Contents
Page Lesson
4 5 6 7 9
Materials
Teaching Simply
Welcome to Impressionism Video #1 Gouache Paint
1
2
Manet
The Railway
13
3
Morisot
Hanging the Laundry Out to Dry
16
4
Caillebotte
Paris, the Place de l’Europe on a Rainy Day
20 5
Video #2 Opaque Gouache
21
6
Monet
(haystack, poplar, and cathedral paintings)
24
7
Monet; an Impressionist’s Palette Water Lilies Video #3 Carving Sculpture
29 8 30 9
Pompon
Polar Bear in Stride
33 34
10 11
Video #4 Modeling Sculpture
Rodin
The Thinker
37
12
Degas
The Little Fourteen-Year-Old Dancer
42 43
13 14
Video #5 Gouache Techniques
Renoir
A Girl with a Watering Can
48 15
Pissarro
The Red Roofs, Corner of a Village, Winter
52
16
Cassatt
Little Girl in a Blue Armchair
56 57 62 64
17 18
Video #6 Constructing Sculpture
Bartholdi
Liberty Enlightening the World
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 HOUSEHOLD ITEMS
Two bars of soap Aluminum foil Masking tape Two paper cups Cardboard tubes Toothpicks STARTER PACK MATERIALS Oil pastel set Scissors Brush, #8 round Construction paper, assorted colors Elmer’s ® Glue-All Ebony ® Pencil
*Gouache paint set ** with white paint in a tube Watercolor paper pad
Brush, ¼ inch flat Brush, ½ inch flat Plaster cloth Gesso Modeling clay, 1 lb. assorted colors
*cake form, also called opaque watercolors
**a tube is often provided in the paint set
4
Welcome to Impressionism
Thefirst time someone calledanartist an Impressionist, itwas an insult. Peoplewere familiar with paintings of solid objects that looked real. This group of artists painted in strange new ways, showing just wispy impressions of objects on the canvases. But people soon fell in love with the new brighter colors that Impressionists used. The Impressionists no longer made works that told popular stories (narratives) of the past, but they made art that showed what each of them saw in their own time. You can make art about the things you see around you, just as the Impressionists did. Come join the fun, as we explore the colorful world of the Impressionists! -Brenda Ellis
Impressionism began in the city of Paris in France. New railroads, monumental buildings, wide streets, and public parks all beckoned the citizens to step outdoors and enjoy themselves. As they did, the painters had subjects to paint that were far different from the past. The background for these people was the beautiful, newly remodeled city of Paris.
6
Manet
Lesson 2
Édouard Manet ma NAY (1832-1883)
When we like something, we usually like talking about it. What do you like to talk about? Édouard Manet often took the opposite view when he faced the traditions of art in his time. Young artists took notice of Manet’s new ideas and they wanted to talk to him.
People did not expect that the son of a wealthy Parisian family would become an artist. But Manet had become an artist. As a French artist, Manet was expected to show his most impressive paintings at the Salon each year. The Salon was the official art exhibition of the French Academy of Fine Arts in Paris. It was, in its time, the greatest art event of the Western world. Every French artist knew that in order to be known and sell their work, they must get their paintings shown at the Salon. Manet did submit work to the Salon jurors, but sometimes the paintings were rejected. While Salon jurors liked paintings of figures that represented famous characters from long ago, Manet painted people dressed in clothes from his own time. While some of his paintings look very real, just as
the Salon jurors liked to see them, other paintings appeared with loose brush strokes. Despite the Salon jurors’ disapproval, these two innovations were the things that young painters loved. Young painters wanted to paint the people of their own time. They wanted to paint with light brush strokes. They wanted to hear more of Manet’s thoughts on painting. Meeting in a café, Degas, Monet, Renoir, and other young artists would soak up the ideas of Édouard Manet. “There are no lines in nature, only areas of colour, one against another,” Manet explained as he pointed to the café chair to prove his point. “But one must surely use lines to make art,” spoke another. Agreement and disagreement with the statement erupted all at once as the artists spoke out. Someone spoke louder than the others, “Perhaps paintings should be color against color, but what would that look like?” So the conversations went. Each heated discussion left the young men eager to try their new ideas on canvases. The next evening the artists would return to the café for more discussions lead by Édouard Manet. This small group of artists became the Impressionists.
9
The Railway, 1873 by Manet
This painting shows Édouard Manet’s interest in scenes of everyday life. The young girl faces a steam locomotive as she holds onto a metal fence. Steam powered trains were a new invention in the first part of the 19 th century. Here we see ordinary people doing ordinary activities. In Manet’s time it was uncommon that such a casual scene would be a worthy subject for a work of art. By painting it, Manet brings respect to all people. What sits in the lap of the young womanwearing a black hat?What does the girl hold onto? How many black bars stretch across the painting? What kind of snack lies on the bench?
10
YOU MAKE A PORTRAIT
STUDENT GALLERY Merriah age 9
Gather gouache paints, a pencil, round and flat brushes, watercolor paper, a palette, a water container, and a paper towel.
You just looked at a painting of people and a puppy that Manet saw at a railway station. Who are the people around you and what do they do? With a pencil, draw yourself, a family member, or someone you see. You may want to include a pet. Then, paint your picture with gouache paint. You’ll be using subjects from everyday life just like Manet!
Set up your gouache paint set and everything you need, as shown in the first video. Dip the brush in water, and then into the paint color that you wish to use. Apply the color directly to your picture.
1
LINES
2
1. Pull a round brush to make lines.
SPACES
2. Pull a flat brush one direction and then add a second layer in the other direction to fill in spaces.
11
Carving Sculpture
Lesson 8 Video #3
Gather a bar of soap, a plastic knife, a comb, and a pointed stick or pencil.
