THE Curriculum for Creativity TM
R
EARLY ELEMENTARY K-3 BOOK TWO
Stories of Artists and Their Art
A Comprehensive Art Program Designed to Involve the Student in the Creative Process While Developing Observational Skills
Art Instruction PLUS Master Works Including Gothic, Renaissance, and 18 th Century Academic Art Newly Expanded and Revised
Brenda Ellis 36 Lessons with Projects
Contents
Page Lesson
3 Materials
4 Introduction
6
1
Cimabue
9 2
Madonna Enthroned, with Saints and Angels
11 14 16 17 20 22 23
3 4
Giotto
Lamentation of Christ
5 6 7
Color Mixing
Limbourg
October, The Tres Riches Heures of Jean, Duke of Berry
8
Watercolor Wash
9
Van Eyck
25 10 27 11 30 12 32 13 34 14 36 15 39 16 41 17 42 18 44 19 47 20 49 21 52 22 54 23 56 24 58 25 60 26 62 27 64 28 66 29 68 30 70 31 72 32 74 33 76 34 78 35 80 36
Jean Arnolfini and His Wife
Leonardo da Vinci
Mona Lisa
Michelangelo
Delphic Sibyl
Raphael
St. George and the Dragon
Oil Pastel Technique
Anguissola
Self-Portrait
Printmaking Basics
Durer
Flight to Egypt
Bruegel
Hunters in the Snow
Parmigianino
The Conversion of Paul
Rembrandt
Abraham Speaking with Isaac
Vermeer
The Girl with the Pearl Earing
Fragonard
A Young Girl Reading
Turner
The Fighting Temeraire
Millet
The Gleaners
82 Bibliography
2
Materials
The materials needed for this book are listed in groups. Each project tells you the group number so that you will know what you need to complete the project by referring to this page. Having these items on hand will make preparation for each art class simple.
GROUP #1 PAINTING / PASTELS
GROUP #3 MIXED MEDIA
Additional Items Needed Masking tape, paper towels, water containers, wax paper, mirror, Elmer’s Glue -All, wood skewer or nail. Optional: white tempera paint, sand. 1- Construction paper, assorted colors 1- Tissue paper, assorted colors 1- Scissors (Fiskars preferred) 1- ¼ to ½ inch wide bristle brush
1- Prang pan watercolor set of eight colors or more 1- Round watercolor brush, size #8 1- Watercolor paper pad 2- Gold sheets of paper (any size or type) 2- 9x12” hardboard panel s or cardboard 1- Small 8oz. Spackling paste 1- Small plastic putty knife 2- Ebony pencils 1- Set of 16-25 oil pastels ( CrayPas preferred) 1- Drawing paper pad
GROUP #2 PRINTMAKING
1- Brayer 2- Tubes water-soluble printing ink (black and a color) 10- Foam Printing Plates 9x12” (These will be cut in half or quarters) 1- Drawing paper pad (same item also listed in Group #1)
3
Lesson 3
Gothic Period
Giotto Giotto di Bondone, JAH toh, (1267 – 1337) Giotto helped his father watch over the sheep. The sheep grazed in green fields all day so Giotto had lots of time as a young boy to think, dream, and to discover. Do you have a place to go where you can think or daydream with no particular purpose in mind? Young Giotto discovered that he had artistic talent in just such a place.
Young Giotto opened the fenced gate. His father’s sheep sprung forward, making their way to the best grasses and wild flowers, as they did each day. Giotto followed them and watched for a time, as his shepherd duties demanded. However, like all young boys assigned to such tiresome tasks, he spent most of his day climbing the green hills. He took great leaps from boulders that jutted out from the landscape. He threw stones at small targets he’d carved into huge boulders. One day, as he picked up a small rock to practice his aim, he noticed that the circles he’d scratched
onto the boulders looked like sheep. Giotto gazed at the sheep. Then a great impulse overtook him and turning a rock’s sharper edge outwa rd, he began scratching onto a flat stone . He scratched not circles, but sheep! “This is great fun!” he thought. Giotto was amazed at the way lines turned into pictures of the sheep that grazed on the hillside. In the days and years that followed, he filled the boulders with many pictures of sheep. He searched for large flat stones to draw on. These images he carried home with him. Giotto continued this practice each day until his skills became quite good. One day Cimabue, the famous painter we met in the last story, became curious about the boy who carried the stone tablets. He introduced himself and Giotto showed Cimabue his art on stone. His “talent impressed Cimabue so much that he made Giotto his apprentice” (Rabiner 193). As an apprentice, Giotto worked for Cimabue without pay, while he learned how to paint like an artist. Giotto practiced all that Cimabue taught him. He became a master painter, known for his fresco paintings.
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Just as Giotto carefully observed his father’s sheep, he carefully observ ed people. Giotto became well known for his skill in painting people with expression and emotion.
What is a fresco painting?
A fresco is created when paint is applied onto a wet plaster wall. A rough layer of plaster was applied to the stone walls of a church. A second smoother layer was painted over the section that was to be painted that day. The craftsman painted that section before the plaster dried. Because of this technique, one picture has many sections and you can often see these in good reproductions of the works of the time. Since many paintings covered the walls of large church buildings, the craftsmen often had to work on scaffolding, wooden planks that could be put up then taken down to be put in other areas. This illustration shows that the top left section has been completed in a previous day. Giotto and Cimabue start the second section.
