Art Curriculum.pdf - Fairbanks North Star Borough School ...

ART ♦

ACKNOWLEDGMENTS

Kathy Hughes, Curriculum Director Barbara Short, Art Coordinator

Peggy Carlson, Curriculum Coordinator Joyce Bennett, Curriculum Coordinator

Cathy Edgerton, Materials Development Specialist

Hokusai, Seaside Village in Snow, c.1814 Minneapolis Institute of Arts, Gift of Louis W. Hill, Jr.

http://www.artsMIA.org

Curriculum Writers Joanne Barnes, Elementary Ben Bragonier, Elementary

Linda Cozzini-McKirgan, Secondary Margaret Donat, Secondary Elizabeth Lower, Elementary

Susan Luckow, Secondary Brian Schneider, Secondary

Lillie Stoutenberg, Secondary

We would also like to recognize the 1993 elementary curriculum writers, the 2001 revision writers, and the Board Curriculum Advisory Committee for their hard work which forms the core within. We also acknowledge the many teachers, administrators,

parents, and community members for their contributions to this document.

A special thank you to The Minneapolis Institute of Arts for their assistance with copyright permissions


Fairbanks North Star Borough School District Table of Contents Art Curriculum i Adopted March 18, 2008

TABLE OF CONTENTS

Section A: Introduction

Philosophy and Mission............................................................................................. 1 Art Curriculum Organization ...................................................................................... 2 Elements of Art ........................................................................................................ 3 Principles of Art........................................................................................................ 4 Explanation of Terms................................................................................................ 5 Alaska Content Standards for the Arts ........................................................................ 6 Standards Alignment ................................................................................................ 7 Alaska Standards Refined for Visual Art ...................................................................... 9

Section B: Elementary

Elementary Art Program...........................................................................................10 Elements of Art by Grade Level ................................................................................11 Principles of Art by Grade Level ................................................................................14 Elementary Curriculum

Kindergarten.....................................................................................................16 Grade 1 ............................................................................................................21 Grade 2 ............................................................................................................26 Grade 3 ............................................................................................................31 Grade 4 ............................................................................................................36 Grade 5 ............................................................................................................42 Grade 6 ............................................................................................................49

Elementary Grade-Level Artists Grade-Level Artist Overview ...............................................................................56 Kindergarten Artist Biographies...........................................................................57 Grade 1 Artist Biographies..................................................................................61 Grade 2 Artist Biographies..................................................................................65 Grade 3 Artist Biographies..................................................................................71 Grade 4 Artist Biographies..................................................................................75 Grade 5 Artist Biographies..................................................................................83 Grade 6 Artist Biographies..................................................................................89

Section C: Secondary

Ongoing Learner Goals Aligned with Alaska Content/Performance Standards ................95 Middle School Curriculum

Exploring Art (grade 7) ......................................................................................97 Fundamentals of Art (grade 8)............................................................................99 Studio Art / Special Topics (grade 8).................................................................101

Fairbanks North Star Borough School District Table of Contents Art Curriculum ii Adopted March 18, 2008

High School Curriculum Alaska Native Arts - Beginning..........................................................................103 Alaska Native Arts - Intermediate .....................................................................105 Alaska Native Arts - Advanced ..........................................................................107 Art Workshop..................................................................................................109 Ceramics - Beginning.......................................................................................111 Ceramics - Intermediate...................................................................................113 Ceramics - Advanced .......................................................................................115 Drawing & Design ...........................................................................................117 Fiber Art .........................................................................................................119 Graphic Design................................................................................................121 Honors Art/Portfolio Development.....................................................................123 Jewelry - Beginning .........................................................................................125 Jewelry - Intermediate.....................................................................................127 Jewelry - Advanced .........................................................................................129 Painting..........................................................................................................131 Photography - Beginning..................................................................................133 Photography - Intermediate .............................................................................135 Photography - Advanced..................................................................................137 Printmaking ....................................................................................................139 Sculpture........................................................................................................141 Special Topics in Art ........................................................................................143 Studio Art .......................................................................................................145 Advanced Placement Art History .......................................................................147 Advanced Placement Studio Art: 2-D Design ......................................................149 Advanced Placement Studio Art: 3-D Design ......................................................151 Advanced Placement Studio Art: Drawing ..........................................................153

Section D: Appendix

Ongoing Learner Goals...................................................................................... A-1 Suggestions for Success.................................................................................... A-2 Visual Developmental Stages in Children ......................................................... A-3 Assessment of Visual Art

Assessment Rubrics Project Assessment (Rubrics 1-2)................................................................ A-6 Classroom Observation (Rubric 3) ............................................................... A-9 Advanced Placement Studio Art Rubric ...................................................... A-10

Attitude/Work Habits Rating Scale of Affective Aspects .............................................................. A-12 Attitude/Work Habits Examples................................................................. A-13

Learning Contract Example (for Special Topics class)........................................ A-14 Art Criticism/Analysis Worksheets

Scoring Rubric (Sample)........................................................................... A-15 Checklist for Observing Student Creative Expression Over Time (Sample)..... A-16

Portfolio Information Assessment Portfolio................................................................................ A-17 Landscape Evaluation (Sample) ................................................................ A-19

Record-Keeping Form for Student Self-Evaluation (Sample) .............................. A-20 Advanced Placement Art Final Evaluation (Sample) .......................................... A-21 Special Education Modification

Planning Form......................................................................................... A-22 Preschool Art Lesson Form ....................................................................... A-23

Fairbanks North Star Borough School District Table of Contents Art Curriculum iii Adopted March 18, 2008

Art Criticism Worksheets Art Journey............................................................................................. A-24 Looking at Artwork .................................................................................. A-25 Art Criticism ............................................................................................ A-27

Art Safety Guidelines Handling Materials, Tools, and Equipment Safely.............................................. A-28 ACMI Certification Seals, Health Safety and Quality, and Safety Tips .................. A-30

Careers in Visual Arts ...................................................................................... A-33 Glossary ........................................................................................................... A-36

What is art anyway?

Georgia O’Keeffe

SECTION A:

INTRODUCTION

Composition with Yellow, Blue and Red, Piet Mondrian, 1921

Nothing formative, nothing great or beautiful in this world was ever born of a rational argument.

Yasmina Reza, playwright ART (the play)

Fairbanks North Star Borough School District Philosophy and Mission Art Curriculum 1 Adopted March 18, 2008

PHILOSOPHY

Art is a universal language bridging time, culture, and national barriers. It continually reflects and preserves society. Art Education is a discipline in which a student actively participates intellectually, emotionally, socially, and aesthetically. It is an integral part of the core curriculum and has a fundamental presence in all curricular areas.

The growth and development of each individual is enriched through art education since it celebrates uniqueness, self-expression, and diversity. Art appreciation and production activities encourage critical thinking and creative problem solving-skills. It provides a means for appreciating and respecting ourselves and others.

MISSION

The District will support, develop, and expand quality art instruction at all levels. To maximize student success, the district will support art educators and classroom teachers in ongoing professional development.

The Fairbanks North Star Borough Art Curriculum will include: classroom opportunities appropriate to students’ intellectual and physical levels art lessons that reflect historical, multicultural, and community respect a positive climate to encourage exploration and reflection opportunities to promote and recognize students’ intellectual and artistic development transferable knowledge and skills that provide for future growth and development links from visual arts to other disciplines technological resources and support opportunities to share student work at local, state, and national levels support for student instruction with ongoing professional development for teachers

Fairbanks North Star Borough School District Curriculum Symbol Structure Art Curriculum 2 Adopted March 18, 2008

ART CURRICULUM

ORGANIZATION

There are two aspects to the organization of the Art Curriculum. They represent the content of art learned and the “actions” of students as learning. The Elementary curriculum revolves around the

actions while the secondary curriculum revolves around the content.

The elementary art curriculum addresses content from the active point of view (what students do), integrating all four content areas into the document.

The active element represents the students and what they do when in art class. They are: Producing — experiencing the processes of art. Perceiving — the awareness and understanding of art. Reflecting — relating art to self, world, and time.

The secondary art curriculum is directly organized around four focus areas.

The more concrete element represents the content of art and reflects Discipline-Based Art Education Theory and Alaska Content Standards in the Arts. These areas are: Art production — the creation of art. Art history — the study and resultant application of historical learning. Art criticism — the process of analyzing and discussing art. Aesthetics — the study of beauty and meaning of art and its relevance.

Above all, it is a matter of loving art, not understanding it.

Fernand Leger

Fairbanks North Star Borough School District Elements of Art Art Curriculum 3 Adopted March 18, 2008

ELEMENTS OF ART the building blocks of visual art

LINE Line is the path of a point moving through space. Types of line can include actual, implied, vertical, horizontal, diagonal, and contour lines.

SHAPE When lines meet shapes are formed. Shapes are flat. Some shapes are geometric such as squares, circles, triangles, rectangles, and ovals. Other shapes are organic or irregular.

COLOR Color is derived from reflected light. The color wheel shows the chromatic scale and demonstrates three properties: 1) Hue, the name of the color (determined by the dominant wavelength) 2) Intensity, or the purity and strength of the color defined as brightness

or dullness 3) Value, the lightness or darkness of the color

VALUE Value refers to lightness or darkness. Value depends on how much light a surface reflects and is one of the three properties of color.

TEXTURE Texture appeals to sense of touch, either actual or implied.

FORM Form has three dimensions: length, width, and depth; and resides in space. Form may be an actual object having volume or implied on a 2-D surface with the use of light and shading techniques.

SPACE Space refers to: 1) the area in which art is organized, and 2) an area showing depth or perspective. Space can be two-dimensional (2-D), three-dimensional (3-D), negative, and/or positive.

Fairbanks North Star Borough School District Explanation of Terms Art Curriculum 4 Adopted March 18, 2008

PRINCIPLES OF ART use or arrangement of the building blocks of visual art

BALANCE Balance is a sense of stability in an artwork. There are three kinds of balance: symmetrical (formal), asymmetrical (informal), and radial.

CONTRAST Contrast emphasizes the differences in the elements of art used in a work of art (refers to distinctive compositional areas created by the arrangement of the elements of art).

EMPHASIS Emphasis refers to developing points of interest that pull the viewer's eye to important parts of the artwork.

RHYTHM/PATTERN Rhythm/pattern refers to the repetition or recurrence of a design element, exact or varied, which establishes a visual beat.

PROPORTION/SCALE Proportion is the size relationship of parts to a whole and is within an object. Scale is the size/weight relationships between shapes/forms and compares different objects.

MOVEMENT Movement refers to the suggestion of motion through the intentional use of various elements of art. It adds excitement by showing action and directing the viewer’s eye through the artwork.

UNITY Unity is the appearance of oneness.

You are in dangerous territory

when you venture beyond the boundaries of what you have been taught;

this is the real wilderness.

Bill Berry

Fairbanks North Star Borough School District Explanation of Terms Art Curriculum 5 Adopted March 18, 2008

EXPLANATION OF TERMS

Alaska Content Standards Standards adopted by the State Board of Education for what students should be learning in core subject areas. These standards are general statements of what Alaskans want students to know and be able to do as a result of their public school experience.

Alaska Cultural Standards Standards endorsed by the State Board of Education that serve to encourage enrichment of the content standards. They are used as a guide to ensure that schools are aware of and sensitive to their surrounding physical and cultural environments.

Alaska Performance Standards Standards adopted by the State Board of Education as specific statements of what students should know and be able to do. They were adopted in reading, writing, mathematics, and science at four benchmark levels: 3rd, 6th, 8th, and 10th grades.

Benchmark A point of reference against which individuals are compared and evaluated. In relation to the Alaska Performance Standards, a benchmark identifies a level of expected achievement and is measured at the end of the third, sixth, and eighth grades (benchmark exam). The high school benchmark equivalent, called the High School Graduation Qualifying Exam (HSGQE), is also required of students before they can receive a high school diploma.

Grade Level Expectations (GLEs) GLEs are statements adopted by the State Board of Education that define what all students should know and be able to do at the end of a given grade level.

Mastery Core Objectives Statements that document specific, essential tasks students are expected to accomplish in a given grade level or course.

Ongoing Learner Goals Objectives that are fostered and reinforced on every suitable occasion. Mastery is not assigned to a specific grade level or course.

Readiness Standards Expected indicators of student readiness for entering each grade level.

Fairbanks North Star Borough School District Alaska Content Standards for the Arts Art Curriculum 6 Adopted March 18, 2008

ALASKA CONTENT STANDARDS FOR THE ARTS

These standards were designed to be inclusive of the following art areas: creative writing, dance, drama, music, and visual arts.

A

A student should be able to create and perform in the arts.

A student who meets the content standard should: 1) participate in dance, drama, music, visual arts, and creative writing; 2) refine artistic skills land develop self-discipline through rehearsal, practice, and revision; 3) appropriately use new and traditional materials, tools, techniques, and processes in the arts; 4) demonstrate the creativity and imagination necessary for innovative thinking and problem solving; 5) collaborate with others to create and perform works of art; 6) integrate two or more art forms to create a work of art; and 7) investigate careers in arts production.

B

A student should be able to understand the historical and contemporary role of the arts in Alaska, the nation, and the world.

A student who meets the content standard should: 1) recognize Alaska Native cultures and their arts; 2) recognize United States and world cultures and their arts; 3) recognize the role of tradition and ritual in the arts; 4) investigate the relationships among the arts and the individual, the society, and the environment; 5) recognize universal themes in the arts such as love, war, childhood, and community; 6) recognize specific works of art created by artists from diverse backgrounds; 7) explore similarities and differences in the arts of world cultures; 8) respect differences in personal and cultural perspectives; and 9) investigate careers relating to arts history and culture.

C

A student should be able to critique the student’s art and the art of others.

A student who meets the content standard should: 1) know the criteria used to evaluate the arts; these may include craftsmanship, function, organization,

originality, technique, and theme; 2) examine historical and contemporary works of art, the works of peers, and the student’s own works as

follows: a. identify the piece; b. describe the use of basic elements; c. analyze the use of basic principles; d. interpret meaning and artist’s intent; and e. express and defend an informed opinion;

3) accept and offer constructive criticism; 4) recognize and consider an individual’s artistic expression; 5) exhibit appropriate audience skills; and 6) investigate careers relating to arts criticism.

D

A student should be able to recognize beauty and meaning through the arts in the student’s life.

A student who meets the content standard should: 1) make statements about the significance of the arts and beauty in the student’s life; 2) discuss what makes an object or performance a work of art; 3) recognize that people tend to devalue what they do not understand; 4) listen to another individual’s beliefs about a work of art and consider the individual’s reason for holding

those beliefs; 5) consider other cultures’ beliefs about works of art; 6) recognize that people connect many aspects of life through the arts; 7) make artistic choices in everyday living; and 8) investigate careers related to the search for beauty and meaning, which is aesthetics.

Fairbanks North Star Borough School District Standards That Align When Teaching Art Art Curriculum 7 Adopted March 18, 2008

STANDARDS ALIGNMENT

Content, Performing, and Cultural Standards for grades K-8 that are most often met when teaching art are listed below.

ART PRODUCTION – Standards most often met when producing art

Content Standards English/Language Arts (E/LA) A.6; B.2; C.1-5 Mathematics (M) A.2,4,5; B.4,6,7; C.1,2; E.2.3 Geography (GY) A.4 Government & Citizenship (GC) G.3 History (H) C.1,2; D.1,6 Science (SC) E.2, E.4; G.6 Skills for a Healthy Life (HL) A.1; D.1,2,6 World Languages (WL) B.2,3 Technology (T) A.2; B.1,2; C.2; E.7,8 Employability Standards (EM) A.1,6 Library/Info Systems (LI) B.2-6; C.3; D.1,5; E.1,2

Performance Standards (GLEs) Grade 3 M3.1.1; M4.1.1; M5.1.7; M7.1.1, 3, M10.2.2, M6.2.1, M10.1.2 Math Grades 4-6 M1.2.3,-5; M5.1.1-5, 7; M5.2.3-5

Reading Writing Grades 3-6 W2.5 History Grades 3-6 None

Grades 3-5 SA-SA3; SE.2, SE.3; SG.4 Science Grades 6-8 SA-SA3; SF-SF3

Cultural Standards A.3—6; B.1, 2; C.3, 4; D.1, 3;E.5, F.2, 3, 6, 8

ART REFLECTION – Standards most often met when reflecting on art critically

Content Standards English/Language Arts (E/LA) A.4, 6, 7; B.1-3; D.1-4; E.3, 4 Mathematics (M) B.7; C.1; D.1, 2; E.3 Geography (GY) A.4-6; B.3-5; E.1; F.2, 6 Government & Citizenship (GC) B.2; C.4-6; D.5 History (H) A.1,6,8,9; B3,4; C.1-4; D.1,6 Science (SC) E.2, 3; F.1-3; G.4 Skills for a Healthy Life (HL) B.3, 4; C.6; D.6 World Languages (WL) B.2-4; C.1, 2, 6 Technology (T) A.2; C.3; D.1-3; E.1-4, 6-8 Employability Standards (EM) B.1 Library/Info Systems (LI) B.4-6; C.2, 3; E.1, 2

Performance Standards (GLEs) Grade 3 M1.1.5; M1.1.6; M2.1.1; M4.1.1-2; M5.1.1-7; M6.1.2; M7.1.2;

M8.1.2; M10.1.2 Math Grades 4-6 M2.2.4; M4.2.1; M5.2.1-5, 7, M5.2.3, 5; M6.2.1; M7.2.2;

M8.2.2; M10.2.2 Reading R1.1b; R2.1b; R1.10; R3.9 Writing Grades 3-6 None History Grades 3-6 AH.PPE 1, 2, 3, 7

Grades 3-5 SFO-SF.3 Science Grades 6-8 SE0-3; SG4

Cultural Standards B.1, 2; D.4, 5; E.1, 4

Fairbanks North Star Borough School District Standards That Align When Teaching Art Art Curriculum 8 Adopted March 18, 2008

ART PERCEPTION – Standards most often met when perceiving art from a contemporary, historical, and aesthetic perspective

Content Standards English/Language Arts (E/LA) A.4,6; B.1-3; D.1a,b; E.4 Mathematics (M) A.4,5; B.7 Geography (GY) B.1-3 Government & Citizenship (GC) E.7 History (H) A.4-6, C.3 Science (SC) B.1-3 Skills for a Healthy Life (HL) B.5, C.3 World Languages (WL) B.2-4; C.4 Technology (T) B.2 Employability Standards (EM) B.1 Library/Info Systems (LI) C.2,3; E.1

Performance Standards (GLEs) Grade 3 M1.1.5; M1.1.6; M2.1.1; M4.1.1-2; M5.1.1-7; M6.1.2; M7.1.2;

M8.1.2; M10.1.2 Math Grades 4-6 M2.2.4; M4.2.1; M5.2.1-5, 7, M5.2.3, 5; M6.2.1; M7.2.2;

M8.2.2; M10.2.2 Reading R1.1b; R2.1b; R1.10; R3.9 Writing W2.5 History Grade 3 AH.PPE 2

Grades 3-5 SA1,3; SD4.1; SE; SFO-SF3; SG4 Science Grades 6-8 SA1,3; SFO-SF3; SG4

Cultural Standards A.2, 6, 7; B.2, 3; C.3; D.4; E.5-8 Content Standards: Those subject areas that wrote very specific content standards are the most difficult to align. However, that does not lessen the large amount of interdisciplinary reinforcement that occurs during art lessons. Performance Standards (GLEs): Teachers employ visual means to reinforce most of the listed concepts in the reading performance standards. They integrate writing into visual art regularly. Teachers also use art to model, explain, reinforce, and extend the understanding of mathematical concepts and processes such as fractions, measurement, patterns, geometry, reasoning, connections, problem solving, data interpretation and organization, and communication. Cultural Standards: The arts reflect history, tradition, and ritual from cultures in Alaska, the United States, and the world. Students learn the positive attributes necessary to develop respect by making objects and considering objects made by others.

Fairbanks North Star Borough School District Alaska Content Standards as Refined for Visual Arts Art Curriculum 9 Adopted March 18, 2008

ALASKA CONTENT STANDARDS AS REFINED FOR VISUAL ARTS

K-12

These standards were refined from the Alaska State Content Standards for the Arts by the FNSBSD Art Department in 2001 to specifically address visual arts. Producing Art Reflecting on Art Critically Demonstrate the use of the elements and principles

in creating artwork Develop artistic skills and self-discipline through

practice and revision Appropriately use new and traditional materials, tools,

techniques, and processes Develop the creativity and imagination necessary for

innovative thinking and problem solving Collaborate with others to create sculpture

Learn the criteria used to evaluate art Examine historical and contemporary works of art, the

works of others, and the student's own art Accept and offer constructive criticism Recognize and consider artistic expression. Exhibit appropriate audience skills

Reflecting on Historical and Cultural Significance Perceiving Beauty and Meaning through Art Be introduced to Alaska Native cultures and their art Recognize U.S. and world cultures and their art Be introduced to the role of tradition and ritual in art Investigate the relationship of art to the individual,

society, and the environment Be introduced to universal themes in the arts such as

love, war, childhood, and community Be introduced to specific works of art created by

artists from diverse backgrounds Explore similarities and differences in the art of world

cultures Respect differences in personal and cultural

perspectives Investigate careers in art/art-related fields

Make statements about the significance of the arts and beauty in the student's life

Discuss what makes an object a work of art Recognize that people tend to devalue what they do

not understand Listen to another individual's beliefs about a work of

art and consider the individual's reason for holding those beliefs

Consider another culture's beliefs about works of art Recognize that people connect many aspects of life

through the arts Make artistic choices in everyday living

SECTION B:

ELEMENTARY

I have always tried to hide my own efforts and wished my works to have the lightness and joyousness of a springtime

which never lets anyone suspect the labours it cost.

Henri Matisse

Fairbanks North Star Borough School District Elementary Art Program Art Curriculum 10 Adopted March 18, 2008

ELEMENTARY ART PROGRAM

The elementary art program is a unique and time-tested system of instruction and support that has evolved since the program was begun in 1981. At the heart of all the components is this document, the curriculum, which represents a comprehensive approach to art education and reflects the Alaska Content Standards in the Arts. This curriculum works because of the other aspects of the program, wherein teachers are trained, supported, and provided with teaching materials to assist them in providing a strong art education for their students. The Fairbanks North Star Borough School District Art Curriculum is comprised of: 1) Written Curriculum - This document outlines what teachers at each grade level should strive to teach

their students. The elementary written curriculum is divided into three sections according to student actions: Producing Art; Reflecting on Art Critically; and Perceiving Art from a Contemporary, Historic, and Aesthetic Perspective. These, in turn, directly reflect the Alaska State Standards expectations that all students will have some instruction in art production, historical/ contemporary studies, art criticism, and the consideration of the beauty and meaning of art.

2) Art Specialists and Classroom Inservices - The art specialists are certificated teachers who travel as a team around the district. They visit each school a minimum of three times per year and teach in every classroom. Each visit features a newly developed, comprehensive lesson that will later be available as a kit. The main purpose is to train teachers to teach art (many enter teaching with little or no training or confidence teaching the arts). Teachers must stay in the classroom and participate, either assisting the art specialist or doing the lesson. They will then be prepared to teach these kits in years to come.

3) Art Kits - After a lesson is taught during an “Art Round” (30-45 classrooms), it is transformed into an art kit. These kits are comprehensive and include the lesson plan, art reproductions, and any specific directions. They also include any esoteric materials required, but do not include easily available art materials. These nearly 400 kits may be checked out by teachers on a two-week rotating basis.

4) Three Grade-Level Artists, Their Biographies, and Reproductions - Every grade level has been assigned three artists. These selections were made in the early 1990s during a curriculum rewrite. They were selected considering student age and interests; social studies themes; and a historical, multicultural, and gender-based overview. The biographies of these artists are included in the curriculum document, as well as on the back of all the school-based reproductions. Each school has a set of six reproductions for each grade level (two for each artist) and the biographical information is also there to read while viewing. Artists are listed in the curriculum and on the grade-level art charts.

5) Grade-Level Art Charts - Charts were designed and produced (copyrighted in 1994) to hang in the classroom to assist teachers when teaching art. They prompt teachers on what to teach, how to talk about art, and who they need to teach about at each grade level. These charts were designed by art specialists to be colorful and appealing and, therefore, aesthetically pleasing to have hanging in classrooms.

All of the above components combine to make the Fairbanks North Star Borough School District Art Curriculum. It is only through this multifaceted approach that we have been successful in training teachers and assuring a quality art program for our students.

Thank you for the wonderful time you had with us.

Young Student to Art Teacher

Fairbanks North Star Borough School District Elements of Art by Grade Level Art Curriculum 11 Adopted March 18, 2008

ELEMENTS OF ART BY GRADE LEVEL

Elements of Art: building blocks of visual art Line Line is the path of a point moving through space. Types of line can include

actual, implied, vertical, horizontal, diagonal, and contour lines. K find a variety of lines and name them 1 recognize different lines and name them 2 name lines found in the classroom and in art 3 find the lines at the edge of shapes 4 recognize contour lines in drawings 5 distinguish between contour line, outline, and sketching 6 recognize contour line, outline, and sketching; identify lines used in inventive or

creative ways Shape When lines meet shapes are formed. Shapes are flat. Some shapes are

geometric such as squares, circles, triangles, rectangles, and ovals. Other shapes are organic or irregular.

K recognize a circle, square, triangle, rectangle, and oval 1 find basic geometric shapes and name them 2 recognize the difference between geometric and organic shapes 3 distinguish between shape (2-dimensional) and form (3-dimensional) 4 locate and differentiate between circle/sphere, square/cube, triangle/cone, and

rectangle/cylinder 5 differentiate between a variety of shapes and forms in art 6 differentiate between shape, 2-dimensional and 3-dimensional, in a variety of

artworks Form Form has three dimensions: length, width, depth; and resides in space.

Form may be an actual object having volume or implied on a 2-D surface with the use of light and shading techniques.

K begin to recognize the difference between flat and not flat 1 recognize the difference between flat and not flat 2 recognize the difference between geometric and organic forms 3 distinguish between shape (2-dimensional) and form (3-dimensional) 4 locate and differentiate between circle/sphere, square/cube, triangle/cone, and

rectangle/cylinder 5 distinguish between a variety of forms in art 6 differentiate between shape, 2-dimensional and 3-dimensional, in a variety of

artworks

An educated mind without an educated heart is no education at all.

I think the arts are for educating the heart.

Celeste Hart


Color Color is derived from reflected light. The color wheel shows the chromatic

scale and demonstrates three properties: 1) Hue, the name of the color (determined by the dominant wave length) 2) Intensity, or the purity and strength of the color defined as brightness

or dullness 3) Value, the lightness or darkness of the color

K recognize primary colors 1 recognize primary and secondary colors 2 recognize primary and secondary colors 3 distinguish between and recognize warm, cool, and neutral colors 4 recognize intensity changes through use of complementary colors 5 identify primary, secondary, complementary, warm, cool, and neutral colors; begin

to recognize monochromatic color schemes including value, tint, and tone 6 recognize analogous and other color schemes in relationship to basic color theory

Value Value refers to lightness or darkness. Value depends on how much light a

surface reflects and is one of the three properties of color. K discern between light and dark in the same colors 1 begin to recognize neutral tones 2 find colors in a piece of art that shows light and dark values 3 recognize that a painting may use many values (light/dark) of one color 4 understand how values change through use of black and white; recognize different

values of light/dark 5 identify examples of monochromatic color schemes 6 recognize at least five sequential value changes in one color

Texture Texture appeals to sense of touch, either actual or implied.

K find actual or visual texture in art and invent descriptive words 1 find actual or visual texture in art and invent descriptive words 2 use texture words when discussing art 3 differentiate between pieces of art that use actual and visual (implied) texture 4 experience an actual texture and differentiate from visual (implied) examples of that

texture 5 experience an actual texture and differentiate from visual (implied) examples of that

texture 6 continue to differentiate between visual (implied) texture and actual texture


Space Space refers to 1) the area in which art is organized, and 2) an area

showing depth or perspective. Space can be two-dimensional (2-D), three-dimensional (3-D), negative, and/or positive.

K look at art reproductions and discuss what looks closer; be aware of near and far 1 find overlapping objects and discuss what looks closer and why 2 recognize that objects appear closer when placed lower on a page (placement);

recognize that closer objects can appear larger (relative size); begin to recognize the concept of foreground and background

3 recognize that large spaces can be created within small confines; recognize concepts of overlapping, relative size (scale), page placement, and foreground/background as means to show perspective

4 begin to recognize positive and negative space; distinguish the degree of detail in the foreground is a way of showing perspective (detail); recognize foreground/background, overlapping, intersecting, size, and placement as perspective tools

5 identify positive and negative space; use perspective terms including placement, overlapping, intersecting, size/scale, foreground/background, and detail when discussing art; begin to recognize that color intensity implies depth

6 investigate how perspective is shown in an artwork using the concepts of overlapping, scale, page placement, foreground/background, degree of detail, and color intensity; recognize that converging lines show depth

One of the art teacher’s major roles is to encourage the students to be noticers…

avid noticers of their constantly changing environment. It is vital that they become aware of the myriads of colors,

forms, patterns, and textures in the world of nature.

Wachowiak/Hodge

Fairbanks North Star Borough School District Principles of Art by Grade Level Art Curriculum 14 Adopted March 18, 2008

PRINCIPLES OF ART BY GRADE LEVEL

Principles of Art: use or arrangement of the building blocks of visual art Balance Balance is a sense of stability in an artwork. There are three kinds of

balance: symmetrical (formal), asymmetrical (informal), and radial. K discuss if an artwork looks or feels balanced 1 discuss if an artwork looks or feels balanced 2 relate geometry and bilateral symmetry in a work of art 3 recognize radial symmetry and find it in nature and in art 4 continue to recognize symmetry and radial design in works of art; consider if a work

of art is (feels) balanced 5 identify examples of visual balance in art 6 identify examples of visual balance in art

Contrast Contrast emphasizes the differences in the elements of art used in a work

of art (refers to distinctive compositional areas created by the arrangement of the elements of art).

K identify different areas in a piece of art 1 identify and discuss different areas in a piece of art 2 discuss different areas in a piece of art and identify how they are different 3 identify different areas in art using the words dark, light, smooth, textured 4 identify different areas in art using the words dark, light, smooth, textured, color

variations, types of lines and shapes 5 identify different areas in art using the words dark, light, smooth, textured, color

variations, types of lines and shapes, mood changes 6 identify different areas in art using the words dark, light, smooth, textured, color

variations, types of lines and shapes, mood changes Emphasis Emphasis refers to developing points of interest that pull the viewer’s eye

to important parts of the artwork. K discuss the most important area is in an artwork 1 discuss where the most important area is in an artwork 2 identify the focal point or center of interest in a work of art 3 identify the focal point or center of interest in a work of art 4 identify the focal point or center of interest in a work of art 5 find and identify examples of focal point, i.e., visual accent or stress in a work of art 6 find and identify examples of focal point (i.e., visual accent or stress) in a work of art

The idea that you can educate young people in a meaningful way without music and art is simply absurd.

James D. Wolfensohn

Fairbanks North Star Borough School District Principles of Art by Grade Level Art Curriculum 15 Adopted March 18, 2008

Rhythm/ Pattern

Rhythm/pattern refers to the repetition or recurrence of a design element, exact or varied, which establishes a visual beat.

K look for repetition in art and use the word “pattern” 1 find rhythmic patterns in art and invent descriptive words to describe them 2 look for expanding and contracting patterns 3 recognize that repetition creates the visual illusion of rhythm 4 look for patterns and patterns created through negative space 5 recognize how rhythm and patterns can be created through color, line, shape, and

form 6 recognize how rhythm and patterns can be created through color, line, shape, and

form Proportion/ Scale

Proportion is the size relationship of parts to a whole and is within an object. Scale is the size/weight relationships between shapes/forms and compares different objects.

K compare size of objects in an artwork as an introduction to scale 1 compare size of forms and objects within art as an introduction to scale 2 compare the relative sizes of objects or people as an introduction to scale 3 look at an object and compare the relationship of one part to another and to the

whole as an introduction to proportion 4 begin to learn body proportions and vocabulary 5 continue to learn body proportions and vocabulary 6 continue to learn body proportions and vocabulary

Movement Movement refers to the suggestion of motion through the intentional use

of various elements of art. Movement adds excitement by showing action and directing the viewer’s eye through the artwork.

