iPostcards From Utah ArtistsArtist List

Lee Udall Bennion Snow Queen: Portrait of AdahC.C.A. Christensen Handcart Pioneers First View of Salt Lake ValleyJames Christensen The RhinocerosJeanne Leighton-Lundberg Clarke Entertaining Favorite Ladies IICyrus E. Dallin Paul Revere Portrait of John Hancock Dallin w/ Massasoit SacajaweaLouise Farnsworth Capital from North Salt LakeCalvin Fletcher Wash Day in Brigham CityMabel Frazer Sunrise, North Rim of the Grand CanyonJ. T. Harward Boy and Cat: My Little Son, Heber James Richards CampDonald Olsen Chelsea VIGeorge Ottinger Immigrant TrainEdith Roberson Channel ThreePaul Salisbury Riders of the RangeSven Birger Sandzen Moonrise in the Canyon Moab, UtahDennis Smith Keeper of the GateGary Smith Youthful GamesDouglas Snow Cockscomb, Near TeasdaleTrevor Southey New BloomMahonri Young Factory Worker

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Postcards From Utah ArtistsContents

i Introduction1 First Grade Visual Arts Lessons11 Second Grade Visual Arts Lessons15 Third Grade Visual Arts Lessons25 Fourth Grade Visual Arts Lessons29 Fifth Grade Visual Arts Lessons35 Sixth Grade Visual Arts Lessons 47 Additional Visual Arts Lessons, Elementary55 Secondary Visual Arts Lessons63 Dance Lessons67 Appendix App.III Directions for Making Your Own Postcards App. V Poster Lessons Spreadsheet App. VII Venn Diagram App. VIII Information from the Back of the Springville Museum of Arts Elementary Poster Set (24 posters, List on App. I)

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1This packet of lesson material is based on the Springville Museum of Arts Elementary Postcard Set. These 24 postcards are the same images as the SMA Elementary Posters (Each set has 24 postcards because the 4 images on the Cyrus Dallin Poster have been made into separate postcards). Each Elementary School in Utah will receive 16 sets of the postcards.The postcards were chosen as a tool for visual art education because they are relatively inexpensive, children focus longer on objects they can hold in their hands, and because postcards lend themselves so well to cooperative learning. In addition, teachers can easily increase their postcard collections by pur-chasing postcards from museums or through art supply catalogs or by downloading images and making color copies of the images. Another free source of postcards is from galleries with mailing lists.In the field of education, cooperative learning has been shown to result in substantial and con-sistent positive effects on achievement. Multiple sets of postcards lend themselves particularly well to this cooperative approach because they can be used in small groups in which the discov-ery and processing of knowledge shifts from an individual learner to that of a group of learners. Effective cooperative learning has many benefits for students. Some of these are the following: (a) students are individually accountable for their own learning gains, (b) they learn to respect the contributions of others, (c) previously reluctant or hostile students are drawn into full participation, (d) students learn both to provide and also receive encouragement,

(e) they participate at an increased rate in language building, and (f) they develop leadership skills.The core of the curriculum using these post-cards is from Robert Nickelsons Masters of Art Education thesis. The lessons are formulated as integrated lessons that cover the four areas of art education: Aesthetics, Art Criticism, Art History, and Art Production. [The Utah State Core divides elementary visual arts into the areas of Making, Expressing, Perceiving, and Contextualizing.] Each lesson will take at least four class periods.The thesis curriculum has lessons only for grades 1, 3, and 5, but the lessons are adaptable and have been used successfully for grades 17. In addition, the lessons have been used in university classes for elementary education

Lee Bennion, Snow Queen

Postcards From Utah ArtistsIntroduction

2majors and were enjoyed by those students. Other lessons have been added for grades 2, 4, and 6.The packet contains some other ways to use the postcards in grades K12, identified by grade level and topic. Most are for visual arts, but a few other areas of the curriculum are included.

3Postcards From Utah ArtistsFirst Grade Visual Arts Curriculum

C.C.A. ChristensenHandcart Pioneers

First View of Salt Lake Valley

Jeanne Clarke, Entertaining: Favorite Ladies II

Trevor Southey, New Bloom

Theme: Getting to Know an Artwork

Lesson Motivation: Introduce this lesson with the analogy that looking at artworks for the first time is like meeting someone new. Explain to the students that best way to get to know an artwork is to spend time with the artwork and get information about who made it, how, and why. Introduce the Elementary Posters that have people in them, as if they were people the students were meeting. The three images at the top of this page all feature people: Jeanne Clarke (Entertaining: Favorite Ladies) Trevor Southey (New Bloom) and C.C.A. Christensen (Handcart Pioneers) After the groups have had a chance to look at these artworks, ask them if they know anything about these people. Ask them how they could get to know more about them. Explain that just like meeting new people, finding out information about artworks can help the students learn to know the artworks.

4Ask for a few responses to the artworks: this is what an art critic would call an initial reaction. Have the students explore their reasons for their reactions. ART CRITICISM Art Criticism Objectives: Students will be able to look, listen, think, and talk about reasons for their reactions to artworks, look at how an artist uses the art elements and principles in an artworks , and explore reasons their reactions to an artwork have or have not changed from their looking.Teacher Explanation: Although Art Criticism is sometimes taught as a series of linear, discreet steps, this lesson uses an inquiry method which begins with the students initial responses to an artwork, then proceeds to research to learn more about the artwork, the style, the artist, the artists intent, and then discussion or presentation that is centered on meaning and value. Good art criticism gives students ideas and information they can then apply to other artworks. Criticism also should be recursivestudents should revisit the artworks, look for more information, listen to or research oth-ers reactions to the artworks, and compare and contrast various works.As such, critical inquiry naturally includes aesthetic theories and art history as well as production activities that offer students the chance to gain greater understanding of particular artworks as well as to explore the students own creative abilities and needs for artistic experiences that relate to their lives.For young elementary students, who can neither read nor write effectively, this means the research material will have to be supplied by the teacher, and responses will need to be oral or simple state-ments the teacher or an aide can write out for the child. Older students can do the research them-selves or be given some information by the teacher and find other information themselves.Although no right answers can be arrived at, students do need to justify or explain their views/statements using references to specific characteristics of the artwork.A Formalistic Approach to Art Criticism: Even very young children are comfortable talking about the reality of what is represented in artworks. They like to identify what it is they are seeing. In this task, you will need to help your students resist this tendency and look beyond the reality represented and pay attention to the formalistic qualities of an artwork. Your students will need to look at how the artist used specific art elements and principles to create the work. Have the students get into groups of four and pro-vide each group with a set of 24 postcards from the elementary postcard set. Next, show the large poster image of Chelsea VI by Donald Olsen from the elementary poster set.

Donald Olsen, Chelsea VI

5Talk to the students about a color in Olsens Chelsea VI that you like and explain why you like that color. Ask the students to tell you why they think the artist used that color in that part of the painting. Ask them to also explain to you how they would go about choosing colors to use in their own artworks. Then ask the students to tell the classmate closest to them how they think an artist might pick a color to use in a painting. Also ask them to talk about how the artists approach and their approach to picking a color to use are the same or different.Now, have each group of students look at the postcard images and select one of the images that has the color they like the most as a group. Ask the groups to look at how the artist has used that color. Did the artist use the color in more than one place in the painting? Is this color brighter or duller than the other colors in the painting? Ask the students to think about how the color makes them feel. How do you think the artist feels about that color? What do you think the artist wanted you to feel about that color?Next, have the students look for other postcard images in which a different artist used that same color or a similar color. Have the students compare the ways in which the two artists used this color.Use questions to provoke similar conversations about the other art elements and principles used in the images of the artworks in the postcard set. This assignment can also involve the students in the use of creative dance movements to describe formalistic qualities of an artwork. For example, have students move in ways that are inspired by the colors or lines in an artwork. In addition, the students can respond to the formalistic qualities of an artwork using sounds. Ask the students to think about how a line used by an artist would sound to them. Have them choose words to describe the elements. Then, students can find ways to produce appropriate sounds using rhythm instruments or objects in the classroom. You may want to introduce other connections by asking questions such as How would this artwork feel if you could touch it? Which artwork would you most like to touch and why? You can also ask the students to respond to and describe where they would find the elements and principles you have discussed in their own homes.Teaching strategies like the ones described will help the students focus on a formalistic approach to artworks. It is important not just to have the students analyze the lines, shapes, and colors of an art-work but to help the students to relate to these art elements from their own perspectives using their own life experiences. Now, give each group a postcard of Jasmine Sidewinder #91 by Gene Davis which is part of the University of Utahs Museum of Fine Arts collection. Ask them if they think this is a formalistic art-work. Why? Have the students take turns sharing their responses to it. Try and let all of the stu-dents have a chance to explore their reactions. Remind them to give the reasons for their responses. Next, show the students the images of Chelsea VI by Donald Olsen and Jasmine Sidewinder #91 by Gene Davis again and have them look at them both together. Ask the students to turn to their closest classmate and talk to one another about what they know about these two images. Then ask