Florentine patrons were very proud of how real their artists could make things look. They spread the story of how, as master artist Cimabue was out, young Giotto painted a fly on the nose of a figure Cimabue had been working on. When Cimabue returned, he tried many times to brush the fly away before realizing Giotto’s trick. And that was how well Giotto could paint!
Were you fooled by the fly on this page?
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Project 3: Scratch Art
STUDENT GALLERY
GROUP #1 PASTELS Oil pastels Scratch tool Paper or cardboard ½ sheet, 4 ½ x 6in.
You can make art by scratching into a soft surface just as Giotto did as a young boy. He used rocks and stone. You can use a softer material, oil pastels. Draw a picture of what you imagine Giotto saw as he tended his father’s sheep on the grassy hills.
This scratch artwork is by Caleb (age 6). Caleb used bright colors as the first layer, covered the colors in black, and then scratched the horse, clouds, grass, and sun.
Cover one side of a piece of cardboard or paper with a light pastel color such as gray, white, or rust. Press hard on the pastel to make a thick layer of solid color. Next, color over the first layer using a black pastel. Color first one way, then another, until none of the original color shows through. Use a nail, paper clip, or scratch tool to scratch the surface. Scratch the main outlines of your picture first. Then fill in parts using wavy lines, wiggly lines, wide lines, and thin lines. If you like this way of drawing, try using a rainbow of colors under the black layer in your next artwork.
13
Lesson 4
Lamentation of Christ by Giotto
Much of the art from Europe during the Gothic period was made for Christian churches. Artists were commissioned to paint stories centering on the life of Christ. Giotto’s painting depicts the moment when Christ was taken off the cross. Those who love him mourn his tragic death. Giotto used gold halos (circles around the heads) to show those who were filled with God’s light. Artists used the types of materials that the patron, the person paying for the job, requested. Even rarer and more expensive than gold was the blue color used lavishly in all of Giotto’s works. This was a magnifi cent sight for those entering the dark church interior lit by candles. The gold reflected the flickering candlelight and the blue seemed like a color sent from the heavens above.
How many people have halos?
Do the people look sad?
How many figures have wings and halos? Do these angels seem to feel sorrow too? How do their postures show their feelings
of deep sorrow?
Giotto, Lamentation of Christ , c. 1305, Photo Credit: Dover Publications Inc.
Artists before Giotto’s time painted people stiffly and without expression , but not Giotto. See the difference that gestures make. Look in a mirror. First, hold your body still so that you show no emotions. That is how they painted people. Next, make a face and move your body to show that you are sad. Then, make a face and bend your body to show that you are happy. That is how Giotto painted people. Remember Giotto for painting people that bend, move, and show real emotions.
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STUDENT GALLERY
Project 4: Fresco
GROUP #1 PAINTING
Spackling paste
Hardboard panel or cardboard
Watercolor paint set
Round brush
Water container, paper towel, pencil
You can make a fresco just like Giotto, using plaster (also called Spackling paste, available at hardware stores) and paint. Make a scene that shows the emotions of the people in it.
Lauren (age 9) shows her family seated at the table. She remembers a conversation from the night before.
Apply a thin layer of Spackling paste over a piece of hardboard panel or cardboard with a putty knife or corner piece of cardboard. Allow the Spackling paste to dry. Draw a picture with pencil directly onto the plaster surface. Prepare the watercolor paints by adding a few drops of water to each color. Set up watercolors as shown on page nine. Paint on the surface just as you paint on a piece of paper. The color absorbs into the dry or damp plaster.
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ART/EDUCATION
Art History Projects Encouraging Creativity
Artistic Pursuits, Early Elementary K-3, Book Two, Stories of Artists and Their Art focus- es on the lives of artists who left the world with a vision that has awed and inspired others for generations. Using colorful illustrations and works by the artists, this THIRD EDITION tells the stories of individual artists within major periods of art from 13th century late Gothic to the academy artists of the 18th century. 36 lessons with projects encouraging creativity include watercolor painting, oil pastels, printmaking, and mixed media. “I love your approach to art history and that the children are getting a rich educa- tion through your materials!” Homeschool Parent and Teacher - Hannah Kendall / Kansas. “My kids and I had our very first lesson today, and they just can‛t get enough. One lesson, and their creative juices are flowing, no- overflowing, once again! I love the fact that your program actually TEACHES art. It‛s not another one of those craft books that gives you cutesy ideas for projects. I plan on using ARTistic Pursuits with my children throughout their homeschooling years.” Homeschool Parent – Teresa Casart / Florida “My son enjoys the stories of the artist‛s lives, and is very enthusiastic about com - pleting his projects…I CAN teach art, I just needed a good guide!” Homeschool Parent – Christy Lucas / Ohio “Let Artistic Pursuits do the teaching and you just read the lessons and join in the fun!” Homeschool Parent – Kellyann Walker / South Carolina
Early Elementary K-3 Book Two USA Use this book again and again! Non-consumable
Published by Artistic Pursuits Inc. www.artisticpursuits.com
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