K look for the suggestion of motion in art 1 look for the suggestion of motion in art 2 describe how movement is shown in a work of art 3 find examples of movement in art and compare and contrast the artists’ techniques 4 find examples of movement in art and compare and contrast the artists’ techniques 5 find examples of movement in art and compare and contrast the artists’ techniques 6 find examples of movement in art and compare and contrast the artists’ techniques

Unity Unity is the appearance of oneness.

K discuss whether an artwork seems complete 1 discuss whether an artwork seems complete 2 discuss whether an artwork seems complete 3 discuss whether a work of art seems complete or unified 4 discuss whether a work of art seems complete or unified 5 discuss whether a work of art seems complete or unified 6 discuss whether a work of art seems complete or unified

ELEMENTARY CURRICULUM

Still Life: Vase with Twelve Sunflowers, Van Gogh, 1888

Fairbanks North Star Borough School District Kindergarten Art Curriculum 16 Adopted March 18, 2008

KINDERGARTEN ART

ARTISTS More detailed biographies may be found in the next section, Grade-Level Artists.

BILL BERRY (1926-1979) Alaskan illustrator and painter Berry was born in California, but spent most of his life in Alaska. He is most known for his realistic wildlife sketches and fanciful art. He illustrated children’s books and painted wall murals. An example of his mural painting is An Alaskan Fairy Tale installed at the Noel Wien Library in Fairbanks.

HENRY MOORE (1898-1986) British sculptor Moore was born, and spent most of his working life, in England. He is most known for his large stylized sculptures of human figures in relaxed or reclining poses. His work resides in public spaces around the world and sculpture gardens at prominent international museums.

Starry Night, 1889

VINCENT VAN GOGH (1853-1890) Dutch impressionist painter Van Gogh was born in Holland, but he spent most of his working life in France. He is most known for vibrant, bold-colored paintings of flowers (especially sunflowers) and his many self-portraits. Van Gogh’s work is displayed in virtually every notable modern museum in the world.

VOCABULARY

(see Glossary in Appendix for complete K-6 vocabulary list)

artist circle color drawing horizontal

line movement oval overlap primary colors

rectangle reproduction rhythm sculpture secondary colors

self-portrait shape space square style

subject texture triangle vertical

Please see the Berry Room mural photos at: http://fnsb.lib.ak.us


Kindergarten students will be introduced to beginning art concepts and vocabulary, and use a broad range of both 2-D and 3-D art materials and techniques. All young students believe they are artists and they will be encouraged to maintain that confidence while they enjoy the diverse, exciting, and fulfilling art processes. They will be encouraged to express themselves through various art lessons and to creatively tell their own stories through art.

I. PRODUCING ART is experiencing the processes of art. It is the act of solving problems.

DRAWING is the portrayal of an idea using line and/or tone. MATERIALS Students will: practice drawing using a variety of tools explore many different lines when drawing draw using simple shapes and name them show near and far in drawings explore texture in drawings through rubbings, patterning,

shading, etc. work on horizontal and vertical formats draw story pictures and share them telling about the details

pencil, pen, eraser markers crayons oil pastels colored pencils charcoal, chalk

PAINTING is the application of paint to a surface. MATERIALS Students will: be introduced to different types of paint (e.g., finger paint,

tempera, tempera blocks, watercolor, painting crayons) paint with a variety of tools (e.g., brushes, fingers, sponges,

pieces of board) paint on a variety of smooth or rough surfaces (e.g., papers,

board, cardboard, cloth) of different shapes and sizes explore color mixing; learn words primary and secondary; try

mixing primary colors to make secondary distinguish between light and dark in the same color family identify colors by name and tell if they seem to be happy, sad,

quiet, angry, hot, cold, etc.

watercolors finger paint tempera paint painting crayons washable tempera cakes variety of tools

PRINTMAKING is the act that transfers an image, often with multiple copies.

MATERIALS

Students will: create patterns by stamping with objects make a monoprint by making a print from a wet painting make rubbings of different textures make a stencil by folding paper, cutting shape, open and rub

with crayon make a dried glue line print make 3 or more identical prints

found objects sponges stamps ink paint stamp pad brayers and rollers glue

(continued)

I've always loved drawings… when you draw you look much more intensely at something.

Henry Moore


MIXED MEDIA is the combination of different materials. MATERIALS Students will: combine 2 or more materials (e.g., paper, string) make a collage that has different textures plan a picture about themselves using different materials make a symmetrical mask using 2 or more materials use basic drawing program to create and overlap shapes use scraps of fabric to create a picture

magazines calendars fabric, felt, yarn craft materials, beads, feathers variety of paper

SCULPTURE is the creation of forms that fill space or three dimensions (3-D).

MATERIALS

Students will: explore various materials to create forms in space be able to differentiate between flat and not flat use word sculpture when talking about 3-D art manipulate clay or dough texture patterns into the soft forms use found objects to create a sculpture make a self-portrait using combinations of materials

clay modeling dough paper wire pipe cleaners clay tools wood fabric and yarn found objects

Students practice and develop skills in art. They will: apply imagination and creativity to their art learn to find relationships between art and the world beyond the classroom seek solutions to art problems and questions exhibit self-discipline when working as an artist learn to respect the working and thinking space of others work individually and collaboratively learn to care for tools and materials use tools safely enjoy the process while learning how to use materials and tools with own ideas finish work and share with others developing pride as ‘an artist’

Church of Aurer-sur-Oise, Van Gogh

I want to touch people with my art. I want them to say

'he feels deeply, he feels tenderly’.

Vincent Van Gogh


II. REFLECTING ON ART CRITICALLY means learning to evaluate art through an organized process. Following four steps assures that students learn to appreciate and respect art and ideas. This process can be applied to works in progress, finished work, historical/cultural objects, etc.

Kindergarteners describe art using these design elements:

line shape form color value

texture space

find a variety of lines and name them recognize a circle, square, triangle, rectangle, and oval recognize difference between flat and round recognize primary colors discern between light and dark in same colors find actual or visual texture in art and invent descriptive words look at art reproductions and discuss what looks closer; be

aware of near and far Kindergarteners analyze art using these design principles:

balance contrast emphasis

rhythm/pattern

proportion/scale movement

unity

discuss whether an artwork looks or feels balanced recognize differences with a piece of art discuss the most important area in an artwork look for repetition in art begin to recognize patterns compare sizes of objects in artwork as an introduction to scale begin to describe art as “still” or with “movement” discuss whether an artwork seems complete

Kindergarteners interpret art using an art vocabulary and personal perspective. Students will: view art and discuss content and subject matter using developing art vocabulary view art and discuss by looking for something in the art that seems familiar to their life learn about self-portraits in painting and sculpture talk about self-portraits using simple art vocabulary view paintings and sculptures and discuss what type of artist made this art (painter, sculptor) discuss what an artist might communicate in a portrait consider and discuss how the art makes them feel (what is the mood?); discuss why they think they

have those feelings share their reasons for making certain artworks discuss how artists have their own meaning in their artwork consider that people are ‘inspired’ to make art

Kindergarteners judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: learn to express preferences in a respectful and knowledgeable way compare two similar artworks and discuss how they are alike and different and express a preference look at and discuss artworks from different world cultures use simple vocabulary to talk about art

Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)


III. PERCEIVING ART FROM A CONTEMPORARY, HISTORIC, AND AESTHETIC PERSPECTIVE consists of looking at, talking about, and applying ideas while simultaneously considering beauty and meaning (aesthetics).

Kindergarteners will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Bill Berry Henry Moore Vincent Van Gogh

consider the role of art in their lives look for universal themes in art such as self,

family, and animals recognize and understand that art is a form

of communication begin to understand that their art is unique be aware that art is found in many places

such as the library, school, museum, and home

recognize that museums house and display works of art

look at art in the classroom and talk about it using simple vocabulary

consider the historical and contemporary role of art in their lives and the lives of others distinguish between drawing, painting, and

sculpture view a variety of styles from different times

and places distinguish between original art and

reproductions look at different styles from cultures

represented in their classroom focus on the art and culture of indigenous

interior Alaska Athabascan people begin to understand that styles change over

time talk about personal art using simple

vocabulary as preparation for writing look at the design of art products in the

classroom and discuss whether they like it discuss that advertising has one intent – to

sell understand that there are artists working

in their community focus on artists that make art

Fairbanks North Star Borough School District First Grade Art Curriculum 21 Adopted March 18, 2008

FIRST GRADE ART


ALEXANDER S. CALDER (1898–1976) American sculptor Calder was born in Pennsylvania. With the exception of some pivotal years living in Paris early in his carrier, he spent most of his working life in New York City and upstate Connecticut. He is most known for being the inventor of mobiles. Additionally, he developed a new aesthetic for non-kinetic sculpture called stables. He created rugs, illustrations, and paintings, as well as designs for several full-size jetliners. Calder’s color pallet revolved around white, black and the primary colors.

Tableau 2, 1922

PIET MONDRIAN (1872–1940) Dutch painter Mondrian was born in Holland and spent most of his working life in France, though at the onset of WWII he moved to New York City. He started out working in the traditional Dutch style of landscape painting, but soon departed to a more “pure” and expressionistic style. He is most known for simple, abstract paintings consisting of blocks of primary colors and horizontal and vertical black lines. The impact of Mondrian’s work is evident in contemporary art as well as architecture and commercial design.

“Painting’s not important. The

important thing is keepin’ busy.”

ANNA MARY ROBERTSON MOSES (1860–1961) Late-blooming American painter Grandma Moses was born in rural New York and spent her early adulthood in Virginia. Moses began painting when she was about seventy years old. She painted countryside and people busy doing things during the different seasons. Moses, a self-taught painter, is most known for direct, simple, paintings filled with feelings for the subject. When she was eighty, a New York City gallery owner gave her her first one-woman exhibition. Subsequently, Moses’ work gained notoriety and she continued painting until she died at 101.

VOCABULARY


clay collage drawing horizontal/vertical line

monoprint movement original art overlapping painting

pattern/repetition perspective primary colors printing reproduction

scale sculpture secondary colors self-portrait shape

symmetry texture three-dimensional two-dimensional


First grade students will continue to be introduced to beginning art concepts and vocabulary through the use of a broad range of both 2-D and 3-D art materials and techniques. All young students believe they are artists and will be encouraged to maintain that confidence while they enjoy diverse, exciting, and fulfilling art processes. They will be encouraged to express themselves through various art lessons and to creatively tell their own stories through art.


DRAWING is the portrayal of an idea using line and/or tone. MATERIALS Students will: practice drawing using a variety of tools continue to use and name many different lines draw using simple shapes and name them use overlapping and size to show near and far; talk about fore-

and background explore texture in drawings through rubbings, patterning,

shading, etc. work on horizontal and vertical formats and name them draw story pictures and share them telling about the details

pencil, pen, eraser markers crayons oil pastels colored pencils charcoal, chalk





mixing primary colors to make secondary distinguish between light and dark in the same color family;

paint with 3 values – light, medium, dark – in one color family identify colors by name and tell if they seem to be happy, sad,

quiet, angry, hot, cold, etc.



MATERIALS

Students will: create patterns by stamping with objects make a monoprint by making a print from a wet painting make rubbings of different textures, lines and overlap some

images make 2 or more simple stencils to use in a picture or sponge

painting experiment with different relief-printing techniques using glue

lines make 3 or more identical prints and neatly sign


(continued)


MIXED MEDIA is the combination of different materials. MATERIALS Students will: combine 2 or more materials (e.g., paper, string) make a collage that has different textures plan a picture about themselves or their families using a variety

of materials make a symmetrical mask using 2 or more materials use basic drawing program to create and overlap shapes adding

texture use fabric crayons to design on fabric



MATERIALS

Students will: explore various materials to create forms in space be able to differentiate between 2-D and 3-D use word sculpture when talking about 3-D art model simple forms in clay using rolling and pinching techniques add textured patterns to the forms while soft use found objects to create a sculpture bring recycled materials from home to use in the classroom use gluing skills or paper joining techniques to build a found

object sculpture make an animal sculpture using a combination of materials



Art is not made for anybody and is, at the same time, for everybody.

Piet Mondrian



First Graders describe art using these design elements:


texture space

recognize different lines and name them find basic geometric shapes and name them recognize difference between flat and round recognize primary and secondary colors begin to recognize neutral tones find actual or visual texture in art and invent descriptive words find overlapping objects and discuss what looks closer and why

First Graders analyze art using these design principles:


rhythm/pattern

proportion/scale

movement unity

discuss whether an artwork looks or feels balanced recognize differences with a piece of art discuss where the most important area is in an artwork look for examples of repetition in art find patterns in art and invent descriptive words to name them compare size of forms and objects within art as an introduction

to scale begin to describe art as “still” or with “movement” discuss whether an artwork seems complete

First Graders interpret art using an art vocabulary and personal perspective. Students will: view art and discuss content and subject matter using developing art vocabulary view art and discuss by looking for something in the art that seems familiar to their life learn about still life, landscape, and portrait art forms in painting and sculpture talk about still life, landscapes, and portraits using simple art vocabulary view paintings and sculptures and discuss what type of artist made this art (painter, sculptor) discuss what an artist might communicate in a portrait consider and discuss how the art makes them feel (what is the mood?); discuss why they think they


First Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: learn to express preferences in a respectful and knowledgeable way compare two similar artworks and discuss how they are alike and different and express a preference look at and discuss artworks from different world cultures use simple vocabulary to talk about art

Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)



First Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Alexander Calder Piet Mondrian Grandma Moses



of communication understand that art is unique to individuals recognize that everyone makes artistic

choices in everyday living be aware that art is found in many places


recognize that museums house and display works of art


consider the historical and contemporary role of art in their lives and the lives of others distinguish between drawing, painting, and

sculpture view a variety of styles from different times


reproductions begin to understand that style is influenced

by history and culture focus on the art and culture of indigenous

interior Alaska Athabascan people begin to understand that styles change over

time talk about personal art using simple

vocabulary as preparation for writing look at the design of art products in the

classroom and discuss whether they like it discuss that advertising has one intent – to

sell understand that there are artists working

in their community look for different jobs that artists do focus on ice sculptors, mural painters, Alaska

Native artists, and art teachers

Artist unknown, Spoon, c. 1880 (T’sa Xoo (Tsimshian or Tlingit)) Minneapolis Institute of Arts, Gift of Alfred and Ingrid Lenz Harrison


Fairbanks North Star Borough School District Second Grade Art Curriculum 26 Adopted March 18, 2008

SECOND GRADE ART


San Ildefonso pottery

MARIA MARTINEZ (1887-1980) American potter Martinez was born and spent most of her working life in the pueblo village of San Ildefonso, New Mexico. She is most known for reviving her craft. Her success, commitment to her work, and willingness to share knowledge led to similar revivals in other native communities. Early in her career, Martinez visited her husband at his work excavating prehistoric Pueblo sites. During her visit she noticed the decorated pieces of pottery (shards) lying on the ground. She was very interested in them and was asked if she could recreate this polychrome pottery. This was the start of a long life of pottery making.

The Open Window, Collioure

1905

HENRI MATISSE (1868-1954) French Impressionist painter Matisse was born and spent most of his working life in France. He is most known for his colorful Fauvist oil paintings and later in his career he successfully worked with stained glass and colorful cut paper shapes. As a young man, Matisse was bedridden due to appendicitis and his mother gave him a set of paints to keep him occupied while convalescing. When he got better, he decided to go to Paris to study art. He traveled around Europe, where he met and was influenced by many artists. He was soon labeled an expressionist painter because of his bright colors, patterns, and radical style.

GRANT WOOD (1891-1942) American Regionalist painter Wood was born and spent most of his working life in Iowa. He is most known for being a regionalist painter of Iowa farmers, farm scenes, and the local scenery. Wood had a humble upbringing and he developed his skills by drawing on scraps of cardboard from cracker boxes that his mother saved for him. Later in life he worked and studied in Europe where he was very taken with the work of the Flemish masters. This influence can be seen in his most recognized painting, American Gothic.

VOCABULARY


collage color cool/warm detail focal point foreground/

background

historic/ contemporary

landscape light/dark values line monoprint

museum objective/

nonobjective perspective portrait potter

primary/secondary colors

proportion realistic abstract sculpture shape

stencil still life stitchery/weaving style symmetrical


Second grade students will continue to learn expanding art concepts and vocabulary, while using a broad range of both 2-D and 3-D art materials and techniques. All young students believe they are artists and will be taught with care in order to maintain that confidence while they enjoy the process of art. They will be encouraged to express themselves through various art lessons, and to creatively tell their own stories through art.


DRAWING is the portrayal of an idea using line and/or tone. MATERIALS Students will: continue drawing and experimenting with a wide variety of tools draw quick sketches and extended drawings produce a drawing using both geometric and amorphous

(organic) shapes use overlapping and size to show near and far; talk about fore-

and background explore texture in drawings through rubbings, patterning,

shading, etc. draw on a variety of surfaces – types, shapes, sizes continue to draw from stories, nature, imagination, memory,

observation; begin to use music for inspiration

pencil, pen, eraser markers crayons oil pastels colored pencils charcoal, chalk variety of tools





mixing primary colors to make secondary distinguish between light and dark in the same color family;

paint with 3 values – light, medium, dark – in one color family use warm or cool colors to paint a simple landscape that has a

mood



MATERIALS

Students will: create a 2-color pattern by stamping with objects continue experimenting with monoprints using at least 2 primary

colors continue to use rubbings of different textures make a simple stencil and overlap when printing create a foam plate relief print learn the concept of a single print versus an edition; make an

edition of 3 or more prints, sign and number


(continued)


MIXED MEDIA is the combination of different materials. MATERIALS Students will: combine 3 or more materials to make a collage consider texture, pattern, and focal point when designing a

collage using many materials create a self-portrait using various materials including some that

tell about themselves create a geometric design reinforcing the concept of bilateral

symmetry produce computer art with shapes, textures, and fills explore fabric arts (e.g., stitchery, weaving, found objects)



MATERIALS

Students will: explore various materials to create forms in space be able to differentiate between 2-D and 3-D use word sculpture when talking about 3-D art make a simple pot using pinch and coil techniques complete clay work with some type of finish use found objects to create a sculpture bring recycled materials from home to use in the classroom use gluing skills or paper joining techniques to build a found

object sculpture use wire as a sculptural material to create a line design in space make a simple sculpture using plastic clay and then draw it



You may be disappointed if you fail, but you are doomed if you don’t try.

Beverly Sills



Second Graders describe art using these design elements:


texture space

name lines found in the classroom and in art recognize the difference between geometric and organic shapes recognize and discuss flat or round recognize primary and secondary colors find colors in a piece of art that shows light and dark values use texture words when discussing art recognize that objects appear closer when placed lower on a

page (placement) recognize that closer objects can appear larger (relative size) begin to recognize the concept of foreground/background

Second Graders analyze art using these design principles: balance

contrast emphasis

rhythm/pattern

proportion/scale

movement unity

relate geometry and bilateral symmetry in a work of art recognize and describe differences in a piece of art identify the focal point or center of interest in an artwork look for repetition of elements in art recognize patterns in the environment and in artworks compare the relative sizes of objects or people as introduction

to scale recognize whether “still” or “movement” and identify in art discuss whether an artwork seems complete

Second Graders interpret art using an art vocabulary and personal perspective. Students will: view art and discuss content and subject matter using developing art vocabulary view art and discuss by looking for something in the art that seems familiar to their life learn about still life, landscape, and portrait art forms in painting and sculpture talk about still life, landscapes, and portraits using simple art vocabulary view paintings and sculptures and discuss what type of artist made this art (painter, sculptor) discuss what an artist might communicate in a portrait consider and discuss how the art makes them feel (what is the mood?); discuss why they think they


Second Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: learn to express preferences in a respectful and knowledgeable way recognize similarities and differences between two artworks and support a preference using

appropriate vocabulary look at and discuss artworks from different world cultures use simple vocabulary to discuss subject matter and elements of art in an artwork

Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)



Second Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Maria Martinez Henri Matisse Grant Wood



of communication understand that each artwork is an original

and personal statement be aware that art is found in many places


understand that art enriches their environment through beauty and meaning by focusing on the role of museums


consider the historical and contemporary role of art in their lives and the lives of others continue to distinguish between drawing,

painting, and sculpture view a variety of styles from different times


reproductions begin to recognize that cultures have

traditional styles focus on the art and culture of indigenous

interior Alaska Athabascan people recognize that art has been made in all times

and places; distinguish between historic and contemporary

begin to write simple descriptions of art and artifacts using art vocabulary

look at the design of art products in the classroom and discuss whether they like it

discuss that advertising has one intent – to sell

understand that there are artists working

in their community look for different jobs that artists do be introduced to the role of a painter, potter,

sculptor, and designer

Fairbanks North Star Borough School District Third Grade Art Curriculum 31 Adopted March 18, 2008

THIRD GRADE ART


Water Lily Pond, 1899

CLAUDE MONET (1840-1926) French Impressionist painter Monet was born in Paris and was raised in the port town of Le Havre, France. He spent most of his working life in and around Paris. Monet was one of the original French Impressionist painters and it was his painting called Impression-Sunrise that gave the Impressionist art movement its name. He painted outdoors and was interested in the changing effect of light and air on subject matter. Consequently, he painted the same motif many times to capture the changing light. He is most known for his water lily, haystack, and Rouen cathedral paintings.

The Three Musicians, 1921

PABLO RUIZ PICASSO (1881-1973) Spanish master of modern art Picasso was born in southern Spain and spent his working life in northern France in the winter and southern France in the winter. Picasso went through several artistic periods and he individually developed numerous artist styles, notably, analytic and synthetic cubism. Additionally, Picasso is thought to be the inventor of collage and assemblage. During his career, he produced paintings and sculptures influenced by African masks to highly academic renderings for medical textbooks to gentle renderings of his son. Picasso's art was often controversial and always highly inventive.

“If one can anyone can, all

you gotta do is try”

FAITH RINGGOLD (1930-present) African-American artist Ringgold was born and spent most of her working life in New York City with short stints in Cape Code, Massachusetts, and Paris, France. She is most known for politically charged paintings done in the 1960s and her story quilts that combined her affinity for painting with a written narrative. Ringgold also wrote and illustrated children's literature. Ringgold studied in New York, earning a B.S. and an M.A., both in fine art. She taught in New York City public schools while making and exhibiting her art. Ringgold learned on her own about Black artists like Romare Bearden and Jacob Lawrence. She began to seek out other Black artists, eventually joining groups of Black artists and Black women artists to exchange ideas.

VOCABULARY


architect collage drawing emphasis horizontal/vertical illustration

line Monoprint objective/nonobjective original art overlapping painting

pattern/repetition perspective primary/secondary

colors radial symmetry

reproduction scale sculpture self-portrait shape/form

space symmetry texture two-dimensional three-

dimensional


Third grade students will continue to learn expanding art concepts and vocabulary, while using a broad range of both 2-D and 3-D art materials and techniques. Third graders are just beginning to develop real skills in handling materials and applying developed ideas to their work. They will be expected to build on these skills. Some students may also begin to ‘fear failure’ and shy away from art. Therefore, lessons will be diverse, encouragement will be broad, and flexibility will be expected in every lesson so that students are strengthened as artists. Lastly, verbal fluency will be encouraged when discussing art.


DRAWING is the portrayal of an idea using line and/or tone. MATERIALS Students will: use an assortment of tools to explore a variety of lines continue to draw using quick sketches and extended drawings continue producing drawings using geometric and amorphous

(organic) shapes compare foregrounds/backgrounds use drawn patterns as textures in drawing explore unconventional formats continue to draw from stories, nature, imagination, memory,

observation; begin to use music for inspiration


PAINTING is the application of paint to a surface. MATERIALS Students will: use a variety of painting medium (e.g., tempera, tempera cakes,

watercolor, painting crayons, pencils) use a variety of painting tools to create different effects(e.g.,

stipple, hard- and soft-edged, splatter, fluid) paint on a variety of smooth or rough surfaces (e.g., papers,

board, cardboard, cloth) of different shapes and sizes continue to explore primary and secondary colors; explore color

schemes of warm, cool, and neutral colors in paintings produce a simple 5-range value scale using black and white use warm or cool colors to paint a simple landscape that has a

mood



MATERIALS

Students will: create a stamped print showing a complex pattern make a monoprint by printing from a printing plate, blue line,

and/or string print create a composition by rubbing and overlapping with a variety

of textures use stencils to create a 2-color stencil print with dabbing,

rubbing, or sponge painting construct a relief plate using cardboard and produce a print review the concept of a single print versus an edition; make an

edition of 3 or more prints, sign and number


(continued)


MIXED MEDIA is the combination of different materials. MATERIALS Students will: combine materials to create mixed media prints, paintings,

drawings, collages, and graphic art consider texture, pattern, and focal point when designing a

collage using many materials create a self-portrait using various materials including some that

tell about themselves create a geometric design reinforcing the concept of radial

symmetry explore computer art with images explore several fabrics to create a stitchery, weaving, or other

art form

magazines calendars fabric yarn variety of paper computer programs


MATERIALS

Students will: explore various materials to create forms in space be able to differentiate between 2-D and 3-D use word sculpture when talking about 3-D art use a clay cube to create a subtractive sculpture by carving it hand-build with clay learning slab construction techniques create free-standing sculptures using found objects after making a simple sculpture, draw it continue to draw with wire, adding other materials to create an

assemblage or additive sculpture work with a partner to make a free-standing sculpture using a

variety of materials

clay modeling dough Paper wire pipe cleaners clay tools wood fabric and yarn found objects

Students practice and develop skills in art. They will: apply imagination and creativity to their art learn to find relationships between art and the world beyond the classroom seek solutions to art problems and questions exhibit self-discipline when working as an artist learn to respect the working and thinking space of others work individually and collaboratively continue to care for tools and materials during and after work use tools safely enjoy the process while learning how to use materials and tools with own ideas finish work and share with others developing pride as ‘an artist’

Success is dangerous. One begins to copy oneself, and to copy oneself is more dangerous than to copy others.

Pablo Picasso



Third Graders describe art using these design elements:


texture

space

find the lines at the edge of shapes recognize shape as 2-D discuss form as 3-D and distinguish from 2-D shape distinguish between and recognize warm, cool, and neutral colors recognize that a painting may use many values (light/dark) of one

color differentiate between pieces of art that use actual or visual

(implied) texture recognize that large spaces can be created within small confines recognize concepts of overlapping, relative size (scale), page

placement, and foreground/background as a means to show perspective

Third Graders analyze art using these design principles:


rhythm/pattern

proportion/scale

movement unity

recognize radial symmetry and find it in nature and in art begin to recognize and identify differences in art identify focal point or center of interest in an artwork look for repetition that suggests movement begin to recognize that repetition of elements in patterns

creates the visual illusion of rhythm look at an object and compare the relationship of one part to

another and to the whole as an introduction to proportion recognize “movement” in art discuss whether an artwork seems complete or unified

Third Graders interpret art using an art vocabulary and personal perspective. Students will: view art and discuss content and subject matter using developing art vocabulary view art and discuss by looking for something in the art that seems familiar to their life recognize the terms still life, landscape, portrait, self-portrait, objective, and non-objective art be able to discuss any art using developing art vocabulary distinguish between different types of artists including painter, printer, photographer, and sculptor

and the art they make interpret the artist’s meaning when viewing art consider how artists use symbols (symbolism) in their art to represent ideas consider and discuss how the art makes them feel; what mood did the artist make? consider how artists can intentionally use elements and principles to create mood identify sources of inspiration in artwork discuss how personal experience gives meaning to art

Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)


Third Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: continue to express preferences in a respectful and knowledgeable way and support their

statements recognize similarities and differences between two artworks and support a preference using

appropriate vocabulary discuss and evaluate artwork in a man-made environment compare artworks from different world cultures use subject matter and elements of design to discuss works of art through verbal and written forms


Third Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Claude Monet Pablo Picasso Faith Ringgold

consider the role of art in their lives start to identify universal themes in art such

as community, culture, nature, etc. understand that artists purposefully

communicate ideas, emotions, and events using art forms

recognize that artworks of the same style share certain characteristics

understand that art exists in a variety of public settings including churches, parks, and airports

understand that art enriches their environment through beauty and meaning by focusing on the role of museums

continue to view and objectively discuss artwork in class, including their own and reproductions of famous work

consider the historical and contemporary role of art in their lives and the lives of others continue to distinguish between drawing,

painting, printmaking, and sculpture view a variety of styles from different times


reproductions recognize that different cultures have

different art forms, traditions, and rituals focus on the art and culture of indigenous

interior Alaska Athabascan people recognize that art has been made in all times


write descriptions of art and artifacts using art vocabulary

understand that advertising is a form of art that is altered to the audience; find and discuss examples

discuss being a ‘smart shopper’, realizing that products are designed to appeal for financial gain purposes

begin to understand how design and media shape public opinion through the use of art

understand that there are artists working

in their community develop awareness of the role of artists in

objects of daily life understand the role of the illustrator in

addition to other artist career roles

Fairbanks North Star Borough School District Fourth Grade Art Curriculum 36 Adopted March 18, 2008

FOURTH GRADE ART


The Waterfall Where Yoshitsune

Washed his Horse, 1832

KATSUSHIKA HOKUSAI (1760–1849) Japanese woodblock printer Hokusai was born in Japan and spent most of his working life in Tokyo. He is best known for his dynamic woodblock prints and drawings of landscapes. Hokusai started as an artist’s apprentice and, over time, he became a great draftsman. Subsequently, he developed his own dynamic, distinctive style. Hokusai’s most iconic creation is The Great Wave of Kanagawa. He is known as one of the greatest artists in art history. Notably, his work influenced Vincent Van Gogh and his impressionist peers.

GEORGIA O'KEEFFE (1887–1986) American painter O’Keeffe was born in rural Wisconsin and divided her working life between New York City, Upstate New York, Texas, Virginia, and New Mexico. She is most known for her strong personal vision resulting in simplified and sensual paintings showing images of the natural world from unusual perspectives. Her large format paintings of flowers, bones, and landscapes are highly recognizable. She painted until age 98.

MELVIN OLANNA (1941–1991) Alaska Native artist Olanna was born in Shishmaref, Alaska, on the Bering Sea Coast. He spent most of his working life in Shishmaref and on the Suquamish Indian reservation in Washington. Olanna is most known for sculptural and graphic images of people and creatures from the Bering Sea coast where he grew up. A recognizable piece of Olanna’s sculpture is his large bronze polar bear in front of the Patty Gymnasium at the University of Alaska Fairbanks. Melvin Olanna produced sculptures in marble, bronze, bone, wood, and aluminum. His pieces may be found all over Alaska and in collections throughout the Pacific Northwest.

VOCABULARY


balance circle/sphere color scheme complementary

colors contrast

culture detail embellish emphasis foreground

gallery/museum historic/contemporary line/contour line personal style photographer

positive/negative space

printmaker rectangle/cylinder shape/form

space square/cube symbol triangle/cone/pyramidvalue

Please see Melvin Olanna’s work at: http://www.akart.org


Fourth grade students will continue to learn expanding art concepts and vocabulary, while using a broad range of both 2-D and 3-D art materials and techniques. Fourth graders are beginning to develop real skills in handling materials and applying developed ideas to their work, and they will be expected to build on these abilities. Some students are also beginning to ‘fear failure’ and may shy away from art. Therefore, lessons will be diverse, encouragement will be broad, and flexibility will be expected in every lesson so that students are strengthened as artists. Lastly, verbal fluency will be encouraged when discussing or writing about art.