6them to talk about how they feel about these artworks. Ask them to talk about how their feelings might have changed. Now ask them to share what they have talked about with the class.Assessment: Each student will use his or her copy of the following formative self assessment tool throughout each of the first grade lessons. By pointing to a symbol or by making a check in the appropriate box, they may indicate to the teacher their progress for each learning task.During the learning tasks, the teacher will use the students self-assessment tool on page 9 to help identify students who need more time to work or need help or who have mastered the task. The teacher then will use these self-assessment tools to assess mastery of all of the tasks by each student at the end of the unit of study. Each of the four components of this lesson will involve the first four tasks of the assessment tool: looking, listening, thinking, and talking. The art production components will also involve these four tasks plus the task of making.Resources/Materials:Elementary Postcard SetSMAElementary Poster SetSMAAdditional ArtworksGene Davis, Jasmine Sidewinder #91 from the Springville Museum of Art, Op and Pop Evening for Educators packet, April 2001. (Available via the Internet www.smofa.org or at the Springville Museum of Art) AESTHETICSAesthetics Objectives: Students will be able to look, listen, think, and talk about their understanding of beliefs concerning artworks.Aesthetics Lesson: Explain to the students that different peo-ple have different ideas about what art should be. This infor-mation can help them get to know artworks.The teacher should explain the following aesthetic theories to the students and give each student a set of die-cut symbols to use in this task: 1. RealismSome people believe art should mimic nature, should look real. The symbol they will use is a die-cut of a camera . 2. ExpressivismOther people believe art should express feelings or ideas. The symbol they will use for this theory is a die-cut of a heart. 3. FormalismOther people believe art is about lines and shapes and colors. The symbol they will use for this theory is a die-cut of a square or triangle.

Gene Davis, Jasmine Sidewinder #91Utah Museum of Fine Arts

7Allow students to ask questions and make whatever additional explanations are necessary. One student in the group will deal the postcards out to the group members. Each student gets a turn to place one postcard by the symbol that best represents the artwork. That student must give the reasons for the choice. This continues until all the postcards are on the table. When all the groups are finished, have the groups put their postcards under the symbols which you have attached to the board or a table. Tabulate the results. Summarize the results for the students.Assessment: During the learning task, the teacher will use the students self-assessment tool to help identify students who need more time to work or need help or who have mastered the task. Resources/Materials:Elementary Postcard Set and Elementary Poster setSets of symbols: camera, heart, and a shape such as a triangle or square (You will need 6-8 sets of the symbols, one set for each group and one set for yourself.)Additional artworksGene Davis, Jasmine Sidewinder #91 from Op and Pop Art, Evening for Educators packet, April 2001. (Available via the Internet www.smofa.org or at the Springville Museum of Art)ART HISToRyArt History Objective: Students will be able to look, listen, think, and talk about the three artists who made the featured artworks, when they lived, what was important to them in their lives and their art. Students will also be able to identify artworks that may be similar or different from those artists art-works.Art History Lesson: Display the posters. Ask the students to review the aesthetic theories. Then explain that another way to learn about the artworks is to learn about the artists who made the art-works, when they lived, what they cared about, what their lives were like. Present information about the artists. You can use the information on the backs of the postcard or the information below. 1. James T. Harwood, Boy and Cat: My Little Son, Heber James J.T.HarwoodwasborninLehi,Utah,in1860alongtimeago. HarwoodwenttoFrancetostudyart. (Show the class where France is on a map or globe.) Hiswifewasalsoanartist (Show the poster: Richards Camp. J. T. and Harriet are glancing at each other.) Harwoodlovedhisfamily. ThispaintingisofHarwoodsyoungestson,Heber.Ask the students to choose an artwork from the set that is by an artist who cares about some of the same things as J. T. Harwood. Students should explain their responses to the members of their groups and do not have to agree. 2. Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah BirgerSandzenwasborninSweden,in1871. HemovedtoKansasandtaughtatacollege. (Show the students where Kansas is on a map.)

8 HecametoUtahtoteachinthesummer. Sandzenlikedtopaintusingbrightcolors Healsolikedthebrushstrokesinhispaintingstoshow. (Demonstrate what a brushstroke is and then have students look at Sandzens painting to see the brushstrokes.)Ask students to choose one of the artworks that might have been painted by an artist who studied with Sandzen. Students should explain why they think that artist may have been Sandzens student. 3. Donald Olsen, Chelsea VI DonaldOlsenwasborninProvo,Utah. Heplaystheviolin. Olsenwasateacher.Hetaughtartandmusic. Hedidntbelievepaintingsshouldlooklikepeopleorplaces,hethoughttheyshouldjust have shapes and color and line. Otherartistswhowerealiveatthesametimealsothoughtartshouldjusthavesimple shapes and colors. Ask the students to choose an artwork that is similar to Olsens and say how. Next they should choose an artwork that is different and tell the group how it is different.Materials:Elementary Postcard SetSMAElementary Poster SetSMAART PRoDUCTIoN Production Objectives: Students will be able to cre-ate two formalist artworks one of which will be three-dimensional.Production Lesson: Research has shown that very young children enjoy the bright colors and simple shapes of abstract, minimalist artworks like Chelsea VI. Provide students with construction paper in several colors. Students will choose one color for the background. Then students will cut out simple shapes from other colors. You may wish to tie this to shapes they are learning to identify. Students should try several arrangements of the shapes rather than just using their first idea. When students have decided on a design, they should glue the shapes down. Then have students evaluate their designs. Are they satisfied or do the designs need anything added? (Choosing their favorite design from among several and later evaluating the design for completeness are important criticism pro-cesses.)Display the finished artworks and allow students to comment on and to contrast and compare their artworks with Olsens and any other similar artworks you have used in the activity. Make a display that includes professional artworks as well as the students designs. You may also want to make a

Louise Richards FarnsworthCapitol From North Salt Lake

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chart that has a one- or two-word definition of the three aesthetic theories you discussed and the symbols you used in the matching activity. This chart can be displayed during future lessons as a reminder of what the students learned and as a springboard for future art activities.The unit may be expanded to include production activities that explore the process of making art-work that looks real and that expresses feelings. Summarize the major points, asking for student input: Different artists want their art to look different. Some artists want their art to look real, some want their art to express feelings, some want their art to show shapes and colors. Knowing what an artist was trying to do helps us understand their artwork. Knowing about the artists lives can also help us understand their artworks.The students in each group should discuss and plan how to arrange the shapes into an interesting design.

Frank Riggs, Sentinel Raymond Jonas Abstract Configuration

Neil Hadlock, Effron

Three-dimensional Formalism Lesson:Have the students bring three-dimen-sional containers from home, such as wrapping-paper tubes, shoe boxes, or metal cookie tins. Then have the stu-dents paint the shapes primary colors using Tempera or Acrylic paint. Divide the students into groups of four and pass out the shapes to the groups. Each group should have five to nine shapes.

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Remind the students about the thumbnail sketches they did with the two-dimensional assignment. They should use a similar approach with this assignment. Explain to the students that when they work with three-dimensional shapes, they must think about how the design looks from all sides. Give the groups sufficient time to try several possible arrangements. The teacher may have to help the students avoid just stacking the shapes on top of one another. Help the students see how they can balance one shape over the edge of another or turn them different directions. Remind the stu-dents to check how each new change in the arrangement of the shapes affects the design from all the sides.When the groups have finished arranging their shapes, have an adult help the students stabilize the design using Blue Tack or self-adhesive Velcro. Give each group an opportunity to share with the class what they think was most successful about the way their group solved the assignment. Have the students record a check in the appropriate box of the self-assessment tool. If possible, display the arrangement of shapes from each group in the classroom or in the media center. Assessment: While the students are creating their artworks, the teacher will visit with each stu-dent and help him or her to assess their progress. The student will indicate and record their efforts in looking, listening, thinking, and talking about the process of making a formalistic artwork. The teacher will also help the students to assess their use of the art elements and principles in the design of their artworks and the overall look of the work. The students will also look again at the artworks by Frank Riggs, Neil Hadlock, and Raymond Jonas to help them assess their own three-dimensional formalistic works.Resources/Materials: Springville Museum of Art web site images: smofa.org Frank Riggs Sentinel Neil Hadlock Effron Raymond Jonas Abstract Configuration Interdisciplinary connections: Language Arts Utah State Core CurriculumTopic: Speaking and ListeningLearn To Explore Ideas Through Talk Participateindiscussionsasaclassandduringgroupinteractions Initiateconversationwithpeers Askforclarificationandexplanationofwordsandideas Followimplicitrulesforconversation(i.e.,takingturnsandstayingontopic) Tellandretellstoriesandeventsinlogicalorder Askandrespondtoquestionsinsmallgroupsettings Exploreideasthatmaylaterbeexpressedinapersonalartwork

