This interactive flip book includes contents page, materials page, and sample lesson pages for your viewing.
Contents
4 5 6 7 9
Materials
Teaching Simply
Welcome to the Modern Age Video #1, Acrylic Paint
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2
Cezanne
Still Life with Milk Jug and Fruit
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3
Seurat
A Sunday Afternoon on the Island of La Grande Jatte
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4
Van Gogh
The Starry Night
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5
Gauguin
When Will You Marry?
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6
Video #2, Assemblage
Man on a Hog
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7
Picasso
Gertrude Stein
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8
Video #3, Foil Modeling
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Modigliani
Head of a Woman
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10
Duchamp-Villon
The Horse
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11
Kandinsky
Composition VII
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12
Marc
The Yellow Cow
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Video #4, Limited Colors
Broadway Boogie Woogie
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14 15
Video #5, Big Art
Bruce
Painting
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16
O’Keefe
Series I, No. 8
55 57 62 63
17 18
Video #6, Movement
Benton
Romance
Objectives
Bibliography
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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 *Craft acrylics, 2 oz. bottles in red, blue, yellow, green, brown, black, and white . Watercolor or mixed media paper Crayola ® 5 pack brush set Plaster cloth Gesso
HOUSEHOLD ITEMS
Paper towels Plain white paper plates Water container Aluminum foil Empty spray bottle Cardboard food box Masking tape
Modeling clay Sticky note pad
Cardboard tubes Chipboard sheets STARTER PACK MATERIALS Construction paper, assorted colors Elmer’s ® Glue-All Glue stick Scissors Ebony ® Pencil
*Additional colors may be added.
*When purchasing for more than one student, consider larger bottles of acrylic paint such as Blickrylic® Student Acrylics in pint or quart sizes sold at Blick Art Materials ® . *You may use acrylic paint sold in tubes. Small tubes may need to be restocked before completing all the projects in this book.
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Welcome to the Modern Age
The Modern age is a time that changed the way we think about art. In earlier times, the artist created art of figures and objects that people were very familiar with. The artist wanted everyone who looked at the work to understand its message. In the Modern age, from the mid 1800s to the mid 1900s, art was about the artists’ new ideas. Few people understood the purpose of modern art by looking at it. For the first time, manifestos were needed to explain the art to the public. Still, in modern art, we find some of our most beautiful images. Here, we will learn about the artists that broke from the Impressionist ways of painting and those who entered the art world in an atmosphere of experimentation. As you see what their work was about, you can use similar ideas in your own creative artworks. Come join the fun of exploring the art of the modernists. -Brenda Ellis Modern art began in Europe. It was introduced to the United States through European artists whomoved to the U.S. to escapeWorldWar I. Immigrants entered the nation through the New York harbor. The city of New York became the center of art for the Modern era beginning with the Armory Show in 1913.
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Gather acrylic paints, a paper plate palette, round and flat brushes, paper, a water container, and a paper towel. Acrylic Paint Lesson 1 Video #1
To paint a picture with acrylic paint, follow these steps.
1. Select a group of food items from the kitchen, with the approval of your parent of course! A cup, a pot, cookies or other food items make interesting subjects for art. 2. View Video #1 to see how to paint with acrylics. Your art project will be unique as you apply the methods shown in the video to your own ideas.
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Cézanne
Lesson 2
Paul Cézanne (say ZAHN) 1839-1906
When Cézanne was called the father of modern art by other artists, they meant that Cézanne’s art was where modern art began. He gave artists a new way of looking at the objects that they paint. Many modern artists pointed to Cézanne when people asked them who had inspired their new ideas. Paul Cézanne studied art with Monet and Pissarro, but he did not like the wispy lines that the Impressionists had developed. He painted more carefully, often in parallel strokes. His strokes are described as building blocks stacked together to make a solid object. He painted still lifes with groups of fruit, vases, and fabric. Sometimes he painted
his favorite mountain view. These objects stood still for him, unlike people, who wiggled, shifted, and wore at Cézanne’s patience. Cézanne took great care when arranging each still life. He would sometimes stiffen the cloth with plaster so that it would not move while he painted it day after day. Cézanne propped up fruit
with coins to get the heights just right (Taschen 56). He turned the apples until the stems were placed in directions that seemed right to him. Cézanne wanted “to make of Impressionism something solid and durable, like the art of the museums.” He could not foresee that young artists, inspired by his art, would create art far different from what he saw in museums. They would search for bold newways to paint.
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Still Life with Milk Jug and Fruit, 1900 by Cézanne
In this still life painting by Cézanne, many colors are used in the patterned curtain, the brown desk, and white dishes. Rather than placing all objects on the flat table surface, he propped up the dish in the way that he thought was best. We can see Cézanne’s method of mixing small amounts of color and making a series of dabs together in that color. The colors wrap around each piece of fruit. He used blue paint to draw and draw again as he changed the placement of things.