DRAWING is the portrayal of an idea using line and/or tone. MATERIALS Students will: draw using a wide variety of tools including vine charcoal,

eraser, assortment of hard/soft and colored pencils, pastels, etc. recognize and practice contour line drawings learn to draw basic 3-D forms and add shading according to light

sources use a variety of techniques to show perspective; use detail in

foreground continue to experience actual textures, then draw them to create

implied textures in drawing explore unconventional formats continue to draw from stories, nature, imagination, memory,

observation, still-life, and curriculum themes; continue to use music, movement, and mood for inspiration


PAINTING is the application of paint to a surface. MATERIALS Students will: use a variety of painting medium (e.g., tempera, tempera cakes,

watercolor, painting crayons, pencils) use a variety of painting tools to create different effects(e.g.,

stipple, hard- and soft-edged, splatter, fluid) paint on a variety of smooth or rough surfaces (e.g., papers,

board, cardboard, cloth) of different shapes and sizes produce a color wheel using primary and secondary colors;

identify warm, cool, and neutral color schemes continue using black and white (or a deep color and white) to

create a 7-range color scale; use in an artwork create a painting that shows a mood; determine mood and

colors beforehand



MATERIALS

Students will: combine stamping with another style of printing make a monoprint by printing on a printing plate and elaborating with

pen be introduced to embossing using a cardboard plate print use stencils to create a 2-color stencil print with dabbing, rubbing, or

sponge painting construct a relief print using string make an edition of 5 prints, sign and number properly

found objects sponges Stamps Ink paint stamp pad brayers and rollers glue

(continued)


MIXED MEDIA is the combination of different materials. MATERIALS Students will: combine materials to create mixed media prints, paintings, drawings,

collages, and graphic art combine materials to create a landscape showing perspective

techniques (e.g., size, placement, overlapping, detail) use various materials to create a collage that has a ‘statement’ about a

social or environmental issue; create a mixed media piece with a partner that has humor

make ever more complex examples of bilateral and radial design using a mix of materials

explore and produce computer art with imported images make a simple loom and do a weaving, understanding warp and weft

magazines calendars fabric Yarn variety of paper computer programs


MATERIALS

Students will: explore various materials to create forms in space use the following words in context: 2-dimensional (2-D), 3-dimensional

(3-D), additive/subtractive sculpture, modeling combine 2 construction techniques in a single clay piece (e.g., pinch,

coil, slab, modeling) learn how to ‘score and join’ pieces using slab construction techniques understand the basics of why and how clay is ‘fired’ create an additive sculpture using wire, paper, and other materials in

combination with found objects continue to draw with wire, adding other materials to create an

assemblage or additive sculpture make a bas relief sculpture using wood scraps and other materials


Students practice and develop skills in art. They will: apply imagination and creativity to their art learn to find relationships between art and the world beyond the

classroom seek solutions to art problems and questions exhibit self-discipline when working as an artist learn to respect the working and thinking space of others work individually and collaboratively continue to care for tools and materials during and after work use tools safely enjoy the process while learning how to use materials and tools with

own ideas finish work and prepare for display learn to use tools properly for desired effects

I found I could say things with color and shapes that I couldn’t

say any other way… things I had no words for.

Georgia O’Keeffe



Fourth Graders describe art using these design elements: line

shape

form color

value

texture

space

recognize contour lines in drawings name geometric shapes as related to forms (circle/sphere,

square/cube, triangle/cone, and rectangle/cylinder) begin to understand organic shapes (puddle, leaf) continue to identify forms as related to shapes recognize intensity changes through use of complementary

colors understand how values change through use of black and white recognize different values of light/dark experience an actual texture and differentiate from visual

(implied) examples of that texture begin to recognize positive and negative space distinguish the degree of detail in the foreground is a way of

showing perspective (detail) recognize foreground/background, overlapping, intersecting,

size, and placement as perspective tools

Fourth Graders analyze art using these design principles: balance

contrast emphasis

rhythm/pattern


unity

continue to recognize symmetry and radial design in works of art consider whether a work of art is (feels) balanced consider whether a work of art has contrast identify the focal point or center of interest in an artwork recognize that repetition of elements creates the visual illusion

of rhythm and movement recognize how patterns can create rhythm using color, line,

shape, and form begin to learn body proportions and vocabulary recognize and identify “movement” in art discuss whether an artwork seems complete or unified

Fourth Graders interpret art using an art vocabulary and personal perspective. Students will: discuss the content of a work of art using maturing art vocabulary view artwork(s) and share opinions in a positive way, supported by personal perspective begin to recognize the implied content in artwork recognize the terms still life, landscape, portrait, self-portrait, objective, and non-objective art be able to discuss any art using developing art vocabulary distinguish between different types of artists including painter, printer, photographer, and sculptor


Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)


Fourth Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: continue to express preferences in a respectful and knowledgeable way and support their

statements make and support personal decisions and statements about art preferences compare and contrast two works of art discuss and evaluate artwork in a man-made environment compare artworks from different world cultures use subject matter and elements of design to discuss works of art through verbal and written forms

Katsushika Hokusai, 1833

If heaven had only granted me five more years,

I could have become a real painter.

Katsushika Hokusai



Fourth Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Katsushika Hokusai Georgia O’Keeffe Melvin Olanna


as community, culture, nature, etc. understand that artists purposefully

communicate ideas, emotions, and events using art forms

begin to understand personal style and how it is evident in a classroom

identify similarities among artwork made in a specific style

understand that art exists in a variety of public settings including churches, parks, and airports

begin to understand that museums are vital institutions that collect, preserve, classify, and display important works of art and culture

differentiate between the role of a museum versus the various types of galleries that house collections for sale

continue to view and objectively discuss artwork in class including their own and reproductions of famous work

consider the historical and contemporary role of art in their lives and the lives of others continue to distinguish between ways of

making art identify photography and printmaking as art

forms view a variety of styles from different times


reproductions understand that art reflects culture by

recording ideas, emotions, and events focus on Alaska’s Native indigenous cultures recognize that art has been made in all times


continue to write descriptions of art and artifacts using art vocabulary

use ‘criticisms’ techniques to talk or write about art (e.g., describe elements, analyze principles, interpret intent and meaning, judge; ask ’W’ questions – what, where, why, when, who…)




understand that there are artists working in their community develop awareness of the role of artists in

objects of daily life understand the role of the photographer and

printmaker in addition to other artist career roles

To create one’s own world in any of the arts takes courage.

Georgia O’Keeffe

Fairbanks North Star Borough School District Fifth Grade Art Curriculum 42 Adopted March 18, 2008

FIFTH GRADE ART


Self-Portrait, 1515

MICHELANGELO BUONARROTI (1475–1564) Italian Renaissance artist Michelangelo was born and remained in Italy, spending his working life in Florence, Bologna, and Rome. He was a Renaissance era artist and he showed incredible aptitude within a variety of artistic disciplines. Michelangelo is most known for his highly recognizable larger-than-life sculpture of David, fresco paintings on the Sistine Chapel ceiling, and the architectural design of St. Peter’s Basilica in Rome.

Self-Portrait

MARY CASSATT (1844–1926) American Impressionist painter Cassatt was born into a wealthy banking family in Pennsylvania. She spent most of her working life in France. Cassatt is most known for paintings and prints of women and children. Notably, her colored print work influenced her male Impressionist peers. Mary Cassatt was quite successful at a time when single women were not expected or encouraged to be independent.

ANDY WARHOL (ca. 1925-1930 to 1987) American Pop artist Warhol (originally Warhola) was born in Pennsylvania and his working life was mostly spent in New York City. He is mostly known for being the father of the American Pop Art Movement. His work incorporated iconography produced through commercial art and pre-existing photographs of celebrities: Campbell’s soup cans, Brillo pad boxes, images of Marilyn Monroe and Jackie Kennedy.

VOCABULARY


abstract architect collograph color intensity computer-

generated art construction

content/subject contour contrast edition elements of

design emboss

graphic art/designer

heritage illustration mobile monochromatic monoprint

mosaic nonrepresentational museum curator outline principles of design proportion/scale

realistic/abstract resist sketch stabile style surface texture


Fifth grade students will learn developing art concepts and vocabulary, while using a broad range of both 2-D and 3-D art materials and techniques. Fifth graders are developing lasting skills in handling materials and applying developed ideas to their work, and they will be expected to build on these abilities. Some students are also beginning to ‘fear failure’ and may shy away from art. Therefore, lessons will be diverse, encouragement will be broad, and flexibility will be expected in every lesson so that students are strengthened as artists. Verbal fluency will be encouraged when discussing or writing about art.



eraser, assortment of hard/soft and colored pencils, pastels, etc. continue to explore contour line; use and name several types of

line including sketching, outline, and contour continue to practice modeling and shaping techniques; learn

portrait and human body proportions use placement, overlapping, size, scale, and detail when drawing

to show perspective; learn that color intensity fades with distance and use in drawing

continue to experience actual textures, then draw them to create implied textures in drawing

work on unconventional formats; experiment with breaking the edges

continue to draw from stories, nature, imagination, memory, observation, still-life, and curriculum themes; continue to use music, movement, and mood for inspiration


PAINTING is the application of paint to a surface. MATERIALS Students will: combine the use of a variety of painting medium (e.g., tempera,

tempera cakes, watercolor, painting crayons, pencils) in one artwork

use a variety of painting tools to create different effects(e.g., stipple, hard- and soft-edged, splatter, fluid)

experiment with a variety of paints on a variety of smooth or rough surfaces (e.g., papers, board, cardboard, cloth) of different shapes and sizes

explore complementary colors and observe how they effect each other when mixed (brightness, dullness, intensity); use and name color schemes such as warm, cool, neutral, and complementary

recognize value (lightness/darkness) as a design element and that in a landscape value lightness in the distance (atmospheric interference); paint a monochromatic landscape that shows at least 7 ranges and fore-, middle-, and background

distinguish between opaque, translucent and transparent, and consider how they relate to lightness/darkness or value

create a painting that shows a mood; determine mood and colors beforehand


(continued)



MATERIALS

Students will: combine stamping with another style of printing make a monoprint by printing on a printing plate and elaborating

with pen combine rubbing with another style of printmaking use stencils to create a 2-color stencil print with dabbing,

rubbing, or sponge painting construct a relief print using 2 of the following: cardboard, glue

lines, found objects, string make an edition of 5 prints, sign and number properly



drawings, collages, and graphic art combine materials to create a landscape showing perspective

techniques (e.g., size, placement, overlapping, detail) use various materials to create a collage that has a ‘statement’

about a social or environmental issue; create a mixed media piece with a partner that has humor


produce computer art that shows ability to manipulate and integrate images into a piece of art

combine a number of materials with fabrics to create a composition of color and design



MATERIALS

Students will: explore various materials to create forms in space use the following words in context: 2-dimensional (2-D), 3-

dimensional (3-D), additive/subtractive sculpture, modeling combine 2 construction techniques in a single clay piece (e.g.,

pinch, coil, slab, modeling) learn how to ‘score and join’ pieces using slab construction

techniques understand the basics of why and how clay is ‘fired’ create an additive sculpture using wire, paper, and/or found

objects put together continue to draw with wire, adding other materials to create an

assemblage or additive sculpture design and build a free-standing sculpture using 3 different

materials


(continued)


Students practice and develop skills in art. They will: apply imagination and creativity to their art learn to find relationships between art and the world beyond the classroom seek solutions to art problems and questions exhibit self-discipline when working as an artist learn to respect the working and thinking space of others work individually and collaboratively continue to care for tools and materials during and after work use tools safely enjoy the process while learning how to use materials and tools with own ideas finish work and prepare for display continue to use tools properly for desired effects

The Child’s Bath, Mary Cassatt, 1843

If painting is no longer needed, it seems a pity that some of us are born into the world with such a passion for line and color.

Mary Cassatt



Fifth Graders describe art using these design elements:

line shape form color

value texture

space

distinguish between contour line, outline, and sketching name 2-D shapes that relate to forms name 3-D forms and relate to corresponding shapes identify primary, secondary, complementary, warm, cool, and

neutral colors begin to recognize monochromatic color schemes, including value,

tint, and tone identify examples of monochromatic color schemes experience an actual texture and differentiate from visual

(implied) examples of that texture identify positive and negative space use perspective terms including placement, overlapping,

intersecting, size/scale, foreground/background, and detail when discussing art

begin to recognize that color intensity implies depth Fifth Graders analyze art using these design principles:


rhythm/pattern


unity

identify examples of visual balance in art recognize and identify why a work of art has contrast find and identify examples of focal point in an artwork (e.g.,

visual accent, stress) recognize that repetition of elements creates visual illusions of

rhythm and movement recognize symmetry and pattern in increasingly complex works of

art continue to learn body proportions and vocabulary recognize and identify “movement” in art discuss whether an artwork seems complete or unified

(continued)

The true work of art is but a shadow of the divine perfection.

Michelangelo Buonarroti

Sistine Ceiling (partial), Michelangelo, 1508-1512

Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)


Fifth Graders interpret art using an art vocabulary and personal perspective. Students will: discuss the content of a work of art using maturing art vocabulary view artwork(s) and share opinions in a positive way, supported by personal perspective begin to recognize the implied content in artwork recognize the terms still life, landscape, portrait, self-portrait, objective, and non-objective art be able to discuss any art using developing art vocabulary distinguish between different types of artists including painter, printer, photographer, and sculptor


Fifth Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: continue to express preferences in a respectful and knowledgeable way and support their

statements make and support personal decisions and statements about art preferences compare and contrast two works of art and support their thoughts discuss and evaluate artwork in a man-made environment compare artworks from different world cultures evaluate works of art by considering subject matter, elements of design, and meaning through

verbal and written forms

Why do people think artists are special? It's just another job.

Andy Warhol



Fifth Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Michelangelo Buonarroti Mary Cassatt Andy Warhol


as community, culture, nature, etc. examine how artists use artistic techniques,

elements, and principles to communicate ideas, emotions, and events

view art objectively and respectfully, recognizing personal style

recognize and discuss local landmarks as a reflection of local culture

find examples of commercial art in commonplaces such as retail stores and libraries



continue to view and objectively discuss famous art as well as their own and their peers’ artwork

consider the historical and contemporary role of art in their lives and the lives of others understand that printmaking and computer

graphic art are the sources for generating most written materials

realize visual media are art forms (e.g., TV, movies, newspapers, computers)

view a variety of styles from different times and places

distinguish between original art and reproductions

understand that art is a reflection of culture and its traditions

focus on American artists, including Native American, African American, and immigrant culture

study art from past and present through reproductions, films, books, and actual objects






understand that there are artists working in their community continue to be aware that art is all around

them understand the role of the filmmaker, graphic

designer, fashion designer, and museum curator

Fairbanks North Star Borough School District Sixth Grade Art Curriculum 49 Adopted March 18, 2008

SIXTH GRADE ART


Mask of

King Tutankhamun’s Mummy

EGYPTIAN ART (3100BC–1100BC) The development of the Egyptian artistic style was affected by each of Egypt's three Golden Ages: The Old Kingdom (3100-2200BC) characterized by pattern-like motifs with flat colors showing figures at work; Middle Kingdom (2100-1800BC) where painting developed an appreciation of art for it's own beauty rather than for religious reasons and sculpture began showing faces with features that indicated specific persons; New Kingdom (1580-1100BC) where painted figures were rendered on a thin ground line. There was no overlapping unless all depicted figures were engaged in the same activity. The size of the figure showed its importance and, if something was far away, it was placed higher in the image area. During this time, sculpture tried to accurately capture the most prominent features of its subject.

Mona Lisa, 1503-05

LEONARDO DA VINCI (1452-1519) Italian Renaissance artist Da Vinci was born in Italy. He spent his working life in both Italy and France. He is known for being one of the world's greatest draftsmen, artists, inventors and scientists. Da Vinci was the first of the Renaissance geniuses. He developed inventions and designs ranging from weapons of war to ladies' fashions, as well as musical, navigational, and surgical instruments. His best known paintings are the Mona Lisa and the Last Supper. From his example, people today call someone who can do many things well a "Renaissance" person.

FRANK LLOYD WRIGHT (1867-1959) American architect Wright was born in Wisconsin and he divided his working between the Midwest and West Coast. He is most known for relating architecture to nature. Wright's most famous innovation was his "Prairie Style" which opened the house to nature, reflecting the local surroundings with long, low lines. His versatility is recognized when viewing the Guggenheim, a spiral museum in New York City. Sometimes he incorporated natural features such as a waterfall or a grouping of boulders as part of his overall design. He designed the furnishings and details on the interior at the same time as he planned the exterior of his buildings. Throughout the 30s, 40s, and 50s he continued to experiment with new forms and materials.

VOCABULARY


abstraction advertising analogous architect balance contour

contrast converging lines craftsmanship edition elements of design emphasis

intensity interior designer landscape architect modeling monochromatic

non-objective outline perspective principles of

design realism

relief resist style symbol value


Sixth grade students will be expected to apply art concepts and use vocabulary, while working with a broad range of both 2-D and 3-D art materials and techniques. Sixth graders are developing lasting skills in handling materials and applying developed ideas to their work, and will be expected to build on these abilities. Many students at this age ‘fear failure’, and lean toward their strengths. In order to encourage diverse growth, lessons will be diverse, exciting, challenging and draw on personal input. Verbal fluency will be encouraged when discussing or writing about art.



eraser, assortment of hard/soft and colored pencils, pastels, etc. continue to use line in creative and inventive ways; continue

practicing drawing using sketch, outline, and contour use forms and light sources to study shading use placement, overlapping, size, scale, and detail when drawing

to show perspective; learn that color intensity fades with distance and use in drawing; be introduced to one-point perspective to show depth

continue to experience actual textures, then draw them to create implied textures in drawing

work on unconventional formats; experiment with breaking the edges

continue to draw from stories, nature, imagination, memory, observation, still-life, and curriculum themes; continue to use music, movement, and mood for inspiration


PAINTING is the application of paint to a surface. MATERIALS Students will: combine the use of a variety of painting medium (e.g., tempera,

tempera cakes, watercolor, painting crayons, pencils) in one artwork

use a variety of painting tools to create different effects(e.g., stipple, hard- and soft-edged, splatter, fluid)

experiment with a variety of paints on a variety of smooth or rough surfaces (e.g., papers, board, cardboard, cloth) of different shapes and sizes

learn and use analogous as well as warm, cool, neutral, and complementary color schemes

recognize value (lightness/darkness) as a design element and that in a landscape value lightness in the distance (atmospheric interference); paint a monochromatic landscape that shows at least 7 ranges and fore-, middle-, and background

distinguish between opaque, translucent, and transparent and consider how they relate to lightness/darkness or value

create a painting that shows a mood; determine mood and colors beforehand


(continued)



MATERIALS

Students will: combine stamping with another style of printing make a monoprint; mask the plate with tape, paint, remove

tape, and print combine rubbing with another style of printmaking use stencils to create a 2-color stencil print with dabbing,

rubbing, or sponge painting construct a relief print using 2 of the following: cardboard, glue

lines, found objects, string make an original print with an edition of 3 prints with one

prepared for display



drawings, collages, and graphic art design a collage that demonstrates all of the elements of art use various materials to create a collage that has a ‘statement’

about a social or environmental issue; create a mixed media piece with a partner that has humor


produce computer art that shows ability to manipulate and integrate images into a piece of art

combine a number of materials with fabrics to create a composition of color and design



MATERIALS

Students will: explore various materials to create forms in space use the following words in context: 2-dimensional (2-D), 3-

dimensional (3-D), additive/subtractive sculpture, modeling, bas relief

combine 2 construction techniques in a single clay piece (e.g., pinch, coil, slab, modeling)

learn how to ‘score and join’ pieces using slab construction techniques

understand the basics of why and how clay is ‘fired’ create a free-standing sculpture using at least 3 different

materials and various joining techniques continue to draw with wire, adding other materials to create an

assemblage or additive sculpture


Study nature, love nature, stay close to nature. It will never fail you.

Frank Lloyd Wright


Students practice and develop skills in art. They will: apply imagination and creativity to their art learn to find relationships between art and the world beyond the classroom seek solutions to art problems and questions exhibit self-discipline when working as an artist continue to respect the working and thinking space of others work individually and collaboratively continue to care for tools and materials during and after work use tools safely enjoy the process while learning how to use materials and tools with own ideas finish work and prepare for display continue to use tools properly for desired effects

Papyrus Ani Curs Hieroglyphs

I dream a lot. I do more painting when I'm not painting. It's in the subconscious.

Diego Rivera



Sixth Graders describe art using these design elements: line

shape

form

color

value

texture

space

recognize contour line, outline, and sketching identify lines used in inventive and creative ways differentiate between shape (2-D and 3-D) in a variety of

artworks identify primary, secondary, warm, cool, neutral, analogous, and

monochromatic color schemes recognize analogous and other color schemes in relationship to

basic color theory recognize at least five sequential value changes in one color continue to differentiate between visual (implied) texture and

actual texture investigate how perspective is implied in an artwork using the

concepts of overlapping, scale, page placement, foreground/ background, degree of detail, and color intensity

recognize that converging lines show depth

Sixth Graders analyze art using these design principles: balance

contrast emphasis

rhythm/pattern


unity

identify examples of visual balance in art recognize and identify why a work of art has contrast find and identify examples of focal point in an artwork (e.g.,

visual accent, stress) recognize that repetition of elements creates visual illusion of

rhythm and movement in art recognize symmetry and pattern in increasingly complex works of

art continue to learn body proportions and vocabulary continue to recognize and identify “movement” in art discuss whether an artwork seems complete and unified

Sixth Graders interpret art using an art vocabulary and personal perspective. Students will: discuss the content of a work of art using maturing art vocabulary view artwork(s) and share opinions in a positive way, supported by personal perspective begin to recognize the implied content in artwork recognize the terms still life, landscape, portrait, self-portrait, objective, and non-objective art be able to discuss any art using developing art vocabulary distinguish between different types of artists including painter, printer, photographer, and sculptor


Elem

ents

(b

uild

ing

bloc

ks

of a

rt)

Principles

(w

ays

to u

se t

he

build

ing

bloc

ks)


Sixth Graders judge art (after the steps above) by discussing one or more works of art using their developing art vocabulary. Students will: continue to express preferences in a respectful and knowledgeable way and support their

statements make and support personal decisions and statements about art preferences compare and contrast two works of art and support their thoughts discuss and evaluate artwork in a man-made environment compare artworks from different world cultures evaluate works of art by considering subject matter, elements of design, and meaning through

verbal and written forms

Simplicity and repose are the qualities that measure the true value of any

work of art.

Frank Lloyd Wright



Sixth Graders will:

learn about their three grade-level artists (refer to the art chart, biographies, and grade-level reproductions) Egyptian Art Leonardo da Vinci Frank Lloyd Wright


as community, culture, nature, etc. examine how artists use artistic techniques,

elements, and principles to communicate ideas, emotions, and events

understand and respect their own and their peers’ artwork as a unique expression of self

recognize and discuss local landmarks as a reflection of local culture

find examples of commercial art in commonplaces such as retail stores and libraries



continue to view and objectively discuss famous art as well as their own and their peers’ artwork

consider the historical and contemporary role of art in their lives and the lives of others understand that printmaking and computer

graphic art are the sources for generating most written materials

realize visual media are art forms (e.g., TV, movies, newspapers, computers)

view a variety of styles from different times and places

distinguish between original art and reproductions

learn that architecture reflects culture and time

focus on a diversity of American artists, part and present

distinguish between historical and contemporary periods in art

discuss various historical styles and how they influenced one another






understand that there are artists working in their community continue to be aware that art is all around

them understand the role of the interior designer,

landscape architect, industrial designer, and city planner

understand that most advertising is an art form

ELEMENTARY GRADE-LEVEL ARTISTS

Woman in a Garden, Claude Monet, 1867

Fairbanks North Star Borough School District Grade-Level Artists Art Curriculum 56 Adopted March 18, 2008

GRADE-LEVEL ARTISTS OVERVIEW

The following is a list of selected grade-level artists to be taught by classroom teachers during the school year. If each teacher follows this curriculum, becoming well-informed about their three grade-level artists, each student will learn about 21 diverse artists while in elementary school.

In this section, teachers will find biographical information, including a portrait or picture of each artist. Information provided within these biographies is written to inform teachers so they can teach their students.

Each elementary school and each grade level within will have a set of reproductions covering their artists. These sets will show three or more examples of work by the artist, will include the biographical summary, and will have discussion and activity suggestions. During previous school years, kits on each artist have been developed and demonstrated. These are available to check out for classroom use.

The 1993 curriculum committee selected three artists for each grade level. Considerations made when selecting were: student age and interests; curricular themes; multicultural, gender, and historical mix; and careers in arts. Information on the selected artists follows.

Artist Known as Lifespan Selection Criteria

Bill Berry Alaskan illustrator, painter 1926-1979 Alaskan, local artist

Henry Moore British sculptor 1898-1986 Families, 3-D art K

Vincent Van Gogh Dutch impressionist painter 1853-1890 Self-portraits

Alexander S. Calder American sculptor 1898–1976 Simple shapes, colors, 3-D art

Piet Mondrian Dutch painter 1872–1940 Simple shapes, colors 1

Anna Mary Robertson Moses Late-blooming American painter 1860–1961 Family, story telling

Maria Martinez American potter 1887-1980 Native American

Henri Matisse French Impressionist painter 1868-1954 Art history, patterning, color, expressive 2

Grant Wood American Regionalist painter 1891-1942 U.S. geography, landscape

Claude Monet French Impressionist painter 1840-1926 Art history, Impressionism, painting

Pablo Ruiz Picasso Spanish master of modern art 1881-1973 Art history, learning about self, collage 3

Faith Ringgold African-American artist 1930-present Author-artist, careers, storytelling

Katsushika Hokusai Japanese woodblock printer 1760–1849 Pacific Rim, printmaking, graphic art

Georgia O'Keeffe American painter 1887–1986 Plants, woman artist, landscape 4

Melvin Olanna Alaska Native artist 1941–1991 Alaska studies, printmaker, science, sculptor

Michelangelo Buonarroti Italian Renaissance artist 1475–1564 World art history, renaissance, sculpture, Fresco painting

Mary Cassatt American Impressionist painter 1844–1926 American history, woman artist, children, family 5

Andy Warhol American Pop artist ca. 1925-1930 to 1987

Contemporary American history, graphic artist, careers

Egyptian Art 3100–1100BC World (Egyptian) history

Leonardo da Vinci Italian Renaissance artist 1452-1519 Renaissance artist 6

Frank Lloyd Wright American architect 1867-1959 Architecture, careers


KINDERGARTEN

Please find more biographic information and images of William D.

Berry’s (Bill Berry) artwork at:

http://geocities.com/desertcoyote_99/berry.html

BILL BERRY (1926-1979) Alaskan illustrator and painter Berry was born in California, but spent most of his life in Alaska. He is most known for his realistic wildlife sketches and fanciful art. He illustrated children’s books and painted wall murals. An example of his mural painting is The Alaskan Fairy Tale installed at the Noel Wien Library in Fairbanks.

Born: May 20, 1926; California Spent most of his working life in: Alaska Died: 1979; Fairbanks, Alaska Known for: wildlife art, fanciful animation

Biographical Summary: BILL BERRY was an Alaskan artist who spent much time observing wildlife and recording it in sketchbooks. He is known for his realistic nature studies and his more fanciful animals as well. He illustrated children's books and painted wall murals, one of which is The Alaskan Fairy Tale in the Noel Wien Library in Fairbanks.

Bill Berry "Captured" Alaska's Wildlife and Fancy Bill Berry was a well-known Alaskan artist. He painted the large wall mural in the children's room at the Noel Wien Library.

Bill Berry was born in California in 1926. At a very young age, he loved to draw and cut out paper silhouettes. (Silhouettes are like shadows of shapes.) As he grew older, he made cartoon characters and comic books. He studied wildlife and bird books and copied the illustrations in them. After high school Bill went to art school for two years. Then he joined the Navy and served as an illustrator.

In 1954 Bill came to Alaska with his wife Liz and spent time at Camp Denali, beyond Wonder Lake in Denali National Park. During this time he drew many "field sketches," pictures of nature he actually did out in the "field." A book of these sketches was published in 1989 by the University of Alaska Press. He returned to California for a time and worked for Walt Disney Studios, illustrating a series of Audubon Encyclopedias (bird books) and painting backgrounds for museum dioramas. Bill and Liz moved back to Alaska in the early 1960s and settled into a cabin at Deneki Lakes. It was there that Bill wrote and illustrated Deneki, An Alaskan Moose. Several years later Bill and Liz moved to Fairbanks where they built a home and studio on Miller Hill.

Bill enjoyed helping and talking to people. As he worked on his fanciful mural The Alaskan Fairy Tale at the Noel Wien Library, people would sit and watch and ask him questions. He always took time to answer them. He even included some of their faces in the mural, as well as faces of other people he knew. Unfortunately he died in 1979 before he could complete the mural, but one of his friends, Trina Schart-Hyman was brought in to complete it. She even included an image of Bill himself, leading the big parade pictured in the mural.


KINDERGARTEN

HENRY MOORE (1898-1986) British sculptor Moore was born, and spent most of his working life, in England. He is most known for his large stylized sculptures of human figures in relaxed or reclining poses. His work resides in public spaces around the world and sculpture gardens at prominent international museums.

Born: July 30, 1898; Village of Castleford in Yorkshire, England Spent most of his working life in: England Died: August 31, 1986; Herefordshire, England Known for: very large sculptures, often of people in relaxed or reclining positions

Biographical Summary: HENRY MOORE was an English artist who reshaped the traditional view of the human form in sculpture. He studied and taught art in various schools and did not become a full-time sculptor until he was about 45. He had a difficult time for many years because his work was very different than anything artists had made before. After his first show, a newspaper called it ugly and said he did not like human beauty. But Moore found beauty in simplicity and form and created many works, which were both small and monumental. Often, these figures were in relaxed, reclining positions and placed outside in large "sculpture gardens."

Henry Moore Simplified the Way We See Ourselves

Henry Moore was a very famous artist who acknowledged his elementary art teacher's encouragement as a basis for his success. Although known mostly as a sculptor, he did some important work for the British government during World War II as a war sketch artist, drawing powerful pictures of life in the air-raid shelters. The reclining figures in the shelters inspired many of his sculptures.

Born in England in 1898, Henry Moore was the seventh of ten children. His father was a coal miner who taught himself enough math to become the manager of the mine. Henry always liked his art lessons at school. When he was eleven years old he decided to become a sculptor after hearing a story about the great artist Michelangelo in Sunday school. As a young man he served in World War I, and when he was 24 years old, he attended the Royal College of Art. After three years, he became a member of the teaching staff and began his career as a sculptor.

His sketches of life in the air-raid shelters during World War II show a personal account of the terrors of war and reveal his skills in watercolor. His sketches also show the simple style that is evident in his sculptures.

Henry Moore felt that inspiration comes from two sources - nature and the work itself. His large sculptures suggest human forms and are completely original. Many have "holes" which create positive and negative shapes. Some are more abstract than others, but all reflect a feeling for the dignity of the human form. His sculptures, made from bronze, marble, stone, and wood, are often exhibited in groups outside in what are called "sculpture gardens." He received many awards including the Order of Merit (the highest distinction that can be given to a British subject) and was considered the greatest sculptor of his generation. He always remembered his roots in the working class, coal-mining town, lived simply, and tried to help new sculptors learn their art.


KINDERGARTEN

Bedroom in Arles, 1889

VINCENT VAN GOGH (1853-1890) Dutch impressionist painter Van Gogh was born in Holland, but he spent most of his working life in France. He is most known for vibrant, bold-colored paintings of flowers (especially sunflowers) and his many self-portraits. Van Gogh’s work is displayed in virtually every notable modern museum in the world.

Born: March 30, 1853; Zundert, Holland (the land of windmills) Spent most of his working life in: Paris, France Died: July 29, 1890; Auvers-sur-Oise, France Known for: vibrant bold-colored paintings of flowers, especially sunflowers, and his many self-portraits

Self-Portrait, 1887

Biographical Summary: VINCENT VAN GOGH was a Dutch artist who has been memorialized in a popular song, a book, a movie, and a stage play. He lived a troubled life and is sadly known by many simply as the artist who had mental problems and once cut off his own ear. His life was short (suicide at 37) and he painted for only 10 years, but he left hundreds of paintings and drawings. In addition, he wrote about 1,000 letters to his brother Theo in which he revealed much of himself and his intense feelings about his work. Today his paintings sell for millions of dollars!

The Rhônebarken, Vincent Van Gogh, 1888


Starry Night, Vincent Van Gogh, 1889

Vincent Van Gogh Reaches for the Stars Yellow, yellow, yellow...Vincent loved the color yellow! It was his favorite and he used it in warm landscapes and fiery flower paintings; he especially loved sunflowers and painted them many times. He would spread lots of paint, like he was icing a cake, making thick lines with his paintbrush. Sometimes at night he would wear a hat that had candles attached to it so that he could see better.

Who was he? He was Vincent Van Gogh, an artist who was born in 1853 in Holland, the land of windmills and wooden shoes. He was very sensitive and the oldest child in his family of several brothers and sisters. His younger brother Theo was his closest friend and helped support Vincent when he finally decided to become an artist. Vincent had tried other jobs, but had not done too well. Theo encouraged him to turn to art full time and helped him by sending him money when he needed it so Vincent could concentrate on being a good artist. Vincent lived in France for much of his life because that is where many great artists worked. He was able to meet many famous artists and become their friend. He made hundreds of paintings and drawings over the 10 years that he worked, but only sold one during his entire lifetime. This made him very sad.

