Contents
Page Lesson
4 5 6 7 9
Materials
Teaching Simply
Welcome to the Italian Renaissance
1
Video #1 Watercolor
2
Cimabue
Madonna Enthroned, with Saints and Angels
13
3
Giotto
Lamentation of Christ
16
4
Limbourg
October (The Tres Riches Heures of Jean, Duke of Berry)
21
5
Van Eyck
The Arnolfini Portrait
25
6
Video #2 Watercolor Wash
26 7
Ghirlandaio
Portrait of an Old Man and Young Boy
29 8 30 9
Video #3 Line Resist Leonardo da Vinci
Two Studies of a Crab
35
10
Botticelli
Giuliano de’Medici
38 11
Video #4 Fresco Michelangelo
39
12
The Creation of Adam
44 13
Video #5 Oil Pastel Textures
45
14
Raphael
Saint George and the Dragon
49 15
Sofonisba
Three Sisters Playing Chess
52 53
16 17
Video #6 Scratch Paper
Bachiacca
The Gathering of Manna
57
18
Parmigianino
The Conversion of Paul
61 62
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.
ART MATERIALS Prang ® pan watercolor set Watercolor paper pad Two 9�x12� hardboard panels Small 8oz. spackling paste Small plastic putty knife
HOUSEHOLD ITEMS Masking tape Paper towels Container for water Plastic wrap Mirror
Scratch-Art ® Paper Gold origami paper
STARTER PACK MATERIALS Oil pastel set Drawing paper Construction paper Scissors Watercolor brush, round #8 Elmer’s ® Glue-All Glue stick
4
Welcome to the Italian Renaissance
The Italian Renaissance was a time that seemed to be made for the artist. Sudden wealth and more stable ruling families brought on a desire for beautiful art. In the Renaissance, people discovered ways to paint a picture that looked more real. These new ideas spread rapidly throughout Italy and to countries north of Italy. The Renaissance is a period of time in European history when the Italians developed Realism by working out formulas. The formulas of perspective, foreshortening, and human figure proportions were worked out with mathematics. In this book we’ll explore the artists that shaped the Italian Renaissance. Come join the fun! -Brenda Ellis The Renaissance began in Florence. Florence was the center of a major trade route. It received goods by sea from the Middle East and China. Fiorentinos distributed those goods by land throughout Europe. This powerful city-state connected goods, ideas, and art throughout the entire known world.
6
Line Resist
Lesson 8 Video #3
Gather oil pastels, a watercolor set, watercolor paper, a round brush, a paper towel, tissue, and a water container.
To make a painting with resist techniques, follow these steps. 1. Select a variety of pictures or illustrations of spiders, bugs, and insects. 2. View Video #3 to see how to make a picture using resist techniques with oil pastels and watercolor. Your art project will be unique as you apply the methods shown in the video to your own ideas.
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PREP NOTES FOR LESSON 9 Some children will be confident when imagining a new creature and others may want more guidance. For the latter group, it is helpful to have a variety of pictures of creatures on hand. You might play a game, where children take turns picking a part of a particular animal, such as an elephant’s tail, a horse’s neck, or an eagle’s claws. You direct and combine these parts into a whole animal that you draw out for them. In this way they see a demonstration of imagination at work to create something new and have fun along the way. Leonardo Da Vinci Lesson 9 Leonardo da Vinci duh VIHN chee, (1452 – 1519)
Leonardo da Vinci was curious from birth and stayed that way his whole life. His curiosity drove him to look at the world and how things work. Have you ever looked at something in nature and discovered something about it that you didn’t know? What was it? Like Leonardo, you have a curious mind. You may be just as famous one day.
Piero da Vinci handed Leonardo’s drawings to the great Florentine master, Andrea Verrocchio, in order to get an opinion on his son’s talent. “Leonardo is always off on his own pursuits, but I think you’ll find he is highly interested in learning the art of painting. He is always looking, always thinking, always aware of the possibilities,” his father spoke proudly. “Verrocchio was amazed when he saw Leonardo’s extraordinary beginnings, and he urged Ser Piero to make Leonardo study art. Piero arranged for Leonardo to go to Andrea del Verrocchio’s workshop, something Leonardo did very willingly” (Vasari 285). At Verrocchio’s shop, Leonardo carefully studied his craft by drawing from life. One day his father brought him a roughly carved shield and asked him to paint a picture on it. Leonardo gave the shield to a turner who made it smoother
30
and more even. He decided to make an image that would terrify anyone who saw it. Leonardo searched the countryside for live animals. Into his room he brought “crawling reptiles, green lizards, crickets, snakes, butterflies, locusts, bats, and other strange species of this kind, and by adapting various parts of this multitude, he created a most horrible and frightening monster emerging from a dark and broken rock, spewing forth poison from its open mouth, fire from its eyes, and smoke from its nostrils so strangely that it seemed a monstrous and dreadful thing indeed” (Vasari 288). He studied the animals and insects so carefully andpainted themwith suchattention to detail that he did not notice the awful smell of them. When Ser Piero came to pick up the finished shield, Leonardo played a trick on him. He set the shield on his easel so that it would be the correct height of the monster. Then he closed the curtains so that the painting was seen in a dim light. His father, not expecting a trick, entered the room and was immediately aware of the awful smell. Then he saw a horrible beast! He gasped and turned to leave. Leonardo laughed and said, “Take it away, for this was the intended effect” (Vasari 289). Ser Piero laughed too. He thought the
work was fabulous and sold it for a large sum of money. Everyone loved Leonardo da Vinci. He had incredible talent, but he also had a sense of humor and curiosity that people enjoyed. LeonardodaVincistayedcurious during his entire lifetime. He studied the human body, stars, planets, plants, and the earth. He designed inventions and drew plans for mills, canals, and building structures. He used paint in new ways that marked the change from the Gothic artists to theRenaissance artists.