How many apples are in the dish? How does the tilted angle of the dish help us to see the apples better? What other types of fruit do you see? What colors do you see on the white pitcher? In what parts of the painting do you see blue lines?
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Make a painting of objects using some pieces of fruit and other items from your home. Arrange them in ways that you like, just as Cezanne did. Look at the objects as you paint them. Mix colors in the center of your plate palette as shown in the previous video lesson. YOU BUILD BLOCKS OF COLOR
STUDENT GALLERY Ben age 9
Gather acrylic paints, a paper plate palette, round and flat brushes, paper, a water container, and a paper towel.
1. Select the main color of an object. Paint a few strokes onto the picture. Look for highlights and mix light colors into the main color on the palette. Place themixture next to the main color on the painting. Continue mixing colors into the main color on the palette and painting strokes beside each other on the painting.
2. Look for shaded (dark) areas. Mix a small amount of the darker color into the main color. With the paint on your brush, make strokes of color where you see the shaded areas. Continue using blocks of color on the next objects. Work until you are finished. Clean the brushes well.
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Expressionism was a name given to the art of Franz Marc, Kandinsky, and others who worked with strong primary colors. Expressionists did not look at the subjects to copy colors that they saw. Expressionist painters chose the colors that they liked. What are your favorite colors? When you paint like an Expressionist, choose colors that you like. PREP NOTES FOR LESSON 12 In this lesson children learn that modern art gave artists freedom to make choices about the colors they use. Provide photographs of farm animals for your children to refer to as they paint their subject. They will use realistic forms of the animals, but will paint with colors using their imaginations. Franz Marc 1880-1916 Marc Lesson 12
Some artists chose to change the lookof their paintings byusing strong, non-realistic colors in their art. Franz Marc thought back to his father’s landscape paintings in browns and greens. He now opposed this kind of painting and was determined to make art that expressed more feeling. He handed his friend, Kandinsky, the first Blue Rider pamphlet, which explained the ideas that he and Kandinsky had worked on. It featured a blue horse on the cover with a rider. Marc liked painting blue horses. The pamphlet explained that art could express ideas through color alone. They liked the modern, simpler way of showing an object. These two artists would soon be part of a larger group of Russian and German artists working in Germany, called the German Expressionists. Within a few years Germany would enter World War I, where Marc was killed. Through the war and afterward, the Expressionists continued to use strong colors, but they began painting the hard ugly realities of wartime. In contrast, Marc’s paintings give us examples of beautiful subjects dazzled by colors and remind us of how the Expressionist movement began.
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The Yellow Cow, 1911 by Marc
Marc used colors as symbols for other meanings. The color yellow represented women or happiness. Blue represented man or spiritual life. Marc is known for paintings of blue horses and this yellow cow. Where has Marc used the primary colors in this work? (red, yellow, and blue) Where has Marc used secondary colors in this work? (purple, orange, and green) Knowing howMarc used colors for their symbolicmeaning, is it correct to say that this is a joyful female cow? What animals do you see near the cow’s back feet? Howmany blue hills are in this painting? What objects tell you that the cow is in a field?
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YOU MAKE AN EXPRESSIONIST PAINTING
STUDENT GALLERY John age 7
Gather acrylic paints, a paper plate palette, round and flat brushes, paper, a water container, and a paper towel.
Like the Expressionist artist, Franz Marc, paint a picture of an animal in a landscape using bright colors that are available in the acrylic paint set. You may want to give the colors a meaning like Marc did. Pink could mean something delicate and fragile or it could mean loudness. It is up to you to decide the meaning of each color. Then, use colors to show not only the animal, but a picture that has a meaning.
1. Draw the picture in pencil. Fill in the spaces with bright colors.
2. To make the subjects stand out, outline them in black, using the round brush.
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PREP NOTES FOR LESSON 15 Prepare chipboard pieces in different lengths to make templates for creating straight edges. Cut the pieces with a straight edge or paper cutter to make straight cuts. Bruce Lesson 15 Patrick Henry Bruce 1881-1936
The friends of Patrick Henry Bruce were making choices about how they would paint objects. Some placed objects in settings that we recognize as rooms or fields. Some painted an object in empty space with no surroundings. Some used no objects at all. With fellow artists turning in every direction, Bruce would have to make his own choices. Patrick Henry Bruce had much to consider as a painter in the first part of the 20 th century. He was an American in Europe and he was aware of Expressionist paintings like Marc’s yellow cow kicking up its hind legs (shown on page forty-two.) We call this a narrative painting because it has objects in a surrounding, which helps us to describe the scene. Some modern art would not be so easy to talk about. Objects were used, but they did not appear in a setting that told where the objects sat. The painting, Lucky Strike , by Stuart Davis is made
of colors, shapes, and letters found on a package design. We
Lucky Strike , 1921.
do not see the whole package, but only recognize small parts of it. This object, if it is still an object, gives us little information. Bruce also encountered the excitement of his friend, Stanton MacDonald- Wright, as he created paintings with no subject at all. Abstraction on Spectrum (Organization, 5) was a symphony of colors. MacDonald-Wright said that just as certain sounds worked well one after another, specific colors looked good when placed side by side. No object was needed. But, Bruce was not ready to give up objects in his paintings. What would he do?