Vincent's style of painting was very brave. He not only used a lot of paints, but he used colors that he imagined. He is also very famous for using lots of lines, almost as if he was drawing with his paint. Often these lines swirled around the painting giving the viewer the strong feeling of light and movement. You could often tell if Vincent was happy or sad when he painted a picture just by looking at it. He loved color, and his favorite was yellow.

Sometimes Vincent would become ill and have to spend time in mental hospitals. He painted many pictures, which showed people who were poor or who had hard lives. He cared a great deal about people. He also painted bright, beautiful landscapes, portraits, and still lifes, including his famous sunflower pictures. He painted many pictures of himself called self-portraits. He died in 1890 and one hundred years later, in 1990, his painting of his doctor, Dr. Gachet, sold to a Japanese museum for 80 million dollars! That is the most money anyone has ever paid for a painting. His artwork is preserved in museums throughout the world, but the largest collection, which includes his letters to and from his brother Theo are in the country of his birth in a museum in Amsterdam, Holland.


GRADE 1

Please find more biographic information

and images of Alexander Calder’s artwork at:

www.calder.org

ALEXANDER S. CALDER (1898–1976) American sculptor Calder was born in Pennsylvania. With the exception of some pivotal years living in Paris early in his carrier, he spent most of his working life in New York City and upstate Connecticut. He is most known for being the inventor of mobiles. Additionally, he developed a new aesthetic for non-kinetic sculpture called stables. He created rugs, illustrations, and paintings, as well as designs for several full-size jetliners. Calder’s color pallet revolved around white, black and the primary colors.

Born: July 22, 1898; Philadelphia, Pennsylvania Spent most of his working life in: USA, but spent some time in Paris, France Died: November 11, 1976; New York Known for: inventor of mobiles

Biographical Summary: ALEXANDER S. CALDER was a sculptor who came from a long line of artists. Although he studied engineering in college, he still decided to become an artist. In fact, he created a new type of hanging sculpture that moved. These are called mobiles. He also made many large sculptures that did not move. He called these stabiles. Alexander Calder enjoyed and created art to help others enjoy life also.

Alexander Calder Invented a New Type of Art Have you ever laid back and watched a mobile suspended above you move in its own magical way? Maybe you do not remember. Perhaps you were too young. How about a younger brother or sister... have you ever watched a mobile turn above their crib? There is a famous artist named Alexander S. Calder who invented mobiles and a lot of other neat stuff. Here is his story.

Alexander Stirling Calder was born in 1898 in Pennsylvania. To his friends, his nickname was "Sandy," and they always remembered him as either joking or laughing. He came from an artistic family. His father and grandfather were sculptors and his mother was a painter. When he was young, Alexander did not think much about becoming an artist. He did, however, enjoy collecting all sorts of things, "treasures" so to speak, and making things out of them. He and his sister made their own toys, and when he was older, he made toys for his grandchildren.

Although he earned an engineering degree, he started taking art lessons at age 24, and instead of taking engineering jobs, he began working as an artist. He did illustrations of prizefights and the circus for a newspaper. He loved the circus!

Calder did not follow in any artist's footsteps. He blazed new trails. He designed toy-like wire and wood sculptures that developed into a miniature circus collection. As he traveled and met many modern artists, Calder developed his mobiles and stabiles. The first group was hanging sculptures that moved, while the second group was Calder's special type that did not. Calder also did many simple line drawings, but he is mostly known around the world for his mobiles. To Alexander Calder, it was important that art communicated happiness. He died in 1976.

To an engineer, good enough means perfect.

With an artist, there's no such thing as perfect.

Alexander Calder


GRADE 1

Please see Piet Mondiran paintings at:

http://www.ibiblio.org/wm/paint/auth/mondrian

PIET MONDRIAN (1872–1940) Dutch painter Mondrian was born in Holland and spent most of his working life in France, though at the onset of WWII he moved to New York City. He started out working in the traditional Dutch style of landscape painting, but soon departed to a more “pure” and expressionistic style. He is most known for simple, abstract paintings consisting of blocks of primary colors and horizontal and vertical black lines. The impact of Mondrian’s work is evident in contemporary art as well as architecture and commercial design.

Born: March 7, 1872; Amersfoort, Holland Spent most of his working life in: Paris, France Died: 1944; New York City (He settled in New York City in 1940 to escape World War II in Europe.)

Known for: Pure abstraction; simple paintings of horizontal and vertical black lines combined with the primary colors. He influenced modern architecture and commercial design in addition to painting.

Biographical Summary: PIET MONDRIAN was a Dutch artist who started out in the traditional Dutch style of landscape, but who soon departed to a more expressionistic style, heavily colored and very stylized. Mondrian was influenced by other artists, including Munch, Matisse, Van Gogh, and Picasso until he developed a "pure" way to paint, abstracting to very simple forms.

The Gray Tree, Piet Mondrian, 1911


Mondrian Concentrated On Lines and Color

Piet Mondrian was an artist who once painted a picture and called it Broadway Boogie-Woogie. What kind of images does that title bring to your mind? You will soon see that his work may look very different from what you might expect.

Mondrian was born in Holland in 1872. He moved to Paris in 1912 and was painting similar to other famous artists such as Vincent Van Gogh (it was called Expressionism), but soon his work began to change. It became less and less realistic as he was influenced by other artists, including Picasso. Soon flowering trees became a bunch of curved and straight black lines, almost like stained glass windows. Later they became a series of simple straight black lines as Mondrian became completely nonrepresentational, which means not real-looking at all.

He eventually used only horizontal and vertical black lines, limiting his colors to the primary ones (red, yellow, and blue), as well as black and white. Still he gave his paintings descriptive names such as Broadway Boogie-Woogie or Trafalgar Square, hinting that there was some connection between his work and reality.

Mondrian really tried hard to make his pictures have a certain type of balance. He wanted reality that was "pure reality." Sometimes he did his work in a scientific way to get the balance, and sometimes he did it by the "feel" of it, as many artists do. All in all, it was certainly a different way to do art, but it became a popular way to design the outside of buildings. If a building was designed this way, it has a "Mondrian Facade."

Do you think it's easy to try this type of art? It's not as easy as it may look. To achieve the special balance or equilibrium in his paintings, Mondrian worked very hard. His work over the years shows a real dramatic change. Mondrian lived his last four years in the United States of America, where he had come to escape World War II in Europe. He died in New York City in 1944.

The emotion of beauty is always obscured by the appearance of the object.

Therefore the object must be eliminated from the picture.

Piet Mondrian


GRADE 1

ANNA MARY ROBERTSON MOSES (1860–1961) Late-blooming American painter Grandma Moses was born in rural New York and spent her early adulthood in Virginia. Moses began painting when she was about seventy years old. She painted countryside and people busy doing things during the different seasons. Moses, a self-taught painter, is most known for direct, simple, paintings filled with feelings for the subject. When she was eighty, a New York City gallery owner gave her her first one-woman exhibition. Subsequently, Moses’ work gained notoriety and she continued painting until she died at 101.

Born: September 7, 1860; Farm in Greenwich, New York Spent most of her working life in: Upstate New York Died: December 13, 1961; Hoosick Falls, New York Known for: turning childhood memories into masterpieces She was in her 70s before she began painting. She was a self-taught artist.

Biographical Summary: GRANDMA MOSES began painting when she was about seventy years old. She needed something to do with her time since her children were raised and gone, and she no longer had farm chores. From the beginning she painted what she had known all her life - the countryside and people busy doing things during the different seasons.

The paintings Grandma Moses did were direct, simple, and filled with feelings for the subject. No one taught her about color or how to paint, but the more she painted, the more she "looked," the more she learned.

When she was eighty, an art collector saw her work and brought it to a gallery in New York City. She soon became famous and continued painting until she died at 101 years old.

Grandma Moses, Self-Taught Painter of Childhood Memories Anna Mary Robertson was born on a farm in Greenwich, New York on September 7, 1860. She lived and worked on the farm with her nine brothers and sisters. After chores the children enjoyed many outdoor activities such as skating, sledding, picking cherries, and going to county fairs; all these were captured in her later paintings. She began painting as a child. Since she had no real paints, she used things like grape juice, crushed berries, carpenters' blue chalk, and even red dye used for marking sheep. Her serious painting however, did not begin until she was nearly seventy years old. When Anna Mary was twelve she left her family to earn her living as a hired girl for fifteen years. She married Thomas Moses at the age of twenty-seven and moved with him to the Shenandoah Valley in Virginia. As a farmer's wife she had ten children and worked from sunup to sundown, managing the farm and running her own butter business. She did not have 'time for much else' during those years. After her children left home and her husband died, Grandma Moses (as she came to be called) suddenly found that she finally had time to recapture the images from her childhood. Although she had no real formal training in art, hence the title "Self-Taught," she had a natural feel for patterns in her paintings that captured the spirit of old quilts. Grandma Moses' paintings flourished for nearly twenty years. She painted until she died in a nursing home in Hoosick Falls on December 13, 1961.


GRADE 2 MARIA MARTINEZ (1887-1980) American potter Martinez was born and spent most of her working life in the pueblo village of San Ildefonso, New Mexico. She is most known for reviving her craft. Her success, commitment to her work, and willingness to share knowledge led to similar revivals in other native communities. Early in her career, Martinez visited her husband at his work excavating prehistoric Pueblo sites. During her visit she noticed the decorated pieces of pottery (shards) lying on the ground. She was very interested in them and was asked if she could recreate this polychrome pottery. This was the start of a long life of pottery making.

Born: Exact date of birth was not recorded, but the year was probably 1887; Pueblo village of San Ildefonso, New Mexico (20 miles NW of Santa Fe).

Spent most of her working life in: San Idelfonso, New Mexico; she lived there all her life. Died: 1980; San Ildefonso, New Mexico Known for: Reviving the dying art of pottery. Her success, commitment to her work, and willingness to share knowledge led to similar revivals throughout the many other Indian communities.

Biographical Summary: MARIA MARTINEZ first attempted pottery making at about seven or eight, making dishes for play. She was lucky because her aunt, Nicolasa Pena Montoya, was an excellent potter who encouraged her and taught her much that would help her become a famous potter many years later.

In 1908 she visited her husband at work excavating prehistoric Pueblo sites. She noticed the ancient decorated pieces of potter (shards) lying on the ground. She was very interested in them and was asked if she could recreate this polychrome (not black) pottery. She and Julian worked very hard and when the scientists returned the following year, they found beautiful pots like her ancestors made. They bought them and ordered more. This was the start of a long life of pottery making.

Maria Martinez of San Ildefonso The oldest American art form is pottery. The Mongollon people were the first true potters of southwest United States. They learned to build villages of stone or sun-dried earth because those were the building materials available in an arid desert region. Later, the Spanish conquerors called these villages "pueblos," which in Spanish means village or town. Therefore, the people scattered about this region all became known as the Pueblo Indians.

San Ildefonso lies on the bank of the Rio Grande River in a valley between two mountain ranges. People have lived here since 1200 A.D. The language spoken, which is from the Tewa linguistic family, has not changed except for the Spanish influence. The village was once named Powhage which in Tewa means, "where the water cuts through," which refers to the Rio Grande. The name San Ildefonso was applied after 1617 when a mission church of that saint was built there.

Pottery had been made for centuries in the Pueblo region. The villagers used only materials they took from nature to make their traditional pottery, which was black, black-on-red, and black-on-cream (polychrome). But when the Santa Fe Trail was opened in 1821, pottery making declined rapidly, being replaced by tin pails and enamelware containers. Only a few traditional potters kept the regional art from becoming extinct. One of these was Maria's aunt who passed her art onto Maria because she was so interested.

Maria Martinez is a Spanish name, although she was a Pueblo Indian. She became one of the world's best-known and most influential potters. She and her husband revived the old ways of pottery making when there was little being done. They were so successful and so willing to share their knowledge that many other potters followed in their footsteps. Maria made the pots and Julian decorated and fired them.


From 1908 until 1915, all of their work was very small with simple geometric designs and always in polychrome (black or red on cream). In 1915 they started making blackware and larger pots, but it was not until 1919 that Maria and Julian made a true discovery with the development of black on blackware. This was the form that would achieve international fame for the couple and that would influence the works done at all of the Pueblos.

In 1923 Maria set another example. Never before had pottery been signed by Pueblo potters because it was made for use in the village. But since they were selling their art, Maria signed the pots they made. Within two years all regional potters signed their pots. Her signature changed over the years and from 1925 until Julian's death in 1940 she signed the pots "Maria & Julian."

Maria and Julian had many boys: Popovi Da (Po), Adam, John, and Phillip. Only one of them became a successful potter. Po was born Antonio Martinez, but legally changed his name in 1948; Popovi Da means Red Fox. In 1956 Popovi Da and Maria became partners. They worked together and used a joint signature. Po's son, Tony Da, was artistic all his life, and followed in the footsteps of his father and grandmother to become a great potter. After leaving the Navy in 1964, he lived with Maria for six years and emerged as a great and very creative potter. He was the first to use turquoise stone on pottery, the first to incise (scratch) designs on his vessels, and the first to combine sculpture into the art form.

In 1967 all three potters from the Martinez family - Maria, Popovi Da, and Tony Da - went to Washington, D.C., for a show called Three Generations Show. Maria died in 1980, but the legacy of Pueblo pottery is strong and continues.

To the artist there is never anything ugly in nature.

Auguste Rodin


GRADE 2

HENRI MATISSE (1868-1954) French Impressionist painter Matisse was born and spent most of his working life in France. He is most known for his colorful Fauvist oil paintings and later in his career he successfully worked with stained glass and colorful cut paper shapes. As a young man, Matisse was bedridden due to appendicitis and his mother gave him a set of paints to keep him occupied while convalescing. When he got better, he decided to go to Paris to study art. He traveled around Europe, where he met and was influenced by many artists. He was soon labeled an expressionist painter because of his bright colors, patterns, and radical style.

Born: December 31, 1869; Le Cateau-Cambresis in northern France Spent most of his working life in: France, but he traveled around Europe meeting other artists, eventually traveling around the world.

Died: November 3, 1954; Nice, France. He was 85 years old. Known for: colorful oil paintings, being a Fauvist painter, expressing himself with shapes and colors and, later in life, for his colorful cut-out shapes.

Biographical Summary: HENRI MATISSE had just graduated from law school when he suddenly had an appendicitis attack. While he was in bed trying to get better, his mother, who was interested in art, gave him a set of paints. When he got better, he decided to go to Paris to study art. Later he traveled around Europe, where he met and was influenced by many artists. He was soon labeled an expressionist painter because of his bright colors, patterns and radical style. He often painted his wife and three children because the human figure was his favorite subject.

When Matisse was about 75 years old he was confined to bed. Since he could no longer paint, he began making paper cutouts. These gave him much enjoyment as he was able to reduce things he saw to very simple shapes. His last important works were stained glass windows designed for churches. He wanted to give viewers of his art pleasure and peace.

Henri Matisse Loved Pattern, Color, and Shape Henri Matisse could have been a lawyer all his life if an appendicitis attack had not kept him in bed for a long period of time when he was twenty years old. It was during this time he learned to love painting and eventually decided to go to art school. His father, a grain merchant, agreed to this change of vocation, but he had no idea his son would become one of the finest and most famous artists in the world. His formal academic art education introduced him to styles and techniques of the old masters of art.

As Matisse began painting on his own, he traveled around Europe spending time with other artists such as Cézanne, Gauguin, and Van Gogh. Their influence was evident as he painted with bright colors and bold brush strokes in ways people had not seen before. He was considered the leader of a group of painters called Fauves or "Wild Beasts" because they would paint with an emotional response, not using the natural colors found in nature. For instance, trees could be red and a dog could be blue. It was this way of painting that allowed Matisse to express the feeling he had for life and insisted that his work had but one purpose - to give pleasure.

One of the last big projects Matisse worked on was the Chapel of the Dominicans at Vence, France. He designed the interior and the stained glass windows, choosing colors to create a warm glow. He said, "I want those who come to visit to leave happy and rested." He considered this last commission his masterpiece. After spending many happy years as an artist, he was able to work right up until the day he died, November 3, 1954.


Matisse loved painting patterns both on clothing and on the backgrounds of his paintings. At age 75 he was confined to bed, so he switched from painting to collage, which allowed him to continue using pattern, color, and shapes in a different way. He hired people to paint papers with brilliant colors. Then he would cut out shapes from these colored papers and paste them on colored backgrounds. He "played with color" as he spent days and even weeks arranging and rearranging the cut shapes until he was satisfied with the results. Matisse called these works "drawing with scissors." His favorite themes in his cutouts were from nature - seaweed, leaves, flowers, and birds. Twenty of these cutouts were published in Paris in 1947 entitled Jazz.

Matisse wrote, "The cutout is what I have found to be the simplest and most direct way of expressing myself." He felt that "One must study an object for a long time to know what its sign is."

Seek the strongest color effect possible; The content is of no importance.

Henri Matisse


GRADE 2

GRANT WOOD (1891-1942) American Regionalist painter Wood was born and spent most of his working life in Iowa. He is most known for being a regionalist painter of Iowa farmers, farm scenes, and the local scenery. Wood had a humble upbringing and he developed his skills by drawing on scraps of cardboard from cracker boxes that his mother saved for him. Later in life he worked and studied in Europe where he was very taken with the work of the Flemish masters. This influence can be seen in his most recognized painting, American Gothic.

Born: February 13, 1891; a farm near Anamosa, Iowa Spent most of his working life in: Cedar Rapids, Iowa Died: February 12, 1942 at Iowa City, Iowa at the age of 51 Known for: Being a regionalist painter of Iowa farmers, farm scenes, and the rolling countryside farm land. His painting, American Gothic won national recognition.

Biographical Summary: GRANT WOOD was born on a small farm in rural Iowa and lived there for ten years. His family had no telephones, radios, televisions, or cars. He attended a one-room schoolhouse and spent his free time drawing on scraps of cardboard from cracker boxes that his mother saved for him. When Grant was only ten years old, his father died unexpectedly, causing the family to sell the farm and move to Cedar Rapids to be close to relatives. During the next forty-one years of his life, Grant traveled and spent time in Europe, but always returned to live and paint in this Iowa City.

Though the time he spent on the family farm was brief, strong memories of his early experiences greatly impressed Grant and later became the subjects of his paintings. From hayrides in the fields to the midday meal, Grant painted the types of people and the landscapes that he recalled from his childhood.

Grant Wood, Painter of Rural Iowa Photographs of American artist Grant Wood often showed him wearing bibbed "farmer" overalls. "If he hadn't been an artist, his second choice would have been to be a farmer," said Nan, Grant Wood's sister. That was how he wanted to be remembered. He was born on a farm in Iowa and stayed in that area almost his entire life. Several years were spent in Europe studying art. In Paris he admired the Impressionists and in Munich he learned much from studying the skillful execution of the Flemish old masters. What he learned later in life was that he had to go to France to appreciate Iowa. When he realized this, his paintings started taking on an emotional quality that was totally lacking before.

Grant Wood was considered a Regionalist painter because he painted the farmlands and people of one area - namely, rural Iowa. His style of landscapes included rounded trees and rolling hills painted in great detail. His paintings seemed to idealize the farmland, farming activities, and often give a humorous touch to the people he painted. Grant's paintings were not finished quickly, as he states it, "I'm just a simple Middle Western farmer/painter and painting is more work than people realize. I think I'm doing well to do two pictures a year that satisfy me after spending long and tedious work in research and sketching."

In 1930 a painting called American Gothic won a prize at the Art Institute of Chicago's Annual Exhibition of American Paintings. It became very popular and is one of five or six popular paintings instantly recognized by the public who view it as the portrait of the American family. Even today, parodies (mimics) of the American Gothic couple appear in newspapers, magazines, and advertisements because people see them in a humorous way and relate to them as part of their pioneer past.

In Grant's attempt to preserve a traditional story, he painted Parson Weems' Fable. Of the painting, he said, "When I was a boy, we all learned the story of George Washington and the cherry tree and accepted it as gospel truth. The present, more enlightened younger generation, however, is well aware


that this incident never happened, but that it was the invention of Washington's most famous biographer, the Rev. Mason Locke Weems. We are wiser today and recognize historical fact from historical fiction. Still, when we began to ridicule the story of George and the cherry tree and quit teaching it to our children, something of color and imagination departed from American life. It is this something that I am interested in helping to preserve."

From 1934 on, Grant Wood taught art at the University of Iowa, Iowa City. He gave tour lectures up until he died of liver cancer in 1942. During these last years he has given numerous honorary degrees from many universities.

I realized that all the really good ideas I'd ever had came to me while I was milking a cow.

So I went back to Iowa. Grant Wood


GRADE 3

Water Lilies, 1916

CLAUDE MONET (1840-1926) French Impressionist painter Monet was born in Paris and was raised in the port town of Le Havre, France. He spent most of his working life in and around Paris. Monet was one of the original French Impressionist painters and it was his painting called Impression-Sunrise that gave the Impressionist art movement its name. He painted outdoors and was interested in the changing effect of light and air on subject matter. Consequently, he painted the same motif many times to capture the changing light. He is most known for his water lily, haystack, and Rouen cathedral paintings.

Born: November 14, 1840; Paris, France. He was raised in the port town of Le Havre, France. He was the eldest son of a grocer.

Spent most of his working life in: Paris and surrounding towns till the age of 40 when he moved his family to a large pink house at Giverny (Jee-vare-knee) in the countryside, near the town of Vernon, about 40 miles north of Paris. He traveled frequently to make painting excursions, but his favorite place to paint was in the gardens at home.

Died: December 5, 1926; his home in Giverny Known for: Monet was one of the original French Impressionist painters. It was his painting called Impression-Sunrise that gave the art movement its name. He loved to paint outdoors and was interested in the changing effect of light and air on his subjects. He would paint the same motif many times to capture the changes. Some of his most famous subjects were the water lilies in his garden, haystacks, and the cathedral at Rouen.

Claude Monet, 1899

Biographical Summary: CLAUDE MONET had eight children - two sons by his first wife Camille, who died at a young age and six stepchildren from his marriage to his second wife Alice Hochede. Monet was a wonderful painter and the leader of the French Impressionists, a group of artists who collected around Paris to paint and exhibit in the 1870s. Monet and his friends did work that was different than most art of the times - they had to struggle to find acceptance for their work and created their own shows. Monet worked hard and lived a long life. He was able to enjoy fame and great success for the second half of his life.

Claude Monet: French Impressionist Painter Monet was a boy who could not sit still in school and he was difficult for his teachers. He drew pictures all over his schoolwork and by high school was famous for his cartoons and caricatures. During school he took drawing lessons. At about the age of 18 he began to study landscape painting with Eugene Boudin with whom Monet discovered his love of painting outdoors.

Monet's parents wanted him to help in the family business, but he knew from a young age that he wanted to become a painter. Monet went to Paris to study painting in 1859 with money given to him by his aunt who was also a painter. There he became a friend with many of the artists who had gathered in Paris like Renoir, Cézanne, Degas, Pissaro, Morisot, and Sisley. They began to move away from doing the dark, carefully detailed paintings that they had been taught to paint and work outdoors filling their canvasses with the feeling of light and fresh air. Their work was not accepted by the Academy to be shown in the yearly Salon exhibits, so they began to exhibit on their own.


Branch of the Seine near Giverny, Claude Monet, 1897

Colour is my day-long obsession, joy, and torment.

Claude Monet Claude Monet developed a loose brushy style of working that makes his paintings hard to figure out from up close, but from some distance his beautifully colored paintings with their layers of strokes jump into focus. He worked for his entire life to come closer to capturing his distinctive visual impressions on canvas.

Monet's most famous paintings, his Water Lily series, were done in the Japanese water gardens that he developed at his home in Giverny. Monet loved his gardens, and he would travel to Paris to visit the botanical gardens to learn about plants and bring new ones home for his garden. He had ponds dug for the gardens with bridges built over them. He traveled throughout Europe to paint in other places, but his favorite place to paint was right at home. Monet had a small boat that he paddled around to paint from.

Monet worked through the hardships of poverty and rejection, having to seek financial aid constantly from his family. He could not be in Paris when his first son was born because he did not have the money for train fare to get there from where he was painting at the time. When he was 39 years old, Monet experienced the loss of his first wife Camille who died of tuberculosis. Late in his life when he was widely regarded as the most famous living French painter and had financial security, his eyesight failed.

Through all of his life's difficulties, Monet continued to challenge himself to work - to be restlessly unsatisfied to stop, but to push on creatively, trying more, producing more.

On the Bank of the Seine, Monet, 1868

Grainstacks, Snow Effects, Monet, 1891-92


GRADE 3

Femme aux bras Croises,

Pablo Picasso, 1902

PABLO RUIZ PICASSO (1881-1973) Spanish master of modern art Picasso was born in southern Spain and spent his working life in northern France in the winter and southern France in the winter. Picasso went through several artistic periods and he individually developed numerous artist styles, notably, analytic and synthetic cubism. Additionally, Picasso is thought to be the inventor of collage and assemblage. During his career, he produced paintings and sculptures influenced by African masks to highly academic renderings for medical textbooks to gentle renderings of his son. Picasso's art was often controversial and always highly inventive.

Born: October 25, 1881; Malaga, Spain, a southern coastal town Spent most of his working life in: France, between Paris in the winter and southern coastal towns in the summer. He traveled to Spain, but consciously boycotted Spain after the civil war there.

Died: April 8, 1973; France Known for: A legend in his own time, Picasso is widely regarded as a genius and even the leading figure in twentieth-century art. He is known for his diverse styles - running the gamut of subject and mood, from cubism to expressive African-influenced paintings, to gentle renderings of his son. Picasso's art was often controversial and highly inventive. He is thought to be the inventor of the collage and assemblage.

Biographical Summary: PICASSO'S father was an art teacher and painter and his mother was known for her wit and intelligence. Picasso was given training from a very young age and he showed exceptional talent. At 16 he was sent to the Royal Academy in Madrid. At 19 he went to Paris, the center of the art world at the time. His work reflected the dismal surroundings of this impoverished time in his life - his "blue period." His early work also reflected the strong warm emotions of his early love affairs, his "rose period." Picasso lived to be 92 years old and became the most famous artist in the world. He produced thousands of works of art, paintings, prints, sculptures, and pottery.

Pablo Picasso: The Most Famous Modern Artist in the World Pablo Picasso's family moved several times to accommodate the unusual talent of the young man. Picasso's father would teach art at various academies while Pablo studied. By the age of 16, he was painting better than his teachers and his father. His enrollment at the Royal Academy at Madrid was unsatisfying to the young painter, because the method of the day was to learn by copying from plaster casts and old master paintings. This gave him, nonetheless, a strong foundation to use as a springboard when he moved to Paris at 19 and began to experiment with his own styles. He formed friendships with young authors, poets, and artists, all of whom were young and searching intellectually and artistically. They were very poor. Picasso lived with a friend in one room where they worked, ate, and slept. Picasso saw the dismal lives of the poor in the city, and they became subjects for his paintings. He was influenced by the thoughts and art of his friends.

Picasso was influenced by African art, particularly masks. His work became stylized and angular, evolving into cubism. Picasso's style changed frequently. He was an enormously creative and prolific artist. He responded to political events sometimes producing powerful images like Guernica, a statement about the Spanish Civil War that stands as an archetypal commentary on the horror of war.


Picasso said he was "a painter without a style." He kept himself open to all of the emotions of the world, inner and outer, allowing himself to feel the full impact of reality with all of its violence and grace and giving himself the freedom to respond to it all without the constraint of a preconceived stylistic scheme. The art world was ready to accept Picasso's creative force. Great fame and wealth were enjoyed by Picasso starting in his late twenties.

Painting is stronger than me; it makes me do its bidding.

Pablo Picasso


GRADE 3

Please see images of Faith Ringgold and her artwork

at:

http://www.faithringgold.com

FAITH RINGGOLD (1930-present) African-American artist Ringgold was born and spent most of her working life in New York City with short stints in Cape Code, Massachusetts, and Paris, France. She is most known for politically charged paintings done in the 1960s and her story quilts that combined her affinity for painting with a written narrative. Ringgold also wrote and illustrated children's literature. Ringgold studied in New York, earning a B.S. and an M.A., both in fine art. She taught in New York City public schools while making and exhibiting her art. Ringgold learned on her own about Black artists like Romare Bearden and Jacob Lawrence. She began to seek out other Black artists, eventually joining groups of Black artists and Black women artists to exchange ideas.

Born: October 8, 1930; New York City Spent most of her working life in: New York City, with periods of time in Edgartown on Martha's Vineyard, at Provincetown on Cape Cod, and in Paris, France. Ringgold has been a professor at the University of California, San Diego, since 1985. She has spent half of every year in La Jolla, California and in New York City. She maintains a studio and exhibits on both coasts.

Died: na Known for: Politically radical paintings done in the 1960s or so. Ringgold has created story quilts which combine her love of painting with a written narrative on traditional pieced quilts. Ringgold wrote and illustrated two children's books published in the early 1990s. They are Tar Beach and Aunt Harriet's Underground Railroad in the Sky.

Biographical Summary: FAITH RINGGOLD is the daughter of Andrew Jones, Sr. and Willi Posey, a successful fashion designer in Harlem, New York City. Ringgold's close extended family lives within a few blocks of each other. She was married at the age of 20 to Robert Earl Wallace, a jazz and classical pianist. They had two daughters in 1950, one in January, Michelle Faith, and one in December named Barbara Faith.

Ringgold was educated at City College in New York and traveled to Europe to study art. She is a very successful artist who has made a career in art through teaching and illustrating children's books, as well as through the production and exhibition of her expressive art quilts and paintings.

I never tell my students, no matter how much I might feel it is true, that they lack the talent or ability because I feel that talent and ability

is second to that person's drive and determination to be an artist. That is the important thing, and if they have that determination

and they are ready to do the work, everything else will fall into place. I know that from my own experience.

Faith Ringgold, 1990


Faith Ringgold: African American Artist and Illustrator

Faith Ringgold was born into a family in the culturally rich Sugar Hill area of Harlem in New York City. Her mother was a successful fashion designer and her extended family included musicians and writers. Faith was at home ill with asthma frequently as a child and discovered art as a natural activity. Her mother worked with fabrics; therefore, she was surrounded by the colors, scraps, and drawings of her mother's artwork.

Ringgold studied art at City College in New York, earning a B.S. and an M.A., both in fine art. She taught in New York City public schools, all the while making and exhibiting her art. Ringgold learned on her own about Black artists like Romare Bearden and Jacob Lawrence. She began to seek out other Black artists, eventually joining groups of Black artists and Black women artists to exhibit and exchange ideas. She began to find her own voice in the early 1960s, partly as a result of contact with other artists working from the African American experience and partly following a trip to Europe. In Europe during a trip with her daughters and mother, she visited the galleries and museums, which house the art she had seen all through her education and made pilgrimages to places where artists lived and worked. She came home resolved to be an artist. It was at that point that she set up a studio in her home and stopped teaching in public school very soon after to devote herself exclusively to her artwork.

Ringgold started teaching at University of California San Diego in 1985 and since then has maintained studios and homes on both coasts, commuting for part of each year. She maintains a vibrant exhibit schedule and works at illustrating and writing children's books.

During the 1960s and 70s her work was focused on political issues. She produced large paintings in acrylic, which were powerful and angry statements on the complex issues of racial and gender inequality. She explored sculpture, creating large, soft, sculpture figures and groups.

A meaningful collaboration with her mother in 1980, following two decades of painting and production of soft sculptures, led Ringgold in the direction of the story quilt, the primary vehicle for her expression for over a decade. Faith and her mother Willi pieced a quilt together. This satisfying work became incorporated with Faith's increasing drive to tell stories - stories woven from memory and autobiography and common experience. She began to paint on canvas and piece fabric borders, incorporating writing narrative. Ringgold has become very famous for these quilts some of which tell the stories of African American slave life, imaginary stories of freedom or which commemorate special events.

The viewer has a mind of their own and eyes of their own

and they're going to see it their way. I just hope they look.

Faith Ringgold


GRADE 4

Hokusai, Iris Flowers and Grasshopper, c.1830-1831 Minneapolis Institute of Arts, Bequest of Richard P. Gale http://www.artsMIA.org

KATSUSHIKA HOKUSAI (1760–1849) Japanese woodblock printer Hokusai was born in Japan and spent most of his working life in Tokyo. He is best known for his dynamic woodblock prints and drawings of landscapes. Hokusai started as an artist’s apprentice and, over time, he became a great draftsman. Subsequently, he developed his own dynamic, distinctive style. Hokusai’s most iconic creation is The Great Wave of Kanagawa. He is known as one of the greatest artists in art history. Notably, his work influenced Vincent Van Gogh and his impressionist peers.

