D11-DOI-Visual Arts, 1st Grade Art

District 11 Division of Operations & Instruction
Visual Arts

Grade 5, Quarter 2 Art: Painting Landscapes and Landforms

Overview
Students will practice observing and drawing landscapes from nature, famous paintings and photographs. Most of the lessons in this unit focus on using a viewfinder to find and then create original landscapes, and to apply foreground, middleground and background concepts and learned color theory to the original artwork.
There is considerable research on the academic value of students receiving instruction in the Visual Arts. All District 11 art classes are taught by qualified art teachers. Students will learn the elements of art and principles of design. They will learn about art in relation to history, culture, and the community. They will also recognize and use the visual arts as a form of communication, and will critique works of art through analysis, assessment, and evaluation. As we progress into the second quarter, more formalized assessments of each student's level of mastery begin and continue throughout the year. "Art isn't everything, it is about everything."
~ Gertrude Stein

Curriculum Integration: This is an Integrated Unit for Social Studies and Art, where students analyze and critique the art of Paul Cézanne and George Seurat, both famous artists of landscapes.

For Teachers

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Daily Lessons

Enduring Understandings - important ideas that students should carry with them years beyond the instruction received this year.

People and cultures communicate through visual arts.
Visual arts tell stories with mood and emotion through images.
Visual arts inform us about our culture, history and society.

Essential Questions - most important “big picture” questions students should be able to answer after completing learning activities.

What is art?
What makes a piece of artwork good?
How can I communicate my ideas thoughts and feelings effectively through art?

Standards-Based Assessments
Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.

District 11 curriculum is designed to prepare and equip students to be successful in the 21st Century. Curriculum resources and lessons included here have been aligned to the Colorado Standards for each content area. In addition, the entire program has been aligned with the knowledge, skills, and learner attributes the Partnership for 21st Century Skills promotes as necessary for success in the 21st Century. You will see the highlighted core values embedded in these lessons and activities.

A	Academic Preparedness: the foundation required for either higher education, or high-wage, high skills jobs
C	Cultural Competence: the ability to understand and interpret political and cultural events from multiple perspectives in a global society, a core competency in 21st Century Skills
H	High-Functioning Team Member Skills: collaboration is a core competency in 21st Century Skills
I	Innovative Thinking and Problem Solving Skills: a core competency for 21st Century Skills
E	Effective Use of Information Technology: a core competency for 21st Century Skills
V	Vital Participation in Civic Responsibility: "share knowledge and participate ethically and productively as members of our democratic society" Standards for the 21st-Century Learner from American Library Assoc.
E	Effective Communication Skills: a core competency for 21st Century Skills

Lesson 1: Painting Exploration- A Color Theory Lesson
Duration: 1 class period

Standards-Based Assessments
Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Students should complete a fairly successful triangular color wheel, students should have the ability to make three secondary colors from the primary colors, can look at a color wheel and point out the complimentary and tertiary colors
Materials: pencil, sketchbook, blinder card and found object for the drawing ritual, Egg carton with tempera primary colors, mixing tray, brushes, water container, paper towels, newspaper to cover the desk, 18"x24" newsprint or white paper, assorted music to listen to while painting, print out of triangular color wheel (1 per student), circular color wheel to show after students have completed their triangular color wheel
Vocabulary: primary and secondary colors, tertiary colors, complimentary colors