Abstraction on Spectrum (Organization, 5) , 1914-17.
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Painting c.1921-22 by Bruce
Patrick Henry Bruce paints a table setting, just as the old masters had so often, but he did not copy the objects as he saw them. He invented the colors and changed the forms. He painted like the Purists, who did not want any decoration or pretty
patterns on their objects. Every object, they thought, had a quality about it, which usually meant that they painted its closest geometrical form like a cylinder, rectangular cube, or a wedge. Bruce, like the Purists, used solid or flat colors. These colors show no changes within the shape. His paintings show us many ways in which the ideas of modernism were expressed. Your answers to the questions below will tell the story of what it means to be a work of modern art. Can you find a form in Bruce’s painting that looks like a wedge of cheese, a cylindrical glass, and a rectangular cube shaped book?
Are the colors in this painting bright or dull?
Do the items in this painting show detailed decoration or do they show the simple forms? Do you think the colors are true to the look of each object or are they colors that the artist invented?
Modern art can usually be described as bright , using simple forms , and artist invented .
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Bruce made many paintings using similar forms, shapes, and colors. Some paintings are so closely alike that it takes careful study to determine the differences. He repeated titles as well, naming a number of paintings Painting and Form . This artwork is currently housed at the Whitney Museum of American Art, New York, where it is called Painting .
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YOU MAKE A GEOMETRIC STILL LIFE
STUDENT GALLERY David age 8
What are your favorite colors? In modern art you can use the colors that you want. Set up a few objects from the kitchen to look at as you draw them. You might be inspired by a meal or you might gather plates, glasses, and other containers to use for inspiration. Gather acrylic paints, a paper plate palette, flat brushes, paper, a water container, a paper towel, and chipboard pieces in different lengths to use as templates for painting straight lines.
1. As you look at the objects, draw the shapes that you see. Draw lines to show the thickness of the objects too. Look for the geometric shapes, which are circles, triangles, and rectangles.
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2. You can paint straight edges. Line up the straight edge of a chipboard template along the outside edge of a straight line. Hold the template firmly against the paper. Pull the flat brush along the template edge to paint a straight edge. Repeat this for all the straight sides and then fill in the shape with the same color. Invent colors that are fun.
3. Use other chipboard templates as you wait for the wet paint to dry in one area. Reuse the dry templates. With acrylic paints you can paint light colors over dark colors.
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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 make different types of brush strokes and use appropriate practices for acrylic paints, including: applying paint directly to the paper without extra water in the brush, applying paint with the wide side of flat brushes, and giving the brushes a final cleaning with soap and water. Lesson 2: The student will cultivate self-direction and engaged learning as they arrange fruit or other still life objects in thoughtful ways, creating an acrylic painting of the objects. Lesson 3: The student will increase skills vital to learning and achievement, includingmotivation, concentration, and perseverance as they demonstrate painting with dots of color and recognize pointillism in a work of art. Lesson 4: The student will be able to identify a work by Van Gogh as using ribbons of color and will make connections by observing, comparing, and perceiving colors and relationships as they create a landscape and paint it in ribbons of color. Lesson 5: The student will demonstrate their understanding of painting the edges of shapes and filling in while using acrylic paints in scene of human activity in a landscape. Lesson 6: The student makes choices using imagination and critical thinking skills to assemble withglue, slits, and tabs, a three-dimensional robotmodel withinabox to create awall assemblage. Lesson 7: The student will make intuitive decisions in their art by cutting a traditional portrait apart to rearrange a face using collage techniques of cutting, arranging, and gluing pieces. Lesson 8: The student shows ability to tackle complex open-ended problems, making a four- legged animal by modeling aluminum foil; the artwork will show specific identifying features of an animal, but is not required to show advanced craftsmanship. Lesson 9: The student will build confidence and a strong sense of identity while creating amodern head using a bottle for the armature and finishing with a plaster cloth surface as they modify and exaggerate facial features. Lesson 10: The student will design any type of animal by modeling aluminum foil in a more abstract manner; general shape is evident, but identifying features may be missing. Lesson 11: The student will learn that there are many ways to see and interpret world experiences as they demonstrate the ability to imagine and connect mark making to abstract ideas such as sound to create an abstract work of art.
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