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THEME: THERE IS ART IN oUR EvERyDAy LIvES

objectives: 1. Art History: Students will discuss how artists have used everyday life as the subject of artworks and will be able to identify those artworks as Genre scenes. 2. Aesthetics: Students will be able to explain the Realist theory of art and the Expressivist theory of art and identify the two kinds of artworks. 3. Art Production: Students will choose an everyday scene to portray in an artwork. They will demonstrate their understanding of expressivist and realist by choosing one approach and making their genre scene fit that approach. 4. Art Criticism: Students will be able to critique their artworks as Realist art or as Expressivist art, using a 5step criticism model.Materials 2ndGradepostcardsfromtheset: Keeper of the Gate, Wash Day In Brigham City, Youthful Games. Otherpostcardsfromtheset: Handcart Pioneers First View of Salt Lake, Riders of the Range, Richards Camp Other2ndGradeartworksfromthe Masterworks list: Peasant Dance, I and the Village, The Gleaners, Parade or substitute Dance Around the Maypole by Pieter Bruegel the Younger, an UMFA Elementary poster, for Peasant Dance. Postcardsthatarenotgenrescenes: Chelsea VI, Rhinoceros, Road to the River, Moonrise in the Canyon, Cockscomb, John Hancock, Paul Revere, Boy and Cat, etc. Sketchpaper Good-qualitydrawingpaper Pencils Coloredpencils,paints,orcrayons,andoilorhardpastels(youwillneedonemediumsuchas paint or pastels, that lends itself to expressive drawing)

Postcards From Utah ArtistsSecond Grade Visual Arts Curriculum

Gary SmithYouthful Games

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1. Art History: Students will discuss how artists have used everyday life as the subject of artworks and will be able to identify those artworks as genre scenes.Show the class the poster of Washday in Brigham City. Ask what the woman in the painting is doing. Ask the students if their family ever hangs laundry on the line. (Even children whose families do not regularly hang out laundry may do so with particu-lar items or when camping or may have a neighbor who does.) Ask the students why the artist might have chosen to make a painting of just everyday life.Tell the students that art that shows a scene from our everyday lives, like this one, is called a Genre Scene. (Genre is pronounced zhn-re) Write the word on the board and pronounce it for the chil-dren: have them say the word several times.Divide the class into groups and give each group an assortment of postcards, some of which are genre scenes and some of which are not. Each child should choose a postcard and say why it is or isnt a genre scene, and place it in one of two pilesYes and No. When all the postcards have been sorted, allow stu-dents time to discuss the division and make changes if the other members of the group can convince the child who made the decision to change his mind. Ask the class if some artworks are hard to classify as genre or not genre. They may not agree about Keeper of the Gate. Sometimes, information about the artwork might help you decide how to clas-sify it. For example, because Keeper of the Gate is about the area the artist was allowed to wander as a child,and it shows him on a bicycle, some people might be influenced to say its a genre scene because of the idea behind the painting. Students do not need to agree. Do help them to articulate the reasons for their choices.Extension: The students will learn to identify landscapes, genre scenes, and portraits. Add to the lesson above by showing the students a poster of a landscape such as Sunrise North Rim of Grand Canyon. (Landscapes show all or mostly just the land; any figures are small and not very important.) Then show the class the poster of Sacajewea and explain that portraits concentrate on a person or small group of people, not on an activity.)[There are, of course, artworks that blur or cross over the lines, but start with simple definitions. As the students learn more or as they identify the ways artworks cross the lines, help them explore the complexities of artworks that do not fit just one category.]2. Aesthetics: Students will be able to explain the Realist theory of art and the Expressivist theory of art and identify the two kinds of artworks. Introduce the aesthetic theories or approaches of Realism and Expressivism. Aesthetic theories

Calvin FletcherWash Day in Brigham City

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explain different ideas people have about what art should be like. The Realist approach is that art should look like the person, place, or thing depicted. How good an artwork is is based on how real it looks. On the other hand, the Expressivist approach is that art should express an emotion or feeling. The artwork is judged on how well it expresses the artists feelings or invokes those feel-ings in the viewer. Most genre scenes are realistic, but a few artworks that can be classified as genre scenes are more expressive, such as Keeper of the Gate, I and the Village, and Parade. Simplified Variation: Limit the lesson to Realism, which means you do not need postcards of I and the Village and Parade.Have students, in their groups, classify the post-cards according to whether they are Expressivist or Realist. All students do not have to agree. Have students find words that help explain the differ-ences between the two approaches to art. Make a list of the words on the board.3. Art Production: Students will choose an everyday scene to portray in an artwork. They will dem-onstrate their understanding of expressivist and realist by choosing one approach and making their genre scene fit that approach. Have students choose a scene from everyday life to portray in an artwork. Students should choose whether to make their artwork Realistic or Expressivist.Give each student a piece of inexpensive paper. The students should fold the paper in half one way and then in half the other way so the folds indicate four thinking spaces. In each space, the stu-dents should sketch an idea for their artwork. They should consider the overall design as well as individual elements and how they can make their artwork expressive or realistic. Have the students review the genre scenes to see that artists make choices about how they portray sceneseven realist artists dont just make exact copies from real life.Each sketch in a thinking space must have some changes from the previous one. When all four sketches are complete, students can choose one and make a light sketch on a large sheet of good drawing paper. Allow students to choose an appropriate medium and complete their artwork. Mount the artworks on larger sheets of colored paper, or display them in mats or frames which you have. Display the artworks after the critique is finished.4. Art Criticism: Students will be able to critique their artworks as Realist art or as Expressivist art, using a 5step criticism model.Have students use the 5step criticism model below to critique their artworks. Remember, art

Jacob Lawrence, ParadeImage from allposters.com

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criticism is talking about art, not just saying how good it is. 1. What is your immediate reaction? (initial reaction) 2. What do you see? (description) 3. How has the artist put things together? (analysis) 4. What is the artist telling you? (interpretation) 5. What is your opinion of the artwork, and why? (informed preference) How successful were you at making your artwork expressive or realistic?(evaluation of personal work)Have students write a sentence about their artwork and display the writing with the work. For example: I wanted to show how much fun we have when we go camping.SourcesI and the Village, Parade, and Peasant Dance, can be found at barewalls.comFor I and the Village, go to the artists list, click on C, find Chagall, click, go to page 3The other two artworks can be found through the artist list: Jacob Lawrence and Pieter BruegalYou can purchase the prints for $15 or less or can make your own postcards following the directions in the appendix.You can access an image of Dance Around the Maypole at utah .edu/umfa and go to Education, then Elementary PostersYou can access an image of The Gleaners, by Jean-Francois Millet, at allposters.com.AssessmentUse the chart on page 9 for both formative and summative assessment of this lesson.

Pieter Brueghel the Younger, Dance Around the MaypoleUMFA Elementary Poster

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Postcards From Utah ArtistsThird Grade Visual Arts Curriculum

THEME: ALL IN A DAyS WoRK

AESTHETICS

Motivation: The teacher brings into the classroom enough wrapped presents for each group of four students. As she is doing so, she explains that she got the presents from the driver of a very long limo that had pulled up in front of the school. She explains that the driver got out of the limo and handed her the presents. He told her that his dying boss had a last request. He wanted her students to preform a task for him. The task is to find a connection between the three postcard images in the package. Once the students have discovered a connection between the images, they should curate an exhibit in the museum of these images and other images from the museum based on that connection. If the students complete the task the man to donate the three artworks to the local museum.Aesthetics objectives: Each group of students will be able to analyze the three images by Edith T. Roberson (Channel Three), Paul Salisbury (Riders of the Range), and Mahonri Macintosh Young (Factory Worker) and identify and write down ways in which the images relate to one another according to the aesthetic concept of the artists intent. The students will also be able to write a jus-tification of their opinions about the aesthetic concept of artists intent for each of these images. Each group of students will be able to organize and display an exhibit of these postcard images and similar postcard images that have the same relationship to one another. Finally, each group of students will also be able to write a statement that describes the rational behind their exhibit.Aesthetics Lesson: The students will open the packages and look at the three images by Edith T. Roberson (Channel Three), Paul Salisbury (Riders of the Range), and Mahonri Macintosh Young (Factory Worker). Explain to the students the aesthetic concept of artists intent. The artists intent is a way of stating what the artist is trying to communicate in the artwork. One way that they can