Activities

Begin with a Drawing Ritual in your sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute warm up in your sketchbook. Use a blinder card (place the pencil through a hole in the center of a 8 x 8 inch card). The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin a new line.
For the teacher: Here is a Demo vrs. Hands on Learning reading before beginning this unit.
Try this Triangular Color Wheel Lesson. It's color mixing theory at it's most basic, an easier-to-understand version than the traditional color wheel. PRINT the Triangle out and trace it onto a sheet of watercolor paper or, if your printer has waterproof ink in it, print the color mixing triangle directly onto a sheet of watercolor paper. You will only use red, blue, and yellow.
When you are finished your color triangle, compare it to a color wheel. How are they the same? And different? Are the primary and secondary colors in the same order in the triangle as in the wheel? (When the color triangle is dry tape it into your sketchbook.)
There is another set of colors on the color wheel. They are made by mixing one primary and one secondary color together called TERTIARY (or intermediate) colors. Can you find and name the six tertiary colors from the color wheel? Use this site to help you: A Lifetime of Color.
Experiment onto another sheet of painting paper. Begin by painting your primary colors on your paper. Let the music guide your strokes...Place them next to each other, criss-cross them, create patterns...have fun! There is no wrong! Leave lots of white space for your other colors.
Look at the triangular color wheel you have completed. Make your secondary colors again by mixing two primary colors again. Now use this secondary any way you'd like on you paper. Add a little more of a primary to the secondary (such as more red to orange) to make a TERTIARY COLOR and add this to your exploration painting. Make your two other secondary colors from your primaries and use them however you wish. Make your tertiary colors. Use short strokes, long strokes, dots, wavy and straight lines.. Try to follow the music...do your strokes or colors change when the music changes?
Pick a primary color. What is it's opposite? Look directly across the triangle to find it's secondary opposite. What is the opposite of red? Green. Red and green are called COMPLIMENTARY colors. Use your paints to experiment with your complimentary color pairs. What do you notice when you place your complimentary pairs next to one another? They are supposed to compliment each other in a powerful way and can vibrate the eye if you stare at them together! Many modern artists like to use bold complimentary colors in their paintings.
Are there any empty areas? Use line, shape and patterns to finish your color experiment.
Put your name on the lower right corner of your picture.

Differentiation
Support:
Extension: Here are a few Color Wheels to view.

Print a copy of the Color Wheel Template. Please change the following on the template before painting it:
Place yellow at the top of the wheel when painting it. Change the words purple to violet on the template after you have printed it out (these terms are used for the same color). You will paint primary secondary and tertiary colors.

Lessons 2-3: Color Wheel Letters
Duration: 2 class periods

Standards-Based Assessments
Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Students should complete a fairly successful triangular color wheel, students should have the ability to make three secondary colors from the primary colors, can look at a color wheel and point out the complimentary and tertiary colors
Materials: pencil, sketchbook, blinder card and found object for the drawing ritual, Egg carton with tempera primary colors, mixing tray, brushes, water container, paper towels, newspaper to cover the desk, twelve 4"x6" notecards per student, 18"x24" newsprint, tape, marker, scissors, glue, black paper to mount cut letters, color wheel for reference
Vocabulary: primary, secondary, tertiary colors
Activities

Begin with a Drawing Ritual in your sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute warm up in your sketchbook. Use a blinder card (place the pencil through a hole in the center of a 8 x 8 inch card). The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin a new line.
Let's review our primary and secondary colors: A Lifetime of Color.
This color wheel has other colors in between the primary and secondary colors. These colors are called TERTIARY colors. Look on the color wheel. Can you name the six tertiary colors? (Always name the primary color first, as in red-orange.)
Follow this Color Wheel Letters lesson. You will mix and paint your primary, secondary and tertiary colors.
TIP: Here is a way to keep all 12 note cards together without loosing any...Tape 12 note cards radiating form a center circle-like a color wheel (only this color wheel has rectangles instead of pie slices) on a large square of newsprint. Write your color wheel colors above the note cards on the newsprint in the order of a color wheel. The names of the colors will guide you as you paint. Write your name on your newsprint.
Begin with two primary colors-red and yellow. Paint each of them on the appropriate cards. Mix the two to create the secondary color, orange, and paint that on the appropriate card. Mix the orange with red and you have made a TERTIARY color- red-orange. Paint this on the appropriate card.
Finish your primary, secondary and tertiary colors the best you can. Let your cards dry on the newsprint.
Finish your color wheel letters by following the lesson above.