Born: 1760; Edo (Tokyo), Japan Spent most of his working life in: Tokyo Died: 1849; Tokyo Known for: Dynamic woodblock prints and drawings of landscapes including the famous print, The Great Wave of Kanagawa. Hokusai was one of the Japanese artists who inspired many western artists including Van Gogh.

Biographical Summary: KATSUSHIKA HOKUSAI was known as a character. He lived in many places and changed his name many times. His father was a craftsman, and Hokusai was trained to cut woodblocks for printing in books. He apprenticed to other artists and became a great draftsman (he drew very well), then developed his own dynamic distinctive style. Hokusai completed his famous Thirty-Six Views of Mount Fuji at the age of 70. He was an enormously creative and inventive artist who had a wonderful way of using color. Hokusai was married three times and had many children. Hokusai worked until his death at the age of 89.

The Dragon Smoke Escaping

from Mt. Fuji

Red Fuji

Katsushika Hokusai, 1826


Katsushika Hokusai: Japanese Woodblock Artist

The technique of woodblock printing came to Japan from China in the 8th century. Many people could not read, so relatively inexpensive picture books began to be printed without text. These were produced by artists who drew the pictures, carvers who made the woodblocks for printing, and the printers. Because tradition and ritual were important in Japan, this process was soon ritualized. The subject matter was categorized and each artist would specialize in a category. Subjects were approached in a similar manner since artists were trained in the apprenticeship system. They learned to do things like their master and in the traditional way. Individual artists could approach the rigid subjects in a very different way; distinguishing themselves from the others, but only the most brilliant and creative really could stand out and be recognized. Hokusai was one of these. He is known as one of the greatest artists in art history.

Hokusai distinguished himself as a student for how well he could draw, but also for his difficult personality. He fought with other employees and was fired from jobs. He was able to make his living producing the equivalent of greeting cards, carving wood engravings for other artists, and by making illustrations. Although Hokusai was always in debt, he managed to support many children and to outlive three wives.

Hokusai was a character who loved to paint in public and make a performance of it. He would paint huge paintings to entertain and once rolled out a long piece of paper, put a blue wash of painted waves on it, then took a rooster, dipped its feet in red paint and let it run across the paper. He called the finished painting Red Maple Leaves Floating Down a River.

Hokusai created his most famous work beginning at the age of 68. His second wife had just died and his favorite daughter left her husband to come live with Hokusai until the end of his life. He painted a series of prints called The Thirty-Six Views of Mount Fuji. Each one shows the mountain from an unusual view and in different weather, sometimes with figures.

Hokusai died at the age of 89, in spite of having asked heaven for "yet another decade – even another five years." When he was 75 years old he said:

From the age of five I have had passion for sketching the form of things; from about the age of fifty I showed a number of drawings, yet of all I drew prior to my seventies there is truly nothing of any great note. When I was seventy-two I finally made out something of the shape of grasses and trees, the structure of birds and other animals, insects, fishes. Therefore when I become eighty I shall have made more progress; in my nineties I shall have penetrated even further the hidden meaning of things; at the age of a hundred I shall have reached the divine mystery, and at one hundred and ten even dots and lines will surely possess a life of their own. I only beg those of you who will live long enough to verify the truth of my words.

These Japanese artists show us a new world.

Edgar Degas French Impressionist Painter

The Great Wave Off Kanagawa, Hokusai, 1826


GRADE 4

GEORGIA O'KEEFFE (1887–1986) American painter O’Keeffe was born in rural Wisconsin and divided her working life between New York City, Upstate New York, Texas, Virginia, and New Mexico. She is most known for her strong personal vision resulting in simplified and sensual paintings showing images of the natural world from unusual perspectives. Her large format paintings of flowers, bones, and landscapes are highly recognizable. She painted until age 98.

Born: November 15, 1887; a farm in Sun Prairie, Wisconsin Spent most of her working life in: O'Keeffe split her time between New York City and the countryside in Upstate New York, Texas, and Virginia until 1929 when O'Keeffe visited Taos, New Mexico. She fell in love with the landscape there. She spent part of every year there until 1946 when she moved there permanently.

Died: Spring 1986; Taos, New Mexico Known for: Portraying the world through her strong personal vision. O'Keeffe's work is sensual and simplified, showing us the beauty of the natural world from unusual perspectives, often from very close up. Her paintings of flowers, bones, and landscapes are large, even monumental in size.

Biographical Summary: GEORGIA O'KEEFFE grew up in a large family on a farm in Wisconsin. She knew by the time she was 10 years old that she wanted to be a painter. She studied art in New York, Pennsylvania, and in Chicago and worked as an art teacher in several parts of the country to earn money for studying. Georgia always knew she saw the world differently. Her life was spent doing what she loved to do - painting. Georgia O'Keeffe was married to Alfred Steiglitz, a well-known photographer and art gallery owner. She had no children. She was working on her art up until her death at the age of 98.

Sometimes I have resisted painting something that seemed to me so ordinary, hardly worth doing. But when I do it and it's different from what other people see...

it's ordinary to me but not to you.

Georgia O’Keeffe

Georgia O'Keeffe: Painter With Strong Personal Vision Growing up on a farm in the open countryside of Wisconsin gave Georgia O'Keeffe a love for landscape that would draw her later to the landscape in her art. She and her sisters were given painting lessons when she was 10 years old and from that time on, O'Keeffe knew she would be a painter.

This was not an easy aspiration for a young woman. She was frequently the only woman in her painting classes, was taught to paint in a style that was not her own, and had to interrupt her years of study to take teaching positions to support herself. She studied abstract design and worked as a commercial artist. She studied in Chicago and New York, but her teaching jobs took her to parts of the country where she rediscovered her love of nature.

In 1912 she began to teach in Amarillo, Texas, a place where she would teach for three years. It was then that she dedicated herself to paint in her own way - the way she saw and felt the world. She loved the open landscape of Texas with its dry beauty, the rocks, mountains, and emptiness. Her paintings and drawings became powerful, original, and imaginative.


In 1915 O'Keeffe's work came to the attention of Alfred Steiglitz. He owned an art gallery in New York and was himself a renowned photographer. He gave O'Keeffe her first one-person show. She had success as a painter from her very first show and began a close friendship with him that grew into a marriage in 1924. They supported an encouraged each other as artists. Steiglitz made beautiful portraits of O'Keeffe, which we have as a record of her.

A trip out West with friends in 1929 included a visit to Taos, New Mexico and inspired her anew to paint in the desert. She began to travel to New Mexico for the summer every year to paint the Southwest. She settled there permanently in 1946 after Steiglitz died.

O'Keeffe formed friendships with people with whom she explored the countryside. When she was older, friends helped her to do the physical work of making her art. She kept herself healthy by eating well, rising early, walking everyday, and rambling the landscape near Taos. O'Keeffe worked at art until her death at the age of 98, being occupied with making pottery forms toward the end of her life.

So I said to myself, I'll paint what I see-what the flower is to me but I'll paint it big

and they will be surprised into taking the time to look at it- I will make even busy New Yorkers take time to see what I see of flowers.

Georgia O’Keeffe


GRADE 4

Please find images of Melvin Olanna’s artwork

at:

www.akart.org

MELVIN OLANNA (1941–1991) Alaska Native artist Olanna was born in Shishmaref, Alaska, on the Bering Sea Coast. He spent most of his working life in Shishmaref and on the Suquamish Indian reservation in Washington. Olanna is most known for sculptural and graphic images of people and creatures from the Bering Sea coast where he grew up. A recognizable piece of Olanna’s sculpture is his large bronze polar bear in front of the Patty Gymnasium at the University of Alaska Fairbanks. Melvin Olanna produced sculptures in marble, bronze, bone, wood, and aluminum. His pieces may be found all over Alaska and in collections throughout the Pacific Northwest.

Born: 1941; Shishmaref, Alaska on the Bering Sea Coast Spent most of his working life in: Shishmaref, Alaska, primarily, and on the Suquamish Indian reservation, across from Seattle, Washington

Died: 1991; Washington State Known for: Sculptural and graphic images of people and creatures from the Bering Sea coast where he grew up. His artwork incorporates his own contemporary personal interpretation with rich traditional artistic heritage of the region of western Alaska in which he grew up. Olanna's large bronze polar bear sculpture stands guard in front of the Patty Gymnasium at the University of Alaska Fairbanks.

Biographical Summary: MELVIN OLANNA'S upbringing included years at his family's settlement which was quite remote at the time. Family life centered on the ancient subsistence activities of hunting and gathering. Melvin learned to carve ivory with his father's tools with help from local carvers. He was trained later in carving and graphics at the Institute of American Indian Arts in Santa Fe and at the University of Alaska. He became a well-known carver and teacher in the Pacific Northwest. Melvin Olanna was married to Karen Jenkins Olanna. They had three children - two daughters and a son. He was a member of a large extended family in Shishmaref.

Melvin Olanna: Contemporary Inupiaq Artist "I tend to feel personal satisfaction when I have improved an old design or come out with a new one. I have been working with my hands all my life, and I still have hopes that something new will come out of me. I work with many different materials, but I do enjoy working with marble as it is hard and that slows me down and gives me more time to think about what I'm going to do next. I grew up with sayings that if you are going to do something, do it well. I try to live up to it. I guess my reason for trying to succeed in what I do is to be an example for the young people that they can succeed in whatever their interest is in. With modern tools and materials of today the opportunity is there; it's just a matter of learning how to use it. I think we Alaskans have a very rich culture that's worth preserving and that can be used in the way we live and do things." - Melvin Olanna

Shishmaref, Alaska is an Inupiaq Eskimo village on the treeless windswept Bering Sea coast. Shishmaref has a rich artistic tradition. Melvin Olanna was born there in 1941 and was raised partly at his family's settlement at lkpik. They hunted, fished, and learned traditional skills from their Elders in the old way. Melvin learned to carve with his father's tools. Olanna also learned graphic techniques in the village. His skill and artistic development led to a fellowship at the Institute of American Indian Arts in Santa Fe, New Mexico. He studied sculpture there, returning to Alaska in 1966 where he studied design and silversmithing with Ron Senungetuk at the University of Alaska Fairbanks.


Olanna met and married artist Karen Jenkins in the 1970's and they eventually had three children. The family divided their time between their home and workshop in Shishmaref where they built themselves a second home and studio in the lush forest of the Suquamish Indian Reservation.

Melvin Olanna produced sculptures in marble and bronze, bone and wood. He also worked with contemporary materials like aluminum, in creating his pieces that can be found all over Alaska and in collections throughout the Pacific Northwest. Olanna was also a printmaker, working primarily in woodblock.

Olanna traveled Alaska giving carving workshops and working to support the artistic development of young people in rural Alaska. The Melvin Olanna Carving Center has been established in Shishmaref to provide a well-equipped workshop for local artists.

Native art should not be separated from context, intention, and story— the ‘environment of significance’ as folklorist Henry Glassie (1989:17) has phrased it.

Susan W. Fair

It took me 40 years to find out that painting is not sculpture.

Paul Cezanne


GRADE 5

The Pieta, 1499

MICHELANGELO BUONARROTI (1475–1564) Italian Renaissance artist Michelangelo was born and remained in Italy, spending his working life in Florence, Bologna, and Rome. He was a Renaissance era artist and he showed incredible aptitude within a variety of artistic disciplines. Michelangelo is most known for his highly recognizable larger-than-life sculpture of David, fresco paintings on the Sistine Chapel ceiling, and the architectural design of St. Peter’s Basilica in Rome.

Born: 1475; Caprese, Italy, but moved to Florence weeks later Spent most of his working life in: Italian cities of Florence, Bologna, and Rome

Died: 1564; Rome, Italy at the age of 89 Known for: In sculpture: Pieta (Mother Mary with Jesus) and David (who slew Goliath). In painting: the Sistine Chapel ceiling. In architecture: designer of St. Peter's Basilica in Rome.

Chalk Portrait of Michelangelo

by Daniele da Volterra

Biographical Summary: MICHELANGELO worked as an apprentice from age 13 to 17 learning to carve marble sculptures and paint frescos. He spent the remainder of his life working independently for many of the rulers and religious leaders of Italy. Michelangelo's sculpture entitled Pieta, made him famous at the age of 24. Later he painted his concept of the creation of the world on the ceiling of the Sistine Chapel in Rome. This creative genius - painter, sculptor, architect, and poet - continued working until his death at 89.

Michelangelo Buonarroti, Creative Genius Michelangelo Buonarroti was the epitome of creative genius. He was a brilliant sculptor, painter, architect, and poet, who lived a long productive life. He could be a kind and noble person, but he was also a tormented and frustrated man. Once when he was young, he was punched in the face by a student whose work he had criticized. The broken nose from this incident healed crooked and all his life Michelangelo thought of himself as an ugly man.

Michelangelo lived and worked during the Renaissance when great artists were supported by and at the command of powerful patrons. He found the patrons' demands upon him at times outrageous and nearly impossible. There were also tensions in his personality and he suffered from violent mood swings. Michelangelo truly did work against great odds.

He was born into a middle class family and attended school regularly in Florence, Italy, a great Renaissance city of art and beauty. He displayed a talent for drawing. When he was 13, his father, although first opposed to the idea, finally furthered his education by apprenticing him to a master artist as was customary in those days. He learned fresco, which is painting wall murals by applying pigments to wet plaster. His work far exceeded that of a student and he attracted the attention of Lorenzo the Magnificent, ruler of Florence, who invited him to attend his school of sculpture in the palace gardens. Again Michelangelo displayed genius in his learning and his art. It was during this time that he developed a passion to represent the power and beauty of the human figure that was to influence his lifelong style.


Lorenzo died when Michelangelo was just 17 and from that day onward he worked independently, sculpting and painting under the patronage of many rulers of Florence, Bologna, and Rome. Working to produce art for someone else can be a very difficult undertaking. An artist may not do things the way the patron wants it done, but the artist will not be happy unless he is enjoying his work. At the age of 24, his sculpture of the Madonna and Jesus being taken from the cross, the Pieta, made him famous.

Pope Julius II asked Michelangelo to paint a fresco on the ceiling of the Roman Sistine Chapel. He chose to paint his idea of the creation of the world, and Pope Julius agreed. It was started in 1508. But as time went on, Pope Julius became more and more impatient; he wanted Michelangelo to hurry and finish so that he could sculpt a fitting tomb for the Pope to be buried in when he died. Michelangelo and the Pope quarreled often - partly because they had the same passionate temperament, but they really admired each other deeply. It took him four years of lying on his back (this point is in debate, but he either lay down or had to stand with his head thrown back) three floors above the ground, working only by candlelight and often going without food and water, to complete his painting of hundreds of human figures. It is said that once when he came down and tried to take off his boots that his skin came off with them! The suffering he endured in producing his art was reflected in a letter to his father, "I have finished the chapel I have been painting; the Pope is very well satisfied. But other things have not turned out for me as I'd hoped..."

Pope Julius wanted a very large free-standing tomb with forty figures, but this was not close to being finished when he died in 1513. Julius' heirs encouraged and funded the work, but Michelangelo was under pressure from the next pope and many princes to abandon the tomb. This was a very difficult time for him. A series of five different contracts and 40 years passed before the tomb, much of which was eventually finished by apprentices, was finally complete.

During the last 30 years of his life, architecture became Michelangelo's primary work. He served as the chief architect on the St. Peter's Basilica in Rome. The dome of the Basilica was designed by Leonard da Vinci. Michelangelo worked until his death at almost 90. He died in his house in Rome in 1564, near an unfinished sculpture that he had worked on only days before. His letters, his brilliant poetry, and the huge twisted and tortured human figures he painted and sculpted reflect his passionate, but frustrated life.

Sistine Chapel Ceiling, Michelangelo

A man paints with his brains, not his hands.

Michelangelo Buonarotti


GRADE 5

Self-Portrait, 1878

MARY CASSATT (1844–1926) American Impressionist painter Cassatt was born into a wealthy banking family in Pennsylvania. She spent most of her working life in France. Cassatt is most known for paintings and prints of women and children. Notably, her colored print work influenced her male Impressionist peers. Mary Cassatt was quite successful at a time when single women were not expected or encouraged to be independent.

Born: 1844; Pittsburgh, Pennsylvania Spent most of her working life in: Paris, France Died: 1926; a chateau outside Paris Known for: paintings and prints of mothers with children

Biographical Summary: MARY CASSATT was born into an independent, wealthy, American family. Her father was a banker who offered little encouragement to her desire to be a painter. Mary was independent and sure of her goals though, and after traveling throughout Europe she settled in Paris in 1868 studying, painting, and exhibiting her many soft colored paintings of mothers and children. She was considered one of the Impressionist painters and possibly influenced some of them with her colored prints. She was successful as a painter in a time when women were not usually so independent.

Cup of Tea, Mary Cassatt, 1880


Mary Cassatt, Independent Woman Artist

Mary Cassatt has become a best-loved painter of mothers and children, depicted in soft color tones. She was the only American to be one of the French Impressionist artists, a group of painters who chose to work outside the studio concentrating on sunlit colors and deep shadows rather than scholarly details.

She was born in 1845 into a very wealthy American family that lived in Paris, France during her early childhood. She was artistic from a young age, and at 17 decided to become an artist. At 22 against the wishes of her father, she left her Philadelphia home to return to Europe where she studied art in several countries before finally settling in her beloved Paris.

Here, Mary had to study alone with her professor because she was a woman and therefore, in 1870, an unacceptable student at the Ecol dex Beaus Arts. However, her work was accepted at important galleries and she exhibited regularly.

At a certain point Mary said the sight of a pastel by Edgar Degas changed her life and her work. Degas liked her paintings and became one of her mentors, eventually inviting her to join the Impressionist group. Their technique and style greatly inspired Mary's work and she adapted many of their new ideas into her painting style.

Then, Japanese art was noticed and became very important to all the Impressionists. Mary's work changed again, reflecting the Japanese use of shallow space, fragile line, and large areas of flat color. She began printmaking as a way to produce art that could be sold for reasonable prices and was eminently successful. She made 220 prints in all.

Mary Cassatt was independently wealthy all her life, and she helped her Impressionist friends by buying many of their paintings. She also introduced her American art collector friends to the new art that they bought. Mary's own art was not recognized in her own country, America, until well after her death, but the French awarded her the French Legion of Honor in 1905.

She never married and later in life, she lived with her parents and sister until they died. She was partly blind by 1912, and was soon no longer able to do her art. It must have been very difficult for a woman who loved to look and paint, to no longer be able to see. She was totally blind when she died in her beloved chateau near Paris in 1926. Mary Cassatt was 92 years old.

The Boating Party, 1893-94

Edouard Degas to Mary Cassatt:

Most women paint as though they are trimming hats. Not you.


GRADE 5

ANDY WARHOL (ca. 1925-1930 to 1987) American Pop artist Warhol (originally Warhola) was born in Pennsylvania and his working life was mostly spent in New York City. He is mostly known for being the father of the American Pop Art Movement. His work incorporated iconography produced through commercial art and pre-existing photographs of celebrities: Campbell’s soup cans, Brillo pad boxes, images of Marilyn Monroe and Jackie Kennedy.

Born: between 1925-1930 (date unsure); outside Pittsburgh, Pennsylvania Spent most of his working life in: New York City Died: 1987; New York City Known for: being the father of the American Pop Art Movement large graphic works

Biographical Summary: Born into poverty of immigrant parents, this boy of delicate constitution managed to graduate from Pittsburgh Carnegie Institute. He spent the rest of his life in New York City, first as a commercial artist for such houses as Vogue and Bonwit Teller, then as an independent artist. His art shocked people who resented his subject matter and style for being outright thievery from the everyday world of commercial art. But his giant soup cans and Brillo boxes and movie stars eventually led to Warhol being hailed as the father of the American Pop Art Movement.

Andy Warhol, Pop Artist Andy Warhol was born into poverty sometime between 1925 and 1930. The exact year is not known because after Warhol became famous, he made a game of the facts of his life as a way of making himself and his art mysterious and more intriguing. His father mined coal and died after a long illness from drinking poisoned water. Andy had to sell apples to help out his mother and two brothers. Andy reports he had three nervous breakdowns before he was ten, but he did graduate from high school. A picture shows him as a slightly dreamy-looking pretty blond boy.

He went to art school at the Carnegie Institute in his home state of Pennsylvania, and he worked summers selling shoes in a local department store. In the store he came into contact with what was to become his world of art, the world of consumer advertising.

He earned his degree and went to New York City. There he got a job working as a commercial artist for Vogue and Harper's Bazaar. He created an original window-dressing for the famous Bonwit Teller department store. He did advertisement drawings for shoe manufacturer I. Miller. One day he came to work with a brown paper bag full of 50 shoe drawings. They were turned down by his employer, but he went home and used them to produce the first art for which he was noticed, a series of decorative boots and shoes designed for, and titled after, movie stars.

Warhol's success came quickly because, in the early 60s when abstract art was the accepted style, people were shocked that he dare make exact copies of such things as soup cans and soap packages and call it art. These were images of ordinary things from the commercial world and he was calling it HIS art! He lifted pictures straight out of magazines and newspapers to use in his art. He even had assistants do most of his art! Other young artists became intrigued with this most radical of ideas, and soon this new art form was recognized as the Pop Art Movement.

Andy Warhol, father of Pop Art, changed his style periodically. He created artwork using silk screen processes done by commercial printers and called them paintings. Andy also explored ideas with music on film; he published a magazine; he experimented in sculpture with glued-together paintings; and he did videotape production. He became a collector of art and "artistic junk" from jewelry to old cars.


During the 70s and 80s his work was exhibited worldwide, as well as in America. He had many commissions for portraits of wealthy customers. Many of his fans loved him for his extravagant personal and artistic eccentricities. He had become a star among stars.

He never married, but lived with his mother and his cats. In 1987 when he was in his late 50s, Andy Warhol died as a result of surgery.

Everyone will be famous for 15 minutes.

Andy Warhol


GRADE 6

Mask of Tutankhamun's Mummy

EGYPTIAN ART (3100BC–1100BC) The development of the Egyptian artistic style was affected by each of Egypt's three Golden Ages: The Old Kingdom (3100-2200BC) characterized by pattern-like motifs with flat colors showing figures at work; Middle Kingdom (2100-1800BC) where painting developed an appreciation of art for it's own beauty rather than for religious reasons and sculpture began showing faces with features that indicated specific persons; New Kingdom (1580-1100BC) where painted figures were rendered on a thin ground line. There was no overlapping unless all depicted figures were engaged in the same activity. The size of the figure showed its importance and, if something was far away, it was placed higher in the image area. During this time, sculpture tried to accurately capture the most prominent features of its subject.

Date: Old Kingdom - 3100-2200 BC; Middle Kingdom - 2100-1800 BC; New Kingdom - 1580-1100 BC Known for: frontal style

Biographical Summary: A rigid set of rules evolved during the three kingdoms that the formal artist dared not break. These rules were the result of the religious beliefs of the Egyptians who worshiped the pharaohs as gods and believed in life after death. Precise architecture, (tombs), sculpture, and painted life stories were required of the artist, because the soul, or ka, of the pharaoh needed "completeness" to survive in the afterlife.

Ancient Egypt: Land of the Pharaohs

In ancient Egypt religious beliefs shaped the artistic style. Throughout most of the 4,000 years of its existence, pharaohs were worshiped as gods and ruled along with priests. Egyptians believed that, from birth, one was accompanied by a kind of other self, the "ka," which, on the death of the fleshy body, could inhabit the corpse and live on. For the ka to live securely, the bodies were mummified. It was believed that if the mummy was desecrated, the ka could return to a sculpture of the person and that the ka always occupied any artistic representation after death. Therefore the artwork must be perfect in every way. As a result, all art had to be designed using strict rules, and it is these rules that constitute the "Egyptian style." The Egyptian artistic style varied during each of Egypt's three Golden Ages:

Old Kingdom, 3100-2200 BC, characteristic traits: Painting Oldest work dated 3500 BC is pattern-like with flat colors

showing figures at work. They fill the space nicely - we see the beginning of a rule about a sense of order in storytelling.

Sculpture There exists a bas relief sculpture of King Narmer that is the first artwork to combine the frontal view of the eyes and shoulders with the profile view of the head and legs, a style that became a rule for depicting the human figure.

Architecture The three Great Pyramids built of cut stone are the greatest achievement of this age. They are guarded by the Great Sphinx which was carved from one rock 65 feet tall. The pyramids are tombs of certain pharaohs, but there are more tombs in Valley of the Kings. The tomb walls were magnificently decorated with paintings and carvings giving us information about ancient Egypt. The pharaohs were buried with earthly objects for use in the afterlife.

Portrait of a Boy,

2nd Century AD


Middle Kingdom, 2100-1800 BC, characteristic traits: Painting They developed an appreciation of art for it's own beauty rather than for religious

reasons only. From works that remain, painters showed acute powers of observation, drawing with grace, skill, and assurance, and creating lovely detail.

Sculpture They began showing faces with features that indicated specific persons. But the frontal style continued as the way to show the human figure as fully as possible, and the rules that constitute the formal Egyptian artistic style continued to grow in number.

Architecture The rock-cut tombs (cut into living rock) with shallow columned porticos are found in the Valley of Kings.

New Kingdom, 1580-1100 BC, required that the formal artist labor under a strict set of rules which he dare not break. His art had become so solemn that it did not indicate how fully the upper caste Egyptians enjoyed life. However the New Kingdom was the most brilliant of ancient Egypt and near the end of its long history came some slight loosening of these rules.

Painting Now the feet of the figure must be on a thin ground line upon which all the action takes place. There must be no overlapping unless all figures are engaged in the same activity. The size of the figure shows its importance. If something is far away, it is placed higher. Each story must be complete and correct and clear, otherwise the ka might miss something. With these rules, the painter does not show what he SEES, but rather what he KNOWS. Toward the end of the New Kingdom rigid lines become undulating curves.

Sculpture The artist tries to capture the most prominent features of its subject. Architecture Beautifully elaborate temples are designed to celebrate gods or bury kings.

From the final centuries of Egyptian art, as the empire dwindled away, a portrait statue survives. It shows the old rules reinstated. Only the rough, brutal realism of the face differentiates it from the art of the earlier ages gone by.

Wall Painting of Nefertiti


GRADE 6

Study of a Horse

LEONARDO DA VINCI (1452-1519) Italian Renaissance artist Da Vinci was born in Italy. He spent his working life in both Italy and France. He is known for being one of the world's greatest draftsmen, artists, inventors and scientists. Da Vinci was the first of the Renaissance geniuses. He developed inventions and designs ranging from weapons of war to ladies' fashions, as well as musical, navigational, and surgical instruments. His best known paintings are the Mona Lisa and the Last Supper. From his example, people today call someone who can do many things well a "Renaissance" person.

Born: 1452; Vinci, a village near Florence, Italy Spent most of his working life in: Italy and France Died: 1519; a small chateau of Cloux, in Amboise, France Known for: being one of the world's greatest draftsmen, an artist, inventor, and scientist; the first of the Renaissance geniuses

Self-Portrait, 1512-15

Biographical Summary: LEONARDO DA VINCI believed that if you looked hard enough at the world you would understand everything. He never stopped looking and he never stopped drawing. He recorded in notebooks everything around him, as well as inventions and designs ranging from weapons of war to ladies' fashions. He was an artistic genius at showing natural expressions and inner character of people. His best known paintings are the Mona Lisa and the Last Supper. From his example, people today call someone who can do many things well a "Renaissance" person.

The Last Supper, Leonardo da Vinci, 1498


Mona Lisa, 1503-05

Study of a Tuscan Landscape1473 - earliest known

drawing of Leonardo da Vinci

The Vitruvian Man, 1485

Leonardo da Vinci, Renaissance Man

Leonardo was born in the Italian village of Vinci in 1452 and later took its name, as was the custom of the day, because he was born illegitimately. He lived his early years with his mother but moved into his grandfather's house where he grew up. At 12 years old, Leonardo's father sent for him. His father, instead of marrying his mother, had married a wealthy widow and could afford to live in Florence. Leonardo had shown an innate ability in drawing, natural history, and math at an early age, but in Florence he could not become an apprentice to a guild to further his schooling because they had rules against being born illegitimately. Consequently his father was forced to enroll him into a less prestigious studio workshop.

In those days, the beginning of the Renaissance, an exciting era of rebirth of knowledge and art in mankind, this studio proved to be more a place of business teaming with all sorts of activity in the arts. Leonardo learned about paints and painting, sculpted wood, stone and clay, and worked at casting bronze, silver, and gold because the shop produced metal objects ranging from statues to musical, navigational, and surgical instruments. And he drew constantly! He kept records of his learning in notebooks. After 18 years, he became an independent artist under the protection of Lorenzo the Magnificent. He painted The Annunciation and St. Jerome.

Suddenly the long years of peace in Florence were violently shattered by intrigue and murder. Leonardo was sent to the neighboring court of Milan as an ambassador to try to win help. By this time in his life, Leonardo's knowledge extended to such widely separated fields as philosophy, natural history, anatomy, biology, medicine, astronomy, optics, acoustics, botany, geology, mathematics, flight science, hydraulics, and warfare, as well as all the arts. The Milan Court was flattered indeed to accept such a man. The court was famous for its interests in pageantry and music, but also for its arbitrary tyranny and was delighted in Leonardo's artistic talents and his notebook ideas of new war machines. He stayed on for 20 years as a favorite of the Court. He sculpted a 20-foot-high horse, which was never cast because the metal was made into cannon. He painted The Last Supper, which established his fame as the greatest master of his day.

Wherever Leonardo lived and worked he was under the protection of the local ruler and so his fate was closely tied to theirs. When Milan fell to France, he was 47 years of age and famous so there was a tug-of-war to see where Leonardo would next live and work. There followed a period of movements from place to place and from court to court. Wherever he was, he was admired and revered and allowed freedom to continue with his interests in science and art. During this time in his life Leonardo painted the Mona Lisa, wrote his book on flight, and continued other innovative work that he recorded in his ongoing notebooks.

His last days were spent in France no longer able to paint, but drawing and teaching others. He made his will and shortly thereafter died peacefully, "as a well-spent day brings a happy sleep." He was 65 years old. He was THE "Renaissance Man."


GRADE 6

FRANK LLOYD WRIGHT (1867-1959) American architect Wright was born in Wisconsin and he divided his working between the Midwest and West Coast. He is most known for relating architecture to nature. Wright's most famous innovation was his "Prairie Style" which opened the house to nature, reflecting the local surroundings with long, low lines. His versatility is recognized when viewing the Guggenheim, a spiral museum in New York City. Sometimes he incorporated natural features such as a waterfall or a grouping of boulders as part of his overall design. He designed the furnishings and details on the interior at the same time as he planned the exterior of his buildings. Throughout the 30s, 40s, and 50s he continued to experiment with new forms and materials.

Born: 1867; Richland Center, Wisconsin Spent most of his working life in: Midwest and West Coast, USA Died: 1959 Known for: his philosophy of relating architecture to nature

Postage Stamp, 1966

Biographical Summary: FRANK LLOYD WRIGHT was the designer of a whole new concept in architecture. It included "form follows function; a building must reflect the interests and personality of its inhabitants; and interiors should reflect exteriors." Wright's most famous innovation was his "Prairie Style" which opened the house to nature with long, low lines and lots of glass.

Frank Lloyd Wright was a diverse architect as shown below: a home and a temple.

Interior Unity Temple, 1905

Wright-Designed Robie House and

Window, Chicago, 1906


Frank Lloyd Wright

Frank Lloyd Wright was the most influential figure in American architectural history. Few artists in any field have matched his energy and productivity. He designed a whole new concept for people's homes using nature as the source of his ideas. He designed a mile-high skyscraper, and designed and built a spiral museum called the Guggenheim in New York City and the Imperial Hotel in Japan.

He was born in Wisconsin in 1867, surrounded by the books, music, and art of his family and the rich natural landscape of the prairie. At 19, after college, he moved to Chicago, determined to become an architect. Within a year he was working for the office of L.L. Sullivan, who recognized Wright's precocious talents. Together they believed these architectural principles: that the form of a building should follow its function; that a building should reflect the personality of its inhabitants; and that the interior of a building should reflect its exterior.

