstein, and Oldenburg exemplify this style. postimpressionism A term coined by British Roger Fry to refer to a group of nineteenth-century painters, including Cezanne, Van Gogh, and Gauguin, who were dissatisfied with the limitations of expressionism. It has since been used to refer to various reactions against impressionism, such as fauvism nd expressionism. Pre-Raphaelite Brotherhood A group of English painters formed in 1848. These artists attempted to recapture the style of painting preceding Raphael. They rejected industrialized England and focused on painting from nature, producing detailed, colorful works. Rossetti was a founding member. realism In a general sense, refers to objective representation. More specifically, a nineteenth century movement, especially in France, that rejected idealized academic styles in favor of everyday subjects. Daumier, Millet, and Courbet were realists. Renaissance Meaning "rebirth" in French. Refers to Europe c. 1400-1600. which began in Italy, stressed the forms of classical antiquity, a realistic representation of space based on scientific perspective, and secular subjects. The works of Leonardo, Michelangelo, and Raphael exemplify the balance and harmony of the (c. 1495-1520). rococo An eighteenth-century European style, originating in France. In reaction to the grandeur and massiveness of the baroque, rococo employed refined, elegant, highly decorative forms. Fragonard worked in this style. Romanesque A European style developed in France in the late eleventh century. Its sculpture is ornamental, stylized and complex. Some Romanesque frescoes survive, painted in a monumental, active manner. A European movement of the late eighteenth to mid nineteenth century. In reaction to neoclassicism, it focused on emotion over reason, and on spontaneous expression. The subject matter was invested with drama and usually painted energetically in brilliant colors. Delacroix, Gericault, Turner, and Blake were Romantic artists. A Russian abstract movement originated by Malevich c. 1913. It was characterized by flat geometric shapes on plain backgrounds and emphasized the spiritual qualities of pure form. surrealism A movement of the 1920s and 1930s that began in France. It explored the unconscious, often using images from dreams. It used spontaneous techniques and featured unexpected juxtapositions of objects. Magritte, Dali, Miro, and Ernst painted surrealist works. A painting movement that flourished in France in the 1880s and 1890s in which subject matter was suggested rather than directly presented. It featured decorative, stylized, and evocative images.

Principles of Design QUIZ

Variety Rhythm Unity Movement Balance Pattern Emphasis

1______- elements of design visually distributed to appear equally weighted. If the design was a scale, these elements should make a design feel stable. In symmetrical or formal, the elements used on one side of the design are similar to those on the other side; in asymmetrical or informal , the sides are unequal or different but still look okay to the eye. In radial ____, the elements are arranged around a central point and may be similar.

2______- "Oneness," "Harmony," "Gestalt." The condition of completeness with the use of all visual elements within a format. Things that all get along together nicely…

3______- The path the viewer’s eye takes through the artwork, often to focal areas. Such travel can be directed along lines' edges, shape and color within the artwork. 4______- The repeating of an object or symbol in the artwork.

5______- Can be emphasized with contrast in size, shape, color, texture, etc. Offers contrast within a visual format. Holds the viewer's attention and guides the viewer's eye through the artwork. Too much can lead to chaos and confusion of the viewer- Not enough and it becomes boring- and uninteresting.

6______- is the first thing that grabs the viewer's attention. Also known as dominance. This condition exists when an element or elements within a visual format contain a hierarchy of visual importance. Usually the artist will make one area stand out by contrasting it with other areas. The area will be different in size, color, texture, shape, etc.

7______- is a recurrence or repetition of one or more elements within a visual format, creating harmony. Created when the spaces between shapes and colors create a mood in your artwork. Consistent- like the beat in , you can have regular or irregular ones., but usually real consistent ones. 7- Principles of Design

Balance - elements of design visually distributed to appear equally weighted. If the design was a scale, these elements should be balanced to make a design feel stable. In symmetrical balance or formal balance, the elements used on one side of the design are similar to those on the other side; in asymmetrical balance (or informal balance), the sides are different but still look balanced. In radial balance, the elements are arranged around a central point and may be similar.

Emphasis - is the first thing that grabs the viewer's attention. Also known as dominance. This condition exists when an element or elements within a visual format contain a hierarchy of visual importance. Usually the artist will make one area stand out by contrasting it with other areas. The area will be different in size, color, texture, shape, etc. Also referred to as: Focal Point or Center of Emphasis.

Movement- the path the viewer’s eye takes through the artwork, often to focal areas. Such movement can be directed along lines' edges, shape and color within the artwork. No movement, it becomes very static and boring. “From point A to point B”. *From here… to there!

Pattern/Repetition- the repeating of an object or symbol in an artwork. An item that is used multiple times-usually in a planned manner.

Rhythm - is a recurrence or repetition of one or more elements within a visual format, creating harmony. Created when the spaces between shapes and colors create a mood in your artwork. For example, evenly spaced shapes give a feeling of sedateness while overlap and wide spaces give a feeling of chaos or excitement. Rhythm can make up pattern. Regular/even or irregular uneven rhythms are common- just like the beat or irregular beats used in music- they each have different impacts.

Unity - "Oneness," "Harmony," "Gestalt." The condition of completeness with the use of all visual elements within a format. Belonging together and have something in common- whether its color, line, shape, etc… (usually several of the elements!)

Variety - can be emphasized with contrast in size, shape, color, texture, etc. Offers contrast within a visual format. Holds the viewer's attention and to guide the viewer's eye through the artwork. Variety is the opposite of the principle of rhythm. It's what makes the art piece interesting. Too much variety can lead to chaos and confusion of the viewer. Without variety, it is lifeless and boring.

What is the importance of Art?

Art brings beauty into our world. Art is important because it makes our world a better place. It also brings a sense of enjoyment and pleasure

Art allows for the expression of truth and beliefs. Some art challenges our beliefs. Other works affirm our faith. Art is an important tool in causing us to examine our beliefs in light of an artists' rendition or perception of truth.

Art has the ability to transport us to a different time and place. It allows us to gain historical perspective and understanding. Art allows us to appreciate different periods in history and their impact and significance in our world.

Art immortalizes people, places, and events. Artists create a visual record of life experiences commemorating the memorable and challenging social injustices, such as slavery and abuses, in time.

Artists serve as historians in this role, documenting life on: paper canvas, photography, computer or sculpture.

TASK: Now list the top 10 art pieces that have influenced YOU!

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