DOCUMENT RESUME ED 088 224 EA 005 958 AUTHOR Kohl, Mary TITLE Guide to Selected Art Prints. Using Art Prints in Classrooms. INSTITUTION Oregon Association for Supervision and Curriculum Development, Salem. PUB DATE Mar 74 NOTE 43p.; Oregon'ASCD Curriculum Bulletin v28 n322 AVAILABLE FROMOregon Association for Supervision and Curriculum Development, P.O. Box 421, Salem, Oregon 9730A, ($2.00) EDRS PRICE MF-$0.75 HC-$1.85 DESCRIPTORS *Art Appreciation; *Art Education; *Art Expression; Color Presentation; Elementary Schools; *Painting; Space; *Teaching Guides IDENTIFIERS Texture ABSTRACT A sequential framework of study, that can be individually and creatively expanded, is provided for the purpose of developing in children understanding of and enjoyment in art. .The guide indicates routes of approach to certain kinds of major art, provides historical and biographical information, clarifies certain fundamentals of art, offers some activities related to the various ,elements, and conveys some continuing enthusiasm for the yonder of art creation. The elements of art--color, line, texture, shape, space, and forms of expression--provide the structure of pictorial organization. All of the pictures recomme ded are accessible tc teachers through illustrations in famil'a art books listed in the bibliography. (Author/MLF) US DEPARTMENT OF HE/ EDUCATION & WELFAS NATIONAL INSTITUTE I EOW:AT ION THIS DOCUMENT HAS BEEF DUCED EXACTLY AS RECEIV e THE PERSON OR ORGANIZATIO ATING IT POINTS OF VIEW OR STATED DO NOT NECESSAR IL SENT OFFICIAL NATIONAL INS1 EDUCATION POSIT100. OR POL Li Vi CD CO I IP GUIDE TO SELECTED ART PRINTS by Mary Kohl 1 INTRODUCTION TO GUIDE broaden and deepen his understanding and appreciation of art. What Are Paintings? However, a teacher cannot teach the subject matter, the Art is something of permanent value created above all for form, or the content of a work of art but can only expose its own sake appreciation is our active experience of it. the student to experience in the area of these components. Art deals with visual signs to convey ideas, moods, or generalized emotional experiences.It could be called a How Do We Look At Paintings? language of visual signs. Although art is not intended to convey factsor information,ithas served as both a What do you see when you look? When you look out of a technical and an interpretive record of human experience; window on a rainy night, do you see' the raindrops sliding therefore the appreciation of art (or understanding art) may down the pane, forming and reforming in patterns? Or do be enhanced by attempting to grasp the meanings of works you look through the glass and see the wet streets beyond, of art. the pools of color and reflections of lights? Do you see silhouettes of cars and people moving across the lights? A painting can accomplish the following functions:it can The eyeselects and the mind chooses. You may feel observe, record, and comment; it can interpret and then curiosity about the group of people huddled in a doorway; evaluate, as with Van Gogh, whose human joy and sorrow another level of your mind may become half-hypnotized by are poignantly rendered in tearful, agonized cypresses and the changing lights and patterns and see flower shapes in in apple orchards of beautific bloom; it can even justify, as the wet pavement, purple and crimson anemones with their, represented by the work of Velasquez or Cdzanne, where dark centers. Looking, thinking, feeling, remembering solutions to the strongest contrasts between the complexi- how are they all related? ties of nature and the organizing will of the artist are most accomplished; and ultimately, it can create, left to the most There are many ways of seeing: with scientific obserVation, absolute artists such as Michaelangelo and Rembrandt. with emotional involvement. They are hard to separate. Also there are highly personal and individual ways of Is a painting, then, merely a window through which we thinking and feeling. These are the views master artists look? For, if that is allitis, merely a reproduction of a present to us. particular view of nature, then it will soon lose interest for us. The underlying organization, the repetitions of forms Our ways of seeing are greatly affected by artists. Very and colors, the rhythm of lines, these are the elements often, without suspecting it,we,are seeing, at second or artists use to command our attention and arouse our third hand, ideas or images that truly original artists have feelings. been the first to express, ideas that other artists, designers. and advertisers have appropriated and have spread far and Why Do We Look At Paintings wide. For fifty years, designers and illustrators have been using Mondrian's austere and spare language of forms and The fact that our eyes are bombarded with visual images