World War II in the Art Class The Monuments Men, Degenerate Art … in the Art... · 2014. 12....
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World War II in the Art Class The Monuments Men, Degenerate Art and Klimt’s Adele Bloch-Bauer Kirstie Hein Sadler, NBCT, [email protected] Kimberly Turner Towne, NBCT, [email protected] NAEA 2014 WHO WERE THE MONUMENTS MEN? The Monuments Men came from thirteen nations, most of whom volunteered for service in the newly created Monuments, Fine Arts, and Archives section, or MFAA. Most had expertise as museum directors, curators, art scholars and educators, artists, architects, and archivists. Their job description was simple: to save as much of the culture of Europe as they could during combat. These men and women not only had the vision to understand the grave threat to the greatest cultural and artistic achievements of civilization, but then joined the front lines to do something about it. Degenerate Art Unit: Brief description of lesson plans *Lesson #1: Students will be introduced to Hitler as an artist and his failure to be accepted into art school in Vienna. Students will explore questions of growing anti-Semitism and the rise of the Nazi party; how “pure race” was a goal of the Nazi party; and a Nazi agenda against modernism in art, which included conformity to realism. Students will analyze propaganda from WWII era and compare it with images of present day propaganda. Students will create their own poster to persuade people to do something positive for the school environment or community. Students will conduct research on artists and movements classified as degenerate. *Lesson #2: Students will view and further discuss degenerate artists (specifically Picasso, Matisse, Chagall, Kollwitz, Kokoshka & Schiele). In small groups, students will discuss artworks and debate questions such as: Should ideas or artistic expression be censored? Is modernism art and why or why not? In what context could this be appropriate? Students will create a tempera painting based on their artistic representation to abstract portraiture. *Lesson #3: Students will compare and contrast Fauvism and Expressionism, selecting either style to create a portrait. Students will write about which style they chose in which they chose to paint and why. *Lesson #4: Students will be introduced to the artist and educator Viktor Lowenfeld, a Jewish Art Educator who fled the Nazi’s in Austria and taught at the Hampton Institute. Lowenfeld influenced the lives of many African American artists, including John Biggers. Students will learn about conflicts happening in the United States in the 1940’s and how they directly impact the artistic expression of people, specifically African Americans. Students will explore surrealistic qualities of John Biggers work and generate their own images based on cultural symbols. *Lesson #5 Students will reflect on artworks they created in this unit in a peer critique analyzing artworks of others. Students will assess themselves using the 8 Studio Habits of Mind. Students will share artist research project introduced at the beginning of the unit.
Transcript of World War II in the Art Class The Monuments Men, Degenerate Art … in the Art... · 2014. 12....
World War II in the Art Class The Monuments Men,
Degenerate Art and
Klimt’s Adele Bloch-Bauer
Kirstie Hein Sadler, NBCT, [email protected] Kimberly Turner Towne, NBCT, [email protected]
NAEA 2014
WHO WERE THE MONUMENTS MEN? The Monuments Men came from thirteen nations, most of whom volunteered for service in the newly created Monuments, Fine Arts, and Archives section, or MFAA. Most had expertise as museum directors, curators, art scholars and educators, artists, architects, and archivists. Their job description was simple: to save as much of the culture of Europe as they could during combat. These men and women not only had the vision to understand the grave threat to the greatest
cultural and artistic achievements of civilization, but then joined the front lines to do something about it.
Degenerate Art Unit: Brief description of lesson plans *Lesson #1: Students will be introduced to Hitler as an artist
and his failure to be accepted into art school in Vienna. Students will explore questions of growing anti-Semitism and the rise of the Nazi party; how “pure race” was a goal of the Nazi party; and a Nazi agenda against modernism in art, which included conformity to realism. Students will analyze propaganda from WWII era and compare it with images of present day propaganda. Students will create their own poster to persuade people to do something positive for the school environment or community. Students will conduct research on artists and movements classified as degenerate.