Mahonri YoungIndustry:

Factory Worker

Paul SalisburyRiders of the Range

Edith RobersonChannel Three

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discover what might be artists intentions for making an artwork is to asking questions about the relationship between an artwork and the artist. The following two questions: (What is this artwork about?) or (What is the artist trying to communicate?) are examples of the type of questions your students could ask while searching for the artists intent. To find the answers to such ques-tions the students should read the information from the back of the postcards. They can also read additional information found on the back of the elementary poster for that image. All Utah elementary schools have copies of these three posters and all of the posters can also be viewed on the CD-Rom included in this curriculum. Have the students write down the information they gather from the image and the other written materi-als they read and place it in a comparison chart.(page 23) This chart will make it easier to view what is simi-lar, different, or what maybe a common connection between the artworks. Next the students will need to write in the chart their conclusions as to the artists intent for creating this artwork. Now have the groups review the information that they have written down about these three artworks and look for common con-nections between the images, materials, subjects, styles, and artists intentions. When the students decide what the common connections between the artworks are, they will need to use those connections to establish a theme for an exhibit.Now, give the students the complete elementary set of postcard images and allow them to select other images that match their theme for the exhibition. Once they have completed their selections, have them hang a bulletin board exhibition for the postcards selected. The groups should also write statements about their exhibits explaining the connections they have found, justifying their selection of their themes and images. The students should make simple labels for each of the artworks that give the name of the artist, the title of the artwork, the year it was created, the media, and the actual size. The students may invite another class or parents to view the exhibits. The students could also act as docents and give tours for the visitors.Advanced Variation: Allow students to search the Springville Museums web site for other images to include in their exhibit.

Donald Beauregard, The Artists Father Clearing Sagebrush

Minerva Teichert, Spinning

William Parkinson, House Wife

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ART CRITICISMArt Criticism Motivation: An art critic is a professional who helps someone to look at an artwork and to go beyond the initial reaction and look deeper into what the artist has created. The art critic uses a method for looking called a critical model. We are going to act like we are art critics and look at some artworks using a simple model of criticism that has five basic steps or questions: 1. What is your immediate reaction? (initial reaction) 2. What do you see? (description) 3. How has the artist put things together? (analysis) 4. What is the artist telling you? (interpretation) 5. What is your opinion of the artwork, and why? (informed preference)Art Criticism Objectives: The students will be able to use the critical model from above to gather information about the artwork to share with the class in group presentations.Art Criticism Lesson: The teacher will demonstrate how to use this critical model to the class with one of the images from the state core curriculum for the third grade. The students will then divide into small groups and use this model of criticism with one of the artworks to be studied in the art his-tory lesson. The complete list of these images can be found on the next page. Each group will fill in its responses to the five steps of the model and share with the class in a presentation. ARTWORKS TO BE USED IN THE CRITICISM AND ART HISTORY LESSONS Diego Velzquez. The Forge of Vulcan 1630 Oil on canvas. Museo del Prado, Madrid, Spain. Mahonri Young Industry: Factory Worker 1938 Bronze Springville Museum of Art Vincent van Gogh. Morning, Leaving for Work 1890 Oil on canvas. Collection of Otto Krebs Hermitage, St. Petersburg, Russia. Paul Salisbury Riders of the Range 1953 Oil on canvas Springville Museum of Art

Jan Vermeer. The Lacemaker c.1669-1670. Oil on canvas. Louvre, Paris, France.Dame Laura Knight Ruby Loftus Screwing a Breech-Ring 1943oil on canvas Imperial War Museum, London, EnglandFernand Lger The Builders 1950Oil on canvasMuseum National Fernand LgerPietro Lorenzettidetail, Allegory of Good Government: Effects of Good Government in the City and the Country 1338-1339

18

ART HISToRy

Art History objective: Students will be given copies of artworks and information about them that depict people at work from past centuries and will be able to analyze, discuss, and write down how these images are similar and different, and complete a comparison table. The students will be able to describe how both work and the depiction of work have changed over the centuries.Art History Lesson: Each group of students will be given a copy of the images listed in the com-parisons charts below and the basic information about each of the artworks. The students are to view images and look carefully for similarities and differences between the four pairs of images and record their findings in the chart. Assign a pair of images to each group of students to use for a pre-sentation to the class. The presentation must clearly describe how methods of work (physical labor) and the methods of creating an artwork have changed over the centuries.Assessment: The information from the comparison charts may be used by the students in an inte-grated performance assessment strategy that acts out the differences or similarities in a pantomime or play. The students then will complete the creative characteristics questionnaire, which assesses their integrated performance.

CREATIVE CHARACTERISTICS QUESTIONNAIRE

1. high level of energy ___ ___ ___ ___ ___ ___ ___ ___ low energy 2. imaginative ___ ___ ___ ___ ___ ___ ___ ___ ordinary 3. enjoyment ___ ___ ___ ___ ___ ___ ___ ___ disinterested 4. cooperative ___ ___ ___ ___ ___ ___ ___ ___ resistant

19

ttp://commons.wikimedia.org/wiki/Image:Diego_Velasquez,_The_Forge_of_Vulcan.jpgArtist Type of Work

Depicted How the Artwork

Was MadeComparison

Diego Velzquez The Forge of Vulcan

1630 Oil on canvas Museo del Prado, Madrid, Spain.

Mahonri Young Factory Worker 1938 Bronze Springville Museum of Art, Springville, Utah

20

http://galeria.klp.pl/p-3859.html

Artist Type of Work Depicted

How the Artwork Was Made

Comparison

Vincent van Gogh Morning, Leaving for

Work 1890 Oil on canvas

Collection of Otto Krebs

Hermitage, St. Petersburg, Russia

Paul Salisbury Riders of the Range

1953 Oil on canvas Springville Museum of Art Springville, Utah

21

http://www.ibiblio.org/wm/paint/auth/vermeer/i/lacemaker.jpghttp://www.awm.gov.au/sharedexperience/images/enlarge/ld_2850.jpg

Artist Type of Work Depicted

How the Artwork Was Made

Comparison

Jan VermeerThe Lacemaker c.1669-1670

Oil on canvas Louvre, Paris, France

Dame Laura Knight Ruby Loftus Screwing a

Breech-Ring 1943oil on canvas Imperial War

Museum, London, England

22

Detail from, http://commons.wikimedia.org/wiki/Image:Ambrogio_Lorenzetti_Allegory_of_Good_Govt.jpgArtist Type of Work

DepictedHow the Artwork

Was MadeComparison

Fernand Lger

The Builders 1950 Oil on canvas

Museum National Fernand Lger

Pietro Lorenzetti detail, Allegory of Good

Government: Effects of Good

Government in the City and the

Country 1338-1339

http://www.ac-nice.fr/artsap/Pedagogique/ar-chitecture/chantier_leger.html

23

ART PRoDUCTIoN

Art Production Motivation: The students will create a story book about a day at work with a parent or other adult they admire. Oral interviews are encouraged as a means of gathering data.Art Production objective: Students will be able to create a small eight-page story book about a day at work with a parent or some other adult they admire. The students will also be able to use principles of design in such a way as to emphasize what it is they like about the occupation. Art Production Materials: 12 x 18 heavy weight white drawing paper, markers, crayons, colored pencils, and scissors. Directions for the book are on page 24Art Production Lesson: The students will interview his or her parent or other adult that they admire concerning their occupation. They will need to gather specific information that will help them illustrate what his or her daily routine is like at work. The students will need to ask specific ques-tions about what it is about their job that they enjoy. The student should write notes from the inter-view that will highlight five things about their daily routine.The student should start the illustration of the book by creating small drawings (thumbnail sketches) that will depict the five different parts of the daily routine highlighted in the interview. Then the stu-dents will select the best of the sketches made for each of the five parts of the day and use them to create a drawing that will fill the space for that page in the book. The illustrations in the book might include details like: the type of clothes worn in this profession, the tools they might use to do their job, the people they work with each day, and details about the work environment. There are seven main criteria for the illustrations and the design of the book: 1. The drawings should be more than stick figures and figures should be depicted in correct human proportions. 2. The use of color should be similar to that used in a cartoon. Simple primary and secondary colors with some shading. 3. The parts of each of the images which are of most importance should fill the largest space on each page. 4. The front cover of the book should have text introducing the type of job. 5. The next five pages should depict the daily routine; no text can be used on these pages. 6. The last inside page of the book should list preparation, training, or education required to accomplish this kind of job; some text maybe used. 7. The back cover should include credits and thanks to the individual they interviewed. When the students are finished creating the books they can exchange their book with someone else to read or read their book to a student from a younger class. Assessment: As a method of assessment the students can then write a book review that critiques the successfulness of their illustrations or that of another classmates. The students or the teacher may use the criteria in the check list above for a self-assessment or to judge the book.