Differentiation
Support:
Extension: Here are a few Color Wheels to view.

Lessons 4-5: Landscapes and Types of Land
Duration: 2 class periods

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials.     Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Art Rubric
Materials: pencil, sketchbook, blinder card and found object for the drawing ritual, viewfinder to look through, 12"x18" painting paper, watercolors or tempera paints, oil pastels or crayons, newspaper to cover the table, brushes, water container, paper towels, photographs of various landscapes
Vocabulary: Background- the area of the picture that is behind most of the objects in the picture
                    Foreground- the area of a picture that appears to be the closest to the viewer
                    Middleground- the area of the picture that is farther away from the foreground and closer to the
                    background (Between the back and fore)
                    Horizon line- the imaginary line that divides the sky and the ground

Activities

Begin with a Drawing Ritual in your sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute warm up in your sketchbook. Use a blinder card (place the pencil through a hole in the center of a 8 x 8 inch card). The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin a new line.
Watch the Types of Land video.
Now look at a few landscapes of Paul Cézanne. Are you able to see the foreground, middleground and background areas? Not all paintings may have very clear foreground, middle and background areas. Enlarge The Great Pine. What appears to be in the foreground? The pine tree of course! How large is it on the page? What is in the middleground? This is the row of trees behind the great pine tree. How does the size of the trees change from foreground to middle ground? What would be the background? The sky. In many paintings the mountain and sky area together could be considered the background as in The Bay of L'Estaque.
Here is a beautiful landscape and seascape photo website that is fabulous to look at. Pick an image and find the foreground, middleground and background areas: Global Village. In many photos you will find a very large foreground image such as a tree and sometimes this form takes up the entire side of the photo.
If you can take your viewfinder and sketchbook outdoors; you may also look out the window if you have an interesting view to look at. Look through the viewfinder so you can capture a foreground, middleground and background area through it. Sketch what you see and keep it simple. If you cannot go outdoors you may sketch some of the photographs to use for your painting.
Work through the Landscape Wax Resist Art Lesson Plans using your sketchbook drawing.
Use a different family of colors for each layer (foreground, middleground, background) in the landscape. Click to look at ANALOGOUS COLORS - Any two or more colors that are next to each other on the color wheel and are closely related. For example, blue, blue-green, and green relate well to each other. Families of analogous colors include the warm colors (red, red-orange, orange and yellow) and the cool colors (green, blue-green, blue and violet).
Pay attention to the length and direction of your brushstrokes, You may change the direction of your brushstrokes in each landscape area as well.
One method for painting a body of water: Use horizontal brushstrokes and fill the area with colors. Some of the water colors should reflect the sky colors. Then when the area is almost dry, take a large flat and dry watercolor brush and begin at the top of your water area and pull the brush down. You may add reflective light sparkles (small sun color dashes or dots) on the water under the sun or moon (if there is one).

Differentiation
Support: Read or listen to the audio book, Drawing Landscapes.
Extension: Here is a Biography of Paul Cezanne for more information. This is more information on the Life of Cezanne and assorted paintings.

Lessons 6-7: Landscapes, Paul Cezanne and Pastel-Painting (Part 1)
Duration: 2 class periods

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Essential Questions:
Assessment: Art Rubric
Materials: pencil, sketchbook, blinder card and found object for the drawing ritual, color wheel for reference, viewfinder with a rectangular box to look through
Vocabulary:

Activities

Begin with a Drawing Ritual in your sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute warm up in your sketchbook. Use a blinder card (place the pencil through a hole in the center of a 8 x 8 inch card). The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin a new line.
The 3rd grade class studied the Still-Life Paintings of Paul Cezanne, but Cezanne was also famous for his landscape paintings. He liked to arrange his landscapes like a still-life. Cézanne's landscapes were not painted in the open air, as were those of the Impressionists, nor were they captured first with a camera. He composed the pictures the way he wanted them -- arranging the trees and the houses, probably from his sketchbooks, the way he wanted to on his canvas.
He knew that colors in nature and their combination with natural light could never be truly reproduced and tried to transfer the images onto canvas the best way he could. Impressionists painted reflected light and color while Cezanne reacted against the lack of structure in the Impressionist paintings and said that he intended to make Impressionism into "something solid and durable, like the art of the museums". He did indeed move decisively beyond Impressionism and is placed alongside the Post-Impressionist artists Seurat, Van Gogh and Gauguin.
In the latter part of his career he used color in short strokes or in almost mosaic patches, all of equal intensity, throughout an entire painting. During the last 10 years of his life, Cézanne's paintings became more simplified, the objects in his landscapes reduced to shapes -- cylinders, cones and spheres (and cubes). He is often seen as anticipating cubist and abstract art, because he reduced the imperfect forms of nature to these essential shapes. By the time of his death in 1906, Picasso and Braque were in the midst of further exploring what Cezanne had begun--this was the beginning of Cubism.
Look over the last few landscapes: Paul Cézanne. Choose one painting to talk about. The landscape is simplified. What landscape forms are in the landscape you chose? Notice the short brushstrokes of color. Can you see the direction of strokes? The colors are painted very thickly and the colors are equally intense throughout the painting. Point out the warm and cool colors. What else is unusual?
Go outdoors with your sketchbook if you can. Draw some things in nature that you see-trees, plants, rooftops peaking over the landscapes...whatever you'd like. If you can include a tree in your sketches. You may use a few sketchbook pages.
You will rearrange your landscape forms on your larger drawing paper. Have some elements large and some small, some on one side and some on the other, some near and some far. (Do you remember how to create near and far elements or depth in your picture? The bottom of the objects closer to you are drawn lower on the page than the bottom of the objects farther away. If it is the same near and far object, like trees, the farther tree will be shorter and thinner as well.) You don't need to much detail, but make sure your composition is interesting to look at. Is it balanced? Do your shapes lead your eyes around the page?
Save this drawing for next art class.

Differentiation
Support:
Extension: Here is a landscape that uses a silhouette: Landscape Collage With Torn Construction Paper Lesson Plans
Here is a Biography of Paul Cezanne for more information. This is more information on the Life of Cezanne and assorted paintings.

Lesson 8: Landscapes, Paul Cezanne and Pastel-Painting (Part 2)
Duration: 1 class period

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Essential Questions:
Assessment: Art Rubric
Materials: pencil, sketchbook, blinder card and found object for the drawing ritual, color wheel for reference, chalk pastels
Vocabulary: primary, secondary, tertiary colors, analogous colors, tints

Activities

Begin with a Drawing Ritual in your sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute warm up in your sketchbook. Use a blinder card (place the pencil through a hole in the center of a 8 x 8 inch card). The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin a new line.
You should have a simple drawing of a landscape with a few elements. Set up your area with newspaper to cover your desk, your drawing on top, a water container with assorted brushes, paper towels, and an egg carton with assorted hues (colors) including white.
Pull out your color wheel. Look at the colors next to each other. Do you remember what colors placed next to each other on the color wheel are called? Analogous colors - Any two or more colors that are next to each other on the color wheel and are closely related. For example, blue, blue-green, and green all have the color blue in common. Families of analogous colors include the warm colors (red, red-orange, orange and yellow) and the cool colors (green, blue-green, blue and violet).
When pastels are used properly the result is a bright and vibrant work that resembles paint- hence the term "pastel-painting." You can begin in the background or sky area and work down to avoid smudging the chalk. Use scrap paper to lean on and avoid touching the drawing. Choose two or three analogous colors for the sky and begin to lay the pastels in patches of color. If you like the blue family, you can use blue, violet, and mix your tertiary of blue-violet by overlapping the two colors. Now you have a color family of analogous colors Just look at your color wheel to help you! Do not use your fingers to smear the colors together we want to see EVERY stroke! Press as hard as you can without breaking the chalk.
TIP: When the art becomes too dusty carefully pick it up using the top corners and tap it onto scrap paper specifically designated for dust.
Here is what you can try...add white to some of your colors and make TINTS! Try using tints toward to bottom of your sky area (or wherever you like) for effect. Use patches of color!
Move to the next area painting a family of analogous colors. Add pastel in patches. Would you like to add white to a color and make a tint? Add this, too.
Have fun and don't worry too much!
When you have covered all your areas with chalk, take the landscape outdoors. Spray the pastel painting with clear gloss or mat medium- follow the directions on the can.
When your pastel painting has dried glue this onto black construction paper for display. Be careful when handling your pastel painting- this can still smear. Write your name on the lower right corner on a white sticker.
Beautiful job! Display the landscape outside the art room for everyone to admire!