Study of two Dragons by Leonardo da Vinci.
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Two Studies of a Crab, 1506 by Leonardo da Vinci
In the illustration on the previous page we saw that Leonardo drew fanciful creatures like a pair of dragons with wings. In the dragon drawings, he used what he knew of animals and then adds what he thought they might look like through his imagination. He also drew creatures by looking at them. These kinds of drawings are called studies. In the Renaissance period, a study was often used to prepare the artist for a painting in color. Leonardo had to observe the crab carefully to make these studies. How many legs did he see on the top crab? Howmany sections make up each leg? How many eyes did he see? What do you think a crab feels like if you could touch one?
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YOU MAKE A BLACK LINE RESIST
STUDENT GALLERY Annalise age 8
Gather a black oil pastel, watercolor paint set, watercolor paper, a round brush, a water container, and a paper towel.
Leonardo prepared quite a joke for his father as he allowed his imagination to work. You can imagine too. Think of a new kind of creature or an entire world full of creatures. The creatures may be those that travel on land, like Leonardo’s dragon, or they may live in the sea. Your creatures may have exaggerated colors or be made of parts from many kinds of animals. Follow the steps for making crisp edges with black oil pastel. These black edges will hold the color in place. (1) Draw outlines of creatures using a black oil pastel. Paint inside the lines to fill in the space of each creature. (2) Use watercolor to fill in the spaces around each creature. The oil will resist the watercolor. The color is kept outside the oil pastel lines and away from the color that is inside the lines. Bold black outlines are one way to make objects stand out and be noticed.
1
2
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PREP NOTES FOR LESSON 10 Share the information on this page with your child before starting the lesson. Look at the portraits found throughout this book and discuss if any of the following methods are used for the background: a mountainous landscape (pgs. 14, 27, 50, 59), a window (pgs. 23, 27, 36), or a solid area of color (pg. 11).
What sits behind the face of a Renaissance portrait? We often see the mountainous landscapes of Italy behind the face, as Raphael shows us in Portrait of Agnolo Doni (1). Artists and their patrons were fond of windows and curtains, which connected the landscape outdoors to the sitter inside the room, as Fra Filippo Lippi shows us in Womanwith aMan at aWindow (2). Occasionally the artist might choose a solid color so that the person and what they hold are the only objects in the painting. Leonardo da Vinci uses this device in The Lady with an Ermine (3). 1
2
3
34
Sofonisba
Sofonisba Anguissola Soff oh nees bah (1532-1625)
Lesson 15
PREP NOTES FOR LESSON 15 Today the focus is on family. Children enjoy hearing about their heritage. Talk about extended familymembers who are artists or whowork in creativeways with othermaterials. You might bring to mind any paintings or portraits of family members, and who painted or photographed them.
What kind of job do you dream of having when you grow up? Sofonisba might never have dreamed that she would travel to another country to work for a queen. That is just what she did, all because of her love for painting.
“Sofonisba wants to paint. Who will sit for Sofonisba now?” called her youngest sister. “Let Sofonisba be her own model,” called back another sister as she contemplated her next move on the chessboard. Sofonisba Anguissola ran into the room. “Have you heard, my dear sisters? Father has written to the great Michelangelo to request a drawing by his own hand, that I might paint it!” “You should practice even harder, if that’s true,” stated her sister, “so that your hand
at painting won’t ruin a fine sketch by the master artist.” Sofonisba laughed, for no teasing would ruin her good mood. “I will practice, dear sister. I will draw you as you are today, so that the world will remember the Anguissola sisters.” Sofonisba and her three sisters were born into a noble Italian family. They all had artistic talent, but Sofonisba proved to be the most skillful. Noble families purchased her paintings. She studied painting for six years, then “was spotted by the Duke of Alba in Spain (Payne 69).” She moved to Spain and there her talent for painting portraits was rewarded when she became lady-in-waiting to Queen Isabel of Spain. There, she painted many portraits of Queen Isabel’s family. Sofonisba is one of the few well-known women artists of the sixteenth century. The support of her caring father and her own talent for painting portraits are the main reasons for her success and why we find her name in art books today.
49
A Game of Chess, 1555 by Sofonisba
In this painting, we see Sofonisba’s sisters playing chess. An older woman, their servant, watches. Sofonisba had a talent for painting delicate things. She paints details in the clothing so that the patterns and decorations are clearly seen. She paints an Italian landscape in the background using blues and greens.
Which sister looks like she is having the most fun?
Which sister is moving her chess piece while staring at the painter? Which sister has a raised hand as if she is ready to move her piece at the instant her turn begins? Is the youngest sister enjoying the game?
The table tilts toward us. What does that help us to see?
Although this painting was created indoors, what has Sofonisba put into the painting that suggests the outdoors?
50
YOU MAKE A COLORED GROUND PICTURE
STUDENT GALLERY Nathan age 6
Gather an oil pastel set and colored construction paper.
Sofonisba made portraits of her family members and later she made portraits of family members of the Spanish court. In the student work, Nathan made a picture of himself and his twin brother. It’s time for you to make a picture of your family. You can include brothers, sisters, parents, or grandparents. Draw with oil pastels on colored paper.
Light colors stand out on colored or dark paper. The paper is our background. It’s what is behind the subjects. Using colored paper adds greater contrast between light colors of the pastels and the darker color of the paper. Don’t forget to use the white pastel in this picture! It’s sure to make your artwork stand out and be noticed!
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