In the 1890s Frank Lloyd Wright established his own architectural practice in Oak Park, near Chicago. He designed and built his home and studio inspired by the long, low lines of his boyhood prairie, with much use of glass (windows, doors, and porches) to make it open to the natural landscape. This home was the beginning of his "Prairie Style" and was hailed as the first distinctly American style of house design. Here, he and his wife raised six children. Here, he worked for 20 years, changing the way we think about the American home and 20th-century architecture with such things as the cantilever (a projecting structure supported only at one end) which he felt freed rooms from the traditional confining shapes. These 20 years were called his "First Golden Age."

In 1910 Wright was overwhelmed by the stress of his personal and professional life. He suddenly separated from his family, closed the studio, and left for Europe. There he published a superb collection of architectural drawings that brought him instant recognition worldwide. He returned to the Midwestern United States where, amid great personal tragedy and turmoil, he continued his work. In some of his designs he was inspired by the way the Japanese made the landscape and buildings flow together. Sometimes he incorporated natural features such as a waterfall or a grouping of boulders as part of the design. He usually planned the furnishings and details of the interior at the same time as he planned the exterior of his buildings.

In the 1920s Wright moved out West where he developed cast concrete textile block designs. He had always made use of the various textures of natural materials, wood, and rock, and he liked brick, glass, copper, concrete, and steel because of their strength and texture. This new textured block expanded his choices of beautiful building materials.

Throughout the 30s, 40s, and 50s he continued to experiment with new forms and materials, constantly challenging conventional ideas about the nature and purpose of architecture. Frank Lloyd Wright died in 1959.

SECTION C:

SECONDARY

The Dessert: Harmony in Red, Matisse, 1908

Fairbanks North Star Borough School District Ongoing Learner Goals Art Curriculum 95 Adopted March 18, 2008

ONGOING LEARNER GOALS ALIGNED WITH ALASKA CONTENT/PERFORMANCE STANDARDS

This chart lists the aligned content and performance standards with the art ongoing learner goals. Teachers should keep in mind that those areas with very specific content standards are the most difficult to align, but do not lessen the large amount of interdisciplinary reinforcement that occurs during many art lessons. PRODUCING ART Demonstrate the use of the elements and principles in creating artwork Refine artistic skills and self-discipline through practice and revision Use new and traditional materials, tools, techniques, and processes appropriately Demonstrate the creativity and imagination necessary for innovative thinking and problem solving Collaborate with others to create works of art

Content Standards

Arts – A.1-7 English / Language Arts – A.6,7; C.1-5 Mathematics – A.2,3; B.4,6,7; E.2,3 Science – D.6 History – D.6 Skills for a Health Life – B.2; D.2,6 Technology – D.1; E.4 Cultural Standards – D.5

Performance Standards

Reading – ages 15-18 – R.2,4 Mathematics – ages 15-18 Measurement.1; Estimation.5; Geometry.2

REFLECTING ON ART CRITICALLY Learn the criteria used to evaluate art Examine historical and contemporary works of art, the works of others, and the student's own art Accept and offer constructive criticism Recognize and consider artistic expression Exhibit appropriate audience skills

Content Standards

Arts – C.1-4 English / Language Arts – B.1,2.3; D.1a-d, 2,3,4; E.4 Mathematics – B.6 Science – D.6 History – C.3,4

REFLECTING ON AND PERCEIVING THE HISTORICAL AND CONTEMPORARY ROLE OF ART Recognize Alaska Native cultures and their art Recognize U.S. and world cultures and their art Recognize the role of tradition and ritual in art Investigate the relationship of art to the individual, society, and the environment Recognize universal themes in the arts such as love, war, childhood, and community Recognize specific works of art created by artists from diverse backgrounds Explore similarities and differences in the art of world cultures Respect differences in personal and cultural perspectives Investigate careers in art/art-related fields Collaborate with others to create works of art

Fairbanks North Star Borough School District Ongoing Learner Goals Art Curriculum 96 Adopted March 18, 2008

Content Standards

Arts – A.7; B.1-9; C.6; D.8 English / Language Arts – E.4 Mathematics – E.3 Science – C.8 Geography – B.3.4,5,7,8; D.1,4; E.1,4; F.1,2,6 Government & Citizenship – B.2; C.4,6; G.7 History – A.1-2,4-9; B.1-5 World Languages – B.2 Technology – E.6,8 Cultural Standards – B.1; e.4-8

PERCEIVING BEAUTY AND MEANING THROUGH ART Make statements about the significance of the arts and beauty in the student's life Discuss what makes an object a work of art Recognize that people tend to devalue what they do not understand Listen to another individual's beliefs about a work of art and consider the individual’s reason for

holding those beliefs Consider another culture's beliefs about works of art Recognize that people connect many aspects of life through the arts Make artistic choices in everyday living

Content Standards

Art – D.1-7 English / Language Arts – E.4 Science – C.8 Geography – F.6 Government & Citizenship – C.4,6; G.7 History – A.1-2, 4-9; B.1-5 Skills for a Health Life – B.2; C.6; D.4 Technology – E.4,6,8 Cultural Standards – B.1, E.4-8

Performance Standards

Reading – ages 15-18 – R.2

MIDDLE SCHOOL CURRICULUM

“Box in the Lot”, Mary Goldsby, student art

(Permission on file)

Fairbanks North Star Borough School District Exploring Art Art Curriculum 97 Adopted March 18, 2008

EXPLORING ART

Grade: 7 Length: 1 Quarter or 1 Semester Fee: Required Prerequisite: None

Watercolor Still Life, Kayla Steffey, student art


COURSE DESCRIPTION: Exploring Art is a survey of art experiences designed for seventh graders. Students experiment with a variety of techniques and materials that may include drawing, painting, printmaking, sculpture, weaving, and pottery. They also study artists and their work, learn to make judgments about art, and consider different theories and purposes of art. Technology may be applied for reference or support.

MASTERY CORE OBJECTIVES

Begin to develop a visual arts vocabulary: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & begin to apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Begin to understand color theory and its application: primary/secondary/tertiary/neutral complementary cool/warm

analogous monochromatic

Complete a variety of art projects successfully: begin to develop basic drawing skills begin to understand and use basic composition

skills

experiment with various 3-D techniques and forms

Produce original art

Prepare art for exhibit/display

Develop skills of observation

Begin to understand and apply the creative process: choose a topic or an idea brainstorm identify focus

adapt reflect refine

Learn critiquing skills and develop skills of critiquing a work in progress: identify the piece share first impressions describe the use of basic elements

analyze the use of basic principles interpret meaning and the artist’s intent express and defend an informed opinion

Demonstrate an increased awareness of historical and multicultural influences in art: view, describe, and compare the work of various artists past and present

Fairbanks North Star Borough School District Exploring Art Art Curriculum 98 Adopted March 18, 2008

Demonstrate personal responsibility through: quality craftsmanship in all work care, safe use, and cleanup of tools, materials,

and equipment efficient use of class time

respectful interaction with peers and adults self-motivation, developing ability to meet own

learning needs

SUGGESTED ARTISTS Emily Carr MC Escher Keith Haring Wassily Kandinsky Henri Matisse

Lucy Rie Vincent Van Gogh Kes Woodward Athabascan Art Prehistoric Cave Art

SUGGESTED ACTIVITIES DRAWING – pencil, color pencil, pastels,

markers, value scales, contour PAPER – cutting, tearing, papier-mâché,

tessellations, trading cards

PAINTING – watercolor, tempera, landscapes, still life, fabric painting

PRINTMAKING – stamps, monotypes, relief, optical art, logos

ALASKA STATE ART STANDARDS AS REFINED FOR VISUAL ART

Producing Art Reflecting on Art Critically Demonstrate the use of the elements and principles

in creating artwork Develop artistic skills and self-discipline through

practice and revision Appropriately use new and traditional materials, tools,

techniques, and processes Develop the creativity and imagination necessary for

innovative thinking and problem solving Collaborate with others to create sculpture

Learn the criteria used to evaluate art Examine historical and contemporary works of art, the

works of others, and the student's own art Accept and offer constructive criticism Recognize and consider artistic expression. Exhibit appropriate audience skills

Reflecting on and Perceiving the Historical Perceiving Beauty and Meaning through Art Be introduced to Alaska Native cultures and their art Recognize U.S. and world cultures and their art Be introduced to the role of tradition and ritual in art Investigate the relationship of art to the individual,

society, and the environment Be introduced to universal themes in the arts such as

love, war, childhood, and community Be introduced to specific works of art created by

artists from diverse backgrounds Explore similarities and differences in the art of world

cultures Respect differences in personal and cultural



Discuss what makes an object a work of art Recognize that people tend to devalue what they do

not understand Listen to another individual's beliefs about a work of

art and consider the individual's reason for holding those beliefs

Consider another culture's beliefs about works of art Recognize that people connect many aspects of life

through the arts Make artistic choices in everyday living

Every good painter paints what he is.

Jackson Pollock

Fairbanks North Star Borough School District Fundamentals of Art Art Curriculum 99 Adopted March 18, 2008

FUNDAMENTALS OF ART

Grade: 8 Length: 1 Semester Fee: Required Prerequisite: None

Inkle Weaving Angelica Ochoa, student art


COURSE DESCRIPTION: Fundamentals of Art is an in-depth study of the elements and principles of art learned through experience in a variety of methods and media. These may include drawing, painting, printmaking, sculpture, pottery, or other art forms. Students also study artists and their work, learn to make judgments about art, and consider different theories and purposes of art. Technology may be applied for reference or support.






skills









Demonstrate an increased awareness of historical and multicultural influences in art: view, describe, and compare the work of

various artists past and present begin to learn about Alaska Native cultures

through their art

create a piece of art in the style of an influential artist

Fairbanks North Star Borough School District Fundamentals of Art Art Curriculum 100 Adopted March 18, 2008




learning needs

SUGGESTED ARTISTS Alvin Amason John Biggers Kathleen Carlo Lewis Hines Rockwell Kent Kathe Kollowitz

Maria Martinez Piet Mondrian Claude Monet Louise Nevelson Frank Lloyd Wright Yupik Masks

SUGGESTED ACTIVITIES DRAWING – graphite, charcoal, oil pastel, value

scales, gesture, perspective PAPER – cutting, tearing, folding, sculpture,

trading cards

PAINTING – watercolor, acrylic, pointillism, portraits, canvas, abstract

PRINTMAKING – monoprints, relief, collograph, silk screen, stencil


Producing Art Reflecting on Art Critically Demonstrate the use of the elements and

principles in creating artwork Develop artistic skills and self-discipline through

practice and revision Appropriately use new and traditional materials,

tools, techniques, and processes Develop the creativity and imagination

necessary for innovative thinking and problem solving

Collaborate with others to create sculpture

Learn the criteria used to evaluate art Examine historical and contemporary works of

art, the works of others, and the student's own art

Accept and offer constructive criticism Recognize and consider artistic expression. Exhibit appropriate audience skills

Reflecting on and Perceiving the Historical Perceiving Beauty and Meaning through Art Be introduced to Alaska Native cultures and

their art Recognize U.S. and world cultures and their art Be introduced to the role of tradition and ritual

in art Investigate the relationship of art to the

individual, society, and the environment Be introduced to universal themes in the arts

such as love, war, childhood, and community Be introduced to specific works of art created by

artists from diverse backgrounds Explore similarities and differences in the art of

world cultures Respect differences in personal and cultural



Discuss what makes an object a work of art Recognize that people tend to devalue what

they do not understand Listen to another individual's beliefs about a

work of art and consider the individual's reason for holding those beliefs

Consider another culture's beliefs about works of art

Recognize that people connect many aspects of life through the arts

Make artistic choices in everyday living

Art flourishes where there is a sense of adventure.

Alfred North Whitehead

Fairbanks North Star Borough School District Studio Art/Special Topics Art Curriculum 101 Adopted March 18, 2008

STUDIO ART/SPECIAL TOPICS

Grade: 8 Length: 1 Semester Fee: Required Prerequisite: Exploring Art or Fundamentals of Art

“Night at the Shed” Joshua Ledden, student art


COURSE DESCRIPTION: Studio Art/Special Topics is a continuation of Fundamentals of Art wherein the elements and principles of art are applied and emphasized. Topics and media may vary by semester according to the school and the instructor. Special topics may include guest artists, community service projects, installations, special themes, and field trips. Students may also study artists and their work, learn to make aesthetic judgments about art, and consider different theories and purposes of art. Technology may be applied for reference or support.






skills










Fairbanks North Star Borough School District Studio Art/Special Topics Art Curriculum 102 Adopted March 18, 2008




learning needs

SUGGESTED ARTISTS Michelangelo Buonarroti Mary Cassatt Leonardo da Vinci Katsushika Hokusai Frida Kahlo Melvin Olana

Faith Ringgold Andy Warhol Grant Wood Art Trends/Movements Regional Artists

SUGGESTED ACTIVITIES DRAWING – graphite, charcoal, oil pastel, value

scales, gesture, perspective PAPER – cutting, tearing, folding, sculpture,

trading cards

PAINTING – watercolor, acrylic, pointillism, portraits, canvas, abstract

PRINTMAKING – monoprints, relief, collograph, silk screen, stencil


Producing Art Reflecting on Art Critically Demonstrate the use of the elements and

principles in creating artwork Develop artistic skills and self-discipline through

practice and revision Appropriately use new and traditional materials,

tools, techniques, and processes Develop the creativity and imagination

necessary for innovative thinking and problem solving

Collaborate with others to create sculpture

Learn the criteria used to evaluate art Examine historical and contemporary works of

art, the works of others, and the student's own art

Accept and offer constructive criticism Recognize and consider artistic expression. Exhibit appropriate audience skills

Reflecting on and Perceiving the Historical Perceiving Beauty and Meaning through Art Be introduced to Alaska Native cultures and

their art Recognize U.S. and world cultures and their art Be introduced to the role of tradition and ritual

in art Investigate the relationship of art to the

individual, society, and the environment Be introduced to universal themes in the arts

such as love, war, childhood, and community Be introduced to specific works of art created by

artists from diverse backgrounds Explore similarities and differences in the art of

world cultures Respect differences in personal and cultural



Discuss what makes an object a work of art Recognize that people tend to devalue what

they do not understand Listen to another individual's beliefs about a


Consider another culture's beliefs about works of art

Recognize that people connect many aspects of life through the arts

Make artistic choices in everyday living

Imagination is more important than knowledge.

Albert Einstein

HIGH SCHOOL CURRICULUM

Wanderer Above the Sea of Fog, Caspar David Friedrich, 1818

Fairbanks North Star Borough School District Alaska Native Arts - Beginning Art Curriculum 103 Adopted March 18, 2008

ALASKA NATIVE ARTS Beginning 1a, 2b

Grades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None

Unknown, Mask, 19th century, (Yupik) Minneapolis Institute of Arts, The John R. Van Derlip Fund


COURSE DESCRIPTION: Beginning Alaska Native Arts is designed to introduce students to the arts, histories, and cultures of the indigenous people of Alaska. A balance of studio experiences, technologies, and academic explorations based upon traditional and contemporary art forms make up the central core of this class. Various media, techniques, and processes are explored. Students learn to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of Native art forms in Alaska.

Beginning Alaska Native Arts 2b requires a greater degree of proficiency and higher expectations from students and teacher. Beginning Alaska Native Arts 1a must be successfully completed before enrolling in 2b.

Tools can be hazardous if used improperly; self-discipline is a must. A safety test must be passed before hazardous tools or materials may be used. Portfolio development may be required. Technology may be applied for reference or support.


Begin to use and apply the elements and principles of art: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & begin to apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Begin to develop an Alaskan Native art vocabulary

Demonstrate a basic understanding of color theory and its application: study traditional use of color by Alaska Native cultures

Begin to develop intellectual, technical, and expressive competency in Alaska native arts: identify the major Alaska Native cultures and

their regions begin to understand the relationship between

cultures, environment, and the arts

use a variety of traditional Alaskan materials and processes

use tools safely

Produce art for exhibit/display

Recognize and use traditional design in art productions: seek a variety of inspiration sources demonstrate an open-minded approach to

diversity of ideas and artistic styles

take risks, pushing beyond comfort zone use a sketchbook/journal to gather and develop

ideas and record results

Fairbanks North Star Borough School District Alaska Native Arts - Beginning Art Curriculum 104 Adopted March 18, 2008

Begin to understand and apply the creative process when developing a work of art: choose a topic or an idea brainstorm identify focus


Practice critiquing skills: identify the piece share first impressions describe the use of basic elements


Demonstrate an increased awareness of Alaska Native influences in art: view, describe, and compare the work of

various artists past and present create a piece of art in the style of a specific

Alaska Native culture

identify art from various Alaska Native cultures demonstrate a basic understanding of the

histories, environments, and values of Alaska Native cultures




learning needs

SUGGESTED ARTISTS Alvin Amason Sonya Kelliher Combs Nathan Jackson

Bill Reid Ron Senungatuk

SUGGESTED ACTIVITIES (teacher discretion) Tlingit Northwest coast paddles Athabascan beadwork Doll making Clothing design

Yupik spoon Inupiaq soapstone carving Mask carving

Culture is an astonishing and complex improvisation on a theme.

Anonymous

Unknown, Comb, (Haida) Minneapolis Institute of Arts,

Gift of George W. Rickey in memory of Edith L. Rickey


Fairbanks North Star Borough School District Alaska Native Arts - Intermediate Art Curriculum 105 Adopted March 18, 2008

ALASKA NATIVE ARTS Intermediate 1a, 2b

Grades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Alaska Native Arts - Beginning 2b or teacher

recommendation

Unknown, Charm Bag, c. 1870 (Mesquackie, Fox or Sauk))

Minneapolis Institute of Arts, The Tess E. Armstrong Fund http://www.artsMIA.org

COURSE DESCRIPTION: Intermediate Alaska Native Arts is for serious students committed to gaining independence, skill, and knowledge in the field. The course further introduces students to the arts, histories, and cultures of the indigenous people of Alaska. Self-discipline and a willingness to seek new challenges are expected. Students continue to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of Native art forms in Alaska.

Intermediate Alaska Native Arts 2b requires a greater degree of proficiency and higher expectations from students and teacher. Intermediate Alaska Native Arts 1a must be successfully completed before enrolling in 2b.



Continue to use and apply the elements and principles of art: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & begin to apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Continue to develop an Alaskan Native art vocabulary

Demonstrate a basic understanding of color theory and its application in exploring art: study traditional use of color by Alaska Native cultures

Continue to develop intellectual, technical, and expressive competency in Alaska native arts: expand knowledge of Alaska Native cultures

and their art set goals and objectives and record progress

toward meeting them

increase proficiency in the use of a variety of traditional Alaskan materials and processes

continue to develop tool-handling skills while always modeling safe handling techniques

Produce art for exhibit/display





Fairbanks North Star Borough School District Alaska Native Arts - Intermediate Art Curriculum 106 Adopted March 18, 2008

Understand and apply the creative process when developing a work of art: choose a topic or an idea brainstorm identify focus












learning needs



SUGGESTED ACTIVITIES (teacher discretion) carving: ivory, soapstone, baleen wood masks, panels wood bending drum making

beading, quilling sewing: clothing, dolls, banners, blankets basket making

Art is the science of the heart; without it we can never express what we truly feel.

L.C., age 18

Hunting Hat, Unknown, Late 19th Century

Fairbanks North Star Borough School District Alaska Native Arts - Advanced Art Curriculum 107 Adopted March 18, 2008

ALASKA NATIVE ARTS Advanced 1a, 2b

Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Alaska Native Arts - Intermediate 2b or

teacher recommendation

Unknown, Spoon, c. 1880 (T’sa Xoo (Tsimshian or Tlingit))

Minneapolis Institute of Arts, Gift of Alfred and Ingrid Lenz Harrison


COURSE DESCRIPTION: Advanced Alaska Native Arts is for serious art students committed to furthering their independence, skill, and knowledge in the field. Students are expected to expand their knowledge of the arts, histories, and cultures of the indigenous people of Alaska. Self-discipline and a willingness to seek new challenges are expected. Self-motivation and high-expectations are required. Students continue to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of Native art forms in Alaska.

Advanced Alaska Native Arts 2b requires a greater degree of proficiency and higher expectations from students and teacher. Advanced Alaska Native Arts 1a must be successfully completed before enrolling in 2b.




Demonstrate fluency in an Alaskan Native art vocabulary

Demonstrate a basic understanding of color theory and its application in exploring art: study traditional use of color by Alaska Native cultures

Demonstrate exceptional interest and competence in a minimum of one form of Alaska Native Art; explore that form(s) in several ways, working toward a more personal style

Continue to develop intellectual, technical, and expressive competency in Alaska native arts: expand knowledge of Alaska Native cultures

and their art set goals and objectives and record progress

toward meeting them

increase proficiency in the use of a variety of traditional Alaskan materials and processes

demonstrate increased tool-handling skills while always modeling safe handling techniques

Produce art for exhibit/display prepare portfolio presentation using photo documentation

Fairbanks North Star Borough School District Alaska Native Arts - Advanced Art Curriculum 108 Adopted March 18, 2008

















learning needs



SUGGESTED ACTIVITIES (teacher discretion) mature refinement of intermediate course activities: carving: ivory, soapstone, baleen wood masks, panels wood bending drum making

beading, quilling sewing: clothing, dolls, banners, blankets basket making

Telling stories is one of the primary functions of art.

Peter Blume

I look forward to an America which will not be afraid of grace and beauty.

John F. Kennedy

Fairbanks North Star Borough School District Art Workshop Art Curriculum 109 Adopted March 18, 2008

ART WORKSHOP 1a, 2b Grades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None

COURSE DESCRIPTION: Art Workshop is a survey of art experiences designed for beginners. Students experiment with a variety of techniques and materials that may include drawing, painting, printmaking, sculpting, weaving, and pottery. Students learn to create and critique their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. This course stresses the use of the elements and principles of art, the study of artists, the improvement of creative thinking skills, and the process of making informed judgments about art. Students are exposed to the historical and contemporary role of the arts in Alaska, the nation, and the world. Portfolio development may be required. Technology may be applied for reference or support.



Begin to develop a visual arts vocabulary

Complete a variety of art projects successfully: begin to develop basic drawing skills begin to understand and use basic color

theories




Develop skills of observation and image-making

Employ original thought in art production: avoid stereotyped and copied art demonstrate an open-minded approach to


discover a variety of inspirational sources take risks, pushing beyond comfort zone

Begin to understand and apply the creative process when developing a work of art: choose a topic or an idea brainstorm identify focus




Fairbanks North Star Borough School District Art Workshop Art Curriculum 110 Adopted March 18, 2008





learning needs

SUGGESTED ARTISTS Alexander Calder Salvador Dali René Magritte Piet Mondrian

Bridget Riley Auguste Rodin Andy Warhol

SUGGESTED ACTIVITIES: Grid drawing using pencil, colored pencil, and/or

pastels from a student-produced photograph Contour drawing, value shading, and

observational drawing exercises Acrylic painting of an original design color wheel Acrylic painting using layering with masking

tape

Copper tooling; emphasis on texture Collage/Dali surreal project Clay/Calder mobile Contrasto paper/Riley Op Art Weaving; inkle or frame loom Linoleum printing

The execution of a work of art is never as difficult as it’s devising.

Leonardo da Vinci

Fairbanks North Star Borough School District Ceramics - Beginning Art Curriculum 111 Adopted March 18, 2008

CERAMICS Beginning 1a, 2bGrades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None Unknown, Bowl, (Salado),

c. 1250-1450 Minneapolis Institute of Arts, The Francis M. Norbeck Fund


COURSE DESCRIPTION: Beginning Ceramics covers the fundamental skills, knowledge, attitudes, and techniques necessary to begin understanding ceramics. Students learn a variety of hand-building techniques while working with clay and may be introduced to the potter's wheel. They begin to apply design elements and the principles of art. Students learn to critique their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. Students are exposed to the historical and contemporary role of ceramics from various cultures throughout the world. Technology may be applied for reference or support.

Beginning Ceramics 2b requires a greater degree of proficiency and higher expectations from students and teacher. Beginning Ceramics 1a must be successfully completed before enrolling in 2b.

Self-discipline is expected when working with clay and the different tools. Portfolio development may be required. Technology may be applied for reference or support.




Begin to use the elements and principles of art: identify the piece share first impressions describe the use of basic elements


Use a variety of techniques and tools to gain skill in pottery: demonstrate wedging and proper care of clay develop skill in the three basic hand-building

techniques – pinch, coil, slab begin to develop skills on the potter’s wheel

(2b) begin to understand glazing, firing techniques,

and their relationship to clay bodies use a sketchbook/journal to gather and develop


experiment with multiple surface textures and decorating techniques solve a variety of 3-D design problems: conceive and sketch an idea; consider form and function when planning; select appropriate pottery techniques(s); construct the design in 3-D form; and decorate the glaze surface to enhance the form


Fairbanks North Star Borough School District Ceramics - Beginning Art Curriculum 112 Adopted March 18, 2008

Employ original thought in art production avoid stereotyped and copied art discover a variety of inspirational sources

take risks, pushing beyond comfort zone demonstrate an open-minded approach to




Learn critiquing skills: identify the piece share first impressions describe the use of basic elements



various artists past and present understand the history of ceramics as related to

cultures throughout the world



respectful interaction with peers and adults self-motivation and developing ability to meet

own learning needs

SUGGESTED ARTISTS Michael Cardew Shoji Hamada Bernard Leach Maria Martinez

Lucie Rie Anasazi Native Pottery Japanese Traditional “Old Kilns” Mexican Folk Pottery

SUGGESTED ACTIVITIES Pueblo Indian pinch pots Maria Martinez coil pots Slab boxes

Pottery wheel “doggie dish” Rattle Figure in action sculpture

I gradually became aware that each piece of ceramic

was to be a canvas for the fire.

Gerhild Tschachler-Nagy

Copper Pottery

Fairbanks North Star Borough School District Ceramics - Intermediate Art Curriculum 113 Adopted March 18, 2008

CERAMICS Intermediate 1a, 2bGrades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Ceramics - Beginning 2b or teacher recommendation

Moche Pottery, AD 100-750, Northern Peru

COURSE DESCRIPTION: Intermediate Ceramics is for students committed to gaining independence, skill, and knowledge in the field. Self-discipline and a willingness to seek new challenges are expected. Students continue to make critical judgments about their own art and the art of others. They are exposed to the historical and contemporary role of pottery from various cultures throughout the world and are encouraged to relate the beauty and meaning of art to their lives.

Intermediate Ceramics 2b requires a greater degree of proficiency and higher expectations from students and teacher. Intermediate Ceramics 1a must be successfully completed before enrolling in 2b.

Portfolio development may be required. Technology may be applied for reference or support.



Continue to develop a ceramics vocabulary

Continue to develop sensitivity to the elements and principles of art as they relate to 3-D forms

Begin to develop technical and expressive competency in pottery: set goals and objectives and record progress

toward meeting them use a sketchbook/journal regularly to gather

and develop ideas and record results solve challenging problems, take risks, and try a

variety of ways to work

seek mastery in hand-building and throwing techniques

use the elements and principles of art to create aesthetic forms

begin to study the chemistry of clay bodies, glazes, and firing

Demonstrate increased skills of observation and image-making


Employ original thought in art production: avoid stereotyped and copied art discover a variety of inspirational sources



Fairbanks North Star Borough School District Ceramics - Intermediate Art Curriculum 114 Adopted March 18, 2008










respectful interaction with peers and adults self-motivation and developing (refining) ability

to meet own learning needs



SUGGESTED ACTIVITIES Organic smoke fired piece Three-piece set

Human figure sculpture Two thrown pieces incorporated into one

What beauty is I know not, though it adheres to many things.

Albrecht Durer

Jomon pottery vessel reconstructed from fragments

(10,000-8,000 BCE)

Fairbanks North Star Borough School District Ceramics - Advanced Art Curriculum 115 Adopted March 18, 2008

CERAMICS Advanced 1a, 2b

Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Ceramics - Intermediate 2b or teacher recommendation

Mayan Funerary Urn

AD 317-1200

COURSE DESCRIPTION: Advanced Ceramics is for students seeking a higher level of independence, skill, and knowledge in the field. Self-discipline and a willingness to seek new challenges are expected. Students continue to make critical judgments about their own art and the art of others. They are exposed to the historical and contemporary role of pottery from various cultures throughout the world and are encouraged to relate the beauty and meaning of art to their lives.

Advanced Ceramics 2b requires a greater degree of proficiency and higher expectations from students and teacher. Advanced Ceramics 1a must be successfully completed before enrolling in 2b.

Portfolio development may be required. Technology may be applied for reference or support.



Demonstrate fluency in ceramics vocabulary

Continue to develop sensitivity to the elements and principles of art as they relate to 3-D forms

Continue to strive toward mastery in technical and expressive competency: set goals and objectives and record progress

toward meeting them use a sketchbook/journal regularly to gather

and develop ideas and record results solve challenging problems, take risks, and try a

variety of ways to work

use the elements and principles of art to create aesthetic forms

continue to study the chemistry of clay bodies, glazes, and firing





The content, or the subject matter, is not something I set out with like an ingredient in a recipe.

Alison Britton

Fairbanks North Star Borough School District Ceramics - Advanced Art Curriculum 116 Adopted March 18, 2008










respectful interaction with peers and adults self-motivation and developing (refining) ability

to meet own learning needs



SUGGESTED ACTIVITIES Tea set with teapot and at least three identical

tea cups Large Zuni or Pueblo Indian coil pot

Use black clay to make an art history piece comparable to Maria Martinez’s pottery

Once again I sought perfection, and even the search for that is slow.

Michelangelo Buonarroti

Fairbanks North Star Borough School District Drawing & Design Art Curriculum 117 Adopted March 18, 2008

DRAWING & DESIGN 1a, 2b

Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Studio Art 1a, 2b or teacher recommendation

Rembrandt self-portrait

COURSE DESCRIPTION: In this course, students refine their drawing and design skills. A variety of subject matter, materials, and technologies are used to solve 2-dimensional and 3-dimensional problems. Students continue to develop critiquing skills and are encouraged to relate beauty and meaning of art to their lives. They gain an understanding of values, beliefs, ideas, and traditions of various cultures through the study of drawing and design.

Drawing & Design 2b requires a greater degree of proficiency. Portfolio development may be required. Technology may be applied for reference or support.



Continue to develop a visual arts vocabulary



Develop technical and expressive competency in drawing: use the elements and principles of art to create

an aesthetic composition draw expressively and communicate emotions

and ideas use a sketchbook/journal to gather and develop

ideas, set goals, and record results

understand and apply color theory demonstrate effort toward the development of

personal expression, sensitivity, and style select appropriate media and techniques to

best communicate ideas

Continue to employ original thought in art production: avoid stereotyped and copied art discover a variety of inspirational sources take risks, pushing beyond comfort zone

demonstrate an open-minded approach to diversity of ideas and artistic styles

use a sketchbook/journal to gather and develop ideas and record results



Fairbanks North Star Borough School District Drawing & Design Art Curriculum 118 Adopted March 18, 2008




various artists past and present identify art from various Alaska Native cultures

work in a variety of historical and contemporary drawing styles




learning needs

SUGGESTED ARTISTS Leonardo da Vinci Edgar Degas David Hockney Joan Miró Pablo Picasso

John Singer Sargent J.M.W. Turner Rembrandt Harmenszoon van Rijn Vincent van Gogh

SUGGESTED ACTIVITIES Line drawings in various media (e.g., pencil, ball

point, felt tip, charcoal, chalk, conte, India ink) experimenting with different types of line and expressive mark making

Value studies in various media (try studies using both a full and limited range of values and direct and indirect light sources)

Observational still life drawing (opaque and transparent objects, reflective and matte objects, smooth and textural objects, geometric and organic forms)

1-point and 2-point perspective applied to drawings of hallways, stairwells, landscapes, urban environment

Observational figure drawing (contour, gestural, hands/feet, portraits, self-portraits)

Design projects such as book design, illustration, comic book design, caricatures, illuminated letters, logo design, prints, wire sculpture, fabric design, cut/torn paper, positive/negative space, assemblage, collage, stained glass, scratchboard, masks, package design

If I could say it in words there would be no reason to paint.