24

25

THEME: UTAH ART CAN TELL US AboUT UTAH HISToRy

objectives: 1. Art HistoryStudents will be able to name two early Utah artists and explain their contribution to Utah Art. 2. Art Criticism/AestheticsStudents will explore different ways art is valuable to us by comparing several Utah artists works. Students will choose an aesthetic stance and be able to defend that stance. 3. Art ProductionStudents will make pioneer journals containing four drawings that illustrate events on the journey.Materials Postcards:Immigrant Train, George Ottinger; Handcart Pioneers, C.C.A. Christensen; Capital from North Salt Lake, Louise Richards Farnsworth; Richards Camp, J.T. Harwood; Riders of the Range, Paul Salisbury OtherUtahartworksthatcanbefoundatsmofa.org: Teepees, John Hafen; Rocky Mountains, Parishort, William Warner Major; Bishop Sam Bennion Farm, and Ontario Mill Park City, Danquart Weggeland; Sugar Refinery Burning, George Ottinger; Dreaming of Zion, Lee Greene Richards; Curtain Time Pioneer Theater, Cornelius Salisbury; Frontier Scout, Mahonri Young Language Arts/Social Studies/Art Production

objective: Students will demonstrate their understanding of the pioneer trek to Utah by writing and illustrating journals that could have been written by pioneers. (You may wish to add specific class objectives for the illustrations and writing.)Materials ExcerptsfrompioneerjournalssuchasMaryGobelPeays(shewas12) artworks including Immigrant Train, George Ottinger; Handcart Pioneers First View of Salt Lake Valley C.C.A. ChristensenPostcard Set. Additionalusefulartworks:Teepees, John Hafen; Rocky Mountains, Parishort, William Warner Major; Frontier Scout, Mahonri Youngall available at smofa.org George Catlins paintings of Native Americans from BYU MOAs Lure of the West Packet, March 2002available at MOA bookstore and at http://www.lib.byu.edu/dlib/moa/As part of a unit on the pioneers, have students become pioneers for a week. They can make books as shown on page 24. Then the students will write journal entries, illustrating the events that hap-pen so that people 150 years later could read and see what their experiences were like.To introduce the activity: If you have a slide projector, project a slide of Lee Greene Richards Dreaming of Zion on the screen or wall while you read excerpts from Mary Gobel Peays journal.

Postcards From Utah ArtistsFourth Grade Visual Arts Curriculum

26

(The slide is available in past SMA packets. You may be able to borrow a poster from a middle school, or, purchase a poster from the Springville Museum of Art for $5special price for teachers)Ask the students how the picture does or does not look like what Mary Peay describes. Ask why an artist might not be most interested in being historically accurate. Then tell the students youre going to look at two artworks that are historically accurate. Divide the students into groups and have them look at the postcards of Immigrant Train and Handcart Pioneers First View of Salt Lake Valley and any other artworks you have. Also, have the students read another excerpt from a pioneer journal. As groups, have the students discuss why journals and artworks with accurate historical data are impor-tant. Then have the groups share their ideas with the class. Explain to the class members that they are going to create journal entries that accurately reflect what pioneers might have gone through. Teach them how to make the books. As you continue to study the pioneers, have the students make a journal entry each day, using both written accounts as well as illustrations, as if they were part of a wagon train or handcart company. When the journals are finished, students should title them appropriately. Have the students read each others journals and discuss them as groups. Display the journals in the media center and invite other classes to view and read the journals.Addition: You may want to complete a lesson on gesture drawing and depicting space in art before you start the journals. If you have already done this as a class, a brief review may be helpful: do three quick gesture drawings and review the list of space indicators on page 40. Evaluation: Have students evaluate their journals using a simple rubric of the criteria you choose. You can also evaluate the journals using the same rubric.Art HistoryStudents will be able to name two early Utah artists and explain their contributions to Utah Art. Students will create a timeline of Utah art and identify ways the art tells us how life in Utah has changed over the years. Students will demonstrate their ability to read the labels on artworks correctly by identifying the year the artworks were created.As part of, or after finishing, the journals activity, have students learn about the two artists, George Ottinger and C.C.A. Christensen. Use information from the biographies included in the poster backs section. Divide students into groups and give them copies of the following postcards: Immigrant Train, Handcart Pioneers, Riders of the Range, Richards Camp, Boy and Cat, Wash Day in Brigham City,

Lee Greene Richards, Dreaming of Zion

27

Capitol from North Salt Lake, Road to the River, Youthful Games, and Keeper of the Gate. Have students speculate about Ottingers and Christensens possible impact on art in Utah. Have the groups share their ideas with another group. Each student should write a few lines in their art journals: Ottingers and Christensens names and the titles of their artworks, when they painted, and how they might have influenced the development of Utah art. (Although not the most important part of the activity, two ways the artists were influential are that their artworks exposed many of the early settlers of Utah to art. For example, CCA Christensen toured his Panorama through many small towns where people might not have gotten to see any art. Ottinger became a teacher and not only passed on his skills but also encouraged the next generation of artists to gain more extensive training by going to Paris..Have the students organize the art images into a timeline. They should make the timeline without looking at the backs of the postcards. They can check the timeline dates after they are finished. Make sure they know how to read the labels on the back of the postcards. The year the artwork was created is the date that follows the artworks title. Ask if they were surprised by any of the dates on the artwork. Ask them to decide why they had a hard time telling on some artworks. For example, Riders of the Range depicts cowboys and cowboys have looked much the same for many years. Art Criticism/AestheticsStudents will explore different ways art is valuable to us by comparing several artists works. Students will choose an aesthetic stance and be able to defend that stance.Materials Twopostersorlarge-sizereproduc- tions of artworks. The first should be an artwork most of the students will like. The second should be Handcart Pioneers First View of Salt Lake Valley, SMA Elementary poster Postcardsforthe4thgrade:Handcart Pioneers First View of Salt Lake Valley, Immigrant Train, and Rhinoceros OtherpostcardssuchasRoad to the River, Sunrise North Rim Grand Canyon, Boy and Cat, Riders of the Range, Capitol from North Salt Lake Otherpostcards,particularlyofart works many of the students will con- sider beautiful, such as Cliffs of the Upper Colorado River, Wyoming Territory, Thomas Moran; Among the Sierra Nevada, California, Albert Bierstadt; both from BYU MOAs Lure of the West packet, March 2002, or the images are available from www.lib.byu.edu/dlib/moa/

James Christensen, Rhinoceros

2828

Art is valuable to different people in different ways. It may be valuable in several ways at once. Art criticism and aesthetics are ways to explore the ways we value art. In this component of the lesson, students will compare various artworks and determine the ways we might value each artwork. Then the students will choose one way we value art and argue that stance in a debate.Show the class a poster or large reproduction of an artwork that you think most of the students will respond to positively. Ask: What is your first reaction to this artwork? So is it valuable because its beautiful or makes you feel happy, or __________________ ? (use whatever responses the students have given) Why else might this work be valuable to someone? Hold up the poster of Handcart Pioneers First View of Salt Lake Valley. Ask: If you collected art by Utah artists, why might this artwork be valuable to you? Help the students explore the idea that art is valuable is different ways.Divide the students into groups and pass out the postcards. Ask the students to figure out as many different ways as they can that the artworks they have can be considered valuable. Students should make a list.If students need more direction, ask them questions such as the following:Which artworks would be most valuable to an art museum that specializes in Utah artworks? Why?Which artworks would be most valuable to a museum of Utah History? Why?Which artworks would be most valuable to you as something you would want in your home so you could look at it every day? Why?Each student group will choose one artwork and decide why it may be valuable. They will choose two students who will debate two members of another group, using the reasons they determined in their group to assert that their artwork is the most valuable. Students will complete a form or write in their journals the title of the artwork they chose, the artist, and three reasons they believe the art-work is valuable.

Artist:______________________________ Title: _________________________________________

This artwork is valuable because 1.

2.

3.

29

Postcards From Utah ArtistsFifth Grade Visual Arts Curriculum

Theme: Searching for visual Clues

ART CRITICISM

Motivation: The artist as the creator is the first source of information about an artwork, but another creditable source is the art critic. He or she, like the artist, can guide the viewers eyes to see mean-ing in an artwork. It is often the writings of an art critic that help the viewer move beyond the initial response to an artwork and develop a clear understanding of an artwork that results in an informed opinion. In the following lesson, the students will act as an art critic by recording in writing their initial response, their description of the artworks, their analyzes of the visual clues built into the art-work by the artist, provide their interpretation of the artwork based on their observations, and come to a judgement of it.Art Criticism objective: Students will be able to use a critical model to identify visual clues used by artists to help describe subjects and tell their stories.Art Criticism Lesson: Divide the students into groups of four. Have students look at the four Cyrus Dallin postcards from the postcard set. Ask the students if they recognize any of the famous individu-als in these sculptures: Paul Revere, John Hancock, Sacajawea, and Massasoit. Have the students pick one of these four famous people on which to conduct research so they will know about them. Now, have each group act as art detectives and write down visual clues that Dallin used to help a viewer recognize the individuals he sculpted. You may need to suggest that they look at things like clothing, the position of the figures, and other details. Also, ask the students to think about stories they know about any of these famous people and how these stories helped them to know who these people are. Encourage the individuals in each group to contribute to the discussions.

