Contents
Page Lesson
4 5 6 7 9
Materials
Teaching Simply
Welcome to the Northern Countries
1
Video #1 Monoprint A Search for Knowledge
2
The Large Piece of Turf
13
3
Bruegel
Hunters in the Snow
16 17
4 5
Video #2 Relief Print
Dürer
The Flight into Egypt
21
6
Rembrandt
The Strolling Musicians
24 25
7 8
Video #3 Charcoal
Rubens
Lion and Daniel in the Lions’ Den
29 9 31 10 34 11 35 12
Video #4 Watercolor Mixes
Cuyp
Herdsmen Tending Cattle
Video #5 Oil Pastel with Watercolor Resist
Van Huysum
Still Life with Flowers and Fruit
41 13
Vermeer
Girl with the Red Hat
46 14
Fragonard
A Young Girl Reading
51 15
Turner
The Fighting Temeraire
54 16 55 17
Video #6 Three-Color Relief Print
Millet
The Gleaners
58 18
Corot
The Forest of Fontainebleau
62 64
Objectives Bibliography
3
Materials
The art materials used throughout this book are listed below. Having these items on hand will simplify the preparation for each art class. You can conveniently pull required materials from your stock as needed according to the list in each lesson. Keep in mind that items listed under STARTER PACK MATERIALS were used in volume one of this series and may already be in your stock.
HOUSEHOLD ITEMS Masking tape Paper towels Container for water Wax paper Mirror Cotton ball *Lightweight chipboard
ART MATERIALS Prang ® pan watercolors red, orange, yellow, green, blue, purple, black, and brown Two vine charcoal sticks Watercolor paper pad Drawing paper pad Brayer 1 each of water-soluble printing ink black, blue, and yellow Foam printing sheets 9 ” x 12 ” STARTER PACK MATERIALS
*Chipboard can be purchased or cut from cereal boxes or similar food boxes
Elmer’s ® Glue-All Oil pastel set Construction paper Watercolor brush, round #8 Ebony ® pencil Scissors
4
A secret is hard to keep when you’ve discovered something good. Italy could not contain its secrets. Visitors to Italy quickly spread the great artistic discoveries of the ItalianRenaissance into the Northern countries. There, aNorthernRenaissance began which spread throughout all of Europe. Artists in the North had their own unique ways of using this information. The art they made looked more real and was called Realism. The new Realism was based on looking at the world of nature. What started in the Northern Renaissance continued into the 19 th century through art academies. Academies set the rules for art and shaped the way republics and kingdoms throughout Europe and the New World would think about art. Come join the fun as we explore the art of Northern Europe! -Brenda Ellis We will focus on a part of the world where amountain range, called the Alps, divides the north from the south. Italy, the center of the Italian Renaissance, is south of the Alps. This book explores the art from countries that are north of the Alps. Welcome to the Northern Countries
6
Relief Print
Lesson 4 Video #2
Gather a brayer, a pencil, a Styrofoam sheet, scissors, wax paper, masking tape, black printing ink, and drawing paper.
Follow these steps to make a relief print.
1. Select a picture of a pet that is light in color.
2. View Video #2 to see how to make a picture with printing ink. Your art project will be unique as you apply the methods shown in the video to your own ideas.
16
PREP NOTES FOR LESSON 3 Provide scenes of snow, winter, and ice. Even if you live in a part of the world where this is not your experience, it is fun to learn more about these regions. Bruegel Lesson 3 Pieter Bruegel the Elder, BROY guhl , (~1525-1569)
People may dress, speak a language, or celebrate holidays in a different way than is customary for your family. How do you act around people who are different from you in some way? In Pieter Bruegel’s time, people separated themselves by the amount of money or possessions they owned. Rich families rarely mingled with the poor. Pieter Bruegel was different. He came from a wealthy family and he painted the poor. His paintings gave others a greater understanding of the way that they lived, loved, worked, and played.