View the student ART GALLERY for beautiful landscape paintings.

Differentiation
Support:
Extension: You may add black to a few colors to create SHADES. Don't add both black and white to your colors at this point.
Here is a landscape that uses a silhouette: Landscape Collage With Torn Construction Paper Lesson Plans. Use one of your sketches for this lesson.

Lesson 9: Landscapes in Pointillism (Part 1)
Duration: 1 class period

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Art Rubric
Materials: watercolor or tempera paints, q-tips ,watercolor paper, drafting tape , 6"x6" painting paper (or another size)
Vocabulary: Optical blending, analogous colors, tertiary colors, pointillism

Activities

Drawing Ritual in sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute sketch in your sketchbook. Use a blinder card by placing the pencil through a hole in the center of a 8 x 8 inch card). You may look down to reposition your pencil when you begin a new line.
Who is George Seurat, and What is Pointillism? Look through the Pointillism PowerPoint Presentation for the answers! Here is a large view of one of his most recognized paintings, A Sunday on La Grande Jatte,
Follow this Pointillism Lesson Plan. This lesson uses watercolors but tempera paints may be quite effective as well.
You may use your landscape sketch from your last project to paint in the style of Pointillism. Draw this landscape onto your small painting paper and keep your drawing simple! Add your dots in color.
TIP: When dotting your colors your eyes blend the colors together from a distance creating "Optical Blending". Example: If you dot yellows next to reds your eyes will mix the colors together and you will see orange from a distance. Seurat depended on optical blending to mix his colors in his paintings.
Here is a great color tip when applying your colors to your mountains - Add sky colors onto your mountains. Take a look outside at the Rocky Mountains for a moment. Compare the closer mountains to the mountains farthest away. When you look at the mountain peaks that are farthest away what happens to their color? The mountain tops are mixed with the atmosphere's colors. They begin to blend together and become much lighter and airier. Try it!

Differentiation
Support:
Extension: Here is a Biography and Paintings by Seurat for more information.

Lesson 10: Landscapes in Pointillism (Part 2)
Duration: 1 class period

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Art Rubric
Materials: watercolor or tempera paints, q-tips, watercolor paper from last class
Vocabulary: optical blending

Activities

Drawing Ritual in sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute sketch in your sketchbook. Use a blinder card by placing the pencil through a hole in the center of a 8 x 8 inch card). You may look down to reposition your pencil when you begin a new line.
Who is George Seurat, and What is Pointillism? What is "Optical Blending?" Refer to the last lesson to refresh your memory.
Finish your paintings in Pointillism style. Remember to add sky colors on top of your mountain colors that are farthest away.
When your painting is dry you can mount it on larger black paper. Write your name on the lower right corner of the painting.
Great work! Look at your painting from a distance. Do your eyes optically blend the colors together?

View the student ART GALLERY for pointillism landscapes.

Differentiation
Support:
Extension: Here is a Biography and Paintings by Seurat for more information.