Cyrus Dallin: Paul Revere John Hancock Sacajawea Massasoit

30

ART HISToRyArt History Objective: Students will be able to identify different styles of artworks by artists who have portrayed images of famous people and compare these styles to one another.Art History Lesson: Chuck Close creates super-sized paintings of famous artists and friends from photographs he takes. His paintings expose the faces of his subjects to the viewer on a level of inti-macy previously only viewed by a mother or spouse. Chuck Close said, I paint heads because heads matter to everybody. If you paint a face big enough, its hard to ignore! (Scholastic Art, 1995)To help the students gain an appreciation of this kind of close- up view, make a transparency of the black and white portrait image of the famous modern composer, Phil Glass, by Chuck Close. Most school and district media center coordinators are a great resource for the materials and expertise to create transparencies. Show the students this image on an overhead projector. Ask them to look for the details in the image like facial hair, pores of the skin, and wrinkles. To give the students a better understanding of how close you would need to get to a person to see such details and to help them understand how a person who is the subject might feel, give each group of four students two magnifying glasses and ask the students to take turns looking very close up through the glasses at one another's faces. Have the students share their feelings as to how they felt both as the viewer and as the subject. Ask the stu-dents if they would want a nine-foot Chuck Close painting of their own face in their house. Explain to the students that many of Chuck Closes subjects had trouble with their own images and did not want them hanging in their houses. Now show the students the Martha Graham Paper Doll Quilt created in 1999 by Rebekka Seigel. Explain that this quilt is part of a series of twelve quilts that Rebekka Seigel has created about famous women. Ask the students if they know who Martha Graham was and what she did for a living. Have the students look for clues that Rebekka Seigel gave us about Martha Graham's life in this quilt. All of Rebekka Seigels paper doll quilts have several

Rebekka Seigel, Martha Graham Paper Doll Quiltimages used by permission of the artist

31

removable outfits to dress up the person featured in the quilt. Just like Cyrus Dallin did, Rebekka researched each outfit and patterned them after outfits worn by the person. Next, have each group of students discuss and compare Cyrus Dallins approach to portraying images of famous people with that of Rebekka Seigel and Chuck Close. Have the students complete the fol-lowing descriptive matrix to help them look at the differences and similarities of each of these artists approaches. Use this list as a tool for formative assessment of the students processing of this infor-mation. The matrix is included at the end of the lesson.Student groups will analyze the different styles of each artist and decide in what ways and where each artists works would be most appropriate within a community As assessment, students should summarize their decisions and the reasons for that choice. Art Production objective: The students, working in small groups, will be able to create a mixed-media quilt that tells about a famous living person. Art Production Lesson: Have groups of students select a famous person to feature in a mixed-media quilt. Ask the students to research the life of the person they have selected. Some things they could look for are quotes, clothing, gestures, pets, hobbies, careers, family, friends, accomplishments, cre-ations, or other unique details. Have the groups of students sort out and select the best of materials and information they have gathered about the famous person. Now, they should discuss what kind of images they will need to create to best represent the selected information. Have the students find and select appropriate materials to use for these images: cloth, magazine clippings, text, papers, and textures. The groups may want to create drawings or paintings to illustrate the information, these can be integrated with the other materials. Next, have the students arrange the images and text or other elements to be used in the collage quilt until the design looks complete. Help the students use bal-ance, rhythm, contrast, repetition, proportion, and unity in their designs. Ask them to check the relationship between the size of the images, the colors, the lines, the values, and their use of positive and negative space. Depending on the materials available, the students can glue, sew, or staple the finished design to a large sheet of oak tag, cardboard, or cloth. Have the students create a label for the quilt which contains the names of the students in the group, a title for the quilt, and a statement about the famous person they selected. Exhibit the finished quilts and allow the students to create jurors notes for the quilts created by the other groups. These note should be positive comments that relate to the different parts of the images that are most successful in telling about the famous person.Aesthetics objective: Student will be able to discuss, compare and write about their conclusions for a selected art story problem.Aesthetics Lesson: Each group of students must select a famous person they want to commission an artist to portray. Each group must select one of two very different artists for the commission: Cyrus Dallin, the sculptor, and the Pop artist, Andy Warhol. The selection should be based on the

32

information they learn about the two artists and the works of art each has created. Then each student must also write a statement that justifies the selection they have made concerning the commission.background Information: Andy Warhol created many images of Marilyn Monroe. Who was Marilyn Monroe and why did Warhol choose to create a picture of her? (She was a Hollywood celebrity in the 1950s and 60s. Warhol used her face because almost everyone who saw the print would recognize her.) What is Warhol saying by displaying this celebritys face so prominently? Does he think that society should admire Marilyn Monroe? Why or why not? Cyrus Dallin also relies on the celebrity status of his subjects to help his viewers recognize his subjects, like Paul Revere. What does Cyrus Dallin want society to see about his subjects? How does Dallins approach differ from Warhols approach? Which of these two approaches best fits the kind of image your group would like for your famous person? Cyrus Dallin sculptures sell for $300,000. Andy Warhols Orange Marilyn, an acrylic and silkscreen ink painting on canvas, which was created in 1964, sold for a record price of $17,327,500 at Sotheby's auction house in May of 1998. How would the selling price of an artists artworks influence you if you were on a committee to choose an artist to create an image to represent a famous person? Does a higher price tag make an artwork better? Which artists art-works match the social values of your community? Which artist creates images that the majority of the people in your community would see as beautiful? How would your famous person react to the artist that you have selected to do the commissioned artwork.? Have the students discuss these topics in their groups and write down their own responses to help them to decide which artist will get their vote. Have the class vote as a group on which artist to choose to do this commissioned artwork. Next, have the students write a press release for the school newspaper about the assignment, the two artists, and the reason why they selected that artist to do the commissioned artwork.

Assessment: Use the sample rubric on the next page to assess the performance of each student in each of the four disciplines.

Andy WarholMarilyn Monroe

Brigham Young University Musuem of Art

33

Aesthetics

Art Criticism

Art History

Production

Objectives:

Student will b

e able to

discuss, comp

are, and write

about t

heir conclusio

ns for the art

story problem

Students will

be able to

describe visua

l clues, act

as an art critic

, write an

initial respons

e, describe,

analyze, interp

ret, and

judge artwork

s Studen

ts will be able

to view d

ifferent styles

of artwor

ks by artists w

ho have po

rtrayed image

s of famo

us people and

compa

re these styles

to one an

other

The student gr

oups will

be able to crea

te a mixed

media narrati

ve quilt

which tells a s

tory about

a famous livin

g person

Exce

llen

tActivel

y engaged in

class/group d

iscussions,

compares and

contrasts

ideas, Makes va

lid written

conclusions,

provides soun

d reasons

for choice, cho

ice based

on aesthetic co

ncerns

Discovers sev

eral clues,

compile a list

of clues,

and is engage

d in group

discussions, w

rites a comple

te and clear in

itial respon

se, descriptio

n, analyze

, interpret, and

judgme

nt of artworks

Has learned to

recogn

ize the styles

and is actively

engaged

in the compar

ison lesson,

completes th

e descrip

tive matrix, ch

ose an arti

st to portray a

favorit

e celebrity, wr

ites explan

ation for choic

eActively

engaged in all

aspects

of the creatio

n of the qui

lt from individ

ual elemen

ts, overall desi

gn, exhibit

ion of quilt,

created positiv

e/relative

jurors notes

on quilts

created by the

other groups

Sati

sfac

tory

Participates so

me in class, m

akes minimal

attempts to di

scuss, compa

re, and write

conclusions w

ith the group

Mostly identif

ies visual

clues, particip

ates in discu

ssions but

offers few me

aningful

connections

Participates in

compa

rison task on

acceptable leve

l, helps

select artist, m

akes an atte

mpt to write

explanation fo

r choice

but not compl

ete

Creates some e

lements

for the quilt a

nd helps

to complete th

e project,

writes some a

cceptable

jurors notes

Nee

ds

to I

mp

rove

No attempt to

compare

ideas, refused

to make

written conclu

sions or

provide reaso

nsUnable

to discuss clu

es and ref

used to partici

pate in criti

cism tasks

Makes little or

no effort

to recognize s

tyles or

participate in

comparison

or descriptive

matrix

tasksMade n

o effort to

contribute to t

he design

or creation of

the quilt,

did not write j

urors notes

Sample Rubric

for Fifth Grad

e Lesson: Sear

ching for Visu

al Clues

34

DESCRIPTIVE M

ATRIX

Artist

Materials Used

Artistic Approach Artists Intent

I Like/Dont Like

W

hy

Cyrus Dallin

Rebekka Seigel

Chuck Close

35

Postcards From Utah ArtistsSixth Grade Visual Arts Curriculum

THEME: THERE ARE MANy WAyS To DEPICT LANDSCAPE

objectives: 1. Art History: Students will be able to define and identify landscapes. As members of small groups, the students will research an artist who paints landscapes and will demonstrate their knowledge of the artist and his work by making a short presentation to the class. 2. Aesthetics: Students will be able to discuss and make appropriate judgements as to what aesthetic theory best fits particular landscapes. Students will be able to justify their decisions using evidence from the paintings. 3. Art Production: Students will create a landscape using color blends, lightening and darkening colors, creating tints, shades, and tones. 4. Art Criticism: Students will evaluate their landscapes and find ways in which they are similar to the artists paintings they used in the Art History component.Materials Postcards:Road to the River, Maynard Dixon; Moonrise in the Canyon, Moab Utah, Birger Sandzen; Cockscomb near Teasdale, Douglas Snow; Sunrise, North Rim Grand Canyon, Mabel Frazer Sketchpaper Good-qualitypaper Paint,coloredpencils,or pastelsArt Historyobjective: Students will be able to give a short presentation on a Utah artist who paints landscapes. The report will include information about the artists life and artworks.MaterialsIf you have postcards and biographi-cal information on artists who have painted landscapes from past packets, you can use those. You may also have slides from past packets which can be scanned to make postcards. Or, download biographical information and images from the Springville Museum of Arts web page. You will need information

Birger SandzenMoonrise in the Canyon Moab, Utah

36

on enough artists to allow one per small group. You can use the 4 postcards plus 26 other artists. The students need to have access to two artworks by each of the artists you use. See the list at the bottom of the page for artists with images of more than one landscape. Downloading the images should take less than 30 minutes plus time to print one copy of each of the landscapes. See DIRECTIONS FOR MAKING YOUR OWN POSTCARDS, see appendix. You may want to print one copy of the landscapes as a small poster instead of just as a postcard, so students can use the artwork in their presentation. Another possibility is to print several postcard-size images and have the student pass those around during their presentation.(An additional source of landscape images is calendars. If the calendars do not include enough biographical information, try searching the web or a comprehensive art history text.)Additional artworks by Mabel Frazer and Douglas Snow can be found at sma.nebo.edu. Go to Collections, then to Artists. Other artworks by Birger Sandzen can be found at sandzen.org; go to America. Additional works by Maynard Dixon can be found at utah.edu/umfa/utah.html. One is also currently avail-able at byu.edu/education/LessonPlans/index.htmlThe presentations about the artists and their works should contain the following information: 1. One other artwork 2. Five facts about the artists life 3. Title, media, size, year, of artworks 4. StyleAllow time for each group to make a presentation to the class. Have students use the form on page 49 to self-evalu-ate their presentations. You may use the scale for a teacher evaluation. You may also want to have students complete a quiz to evaluate what they learned from the other groups presentations. Number the artworks and hold each artwork up so the students can write down the artists name. They should spell the name correctly. The quiz is on page 50.ARTIST LIST FoR ART HISToRy LESSoNAll of the artists on the following list have at least two artworks on the Springville Museum web page at smofa.org, go to Art Collection, then to Browse, then to Browse Artists. Donald Beauregard Henry CulmerValoy Eaton J. B. FairbanksLynn FausettJohn Hafen

Maynard DixonTrees

image from utah.edu/umfa

Cornelius SalisburyPaul SalisburyLeConte StewartDanquart WeggelandA. B. WrightSamuel JeppersonHoward KearnsRanch KimballHenry MoserLee Greene RichardsHowell Rosenbaum

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variations: A. Make copies of postcards or postcard-sized images on cardstock. Each student will write a note to a friend about the artwork pictured on the card, explaining something the child learned about the artist, artwork, or style. Evaluate the cards and then let the students mail them.B. Have students write an exhibition catalogue for an exhibit of the postcard artworks.C. Have students curate a show of landscapes from the postcards. (You will need more than the four postcards from the set, but wont need two artworks by each artist. There are postcards of land-scapes in several of the past Evening for Educator packets including Lure of the West, BYU MOA, March 2002; and Communities and Towns, SMA Sept. 2001.) Students should be given a place and should hang the show and write a brief explanation of the showwho, why, and what. After students have viewed the exhibits, allow time for comment about how the shows differed and how students respond to those differences. Evaluation: Have students complete a Learner Report similar to the one for the original Art History component, changing the information to reflect what the class did for the lesson.AESTHETICSobjective: Students will be able to discuss and make appropriate judgements as to what aesthetic theory best fits particular landscapes. Students will be able to justify their decisions using evidence from the paintings.MaterialsPostcardsfromtheset: Road to the River, Moonrise in the Canyon, Cockscomb near Teasdale, Sunrise, North Rim Grand Canyon Additionalpostcards from the Art History componentOptionalThomas Moran and Albert Bierstadt postcards from BYU MOAs Lure of the West packet (these can be considered Instrumentalist artworkssee information on Manifest Destiny in the Landscape lesson, Lure of the West packet) Or, make your own postcard-size images.Writingpaperandpencils

J. Roman Andrus, Cadmium Crest

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Divide students into groups. Give each group a set of the four postcards from the set and two post-cards from those used in the Art History component. Have the students decide which aesthetic theory each artwork best fits. Students must justify their decision with specifics from the artwork. For example, I think Keeper of the Gate is an expressive landscape because the colors and shapes are exaggerated, not natural.

If your class has not worked in a similar way with aesthetics, do the activity with two of the post-cards as a class. (You may want to use the posters for this.) Then have the class analyze the rest of the artworks as small groups.Have the students, as a group, make lists of words that describe the different qualities of the paint-ings. They should keep the lists for reference. Have the groups share their decisions with the class. Discuss differences of opinion. (Students do not have to agree.)variation for older or more experienced students: Have students debate the merits of differing aesthetic theories. Use the British form of debate in which individuals must change sides after 5 minutes and come up with new arguments.Art Production

objective: The students will demonstrate their competency by using color blending, creating tints and shades, toning, and using indicators of space in a landscape painting.Materials: paint brushes good-qualitypaper blendingandcolorwheelsheets,pages4547

Background Information on Aesthetics

MIMETIC (REALIST)Looks real, mimics nature

HEDONISTGives pleasure, to the artist or the viewer

INSTRUMENTALISTArt can be an instrument to bring about change

EXPRESSIVESTExpresses a feeling, emotion, or idea

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After completing the other sections of the lesson, students will create a landscape. If you have not worked with color in paint, you will need to introduce the lesson by teaching the students these tech-niques. YOU DO NOT NEED TO BE A GOOD PAINTER TO TEACH THESE TECHNIQUES TO STUDENTS!Give students paint, water, brushes, and several sheets of heavy paper. The paper does not need to be as high quality as that for the landscape, but should accept paint without deteriorating. Explain to students that with paint, or pigment, the primary colors are red, yellow and blue. The sec-ondary colors, which can be mixed from the three primary colors but are usually provided in paint sets, are orange, green, and purple. Have students mix equal amounts of the primary and secondary colors to get the tertiary colors. You will want to try the mixing beforehand with your class paints because if the hues are not middle rangeneither cool nor warm variations, they may not produce good tertiary colors.Have students complete one of the color wheels from pages 45 and 46. They will place red, yellow, and blue at the spots for primary colors, green, purple, and orange where the secondary colors are indicated, and blend the colors to create the intermediate colors. Have the students keep the color wheel for reference.Although colors are often lightened with white to make tints, or darkened with a very small amount of black to make shades, these color combinations tend to produce dull colors. The colors are live-lier when you lighten a color with the next lighter color on the color wheel and darken with the next darker color on the color wheel. So to lighten a bright red, add a little orange or yellow. To darken red, add violet. Have students complete the color blending chart on page 47 by putting the colors where indicated, making two lightened and two darkened colors and one tint and one shade per color. To make a shade, add a very small amount of black. If desired, these two assignments can be completed using colored pencils or pastels instead of paint. Assessment of these two assignments is pretty straightforward. You may wish to assign points or an overall grade, evaluating completeness and accuracy. You may want to choose a few of the students works to use as the standard for high quality and compare the rest against those.Creating a LandscapeDuring the Aesthetics component of the lesson, students will have made judgements about which aesthetic theory particular landscapes fit. They should now decide what approach they will take to create a landscape. They may find it helpful to look at the list of words their group generated for that approach.If possible, allow students to choose the medium they want to use. They should have their color wheels and blending charts out to help them choose colors and to remind them of the color blending process. Maynard Dixon, Rememberance of Tusayan, No. 2