Edward Hopper

Fairbanks North Star Borough School District Fiber Art Art Curriculum 119 Adopted March 18, 2008

FIBER ART 1a

Grades: 9-12 Length: 1 Semester Credit: .5 Fee: Required Prerequisite: None

Cigar Case, Rye Grass, Anna Snigerof, 1920 (Anchorage Museum at Rasmuson Center)

COURSE DESCRIPTION: In this course students will learn to use various fibers as a medium to produce art. Students learn to create and critique art and are encouraged to relate the beauty and meaning of art to their lives. This course stresses the use of the elements and principles of art, the study of artists, the improvement of creative thinking skills, and the process of learning to make informed judgments about art. Students are exposed to the historical and contemporary role of fiber art in Alaska, the nation, and the world.

Students do not need to be proficient in drawing to enroll. Portfolio development may be required. Technology may be applied for reference or support.




Begin to understand color theory and its application: primary/secondary/tertiary complementary/split complementary

analogous hue, value, intensity

Demonstrate basic skills through various media including fabric, yarn, natural and synthetic fibers: explore traditional techniques such as weaving,

knitting, crochet, twining, and felting learn to combine techniques and materials in

unique ways

learn compositional skills and experiment with different compositions

incorporate found objects with fibers


various textile/fiber artists past and present identify art from Alaska Native cultures




Fairbanks North Star Borough School District Fiber Art Art Curriculum 120 Adopted March 18, 2008








learning needs

SUGGESTED ARTISTS Martha Borders Melody Crust Judy Zoelzer Levine

Maya Schönenberger Nadine Spier Carol Watkins

SUGGESTED ACTIVITIES Braiding, twining, finger weaving, macramé

using various fibers Crocheting and knitting Sewing various fibers; free-form embellishment

Simple looms: card weaving, band weaving Felting Papermaking; bookbinding Dyeing, printing, stamping

There’s nothing quite as beautiful as the unintentional.

Lyle Carbajal

Fairbanks North Star Borough School District Graphic Design Art Curriculum 121 Adopted March 18, 2008

GRAPHIC DESIGN 1a, 2bGrades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Studio Art 1a, 2b or teacher recommendation

COURSE DESCRIPTION: Graphic Design is the creative planning and execution of visual communication. This course introduces art intended to communicate information and advertising. The focus is on studying and using layout and concepts used in the graphic design field. Analog (drawing with pencil) and digital (computer programs) media will be used to do the drawing, layout, typography, scanning, and photography involved in the production of visual communication.






Develop technical and expressive competency in drawing: use the elements and principles of art to create

an aesthetic composition draw expressively and communicate emotions

and ideas use a sketchbook/journal to gather and develop

ideas, set goals, and record results

understand and apply color theory demonstrate effort toward the development of

personal expression, sensitivity, and style select appropriate media and techniques to

best communicate their ideas

Continue to employ original thought in art production: avoid stereotyped and copied art discover a variety of inspirational sources take risks, pushing beyond comfort zone







Fairbanks North Star Borough School District Graphic Design Art Curriculum 122 Adopted March 18, 2008







learning needs

SUGGESTED ARTISTS (match designer to lesson focus) Hornell Anderson Design Works,

Seattle, WA Jeremy Blake

Byron Rogers Ann Zhuravieva

SUGGESTED ACTIVITIES Design a self-promotional graphic poster that

includes typography Alter a photograph of yourself or a family

member using Photoshop Design a label for an imaginary product

New artists must break a hole in the subconscious and go fishing there.

Hale

Graphic design is the process of communicating visually using typography and images to present information. Below is an example of graphic design from another country.

Jules Cheret; Chaix and De Malberbie, Jardin de Paris, , c. 1895 Minneapolis Institute of Arts, Gift of Bruce B. Dayton


Fairbanks North Star Borough School District Honors Art/Portfolio Development Art Curriculum 123 Adopted March 18, 2008

HONORS ART/PORTFOLIO DEVELOPMENT 1a, 2b

Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Drawing & Design 1a, 2b or teacher recommendation

COURSE DESCRIPTION: Honors Art is a course designed for serious art students with a commitment to develop their technical skills in 2-dimensional or 3-dimensional art. Through supervised study, students will build a portfolio that demonstrates an ability to solve a variety of artistic problems and work with many approaches. Self-discipline and a willingness to seek new challenges are demanded. Students continue to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. Students are expected to investigate the historical and contemporary role of art throughout the world.

Portfolio development is required. Technology may be applied for reference or support.



Understand and use a visual arts vocabulary at a highly proficient level

Develop a portfolio that shows a high degree of accomplishment: create works that exhibit a synthesis of form,

technique, and content create works that exhibit personal expression,

sensitivity, and style

create works that demonstrate broad experience and a high degree of success

evaluate works of art in written and verbal form

Prepare art for portfolio submission: photograph completed artwork create a slide and/or digital portfolio

Use original thought in art production: avoid stereotyped and copied art discover a variety of inspirational sources take risks, pushing beyond comfort zone


develop an individual artistic voice

Use a sketchbook/journal to gather and develop ideas, set goals, and record results

Understand and apply the creative process in an advanced manner: choose a topic or an idea brainstorm identify focus


Fairbanks North Star Borough School District Honors Art/Portfolio Development Art Curriculum 124 Adopted March 18, 2008

Proficiently use critiquing skills of work in progress and finished pieces: identify the piece share first impressions describe the use of basic elements


Demonstrate an increased awareness of historical and multicultural influences in art




learning needs

You use a glass mirror to see your face; you use works of art to see your soul.

George Bernard Shaw

My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can. Drawing is still basically the same

as it has been since prehistoric times. It brings together man and the world.

It lives through magic.

Keith Haring

Fairbanks North Star Borough School District Jewelry - Beginning Art Curriculum 125 Adopted March 18, 2008

JEWELRY Beginning 1a, 2b Grades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None

Byzantine wedding ring

COURSE DESCRIPTION: Beginning Jewelry covers the fundamental skills, knowledge, attitudes, and technology necessary to begin to understand jewelry. Various jewelry-making processes are explored as students work with different materials and tools. Students learn to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of jewelry throughout the world.

Beginning Jewelry 2b requires a greater degree of proficiency and higher expectations from students and teacher. Beginning Jewelry 1a must be successfully completed before enrolling in 2b.




Begin to develop a jewelry vocabulary

Demonstrate jewelry design skills through the use of various materials and processes: become proficient cutting, soldering, annealing,

bending, and forging metals create jewelry that may include rings,

bracelets, earrings, and necklaces learn several finishing techniques and surface

treatments

create figurative and nonfigurative designs use a sketchbook/journal to gather and develop



Develop skills of observation and image making






Fairbanks North Star Borough School District Jewelry - Beginning Art Curriculum 126 Adopted March 18, 2008




various artists past and present recognize jewelry from various Alaska Native

cultures




learning needs

SUGGESTED ARTISTS Abrasha Andy Cooperman Linda Darty Robert Ebendorf Arline Fisch

Judy Gumm Nancy Linkin Barbara Minor Turid Senungetuk Denise & Samuel Wallace

SUGGESTED ACTIVITIES Rings Pendants Keyrings in a variety of materials

Metal work – sawing, piercing, soldering Metal fasteners – simple hook, toggle clasps,

hook and ring Metal chains

If the world were clear, art would not exist. Art helps us pierce the opacity of the world.

Albert Camus

Fairbanks North Star Borough School District Jewelry - Intermediate Art Curriculum 127 Adopted March 18, 2008

JEWELRY Intermediate 1a, 2b

Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Jewelry - Beginning 2b or teacher

recommendation

Unknown, Ketoh,, (Dine Navaho)),

c. 1920 Minneapolis Institute of Arts, Bequest of Virginia Doneghy


COURSE DESCRIPTION: Intermediate Jewelry continues to cover the fundamental skills, knowledge, attitudes, and technology necessary to begin to understand jewelry. Various jewelry-making processes are explored as students work with different materials and tools. Students learn to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of jewelry throughout the world.

Intermediate Jewelry 2b requires a greater degree of proficiency and higher expectations from students and teacher. Intermediate Jewelry 1a must be successfully completed before enrolling in 2b.




Continue to develop a jewelry vocabulary



bracelets, earrings, and necklaces

learn several finishing techniques and surface treatments










Fairbanks North Star Borough School District Jewelry - Intermediate Art Curriculum 128 Adopted March 18, 2008





cultures




learning needs



SUGGESTED ACTIVITIES Rings Pendants Keyrings in a variety of materials Polymer clay beads Lamp worked beads

Macramé knotting techniques Metal work – sawing, piercing, soldering Metal fasteners – simple hook, toggle clasps,

hook and ring Metal chains

My pieces tell a story, and people who buy them become

storytellers.

Denise Wallace

Fairbanks North Star Borough School District Jewelry - Advanced Art Curriculum 129 Adopted March 18, 2008

JEWELRY Advanced 1a, 2b Grades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Jewelry - Intermediate 2b or teacher recommendation

COURSE DESCRIPTION: Advanced Jewelry continues to build on the skills, knowledge, attitudes, and technology necessary create jewelry. Various jewelry-making processes are explored as students work with different materials and tools. Students learn to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of jewelry throughout the world.

Advanced Jewelry 2b requires a greater degree of proficiency and higher expectations from students and teacher. Advanced Jewelry 1a must be successfully completed before enrolling in 2b.




Continue to develop a jewelry vocabulary



bracelets, earrings, and necklaces

learn several finishing techniques and surface treatments










Fairbanks North Star Borough School District Jewelry - Advanced Art Curriculum 130 Adopted March 18, 2008





cultures




learning needs



SUGGESTED ACTIVITIES Lost wax casting Polymer clay beads Beading techniques Cuttle fish casting

Stone setting – bezel Build on the suggested activities from

Intermediate Jewelry

Jewelry is an art form... in conceptualizing designs for Tiffany,

I worked as I always do, sketching and creating models. Sculptors and painters have inspired me with their ability to make things

with their own hands. This process led to the discovery of new ways to give feeling and spirit to form, and realize our shared vision

of jewelry that provides a beautiful context for living now.

Frank Gehry

Jade Coiled Serpent, Han Dynasty

202 BC - 220 AD

Fairbanks North Star Borough School District Painting Art Curriculum 131 Adopted March 18, 2008

PAINTING 1a, 2b Grades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Studio Art 1a, 2b or teacher recommendation

COURSE DESCRIPTION: This course develops students' understanding of color theory and painting skills. Students explore a variety of painting media, approaches, techniques, surfaces, and technologies. They continue to critique their own art and the art of others. They are encouraged to relate beauty and meaning of art to their lives and to develop an understanding of values, beliefs, ideas, and traditions of various cultures through the study of art. Portfolio development may be required. Technology may be applied for reference or support.



Begin to develop a painting vocabulary

Use a variety of media and techniques to acquire skill in painting: understand and apply color theory experiment with various painting techniques paint on various painting surfaces

use the elements and principles of art to create aesthetic compositions

paint expressively and communicate emotions and ideas



Continue to employ original thought in art production: avoid stereotyped and copied art discover a variety of sources of inspiration take risks, pushing beyond comfort zone





Continue practicing critiquing skills: identify the piece share first impressions describe the use of basic elements


Fairbanks North Star Borough School District Painting Art Curriculum 132 Adopted March 18, 2008



work in a variety of historical and contemporary painting styles




learning needs

SUGGESTED ARTISTS Mary Cassatt Cézanne Chuck Close Leonardo da Vinci Lyonel Feininger Francisco Goya Henri Matisse

Claude Monet Alice Neel Pablo Picasso Robert Rauschenberg Diego Rivera Frank Stella Vincent van Gogh

SUGGESTED ACTIVITIES Watercolor landscapes or still life Crayon resist animals or birds Build canvas for acrylic painting of a self-

portrait, mirror image, or reflection Masking tape painting with acrylic and/or

tempera, non-objective abstract, or cubism

Watercolor pencil gesture drawing through observation, then wash over pencil

Pen and ink drawings of skeleton and/or bones Scratch board of textures with watercolor

washes Multi-media theme piece using magazines, gel

medium, watercolor

There is no blue without yellow and without orange.

Vincent Van Gogh (1888)

Through a painting we can see the whole world.

Hans Hoffman

Fairbanks North Star Borough School District Photography - Beginning Art Curriculum 133 Adopted March 18, 2008

PHOTOGRAPHY Beginning 1a, 2bGrades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None

COURSE DESCRIPTION: Beginning Photography covers the fundamental skills, knowledge, attitudes, and techniques necessary to begin understanding the photographic process. Students learn the basic functions of a manual SLR 35-mm camera, and/or a digital camera, how to process black and white film, and/or digital photographic images, and print film negatives and positives and/or print photographic digital imagery. Students will learn design elements and principles of art and begin to apply them to their work. Students learn to make critical judgments about their own art and the art of others. Students are exposed to the historical and contemporary role of photography throughout the world and are encouraged to relate the beauty and meaning of photographic art to their lives. Extensive out-of-class work is required to be successful in photography.

Beginning Photography 2b requires a greater degree of proficiency and higher expectations from students and teacher. Beginning Photography 1a must be successfully completed before enrolling in 2b.

A safety test must be passed before students are allowed to use potentially harmful tools, chemicals, materials, or machinery. Portfolio development may be required. Technology may be applied for reference or support.



Begin to develop a photography vocabulary

Use a variety of techniques and tools to gain skill in photography: demonstrate proper use and care of the 35mm

manual camera and/or the digital camera and photography lab equipment

follow the procedures in handling, processing, and printing black and white film and/or in processing and printing digital photographic imagery

troubleshoot negatives and prints and/or digital imagery

take pictures outside of class time learn advanced exposure techniques (2b)

Prepare photographs for exhibit/display (2b): learn and demonstrate how to prepare a print for display

Begin to develop skills of observation as related to photographic image-making

Fairbanks North Star Borough School District Photography - Beginning Art Curriculum 134 Adopted March 18, 2008








learning needs

SUGGESTED ARTISTS Ansel Adams Richard Avedon Edward S. Curtis Anne Geddes

Dorothea Lange Annie Liebovitz Alfred Steichen Edward Steichen

SUGGESTED ACTIVITIES Make a timeline of the significant developments

in the history of photography Construct and use a pinhole camera; link with

the history of photography and camera obscura Make a photogram Cover basic camera operation and function

Practice reading the light meter in class activity Focus on the shutter and its function [motion

assignment] Focus on the aperture and its function [depth of

field assignment] Understand photographic composition

I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.

Dorothea Lange, Photographer

Fairbanks North Star Borough School District Photography - Intermediate Art Curriculum 135 Adopted March 18, 2008

PHOTOGRAPHY Intermediate 1a, 2bGrades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Photography - Beginning 2b or teacher

recommendation

COURSE DESCRIPTION: Intermediate Photography is for serious students committed to gaining independence, skill, and knowledge in the photographic process. It covers and expands the fundamental skills, knowledge, attitudes, and techniques necessary to advance in photography. Emphasis will be on refining camera work, composition, visual concepts; exposure, development of the negative, and printing skills in black and white. Students are expected to apply the elements and principles of design to their work. Students make critical judgments about their own art and the art of others. They are exposed to the historical and contemporary role of photography throughout the world and are encouraged to relate the beauty and meaning of photographic art to their lives. Self-discipline is a must since extensive out-of-class work is required. Intermediate Photography 2b is a continuation of Intermediate Photography 1a.

Intermediate Photography 2b requires a greater degree of proficiency and higher expectations from students and teacher. Intermediate Photography 1a must be successfully completed before enrolling in 2b.




Continue to develop a photography vocabulary

Use a variety of techniques and tools to advance skill in photography: demonstrate proper use and care of the 35mm




take pictures outside of class time learn advanced exposure techniques

Prepare photographs for exhibit/display: prepare photographic prints for display and portfolio

Continue to develop skills of observation as related to photographic image-making

Fairbanks North Star Borough School District Photography - Intermediate Art Curriculum 136 Adopted March 18, 2008

Continue to understand and apply the creative process: choose a topic or an idea brainstorm identify focus







learning needs



SUGGESTED ACTIVITIES Advanced exposure techniques: 18% gray and

metering Bracket exposures Photograph people; old things; texture, shape,

form; winter landscape Abstract photography

Narrative sequence Panoramic assignment Advanced darkroom techniques: split filter

printing vs. single filter printing Exposure for specific tones Portfolio development

One should really use the camera as though tomorrow you’d be stricken blind.

Dorothea Lange

Fairbanks North Star Borough School District Photography - Advanced Art Curriculum 137 Adopted March 18, 2008

PHOTOGRAPHY Advanced 1a, 2bGrades: 10-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Photography - Intermediate 2b or teacher

recommendation

COURSE DESCRIPTION: Advanced Photography is for serious students committed to gaining independence, skill, and knowledge in the photographic process. It covers and expands the fundamental skills, knowledge, attitudes, and techniques necessary to advance in photography. Emphasis will be on refining camera work, composition, visual concepts; exposure, development of the negative, and printing skills in black and white. Students are expected to apply the elements and principles of design to their work. Students make critical judgments about their own art and the art of others. They are exposed to the historical and contemporary role of photography throughout the world and are encouraged to relate the beauty and meaning of photographic art to their lives. Self-discipline is a must since extensive out-of-class work is required. Advanced Photography 1a is a continuation of Intermediate Photography 1a & 2b.

Advanced Photography 2b requires a greater degree of proficiency and higher expectations from students and teacher. Advanced Photography 1a must be successfully completed before enrolling in 2b.




Continue to develop a photography vocabulary

Use a variety of techniques and tools to advance skill in photography: demonstrate proper use and care of the 35mm




take pictures outside of class time learn advanced exposure techniques

Prepare photographs for exhibit/display: prepare photographic prints for display and portfolio

Continue to develop skills of observation as related to photographic image-making

Fairbanks North Star Borough School District Photography-Advanced Art Curriculum 138 Adopted March 18, 2008

Continue to understand and apply the creative process: choose a topic or an idea brainstorm identify focus







learning needs



SUGGESTED ACTIVITIES Advanced exposure techniques: 18% gray and

metering and the zone system Exposure for specific tones Portfolio development

Not everybody trusts paintings but people believe photographs.

Ansel Adams

Fairbanks North Star Borough School District Printmaking Art Curriculum 139 Adopted March 18, 2008

PRINTMAKING 1a, 2b Grades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Studio Art 1a, 2b or teacher recommendation

COURSE DESCRIPTION: Printmaking is an art of making multiple originals. Students will learn the history of the field and explore various processes such as silk screening, lithography, monoprinting, etching, and woodcuts. This course stresses the use of the elements and principles of art and the improvement of creative thinking skills. Students continue to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They gain an understanding of values, beliefs, ideas, and traditions of various cultures through the study of printmaking.

Printmaking 1a must be successfully completed before enrolling in 2b. Printmaking 2b requires a greater degree of proficiency and higher expectations from students and teacher. A safety test must be passed before students are allowed to use potentially harmful tools, chemicals, materials, or machinery. Portfolio development may be required. Technology may be applied for reference or support.



Develop a printmaking vocabulary


Continue to demonstrate increased skills of observation and image-making

Experiment with various ways to create prints while exploring the potential and limits of different printmaking processes: use silkscreen, relief, and intaglio processes create single and multiple color prints experiment by printing on various papers and

surfaces demonstrate an understanding of the impact of

computer technology on printmaking

design a computer-generated print if technology is available

create an edition of prints from at least three different plates


Demonstrate an increased understanding and application of the creative process: choose a topic or an idea brainstorm identify focus


Fairbanks North Star Borough School District Printmaking Art Curriculum 140 Adopted March 18, 2008



Demonstrate an increased awareness of historical and multicultural influences in art by studying printmakers – past and present




learning needs

SUGGESTED ARTISTS Mary Cassatt Currier & Ives Winslow Homer Edward Hopper Jasper Johns

Wassily Kandinsky Paul Klee Rembrandt Harmenszoon van Rijn Andy Warhol Baffin Island Printmakers

SUGGESTED ACTIVITIES Linoleum printing landscape Wood block self-portrait that may include an

embossed print on watercolor paper Masking tape on silkscreen, non-objective

design Rubylith® on silkscreen of an original logo

Photosensitive emulsion on silkscreen of an original T-shirt design, bumper sticker, spirit design, or locker sticker design

Collograph or lithograph of a cityscape or waterscape

Monoprint of a gesture drawing

Whatever the artist makes is always some kind of self-portrait.

Marisol

Fairbanks North Star Borough School District Sculpture Art Curriculum 141 Adopted March 18, 2008

SCULPTURE 1a, 2b Grades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Studio Art 1a & 2b or teacher recommendation

Woman’s Head, Amedeo Modigliani, 1912

COURSE DESCRIPTION: This course covers the fundamental skills, knowledge, attitudes, and technology necessary to begin to understand sculpture. Various sculptural processes are explored, and students work with a variety of materials and tools. Students learn to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. They are exposed to the historical and contemporary role of sculpture throughout the world.

Sculpture 2b requires a greater degree of proficiency and higher expectations from students and teacher. Sculpture 1a must be successfully completed before enrolling in 2b.




Begin to develop a sculpture vocabulary

Demonstrate 3-D design skills through the use of various materials and processes: create sculpture using modeling, carving, and

assemblage techniques work in various media such as paper, plaster,

wood, wire, clay, soapstone, and found objects

create figurative, abstract, and non-objective art use a sketchbook/journal to gather and develop



Continue to develop skills of observation and image-making


take risks, pushing beyond comfort zones demonstrate an open-minded approach to




Fairbanks North Star Borough School District Sculpture Art Curriculum 142 Adopted March 18, 2008

Continue practicing critiquing skills: identify the piece share first impressions describe the use of basic elements








learning needs

SUGGESTED ARTISTS Michelangelo Buonarroti Alexander Calder Leonardo da Vinci Andy Goldsworthy Alberto Gracometti

Amedeo Modigliani Henry Moore Louise Nevelson Auguste Rodin

SUGGESTED ACTIVITIES Clay - realistic, modeled figures Soapstone – Henry Moore simplified, stylized

figures Alabaster – nonobjective sculpture Altered theme books

Wood carved culture mask Nevelson assemblage using wood scraps Plaster sculpture of hand(s) in action, using

gauze or blocks

Sculpture is an art of hollows and projections.

Auguste Rodin (1926)

Every block of stone has a statue inside it and it is the task of the sculptor to discover it.

Michelangelo Buonarotti

Fairbanks North Star Borough School District Special Topics in Art Art Curriculum 143 Adopted March 18, 2008

SPECIAL TOPICS IN ART 1a, 2bGrades: 11-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: Drawing & Design 1a or teacher recommendation

COURSE DESCRIPTION: Special Topics in Art provides serious art students an opportunity to investigate individual interest areas in the visual arts through supervised study. Self-discipline and a willingness to seek new challenges are expected. Students continue to make critical judgments about their own art and the art of others and are encouraged to relate the beauty and meaning of art to their lives. Students are expected to investigate the historical and contemporary role of art throughout the world.

Portfolio development is required. Technology may be applied for reference or support.





Develop increased skills of observation and image-making

Demonstrate exceptional interest and competence in at least one art expression, exploring it in several ways and working toward a more personal style

Develop a plan of study in collaboration with the teacher: set goals and objectives and record progress research topic(s)

seek and accept input from teacher and peers







Fairbanks North Star Borough School District Special Topics in Art Art Curriculum 144 Adopted March 18, 2008

Continue practicing critiquing skills and develop skills of critiquing a work in progress: identify the piece share first impressions describe the use of basic elements

analyze the use of basic principles interpret meaning and the artist’s intent express and defend an informed opinion (judge

last)

Demonstrate an increased awareness of historical and multicultural influences in art:




learning needs

SUGGESTED ARTISTS (different artists depending on the media being used)

Michelangelo Buonarroti Leonardo da Vinci

Keith Haring Frank Lloyd Wright

SUGGESTED ACTIVITIES Teacher and student develop activities and projects that will increase the student’s artistic skill in a variety of media critiques, self-evaluation, and teacher evaluation

The artist must train not only his eye but also his soul.

Wassily Kandinsky (1912)

Fairbanks North Star Borough School District Studio Art Art Curriculum 145 Adopted March 18, 2008

STUDIO ART 1a, 2bGrades: 9-12 Length: 1 or 2 Semesters Credit: .5 or 1 Fee: Required Prerequisite: None

Madame Palmyre and her Dog, Toulouse Lactrec, 1897

COURSE DESCRIPTION: Studio Art is recommended as a foundation for most other art courses. This primarily two-dimensional course covers fundamental skills, knowledge, attitudes, and technology necessary to begin producing and understanding the visual arts. Students learn to create and critique art and are encouraged to relate the beauty and meaning of art to their lives. This course stresses the use of the elements and principles of art, the study of artists, the improvement of creative thinking skills, and the process of learning to make informed judgments about art. Students are exposed to the historical and contemporary role of the arts in Alaska, the nation, and the world.

Studio Art 2b requires a greater degree of proficiency and higher expectations from students and teachers. Studio Art 1a must be successfully completed before enrolling in 2b.

Students do not need to be proficient in drawing to enroll. Portfolio development may be required. Technology may be applied for reference or support.




Begin to understand color theory and its application: primary/secondary/tertiary complementary/split complementary

analogous hue, value, intensity

Demonstrate basic skills though various media including drawing, painting, printmaking, and mixed media: explore basic drawing techniques such as

gesture, shading, contour line learn and demonstrate different ways to show

perspective

learn compositional skills and experiment with different compositions

work with transparent and opaque media


various artists past and present identify art from Alaska Native cultures




Fairbanks North Star Borough School District Studio Art Art Curriculum 146 Adopted March 18, 2008








learning needs

SUGGESTED ARTISTS Salvador Dali (surrealism) Dale DeArmond (printmaking) Juan Gris (cubism) Keith Haring Alexei Jawlensky (expressionism) Jasper Johns Kathe Kollwitz (printmaking) René Magritte (surrealism)

Maria Martinez Henry Moore Edvard Munch (expressionism) Gabriele Munter (expressionism) Georgia O’Keeffe Pablo Picasso (cubism) Jackson Pollock German Expressionists (printmaking)

SUGGESTED ACTIVITIES Calligraphic line Clay masks Contour line drawing Fabric painting Grid drawing Landscape painting Logo design Optical art Painting – watercolor and acrylic Papier-mâché

Perspective Printmaking – stamp prints, linoleum prints,

monoprints, embossed prints Shading techniques in various media Soapstone carving Stippling Unique color wheel design Wire sculpture Wood cut or linoleum printing

Iron rusts from disuse, stagnant water loses its purity, and in cold weather becomes frozen; even so does inaction sap the vigors of the mind.

Leonardo da Vinci

Anatomical Studies, Leonardo da Vinci

Fairbanks North Star Borough School District AP Art History Art Curriculum 147 Adopted March 18, 2008

Advanced Placement (AP) ART HISTORY Grades: 11-12 Length: 2 Semesters Credit: 1 Fee: Required Prerequisite: teacher recommendation

Hieroglyph

COURSE DESCRIPTION: Advanced Placement (AP) Art History gives students the opportunity to pursue college-level art history studies while still in high school. Students study history by examining the major forms of artistic expression from prehistoric to contemporary times. This examination of the role of visual art is not taught in a vacuum but within the essential contexts of history, geography, politics, religion, and culture. Students contemplate the development of civilization, considering issues such as gender, patronage, functions, and effects of art by studying individual cultures as they are reflected in art history. Students learn to look at works of art critically, with intelligence and sensitivity, and to articulate what they see or experience. The class follows the advanced placement course description for art history as set forth by the College Board.

Students must exhibit a willingness to work and to experiment as would be required in a similar college level course Portfolio development is required. Technology may be applied for reference or support. The AP exam is strongly encouraged.


Learn and discuss art in terms of the elements and principles of art: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Develop and use a visual arts vocabulary


Develop a critical attitude toward all forms of visual experience: skillfully use the principles of aesthetics

(elements and principles of art) skillfully use comparative criticism understand the relationships of form and

function

Use critiquing skills competently in verbal and written form

Become knowledgeable about art from prehistoric through contemporary times within the contexts of history, geography, politics, religion, and culture; includes all major civilizations worldwide as defined by the College Board requirements

Identify characteristics particular to periods, schools, and artists

Develop an awareness of the relationship between art and the development of civilizations

Demonstrate personal responsibility through: efficient use of class time respectful interaction with peers and adults

self-motivation and developing (refining) ability to meet own learning needs

Fairbanks North Star Borough School District AP Art History Art Curriculum 148 Adopted March 18, 2008

Reflect on and perceive the historical and contemporary role of the arts: recognize world cultures and their art recognize the role of tradition and ritual in art investigate the relationship of art to the

individual, society, and the environment recognize universal themes in the arts such as

love, war, childhood, and community

recognize specific works of art created by artists from diverse backgrounds

explore similarities and differences in the art of world cultures

respect differences in personal and cultural perspectives

investigate careers in art/art-related fields AK Content Standards: A.A.7; A.B.1-9; A.C.6; A.D.8; E/LA.E.4; M.E.3; S.C.8; GY.B.3-5, 7-8; GY.D.1, 4; GY.E.1, 4; GY.F.1-2, 6; G/C.B.2; G/C.C.4, 6; G/C.G.7; H.A.1-2, 4-9; H.B.1-5; WL.B.2; T.E.6, 8; CS.B.1; CS.E.4-8

Reflect on art critically: learn and apply the criteria used to evaluate art examine historical and contemporary works of

art

recognize and consider artistic expression exhibit appropriate audience skills

AK Content Standards: A.C.1-4; E/LA.B.1-3; E/LA.D.1a-d, 2-4; E/LA.E.4; M.B.6; S.D.6; H.C.3-4

Perceive beauty and meaning through art: make statements about the significance of the

arts and beauty in the student's life discuss what makes an object a work of art recognize that people tend to devalue what

they do not understand listen to another individual's beliefs about a


consider another culture's beliefs about works of art

recognize that people connect many aspects of life through the arts

make artistic choices in everyday living

AK Content Standards: A.D.1-7; E/LA.E.4; S.C.8; GY.F.6; G/C.C.4, 6; G/C.G.7; H.A.1-2, 4-9; H.B.1-5; HL.B.2; HL.C.6; HL.D.4; T.E.4, 6, 8; CS.B.1; CS.E.4-8 AK Content Standards for Art and History: E/LA.A.1-8; E/LA.B.1-3; E/LA.C.1-5; E/LA.E.1-2, 4; M.A.6; GY.A.1; GY.B.3-5; G/C.A.4; H.A.1-9; H.B.1-5; H.C.1-4; H.D.1-6; A.A.4; A.B.1-9; A.C.1-6; A.D.1-8; T.A.1-5; T.B.1-3

Girl with a Pearl Earring, Jan Vermeer, 1865-67

Philosophy is said to begin in wonder and end in understanding.

Art departs from what has been understood

and ends in wonder.

John Dewey

Fairbanks North Star Borough School District AP Studio Art: 2-D Design Art Curriculum 149 Adopted March 18, 2008

Advanced Placement (AP) STUDIO ART: 2-D DESIGN Grades: 11-12 Length: 2 Semesters Credit: 1 Fee: Required Prerequisite: Drawing & Design 1a, 2b and teacher recommendation

COURSE DESCRIPTION: Advanced Placement (AP) Studio Art: 2-D Design is intended for highly motivated students who are seriously interested in developing mastery in design, preparing a portfolio, and working at the college level in high school. AP Studio Art: 2-D Design students work to guidelines established by the National College Board, with the objective to develop a comprehensive portfolio in a variety of design themes and techniques. Technology may be applied for reference or support.

This course requires significantly more commitment and accomplishment than the typical high school art course. Students are expected to do extensive work outside of class. AP Studio Art: 2-D Design is not based on a written examination; instead, students submit portfolios for evaluation to the National College Board at the end of the school year.


Master the use of the elements and application of the principles: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Understand and use a visual arts vocabulary

Students will work to guidelines established by the National College Board to create a portfolio that consists of three sections - breadth, concentration, and quality: investigate all three sections while developing

mastery in concept, composition, and execution create works that demonstrate broad

experience and accomplishment

create a series of works organized around a visual idea


Prepare art for exhibit/display and final portfolio submission: mount/mat 2-D works of art create a slide and/or digital portfolio

Master skills of observation and image-making

Advanced use of original thought in art production: avoid stereotyped and copied art discover a variety of sources of inspiration take risks, pushing beyond comfort zone

develop an individual artistic voice demonstrate an open-minded approach to

diversity of ideas and artistic style



Understand advanced application of the creative process: choose a topic or an idea brainstorm identify focus








learning needs

SUGGESTED ARTISTS Ansel Adams Diane Arbus Romere Bearden Imogene Cunningham Edward Curtis Stuart Davis Max Earnst Keith Haring Hannah Hoch Katsushika Hokusai William Johnson

Barbara Krueger Dorothea Lange Jacob Lawrence Sherrie Levine Piet Mondrian Robert Motherwell Gabriele Munter Robert Rauschenberg Faith Ringgold Andres Serrano Miriam Shapiro

Cindy Sherman Jaune Quick-to-See Smith Nancy Spero Pat Stier Paul Strand Masami Teraoka Edouard Vuillard Edward Weston David Wojnarowicz Andrew Wyeth

SUGGESTED ACTIVITIES Students must produce a body of work that demonstrates a range of abilities and versatility with technique, problem-solving, and ideation. This may include, but is not limited to, graphic design, typography, digital imaging, photography, college, fabric design, weaving, illustration, painting, or printmaking.