Lesson 11: Landscape Art- Fauvism-An Explosion of Color (Part 1)
Duration: 1 class period

Standard 1:. Recognizes and uses the visual arts as a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates an understanding of art in relation to history, culture, and community. Produces art that has been influenced by aspects of history. Produces art that has been influenced by aspects of culture. Produces art that has been influenced by aspects of community.
Standard 5: Critiques works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Materials: sketchbook, blinder card and found object for drawing ritual, 12x18 white painting paper, viewfinder with a rectangle cut from the center
Vocabulary: fauvism, foreground, middleground, background
Activities

Drawing Ritual in sketchbook- Look at this site for Rituals to Start an Art Class. This is a five minute sketch in your sketchbook. Use a blinder card by placing the pencil through a hole in the center of a 8 x 8 inch card). You may look down to reposition your pencil when you begin a new line.
"Strong emotions call for vivid blues, reds, yellows-colors to stir the senses." ~Henri Matisse
Look at this portrait of the leader of Fauvism, Henri Matisse, by artist Andre Derain. Matisse was painted in complementary blues and oranges. Cool blues and greens contrast with warm oranges and reds.
Look at the bold primary and secondary colors of Charing Cross Bridge by Derain. "I use color as a means of expressing my emotion and not as a transcription of nature." Are the colors realistic? What colors seem to "pop" out and what colors seem to recede?
Fauvism was a very brief art movement, from about 1904 to 1908. Although short-lived, Fauvism was extremely influential in the evolution of 20th century art. The best-known characteristic of Fauvism is the unnatural or unrealistic use of color and turbulent emotion. This style of painting flourished in France and generally featured landscapes in which forms were distorted. The Fauves first exhibited together in 1905 in Paris. They found their name when a critic pointed to a renaissance-like sculpture in the middle of the same gallery as the exhibition and exclaimed derisively 'Donatello au milieu des fauves!' ('Donatello among the wild beasts!'). "Fauves" was given to artists adhering to this style because it was felt that they used intense colors in a violent, uncontrolled way. The name caught on, and was gladly accepted by the artists themselves. The movement was subjected to more mockery and abuse as it developed, but began to gain respect when major art buyers took an interest. The leader of the group was Henri Matisse (French, 1869-1954); others were André Derain, Raoul Dufy, Georges Braque, and Georges Rouault Look at this website on Fauvism.
Take an outdoor field trip with your sketchbook, pencil and viewfinder to draw a landscape with the Rocky Mountains in the background. If you cannot go outdoors, look out the window or look at some photographs on the internet. Look through a viewfinder to capture an interesting view of the mountains. Hopefully you can capture something in the foreground and middleground as well as the mountains in the background. To help you get started, you may want to draw a light line at the foot of the mountains to separate the middleground from the mountains in the background. It is very interesting if a tree or object is so close to you that you cannot see the entire object through the viewfinder but only a part of it- part of the object can be cut off by the viewfinder. Do you see any trees through the viewfinder? If you don't, you may want to draw a tree on another page in your sketchbook to add to your composition later if you desire or something else that is so close to you that part of it is obstructed by the viewfinder. You may combine a few of your sketches for your final composition.
Write your name on the back of your large drawing paper. Look over your sketches and begin to draw your final landscape lightly with pencil and enlarge your sketches so your landscape objects can fit into the larger paper. Make sure you have included very large foreground objects (which may come off the paper), smaller middleground objects (in which the bottom of the objects will be begin higher on the paper and drawn smaller than the foreground objects) as well as the mountains in the background.
The unnatural or unrealistic use of color and turbulent emotion is the focus of this project. This project is to paint any subject using colors that represent your emotional response to or feelings you get from what you're painting, rather than using the actual colors of the subject. For example, if you've a favorite landscape you may paint it in bright reds, yellows, and oranges to express the happiness it generates, rather than its actual greens and browns.

View the student ART GALLERY for beautiful Fauvism landscapes.