“Good Sir!” Pieter called to the peasant who skillfully skated past him on the frozen canal. “Let me use your skates so that I can enjoy the ice.” Skating was a favorite past time of his people, yet Pieter Bruegel rarely had the time to do it. He was well educated as a child and time devoted to study still took up most of his day. Those long hours of learning had led him to Antwerp, Belgium, to study painting with two well-known artists. The sun soon set and Pieter returned the skates to the generous man. The man bowed with a humble smile to thank Pieter, for Pieter’s fine clothing and manner told him that Pieter was a young city man and not one of the poor, like himself. Pieter returned the smile, for although he was from a wealthy family, he did not feel the need to look down on the poor the way many of his class did. As Pieter walked back to his home, he thought about this kind and generous group of people. They struggled for necessary things like daily food and warm homes. Yet they had time to play, time to dance, and time to enjoy the land they lived on and the people who were their neighbors. Perhaps, he thought, they have strength of character worth noting. While the nobles worked and played within the high walls of their estates, the common people worked and played outdoors, in view of all. These peasants later became the subjects that Pieter Bruegel focused on in his paintings. He often dressed like a peasant so that he could attend weddings and other celebrations without being noticed. In peasant costume, he gathered information for his paintings. Bruegel painted scenes of their struggles and scenes of their joys. His pictures encouraged good character and displayed folly as well.
13
Hunters in the Snow, 1565 by Bruegel
This painting by Pieter Bruegel is one of six paintings ordered by a wealthy Antwerp merchant to show seasons. The winter landscape depicted the months of November and December. It shows men returning from a hunt. The tired dogs follow. The background is full of activity. Peasants cook at an outdoor fire. People ice skate. Some carry bundles. We can remember Pieter Bruegel the Elder for his view of peasant life, painted in such a pleasant manner that we may want to jump into the painting and join in the activities!
How many hunters do you see? How many dogs traveled with the hunters? How many birds can you see in the tree branches? Find a large tree on the left. Follow the row of trees. You followed a path to the center of the painting and now see the ice covered lakes below. Can you point to the lakes? Why do you think people travel across the ice rather than through the snow to accomplish their business?
14
YOU MAKE AN OIL PASTEL DRAWING
STUDENT GALLERY Bridgette age 7
Gather oil pastels, colored construction paper, and a tissue.
You just looked at a painting where the white snow stands out from a colored sky. The painting by Pieter Bruegel was made with oil paints, using a complicated process. In this project you can use oil pastels to mimic the look of oil paints. Create a snow scene.
2. Add the snow with white oil pastel. Notice that the snow falls from above and sits on top of objects, including branches.
1. Choose a sheet of paper in the color that you want for the sky. Draw the objects onto the paper with oil pastels.
15
Gather a vine charcoal stick, drawing paper, a tissue or cotton ball, and hairspray. Charcoal Lesson 7 Video #3
To draw a wild animal in charcoal, follow these steps.
1. Select a small model of a wild animal. Plastic animal toys make great models to draw. 2. View Video #3 to see how to make a drawing using vine charcoal sticks. Your art project will be unique as you apply the methods shown in the video to your own ideas.
24
PREP NOTES FOR LESSON 8 In this lesson, your children will hear how Rubens was a model student. Help children to make connections with Rubens. Are they reading a book? Are they studying a language? If so, then they are learning like Rubens. Discuss how what they do now may be important to future opportunities. Rubens Lesson 8 Sir Peter Paul Rubens (1577-1640)
Have you ever worked hard at something in order to become good at it? Rubens was a hard worker when it came to studying languages and making art. His ability to write and speak well helped him to communicate with royalty in a number of nations, where his paintings caused a sensation. “Peter Paul, come play ball with us”, called his uncle from the open window. “Come, I’ve reserved a place for you with the big boys.” “You’ll never pull his long nose from that book. It must be stuck,” called one of the older boys. Peter Paul barely heard the taunting, for his head was indeed buried in a copy of The Iliad by Homer. As he deciphered the Greek language, he found Hector and Achilles engaged in a long battle with many twists and turns. Now the Greek god, Zeus, had weighed
their lives on a golden scale to determine their fates. The engaging story would not release him for a simple game of ball. From age nine to thirteen, Peter Paul Rubens went to school and studied the languages of Latin and Greek. This allowed him to read classic books by great writers of the past. His activities as a child are described as “one long course of study” by his uncle. At thirteen, he decided to become a painter and was in an apprenticeship soon after (Rooses). He served as an apprentice to three established masters: his uncle, Verhaecht; van Noort; and van Veen. At the age of twenty-one he was admitted into Antwerp’s professional guild for painters. Always learning, Rubens wrote and spoke extremely well in five languages. He would later conduct business with royalty in the countries of France, England, Italy, and Spain. He was called “the prince of painters and the painter of princes.” While painting portraits, he listened as rulers of nations told him their opinions. Traveling from country to country as a court painter, he was used as a diplomat, carrying messages from one monarchy to another. Rubens always returned to the Netherlands, where he lived for most of his life. There, he ran a prosperous studio with many apprentices of his own. He was respected by all. It was said that he kept a good home, and was a devoted father and husband. Rubens was a devout Catholic and painted pictures for Roman Catholic churches as well as for homes and castles. Rubens’ exuberant Baroque style brought life to any setting. He became a world-renowned artist during his lifetime.