*Lesson #2: Students will view and further discuss degenerate artists (specifically Picasso, Matisse, Chagall, Kollwitz, Kokoshka & Schiele). In small groups, students will discuss artworks and debate questions such as: Should ideas or artistic expression be censored? Is modernism art and why or why not? In what context could this be appropriate? Students will create a tempera painting based on their artistic representation to abstract portraiture.
*Lesson #3: Students will compare and contrast Fauvism and Expressionism, selecting either style to create a portrait. Students will write about which style they chose in which they chose to paint and why.
*Lesson #4: Students will be introduced to the artist and educator Viktor Lowenfeld, a Jewish Art Educator who fled the Nazi’s in Austria and taught at the Hampton Institute. Lowenfeld influenced the lives of many African American artists, including John Biggers. Students will learn about conflicts happening in the United States in the 1940’s and how they directly impact the artistic expression of people, specifically African Americans. Students will explore surrealistic qualities of John Biggers work and generate their own images based on cultural symbols.
*Lesson #5 Students will reflect on artworks they created in this unit in a peer critique analyzing artworks of others. Students will assess themselves using the 8 Studio Habits of Mind. Students will share artist research project introduced at the beginning of the unit.
Klimt’s Adele Bloch-Bauer Unit: Brief description of lesson plans *Lesson #1- What is Provenance?
During this class period, students will explore through discussion the history of individual paintings. The students will learn about provenance and the importance of having an accurate one. We will look at why a painting might have an inaccurate one and/or being missing parts of the provenance. We will use the Arnolfini Portrait as an example of strong provenance. For homework, each student will create a timeline of a painting’s history.
*Lesson #2- Hitler and Art Students will focus on Hitler and WWII. A discussion of how art impacted Hitler’s agenda and how race and his perception of “Degenerate Art” impacted the art world will occur. Video clips from WWII will be shown.
*Lesson #3-Gustav Klimt and his Art Students will explore Gustav Klimt and his art. The Art Nouveau movement will be discussed. Klimt’s use of realism and abstraction and ornamentation will be a focus.
*Lesson #4- The Klimt Paintings and the Bloch-Bauers Students will focus on the paintings that the Block-Bauers had and their fate. Students will hear the facts in the court case and divide into small groups to argue the case. They will have to make a “judgment” and then write the “brief” for homework. We will find out what the Supreme Court decided and talk about the decision.
*Lesson #5-Ornamentation and Elaboration –Studio Project Students will create a painting inspired by Klimt, with a focus on ornamentation and elaboration. The students will be able to select the subject matter and style of their painting.
*Lesson #6-Stolen Art Students will each be given a piece of art that has been stolen to research. Some artworks will have been recovered and some will still be missing. They will then develop a creative writing piece that tells the story of the painting from the point of view of the painting itself.
Resources Alford, Kenneth D. Nazi Plunder: Great Treasure Stories of World War II Capatti, B., Monaco, O., & White, S. A. Klimt and his cat.
Brey, Ilaria Dagnini- The Venus Fixers: The Remarkable Story of the Allied Soldiers Who Saved Italy's Art During World War II. Edsel, R. M. (2006). Rescuing da Vinci: Hitler and the Nazis Stole Europe's Great Art : America and her Allies Recovered It. Edsel, R. M., & Witter, B. The Monuments Men: Allied Heros, Nazi Thieves, and the Greatest Treasure Hunt in History. Feliciano, H. The Lost Museum: the Nazi Conspiracy to Steal the World's Greatest Works of Art. Gustav Klimt: Working with Pattern. (2004, Sep. - Oct.). Scholastic Art , 35, 2-6. Muller, M., & Tatzkow, M. Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice. Nicholas, L. H., The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and
the Second World War. Petropoulos, Jonathan The Faustian Bargain: The Art World in Nazi Germany.
Edsell, R. M. (Director). The Greatest Theft in History [Documentary]. Berge, R. (Director). Rape of Europa [Documentary]. Clooney, George (Director). The Monuments Men. Gude,O.Cute,DegenerateAppararitions,PaintingatSpiralWorkshop.PresentationdeliveredatNationalArt
EducationAssociationConferenceat,Seattle,Washington.Retrievedfromwww://arteducators.org
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