color. today television. movies, advertising makes cultiva- tion of a selective and discriminating eye more difficult. There are other ways that artists affect the world around them, too. Often the visions they create are so enchanting The growth of understanding and enjoyment inartis that the visions sometimes become our idea of the real. dependent upon individual interests, observation, and introspection. The faculties of judgment must be enlarged As Li-Weng, a 17th century Chinese writer, said, "First we and kept fresh by constant practice. The opportunities for see the hill in the painting, then we see the painting in the this practice present themselves every day. Art infiltrates hills." every phase of life. PURPOSE OF GUIDE It takes a great talent and training to be a good judge of art; but that has nothing to do with the potentiality for most Through the use of this guide, one can seek to develop in people to get a very great deal out of a work of art. The children the growth of understanding and enjoyment' in art. ways in which a child looks at the world of nature and the world of art can help him understand himself and what kind The manner of organization of the following material is not of a person he chooses to become. His own experience can meant to be limiting to the teacher, but rather to provide a sequential framework of study which can. be individually All of the pictures recommended are accessible to teachers and creatively expanded.Prints, other than the ones through illustrations in familiar art books which are listed suggested at each level. should be freely used. whether for in the bibliography.If they are. not available, another holidays, special areas of interest, inspiration for creative example of the artist's work can usually be substituted as writing, or simply because they are favorites. representative of his style or period. This guide will indicate routes of approach to certain kinds The most immediate need within any new realm of human of major art, provide historical and biogiaphical informa- experience, as with the child for the world at large, is tion, clarify certain fundamentals of art, offer some sheerly to identify. Thui to name the work and the artist is activities related to the various elements, and convey some the introduction. The succeeding steps will lead us to a continuing enthusiasm for the wonder of art creation. definition and then to an experience. Having this material in one package should relieve the teacher of some research. The development of the formal qualities of a work of art takes place in the feelings of an artist, and it is only The discussion of the element of art at each level is closely through the use of our feelings that we are able to perceive allied to the following activities as well as to the particular them. Perception can be sharpened and refined by an prints selected. explanation of principles of pictorial organization and by ORGANIZATION OF GUIDE Step. Homanof Art Related Area of Suggested Artists Activities Interest Prints 1 Study of Color S Animals S Audubon Gainsborough E and E Brueghel E Children E ... 2 Study of Line S Action S Chardin Millet E and E Delacroix Raphael C Occupations C T T 3 Study of Texture I Still-Life I Constable Renoir I and 0 Gauguin Van Gogh 0 Landscapes N Monet N Study of Shape Cowboys and 4 Modigliani Russell 2 Indians Rembrandt Stuart and Portraits 0 Remington 0 F 5 Study of Space F American Bellows Homer Primitive E Bingham Ryder E American A Copley Wood A Historical C Durand C Sports and H H Athletes S 6 Study of Forms S The Oldest T Giotto Manet of Expression T to the E Fra Angelico Cdzanne E Newest P Leonardo da Vinci Picasso P Michelangelo Braque Durer Chagall Velasquez Klee r 3 practiceintheir use. This practiceissought through the different wave lengths of light. In order to systematize constant and critical probing of the works of art of all color relationships, the hues are arranged on a color wheel. historical periods. Most of us can develop this new vision The three primary colors are equidistant; the three when our interest is tied to some systematic method of secondary colors are placed in between the primaries, from search and guidance. which they aremixed;in between each primary and secondary color is an intermediate' color, the whole resulting in a twelve color circle. The hues which appear directly opposite each other are known as complementary colors. It is these combinations which produce the most SEQUENTIAL FRAMEWORK OF STUDY vibrant color effects. Van Gogh said, "1 ..an hardly paint a yellow-green without painting a blue-violet." Look for the Step 1 ways artists use these oppositions to enhance their colors. Element of Art: Color Value distinguishes between the lightness and darkness of colors, or the quantity of :light which they reflect.