25
Lion, c. 1612-13 by Rubens
In Rubens’ time, drawings were made as a quick way to see what an object would look like before starting a painting of it. This study was referred to when making the painting. Here, we see a drawing made for the center lion in the huge work; Daniel in the Lions’ Den . Can you find that lion in the painting?
26
Daniel in the Lions’ Den, c.1614-1616 by Rubens
This is a story told in the book of Daniel. Rubens captures the grateful Daniel as he answers to the King of Persia, stating that his God “shut the lions’ mouths.” This painting is large: 88 inches by 130 inches. The lions are painted as big as life! How many lions do you see in the painting above? What lies at the feet of the lions? Look at the lines in the drawing, Lion . Which lines show fur? Which lines show the outside edges of the animal?
27
YOU MAKE A CHARCOAL DRAWING
STUDENT GALLERY Joe age 7
Gather a vine charcoal stick, drawing paper, a cotton ball or tissue, a photograph of an animal, and hairspray.
Charcoal is a drawing tool that was used during Rubens’ time and is still used today. Rubens drew several pictures of lions before he created the painting. Photography had not been invented yet, so Rubens drew these lions as he looked at real lions. These studies helped him to put onto paper what a lion really looked like. You can look at a real animal, a photograph, or a plastic model. Draw with charcoal sticks. Here is an example of one way to draw. You might want to try it today.
1. Draw circles and other simple shapes that describe the big areas of the figure. Connect the shapes to make the whole figure. Use the shapes as a guide for drawing the outlines.
2. Draw the outlines. Look at how the edges of the figure fit around the circles. Lighten the shapes by wiping with a cotton ball or a tissue. Continue to draw the outline.
28
Three-Color Relief Print
Lesson 16 Video #6
Gather a brayer, a pencil, one Styrofoam sheet that is cut in half, drawing paper, wax paper (36 inches), masking tape, and three colors of printing inks.
To make a three-color print, follow these steps.
1. Select one small creature that you’d like to draw. Look in magazines, books, or with the help of an adult, find a picture on the internet. 2. ViewVideo#6 to see how touse a single Styrofoamprinting plate tomakemultiple prints of the same scene. Your art project will be unique as you apply the methods shown in the video to your own ideas. You may want to focus on applying one color each day, taking time to enjoy the three-step layering process. The process can be completed in one long session, if preferred.
54
Objectives
The purpose of objectives is not to inhibit or restrain creativity in any way, but to ensure that the activity is focused clearly enough that both student and teacher know what is to be learned in the lesson. When objectives are met, your child is learning, without regard to the skill level or outcome of the art being produced! Lesson 1: The student will produce a monoprint to show the use of black and white space relationships and another monoprint to show detail. Lesson 2: The student will create and respond to art as they investigate a section of ground and make an oil pastel drawing of leaves, grass, and other objects within the section. Lesson 3: The student will produce a picture of a landscape using oil pastel on a colored background. Lesson 4: The student will gain skills in communicating visual information as they create a relief print featuring a white figure on a dark background. Lesson 5: The student will further their skills in communicating visual information through the use of a black figure on a white background in the relief printing process. Lesson 6: The student will feel empowered to make choices and express ideas in original ways as they produce a two color relief print using one plate for the background and another plate for the cut out figure. Lesson 7: The student will increase spatial reasoning skills and develop an understanding of rendering objects as they draw with vine charcoal and soften lines using a cotton ball or tissue. Lesson 8: The student will increase spatial reasoning skills and develop an understanding of the position of objects as they work from an animal model, real life, or a photograph to make a representational animal figure in charcoal. Lesson 9: The student will gain skills in mixing washes and explore how two primary colors mix to become a secondary color. Students explore blue and red, blue and yellow, and red and yellow mixtures. Lesson 10: The student will respond to design challengeswith innovation as they paint a landscape in either a warm or cool color scheme. Lesson 11: The student will innovate as they use oil pastel to build barriers that contain colors while creating a flower painting to demonstrate the resist technique.
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