1924byu.edu

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If necessary, review indicators of space such as objectsgetsmallerasthey recede into the picture plane objectsarehigherinthe picture plane as they get farther away objectsgetbluerorgrayer as they get farther away objectslosedetailasthey get farther away objectsinfrontoverlap objects that are behind themEvaluation: Create a simple rubric for students to use in evaluating their paintings, specifying the crite-ria you have set. If the students have several art projects in their portfolios, have the students assess their work for indicators of progress by noting three improvements in their work, one thing they want to get better at or learn to do, and by writing the most important thing they learned about landscape.A fun way to assess the class learning and to stimulate further discussion and interest is to give stu-dents a Get out of Class Free card. This is a 3 x 5 note card. Each student must write a question he or she has and turn the card in before leaving class. Choose one or two cards per day and answer them.Advanced Art History Lesson:Objective: Students will demonstrate their knowledge of art history and critical dialogue by comparing Hudson River/Rocky Mountain School land-scapes with early Utah artists land-scapes.Materials PostcardsoffourHudsonRiver School landscapes PostcardsoffourUtahlandscapes from the early 1900s See Sources

Edwin Evans, American Fork Canyon

Thomas Cole, Storm King of the Hudsonimage from bsu.edu/artmuseum

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John B. Fairbanks, Harvest in Utah Valley

George L. Brown, View on the Hudsonimage from dfl.highlands.com

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Have students use the information from the Poster Backs and the Springville Museum of Arts web page to learn about the Utah artists. The students will also need to do research on the Hudson River Schoolthe artists from this school who came West, like Thomas Moran and Albert Bierstadt were sometimes called the Rocky Mountain Schoolsame ideas, different area of the country. Students can search the web or you can get a copy of the Lure of the West packet from BYUs MOA.Students should work as small groups. Students should identify similarities, differences, and influ-ences, and should suggest reasons for the differences.Variation: Compare Utah landscapes fromdifferent time periods.Sources:Springville Museum of Arts web site:smofa.orgJohn Hafen, Edwin Evans, J.T. Harwood, and J. B. Fairbanks were all members of the first group of Utah artists to study in Paris. Find artworks by artists such as Thomas Cole and George Loring Brown at artcyclopedia.comThe Lure of the West packet has three postcards of landscapes by Hudson River School artists Thomas Moran and Albert Bierstadt. One work by each artist can also be found at byu.edu/moa/exhibits/index.html

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Landscape Lessons for Advanced Students

1. As small groups, compare harvest scenes of Utah and European artists

Speculate about the reasons for the differences. Consider artistic training, artistic tradition, cultural climate, geography, time period, social conditions.

Choose one reason and research to see if your speculation is true. Share your findings with the class.

2. Research the Fauvists. Write a brief summary of their philosopy. Describe commonalities in their paintings. Create a fauvist landscape. Moonrise in the Canyon Moab, Utah, Birger Sandzen SMA Elemntary Poster Set, Postcard Set, and smofa.org

Find examples of Utah art completed after Birger Sandzens teaching visits in 1929 and 1930 that show evidence of the artists being influenced by Sandzens use of color and his/or his broad brushstrokes. Use smofa.org

3. Research the Impressionists. Write a descritpion of their art-making techniques with examples of the way they used color. Create an Impressionist landscape. Footsteps in Spring, Liberty Park, J. T. Harwood

The artwork can be accessed at smofa.org.

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BASIC COLOR WHEEL

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Our presentation contained the following information:

Yes No c c One other artwork

c c Five facts about the artists life

c c Title, media, size, and year of artworks

c c Artists style

Overall, our presentation was

Great Okay Weak c c c

My participation in the research and presentation was

Great Okay Weak c c c

The most important thing I learned is

UTAH LANDSCAPESLearner ReportName_______________________________________________ Period ______________

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Artists Name Style of Art One Interesting Fact1.2.3.4.5.6.7.8.

Utah LandscapesPresentation Quiz

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Postcards From Utah ArtistsUsing Postcards in Lower Elementary Grades

Identifying kinds of artwork

objectives: 1) Students will demonstrate their understanding of drawings, paintings, sculptures, and prints by accurately choosing each from a group of images. 2) Students will demonstrate their ability to draw, paint, make, a sculpture, and a print, by completing artworks in each medium. 3) Students will demonstrate their understanding of critical analysis by identifying ways their artworks are simi-lar to those by professional artists.Many young children do not know what a painting is or how it differs from a drawing, sculpture, or a print. The following lesson will help them identify several kinds of artwork. This lesson may take as many as five class periods.Materials postcards:Choose23ofthepaintingsfromtheElementaryPostcardset. 23ofthesculptures 23drawingsmakepostcardsfromdraw ings such as A Compromise of Freedom and Control, Connie Borup or Eureka, B. F. Larsen, smofa.org; or choose da Vinci drawings at artcyclopedia/artists/leonardo_da_ vinci.html

23printssuchasFull Bloom, Trevor Southey (Postcard set), or Jennis Bookshelf, Royden Card; Blue Magnolias XVIII third state, Jenni Christensen; Killer Bee, Harry Taylor, smofa.orgDrawingGive the students sheets of good-quality drawing paper, pencils and rulers. Have students draw a border around the paper, using the width of the ruler and erasing the lines that overlap in the cor-ner. Choose a subject for the students to draw or allow them the choice. Show the students how to use the side of the pencil lead to do some shad-ing. Tell the students they have made a drawing. Show them the postcards you have made of draw-ings and have the students identify ways their drawings and the ones pictured on the postcards are similar. Connie Borup,

A Compromise of Freedom and Control

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PaintingGive the class sheets of heavy paper and watercolor or tempera paints. Have them draw a border around the paper, as in the drawing component of the lesson. Then have the students draw simple shapes on the paper such as circles, squares, and rectangles. The shapes should overlap and fill the space. Then students will paint the shapes and the background. They may paint the border or leave it the color of the paper. Explain that they have now created a painting. (The reason for having students make separate drawings for the drawing and the painting are so students do not think all drawings are a prelude to painting.)variation: Instead of shapes, have the students make a drawing inspired by a story you have read in class. They can then make a painting, as in the previous step.Divide the students into groups of 45 and give the students the postcards of the paintings and drawings. Have them separate the drawings and the paintings. (If you have enough postcards so each member of the group gets one an has to decide whether it is a draw-ing or a painting, you will ensure participation by all the students. Have the groups compare and see if everyone in the class agrees. Have students identify ways the draw-ings and paintings are the same and ways they are different. Then, have students identify ways their paintings and the postcard paint-ings are similar. SculptureMaterials oil-basedclayorsaltdough paint(optional) photographsofanimalsyoucanoftenpurchaseanimalbooksatthriftstoresandcutoutthe pages postcardsofdrawings,paintings,andsculpturesGive each student some oil-based clay or salt dough (recipe follows) and let them choose a photo-graph of an animal. Then the students will make the animals in clay. If you used oil-based clay, dis-play the animals for a week or two before using the clay for other activities. If you used salt dough, allow the animals to dry, and then bake them at 350 degrees. After baking, the animals may be paint-ed, or make the clay a neutral color such as a warm brown. Display the animals.When the students have completed a drawing, a painting, and a sculpture, divide the class into groups (new ones) and pass out the postcards. Have students divide the postcards into Drawings, Paintings, and Sculptures. Discuss as in the previous activity.

B. F. Larsen, Eureka 1937pencil

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Printmaking

Materials styrofoammeattrays,plates,orpiecesof insulation (the blue kind), cut into 2 x 2 squares pencils postcardsofdrawings,paintings,sculptures, and printsHave students divide a sheet of 4 x 4 scratch paper into 4 by folding it in half and then in half again. In each square students should make a simple line drawing. Each square needs to have at least one small change. Students choose which design they like best and go over the lines. (If you have drawing pencils, a dark pencil such as a 3b is good. Then the design will be placed face down on the piece of styrofoam and rubbed to transfer the design. Students will use their pencils to carve down into the blocks to make the design. Remind the students that the lines they carve in will be the part without ink. Having an example to show the students is helpful. Then have students print their designs. You may want to have them print the design once on white paper, wipe the printing block, and print again on a dark colored-paper using a l