To carve an animal into soap, follow these steps.
1. Select a picture of a bear or other animal. Look at it as you plan your carving.
2. View Video #3 to see how to carve a bear from soap. Your art project will be unique as you apply the methods shown in the video to your own ideas.
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Gather approximately 1/3 lb. (5.3 ounces) of modeling clay, a plastic knife, and a pointed stick or pencil. Modeling Sculpture Lesson 10 Video #4
To make a figure with modeling clay, follow these steps.
1. Select a photograph of a figure in uniform to use as a model for your sculpture.
2. View Video #4 to see how to make a human figure from modeling clay. 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 12 To mix clay colors, put one color on top of the other on a table. Push the clay upward with your fingers. Now fold the top toward yourself to line up with the bottom and push upward again. Repeat the fold and push, fold and push motion. Children enjoy saying the words out loud as they work with the clay. “Fold and push!” “Fold and push!” Degas Lesson 12 Edgar Degas day GAH (1834-1917)
Today our parents have a camera that they carry everywhere. But it was not always like that. During the time we are studying, the camera was a new invention. While on a routine stroll to his friend’s studio, Edgar Degas pondered how an artist might use photography. Creating portraits had been the artist’s job for centuries. With the invention of the camera, artists and photographers would now share the task of making portraits. He stopped. He would continue this train of thought later for he’d arrived at the studio of Mary Cassatt. Degas greeted Mademoiselle Cassatt and immediately began to critique the painting of a child that sat on her easel. He said, “Art is not what you see, but what you make others see.” He told Cassatt that she should only include those things in her painting that would help people to see the things that she wanted them to see. Degas gave her his best advice and filled her
in on the latest thoughts discussed by the other artists in café talks. Then, Degas left her studio, satisfied with the opinions that he had offered to the young girl from America. He would gather his pastels and paper and make his way to the Paris Opera Ballet School. Degas loved movement. He painted ballerinas twirling and stretching. Degas often showed these figures half off his canvases as if they were walking right off the edge. The unexpected angles were commonly seen in photographs when amateur photographers failed to capture the figure within the camera’s frame. Degas used the daring techniques purposefully in his paintings. He was a painter, a printmaker, a draftsman in pastels, and a sculptor in clay and wax. Edgar Degas spent all of his time on his art, pausing for only brief periods to offer his strong opinions to other artists. He rarely attended parties or dinners. For him, life was making art.
37
The Little Fourteen-Year-Old Dancer, 1881 by Degas
In the 1880s Edgar Degas adventured onto new and daring paths in his art. Many people were shocked to see this sculpted ballerina. Degas modeled it from red clay. It stands just over three feet tall. He made the hair from a horse’s tail and tied a satin bow in it. Then he dressed her in real dance slippers and a real silk and gauze costume! People felt that a sculpture made from clay, hair, and fabric was a joke. It wasn’t finished. Later the ballerina was cast in bronze. You see the metal copy in this picture. She still wears a fabric costume and bow, but her hair and slippers are now bronze. What can you see from the side that you cannot see from the front view of the ballerina?
If you could touch the metal part of the sculpture, how would it feel?
If you could touch the fabric skirt, how would it be different from the metal?
38
39
Make a figure using more than one piece of modeling clay. See Video #4. Mix clay colors to make new colors! Use your knowledge of the color wheel. 1. Yellow with a little red makes orange. Yellow, red, and a little blue makes a darker color. Create a head. Gather approximately 1/3 lb. (5.3 oz.) modeling clay in a variety of colors, a pencil, and toothpicks. YOU SCULPT
STUDENT GALLERY Grace age 8
2. Form two arms and a torso. Insert a pencil into the torso to create two holes. Insert an arm into each hole and press to secure the attachment.
40
3. Form the legs in one piece. Insert a toothpick into each end of the torso. Attach the legs and the head to the torso.
4. The colors in the faces of these runners were all mixed from combinations of yellow, red, and blue clay. Mix the clay thoroughly to see the new color. What colors can you make?
41
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 be able to select objects from the kitchen or garden and paint with opaque watercolors. The student will handle the brush in a pulling motion and pull the brush across the edge of the water container after each rinse to control the amount of water in the brush. Lesson 2: The student will be able to look at what is happening around them, select people or pets as subject matter and paint a picture representing the subjects of their choice, strengthening creativity and innovation. Lesson 3: The student will demonstrate using salt as a technique for making textures in watery washes while designing a painting of the activities of others. Lesson 4: The student will create a picture of a creature, a person, or both using wash techniques to create a rainy day scene. Lesson 5: The student will paint an outdoor scene and use white gouache paint to lighten colors, demonstrating their knowledge of tinting with gouache paint. Lesson 6: The student will demonstrate and strengthen their observation skills while creating one painting in a series of three using opaque gouache. Lesson 7: The student will follow processes to create a reflection painting using oil pastels and gouache paints. Lesson 8: The student will demonstrate techniques of cutting away from the hand, using a “v” cut, and finishing while carving an animal from a bar of soap. Lesson 9: The student will carve a fish, turtle or other flat object from a bar of soap to further demonstrate their knowledge of cutting, using the “v” cut, and finishing. Lesson 10: The student will demonstrate the techniques of rolling, cutting, and forming while modeling to make a human figure with one lump of clay. Lesson 11: The student will demonstrate creativity and their knowledge of clay modeling by joining pieces of modeling clay to make a human form while adding fabric, sticks, or other materials to accessorize the figure.
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