Spatial Investigation: introduce color and complex variations to include spatial depth

Color Theory: explore the complexity of color using limited palettes

Abstractions: stylize individual objects, interior spaces of the figure

Curved and Angled Compositions: explore existing forms using curved and angled shapes

Photograms: explore repetitive patterns and other variations

(Digital) Portraits: combine various (digital) effects and processes

(Digital) Landscape: experiment with filters and special effects to create metaphysical forms

Still Life as Design: approach the still life as a study in color manipulation and stylization of the 2-D elements

Fabric Design: create a swatch of fabric using the internal structure of a fruit or vegetable to create a non-directional pattern

Opposites Attract: create a drawing of two opposite objects, creating unity between the objects through line, color, etc.

Art is the difference

between seeing and just identifying.

Jean Norman


Advanced Placement (AP) STUDIO ART: 3-D DESIGN Grades: 11-12 Length: 2 Semesters Credit: 1 Fee: Required Prerequisite: Ceramics – Intermediate 1a, 2b and teacher recommendation

COURSE DESCRIPTION: Advanced Placement (AP) Studio Art: 3-D Design is intended for highly motivated students who are seriously interested in developing mastery in sculpture and ceramics and working at the college level in high school. AP Studio Art: 3-D Design Portfolio students work to guidelines established by the National College Board, with the objective to develop a comprehensive portfolio in a variety of design themes and techniques. Technology may be applied for reference or support.

This course requires significantly more commitment and accomplishment than the typical high school art course. Students are expected to do extensive work outside of class. AP Studio Art: 3-D Design is not based on a written examination; instead, students submit portfolios for evaluation to the National College Board at the end of the school year.


Advanced use of the elements and application of the principles: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Understand and use a visual arts vocabulary at an advanced level

Students will work to guidelines established by the National College Board to create a portfolio that consists of three sections – breadth, concentration, and quality: investigate all three sections while developing

mastery in concept, composition, and execution create works that exhibit a synthesis of form,

technique, and content create works that demonstrate broad




Prepare art for portfolio submission: create a slide and/or digital portfolio photograph finished 3-D artwork


Advanced use of original thought in art production: avoid stereotyped and copied art discover a variety of sources of inspiration













learning needs

SUGGESTED ARTISTS Robert Arneson Gian Lorenzo Bernini Louise Bourgeois Constantin Brancusi Michelangelo Buonarroti Debra Butterfield Alexander Calder Kathleen Carlo Joseph Cornell Luca della Robbia Jean Dubuffet Marcel Duchamp

Alberto Giacometti Red Grooms Barbara Hepworth Eva Hesse John Hoover Alan Houser Edward Kienholz Maya Lin Bonnie Lucas Marisol Maria Martinez Ana Mendieta

Henry Moore Bruce Nauman Louise Nevelson Claus Oldenburg Judy Pfaff Margaret Prentice Frank & Mary Regis Fran Reed August Rodin Betye Saar Jim Schoppert George Segal

Ron Senungetuk Sandy Skoglund David Smith Kiki Smith Renee Stout Toshiko Takaezu Lenore Tawney Anne Truitt Peter Voulkos Jacie Windsor Frank Lloyd Wright

SUGGESTED ACTIVITIES Through direct teacher instruction, students will learn a variety of concepts and approaches in technique, problem-solving, and ideation. Activities may include, but are not limited to: Cast plaster figure sculpture – plaster figure or

sculpture group (Segal) Observational clay figure sculpture (Rodin) Assemblage – found object sculpture (Cornell,

Lucas, Marisol, Prentice, Saar) Manipulated thrown cylinder – sculpt a

geometric cylinder to become an organic shape Transformation – figure of animal into machine Scapes/Windows – surreal space cube or word

play box Pictorama – create a storyboard in clay or foam

core (Grooms) Intuitive creativity – double-sided sculpture/

duality

Organic abstractions – carve organic shape in plaster and add wire, string, paint, and piercings (Hepworth)

Linear/figurative wire sculpture using techniques like braiding, twisting, stacking, bending, wrapping, crimping, or weaving (Giacometti)

Clay portrait bust Installation – large scale sculpture for a specific

site (Pfaff, Skoglund) Geometric relief construction – wood (Nevelson) Alaska Native inspired carving in wood or

soapstone

I do not want art for a few any more than I want education

for a few or freedom for a few.

William Morris

Fairbanks North Star Borough School District AP Studio Art: Drawing Art Curriculum 153 Adopted March 18, 2008

Advanced Placement (AP) STUDIO ART: DRAWING Grades: 11-12 Length: 2 Semesters Credit: 1 Fee: Required Prerequisite: Drawing & Design 1a, 2b and teacher

recommendation

COURSE DESCRIPTION: Advanced Placement Studio Art: Drawing is intended for highly motivated students who are seriously interested in developing mastery in drawing and working at the college level in high school. AP Studio Art: Drawing students work to guidelines established by the National College Board, with the objective to develop a comprehensive portfolio in a variety of drawing themes and techniques. Technology may be applied for reference or support.

This course requires significantly more commitment and accomplishment than the typical high school art course. Students are expected to do extensive work outside of class. AP Studio Art: Drawing is not based on a written examination; instead, students submit portfolios for evaluation to the National College Board at the end of the school year.


Advanced use of the elements and application of the principles: ELEMENTS OF ART – Name, define & use: PRINCIPLES OF ART - Name & apply: line value balance proportion/scale shape texture contrast movement form space emphasis unity color rhythm/pattern

Understand and use a visual arts vocabulary

Students will work to guidelines established by the National College Board to create a portfolio that consists of three sections – breadth, concentration, and quality: create works that excel in concept, composition,

and execution create works that demonstrate broad




Prepare art for exhibit/display and final portfolio submission: mount/mat 2-D works of art create a slide and/or digital portfolio


Advanced use of original thought in art production: avoid stereotyped and copied art discover a variety of sources of inspiration




Fairbanks North Star Borough School District AP Studio Art: Drawing Art Curriculum 154 Adopted March 18, 2008









learning needs

SUGGESTED ARTISTS Jean-Michel Basquiat Alberto Giacometti David Hockney

Kathe Kollwitz Pablo Picasso Andy Warhol

SUGGESTED ACTIVITIES The drawing portfolio is designed to address light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth through a variety of means. Students should master traditional drawing media but may also include painting, printmaking, and mixed media. Still Life Value Study: students work for a full

range of values in black and white media Still Life in Color: students work for technical

proficiency and a high level of sophistication in composition and color

Portrait Series in Black and White and Color: students master proportion and work to develop more personal mark making techniques

Figure Drawing Emphasizing Form: students use black and white media to draw the figure in proportion and a full range of values to emphasize the form

People in Context: students draw a person within a setting to show proficiency in both figure drawing and spatial rendering

Organic Forms: students utilize local flora and fauna to create a work of art inspired by organic forms

Landscape Drawing: students draw observational landscapes, then bring them back to the studio to complete them at a more sophisticated level

Perspective Space: students draw interior spaces showing and understanding of multiple vanishing points

Creativity is allowing yourself to make mistakes.

Art is knowing which ones to keep.

Ansel Adams

Jack Pine, Tommy Thompson, 1916

SECTION D:

APPENDIX

Edgar Degas, Galloping Horse, c. 1890-modeled; c.1926-cast Minneapolis Institute of Arts, The David Draper Dayton Fund


Fairbanks North Star Borough School District Appendix: Ongoing Learner Goals Art Curriculum A-1 Adopted March 18, 2008

ONGOING LEARNER GOALS ELEMENTARY

PRODUCING ART

Students will: demonstrate the use of the elements and principles in creating artwork refine artistic skills and self-discipline through practice and revision use new and traditional materials, tools, techniques, and processes appropriately demonstrate the creativity and imagination necessary for innovative thinking and problem solving collaborate with others to create works of art

REFLECTING ON AND PERCEIVING THE HISTORICAL AND CONTEMPORARY ROLE OF ART

Students will: recognize the United States and world cultures and their arts recognize the role of tradition and ritual in art investigate the relationships of the arts to the individual, the society, and the environment recognize universal themes in the arts such as love, war, childhood, and community recognize specific works of art created by artists from diverse backgrounds explore similarities and differences in the arts of world cultures respect differences in personal and cultural perspectives investigate careers in art/art-related fields

REFLECTING ON ART CRITICALLY

Students will: learn and apply the criteria used to evaluate art examine historical and contemporary works of art, the works of others, and the students' own art accept and offer constructive criticism recognize and consider artistic expression exhibit appropriate audience skills

PERCEIVING BEAUTY AND MEANING THROUGH ART

Students will: make statements about the significance of the arts and beauty in the students' lives discuss what makes an object a work of art recognize that people tend to devalue what they do not understand listen to another individual's beliefs about a work of art and consider the individual's reason for

holding those beliefs consider another culture's beliefs about works of art recognize that people connect many aspects of life through the arts make artistic choices in everyday living

Fairbanks North Star Borough School District Appendix: Suggestions for Success Art Curriculum A-2 Adopted March 18, 2008

SUGGESTIONS FOR SUCCESS

Since elementary classroom teachers are required to teach art regardless of art training, here are some suggestions to ensure success. 1) Remember that artistic efforts help students grow. Experiences:

strengthen their ability to think clearly and logically when faced with choices, thereby improving critical thinking skills

enhance their natural inclination to imagine and create as a response to imagination, environment, and learning

provide problem-solving opportunities that can lead to feelings of success and a boost in personal self-confidence

encourage risk-taking and learning from their work, whether successful or not promote individuality through the communication of personal ideas and development of style

2) Strive to maintain a positive classroom climate. Teachers can:

be co-learners with your students set high standards but expect and accept a diversity of outcomes be sensitive to the different developmental levels of students connect art to other learning activities and to your students' lives provide classroom/cooperative projects encourage student-to-student feedback after modeling appropriately

3) Be well prepared before teaching the lesson. Teachers should:

preview the lesson and familiarize yourself with any special vocabulary create your own sample before teaching for trouble-shooting purposes set and inform students of the lesson objectives and link to assessment criteria follow lesson plan suggestions for materials management plan an organized clean-up expect and demonstrate safe use of art materials and equipment at all times present all parts of the lesson clearly to give students confidence to proceed

4) Guide your students over hurdles. Teachers can:

anticipate and help them overcome frustration by gently asking questions to stimulate thoughts encourage the consideration of various solutions before deciding on one briefly show a variety of examples of solutions or work in progress by others discourage copying unless it is part of the lesson encourage them to take a chance and see what happens allow them to diversify acknowledge failure as a part of the learning process encourage peer assistance when appropriate

5) Allow time for reflection and assessment. Teachers can:

understand that learning continues when the artist is finished and looks back help students develop and use self-assessment forms allow time for students to respond to their art both verbally and/or in writing refer to the assessment section for forms of all types look to the Art Chart for discussion ideas

Fairbanks North Star Borough School District Appendix: Visual Developmental Stages in Children Art Curriculum A-3 Adopted March 18, 2008

VISUAL DEVELOPMENTAL STAGES IN CHILDREN

A GUIDE FOR CLASSROOM TEACHERS All children proceed through creative developmental levels. However, in order for them to become literate in visual art, they must be exposed to continuing, sequential artistic experiences. The stages of child development, first set out by Dr. Viktor Lowenfeld (Creative and Mental Growth, Macmillan Co., New York, 1947), explain normal children's artistic development, stressing their natural interests and abilities. All children, precluding special situations, will proceed through these stages whether or not they are artistically educated. Teachers who understand the stages can better understand their students' ability to visualize. They are, therefore, more prepared to provide appropriate learning experiences and can recognize successful, stimulating, and challenging situations. The following guide can be used as a reference. Each stage relates to an age range, but may vary somewhat among children. Descriptions of the stages are general and allow for differences in ability, expression, and interpretation. As you consider the stages keep in mind that students should be provided artistic learning that: 1. Introduces students to beginning experiences with various art media and techniques, while

encouraging individual ideas. 2. Reinforces and builds upon beginning experiences, while encouraging students to modify and extend

ideas and techniques. 3. Extends learning through refined and thoughtful experiences, while encouraging more advanced

expression of ideas. The atmosphere that is conducive to artistic expression is not the same type that favors memorizing arithmetic tables. Creative expression is the direct opposite of memorization. In memorization students are asked to concentrate on something totally outside themselves, to be dependent upon the teacher for recognition of efforts, and often deny giving vent to their own feelings. In the visual arts we ask students to follow certain instructions, but allow interpretation, encourage personal involvement with the work, and value self-assessment. Keep in mind that creativity is not another word for chaos; in fact, the very opposite is often true. Students who are personally involved in an activity may be oblivious to those around them and are not easily distracted. Remember that an art program should provide stimulation for independent thinking and should encourage and reward curiosity, spontaneous thinking and self-expression. Prepared teachers who understand the lesson will assist their students in learning. Have your supplies ready, present clearly, allow motivational discussion, and give plenty of time for the activity. Expect serious intellectual involvement from your students and you will get it. As Lowenfeld said:

Usually good behavior is thought to be synonymous with being quiet, polite, and retiring. Good behavior is too often considered the opposite of creative behavior, where a child may be full of curiosity, poke fun at himself, question the teacher's direction, and have original ideas of his own. Studies have shown that the creative child is usually not liked as well as he might be by his teachers. Yet the child who looks upon learning as a self-initiated activity is the type of student we are trying to encourage, because he does the type of thinking that is so necessary in our society.


PRIMARY STAGE Preschematic: ages 4-8 A TYPICAL CHILD moves from scribbling to representative drawing – drawing which represents objects. In their art, children: see themselves as the dominant figure use proportions that are incorrect draw only parts or include details that are important to them use imaginative arrangement of objects in space add color according to emotional appeal, unlike nature LESSONS SHOULD: 1. Provide time to learn about various media, to practice use of tools and

techniques, and to experiment freely – play with art. 2. Suggest simple subjects, which have definite easily learned shapes

(people, houses, animals). Record their forms or symbols on a chart and refer to them later for comparison.

3. Continue using discovery experiences that enable them to perceive through their senses. 4. Encourage class and individual discussion regarding own/others' artwork; include discussions

regarding famous artists. 5. Show real interest by encouraging and praising all attempts. Do not bring undue attention to what

you may see as an "error," these are very important sources for learning.

UPPER INTERMEDIATE STAGE Dawning Realism: ages 9-12 A TYPICAL CHILD now becomes more independent and less cooperative with adults. They are critical of their own and others' efforts as they develop the knowledge and ability to make judgments regarding content, methods, and success. Often they are more interested in detail than in general form. In their art, children: work independently and for longer periods show great attention to detail wish to and attempt to mirror reality; this sometimes leads to

frustration consider what they know regarding media, techniques, etc. when

determining how to best communicate their idea to others begin to fear failing and may shun originality until encouraged are willing to discuss choices they made when producing art if

prompted LESSONS SHOULD: 1. Expand working repertoire of techniques, ideas, and vocabulary while adding more involved

aspects of design and composition (e.g., perspective, realistic/abstract studies of space). 2. Promote cooperation, not competition, through collaborative projects, thus pooling group

resources, complimenting different talents, and giving unthreatening value to each child's experiences.

3. Teach visual literacy through drawing exercises and descriptive writings. 4. Encourage and develop respectful verbal skills in describing, analyzing, interpreting, and judging. 5. Find ways, such as Artist of the Week corner, to encourage everyone.


YOUNG ADULT STAGE Intellectual Synthesis: ages 13-17 A TYPICAL YOUNG ADULT now demonstrates a critical awareness of their environment. They tend toward three groups: visual (sense of sight) - concerned with environment/appearance; haptic (sense of touch) - concerned with self-expression, emotional approach to subjective experiences; in-between - no definite concerns shown but creatively likes abstract. In their art:

Visual students rely on what they see focus on human appearance, aiming toward proper

proportion, lighting, and form attempt to depict momentary impressions prefer to work representationally, stressing perspective

and atmosphere use realistic colors and are quite analytical consider the principles of design while striving toward

harmony in their art

Haptic (tactile) students consider the communication of feeling emphasize inward expressions, emotional qualities of

figures tend toward interpretation depicting character are more concerned with values as relating to self or

other objects use color for meaning or for emotional impact use design in abstract ways to communicate ideas or

feeling

LESSONS SHOULD: 1. Expect students to demonstrate increasing understanding of materials and methods through well-

finished, conceptualized work. 2. Challenge students to intellectually and technically communicate. 3. Require self-evaluation throughout production process. 4. Practice respectful verbal skills in talking about art; describe elements, analyze principles, interpret,

judge, and defend. 5. Find ways to engage and encourage individual differences in art.

Fairbanks North Star Borough School District Appendix: Assessment of Visual Art Art Curriculum A-6 Adopted March 18, 2008

ASSESSMENT RUBRICS

RUBRIC #1 PROJECT ASSESSMENT

Name

Project

Possible points Points earned Student was engaged on task (engagement)

Student followed the lesson guidelines (knowledge)

Student used tools and materials appropriately (skills)

Student showed creativity (creativity)

Student produced a well-crafted finished product (attitude)

TOTAL


ASSESSMENT RUBRICS

RUBRIC #2

Tota

l

Poi

nts

Teac

her

com

men

ts /

pts

.

Stu

den

t A

sses

smen

t H

ow d

id I

do?

PR

OJE

CT

NA

ME

Pro

ject

Obj

ecti

ves


RUBRIC #2 (continued)

PROJECT Total

NAME Points

Student Assessment

How did I do?

Project Objectives ACHIEVEMENT

LEVEL 1 LEVEL 2 LEVEL 3 Teacher comments / pts.

OBJECTIVE 1 DESCRIPTORS



Art Rubric

Record lesson/project objectives and levels of achievement before giving to students. Creating descriptors for yourself and for students will help guide performance expectations and assessment.

See example:

PROJECT Total

NAME Points

Student Assessment

How did I do?

Painting shows… Project Objectives

not too well OK / pretty well very well

Teacher comments / pts.

careful observation of sunflower seeds and petals

looks like symbol flower

petals well-formed, seeds shown

variation in petal size, shape; sepals shown; unique seeds

understanding of crayon resist media

filled in with crayon

outlined with crayon/ painted over

drew very well with crayon, paint clean and clear

effort and completion not finished

needed some reminding/ prodding

worked independently and carefully finished


ASSESSMENT RUBRICS

RUBRIC #3 CLASSROOM OBSERVATION

Student’s Name:

Date: Criteria/Objectives often sometimes seldom

Special Comments:


ASSESSMENT RUBRICS

ADVANCED PLACEMENT STUDIO ART CONCENTRATION RUBRIC AP Studio Art: 2D Design, 3D Design, Drawing

Grade: _____ / 50

Student Name: _________________________________________________________________

Describe the artwork: ___________________________________________________________

______________________________________________________________________________

Explain your intent in this piece: ___________________________________________________

______________________________________________________________________________

Evaluate your level of success in the following rubric: Visual Problem

1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent Little or no sense of investigation into idea

Little investigation of idea; no clear intent in the work

Work is a concentration, but topic is inadequately considered; visual idea lacks complexity

Sense of concentration and work is related to the idea; visual idea is fairly complex

Work and concentration topic have a close relationship; visual idea is strong and complex

Unmistakable connection between the idea of the concentration and the work; conceptually and visually complex

Idea Development 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent Idea of concentration is not carried out; no evidence of composition

Idea is appropriate but knowledge and understanding needed to execute it are not evident; poor composition

Lack of focus; concentration may include several loosely related ideas; weak composition

May be inconsistent in terms of quality, but overall idea is good; composition is obvious but lacks imagination

Evidence of thought in the work; idea of the concentration is strong; composition is strong

Concentration engages the viewer with the work and the idea; composition is strong and purposeful

Design Principles 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent Work shows very little or no evidence of understanding of design principles

Concentration is presented, but weak in application of design principles

Concentration may be so broad that idea is not really explored in-depth; use of design principles is evident

Manipulation of ideas is evident; use of some design skills evident; attempt to integrate concept and design

Evidence of thoughtful use of design principles in inventive way; concept and design are compatible

Work shows effective integration of concept and design skills; design principles used in imaginative and inventive way


Technique 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent No evidence of technical competence in chosen media; poor choice of media; no attempt at style

Little or no evidence of technical competence with media; lack of skill in application; little attempt at style development

Inconsistent technical competence with media may affect overall quality; some attempt at style development

Technically competent; evidence of practice and skill in use of media; evidence of emerging style

Work is technically competent; skill in handling media is evident; evidence of developing personal style

Technical aspects (handling of the media) is strong to excellent; strong sense of personal style is evident

Growth and Development 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent No evidence, not enough work to demonstrate; no attempt at experimentation or risk-taking

Good start, not enough investigation and effort; no development beyond technical concerns

Growth is evident, but only moderate understanding or investigation; little evidence of experimentation or risk-taking

Some growth and discovery evident in this work; emerging risk-taking and experimentation with ideas and media

Evidence of growth and effective pursuit of the idea; developing risk-taking and experimentation with ideas and media

Work shows informed risk-taking and development beyond technical concern; effective engagement with experimentation

Originality 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent Originality lacking; no attempt to go beyond trite, cliché imagery; no investigation of original theme; no emotion or sensitivity attempted

Little evidence of attempt at original vision; some use of copyrighted or published imagery- copying of idea or style; little or no sensitivity and emotion evoked in the work

Theme is partly original and does not rely on published material or another artist’s style; theme as presented does not evoke viewer’s emotion or reaction

Theme is original, attempts to evoke emotional reaction in the viewer; attempt at original interpretation of theme

Evocative theme is investigated; work is original and creative; use of personal sources or references or observation from life; strong feelings evoked

An evocative and sensitive theme is carried out; demonstrates original vision and evokes strong response in the viewer; all sources are original

Quality 1-Poor 2-Weak 3-Moderate 4-Good 5-Strong 6-Excellent Overall quality is lacking; work unfinished or sloppy

Quality is generally weak; lack of effort and effective results

Overall quality is adequate; may still lack being a concentration piece

Quality, if acceptable, may still lack being a concentration piece

Overall quality is strong, well finished, and ready to present; strong concentration piece

Overall quality is excellent; finish and presentation are excellent; excellent concentration piece

Attach a photocopy of your journal/sketchbook plans and reflective responses to this artwork. (5 points)


ATTITUDE/WORK HABITS

RATING SCALE FOR THE ASSESSMENT AND EVALUATION OF AFFECTIVE ASPECTS

STUDENT NAME

DATE or TIME PERIOD of OBSERVATION

Evaluation Criteria Excellent Average Improvement

Needed

A- Task Attitude shows enthusiasm cooperates with others works hard at improving can work with others on a team shows consideration for the safety

and well-being of others

B- Motivation can work by her/himself is able to understand the tasks to

be done and completes them without being told

C- Reliability can be trusted is able to follow oral or written

directions is on time with tasks attends class regularly meets responsibilities

D- Accepts Recommendations shows a desire to improve asks for help carries suggestions through to

completion

E- Flexibility is easily able to learn new methods

of doing things can change and adapt to new

assignment easily follows detailed directions well

F- Group Interaction Skills is able to cooperate with others in

a group is considerate of others’ feelings demonstrates self-control appears to be a happy and

contributing member of a group


ATTITUDE/WORK HABITS

ATTITUDE/WORK HABITS EXAMPLES EXAMPLE 1 Project

Name

Circle one for each question. Date

Were you involved, intent, and concentrating? (not goofing off or talking)

All of the time Most of the time Some of the time Not at all

Did you handle the materials properly? All of the time Most of the time Some of the time Not at all

Were you respectful to others and their work? All of the time Most of the time Some of the time Not at all

Did you put forth your best effort? All of the time Most of the time Some of the time Not at all

How willing were you to try this? (Did you complain or say "I can't do this.")

All of the time Most of the time Some of the time Not at all

Did you follow my directions? All of the time Most of the time Some of the time Not at all

Is the project completed? On time Not completed Late - turned in when? ______

EXAMPLE 2

MY ATTITUDE ABOUT ART (circle one) 1) I cooperate with the art teacher. YES SOMETIMES NO

2) I participate in the lesson. YES SOMETIMES NO

3) I use materials carefully. YES SOMETIMES NO

4) I finish my art pieces. YES SOMETIMES NO

5) I respect others' work. YES SOMETIMES NO


LEARNING CONTRACT EXAMPLE (for Special Topics class)

Student Name

What I am going to investigate

How

When

Why

What materials

Time

How I will present this

Who will evaluate it

Steps I will take

Student Signature Date

Teacher Signature Date


ART CRITICISM/ANALYSIS WORKSHEETS

SCORING RUBRIC (SAMPLE) This scoring rubric provides a framework for determining the quality of the ability to form and support opinions about art – what art is, who makes it, and why it is important. Partial/Basic At this basic level, the student can give an opinion about art but is minimally able to support it. The student makes an attempt to communicate clearly, but there is limited use of vocabulary and lack of focus, organization, and sequential sentence structure. There are errors in mechanical conventions that could interfere with understanding. Essential/Proficient At this level, the student can express information, ideas, and opinions about art, art makers, and why art is important. The student is able to satisfactorily support opinions with some detail. Writing and speaking are competent and there may be some originality the response. The student is able to present the materials with a focus on the topic, effective organization, and appropriate vocabulary and sentence structure. There may be some mechanical errors but usually they will not interfere with understanding. Exceptional/Advanced At this highest level, the student can express ideas and opinions about art, art makers, and why art is important. The student is able to support opinions with originality and thoughtfulness. The student is able to write and speak with focus and in detail, giving examples that clearly relate to supporting ideas. There is effective organization and appropriate vocabulary and sentence structure. While there may be some mechanical errors, they do not impede understanding

CRITERIA ADVANCED PROFICIENT BASIC Has the learner chosen his/her images in order to convey something about his/her accomplishment or life history? (Aesthetic Approach)

Learner has chosen important events from his/her own life and related them in a chronological or thematic way.

Learner has created a story using important events from his/her own life.

Learner has illustrated one or two events from his/her life.

Has the learner been able to visually express his/her ideas? (Technical and Creative Approaches)

Learner has created a visually successful work of art using elements of the visual arts to express his/her ideas effectively.

Learner has created a proficient work of art using elements of the visual arts to express his/her ideas.

Learner has used elements of visual arts to express his/her ideas with some success.


ART CRITICISM/ANALYSIS WORKSHEETS

CHECKLIST FOR OBSERVING STUDENT CREATIVE EXPRESSION OVER TIME

(SAMPLE) STUDENT NAME __________________________________ DATE _________________ Often Sometimes Seldom

Contributes ideas to explore the theme or concept ----------------------------

Contributes to brainstorming activities -------------------------------------------

Extends the theme in a new direction --------------------------------------------

Develops one aspect of the theme in detail -------------------------------------

Transfers knowledge of the theme or concept into his/her own art works -

Explores several ideas --------------------------------------------------------------

Takes risks by exploring something new to him/her ---------------------------

Shows interest in the arts experience --------------------------------------------

Shows commitment toward the experience of creating ------------------------

Challenges him/herself --------------------------------------------------------------

Describes what did and did not work in his/her arts experience -------------

Identifies what he/she would like to change to improve arts expression ---

Describes what his/her own arts expression means personally ---------------

Maintains awareness of his/her intentions in arts expressions ----------------

Shows concentration in arts experiences -----------------------------------------

Discusses why choices were made ------------------------------------------------

Describes images and sensations evoked by the arts experience ------------

Contributes ideas when working in groups --------------------------------------

Works cooperatively within the group --------------------------------------------

Works independently ----------------------------------------------------------------


PORTFOLIO INFORMATION

ASSESSMENT PORTFOLIO What is the purpose of portfolios in arts education assessment?

The arts have traditionally made use of the portfolio concept. Artists in the visual and performing arts collect their ideas, representative art works, and accomplishments in a portfolio format that serves as a portrait of their artistic growth and achievement. Through portfolio assessment, not only can learners become aware of their growth as artists, but also teachers have the opportunity for self-assessment, documentation of achievement, and program assessment.

Portfolios can be used for assessment to: Place learners in the most appropriate course Communicate with learners’ subsequent teachers Provide opportunities for learner self-assessment Provide opportunities for group assessment Prepare a record of achievements for future use such as college admission, employment, or

alternative credit for coursework What are the goals for the learners’ portfolio? To:

Create collections of outstanding, significant, and/or personally important work Show growth in learning and creative processes Document the processes by which the arts are created Trace the evolution of one or more projects/products

What could arts portfolios include?

Portfolios can range from physical folders containing works of art, videos, recordings, and written papers to computer storage units (disks, flash drives). It may be collected by a single teacher over the space of a year or serve as a record of the learners’ educational careers. Each teacher, building, and district must make its own choice based on needs, space, and technology. What is most important is that the portfolios become a clear record of the learners’ growth in the arts.

Examples of learners’ work or performance in the arts: Visual Arts – slides, actual works of art, digitized images, record of exhibitions Music – recordings, compositions, records of performances Dance – video records of performances, photographs Theatre – video records of performances, directing, stage or costume design; photographs

Examples of learners’ responses to works of art: Written interpretations and evaluations of students’ own works and the works of others

(Some of these should be tied directly to examples of the learners’ works. These should serve as evidence of the learners’ ability in perceiving, interpreting, evaluating, and making connections to works of art.)

Record of learners’ involvement in the arts: Listing of exhibitions and performances attended Listing of learner involvement with community arts organizations

Examples of learners’ reflections on their own growth in the arts: Written self-evaluation of learners’ portfolios

(How do their works show a growth in understanding, in technical skill, in involvement? How do the learners assess their own growth in the arts?)


Examples of teacher assessment: Teacher commentary on specific portfolio works and/or performances that reflect the learners’

growth and progress What basic decisions need to be addressed in portfolio design?

What is the purpose of the portfolio? What artifacts will be used for documentation? What role do teachers and students have in the selection of artifacts? What portion of the portfolio should be standardized? What is assessed and who is responsible? How many and what kinds of artifacts are necessary to provide the desired information? By what criteria will entries and/or bodies of work be assessed?


PORTFOLIO INFORMATION

LANDSCAPE EVALUATION (SAMPLE) Portfolio Response - for a single artwork

STUDENT NAME __________________________________ PERIOD ______________ Please evaluate by circling a number:

1 not at all 2 less than required 3 met requirements 4 more than required; exemplary

DESCRIBE: Does this landscape represent what the artist was looking at in terms of the elements (lines, shapes, colors, values, etc.)?

1 2 3 4 ANALYZE: Did the artist use three values to create the value pattern in the landscape? Did the artist use layers of red, yellow, and blue to match the hues, values, and intensities of the colors in the landscape? Did the artist accent those layers with the secondary colors they saw in the landscape? Did the artist work back and forth between the above steps to adjust the work for accuracy?

1 2 3 4 INTERPRET: Does the landscape show a similar atmosphere or character as what the artist was looking at?

1 2 3 4 JUDGE: Is the artwork a success? Did the artist accomplish the original objectives? Did the artist challenge the materials, the design, and their abilities?

1 2 3 4 STUDENT COMMENTS: TEACHER COMMENTS: AVERAGE: _______


RECORD-KEEPING FORM FOR STUDENT SELF-EVALUATION (SAMPLE) NAME(S) ________________________________________ DATE _________________ STRAND _________________________________________________________________ Project/experience description: _______________________________________________

________________________________________________________________________

________________________________________________________________________ 1. What is the most unique or interesting thing about what I did? 2. What was the main problem I had to solve while I was working? 3. How did I try to solve the problem? 4. What did I learn while I was trying to solve the problem? 5. If I were to experience this project or activity again, what would I do differently? 6. Can I think of another project/experience that might grow out of the one I just

participated in?


ADVANCED PLACEMENT ART FINAL EVALUATION (SAMPLE) ATTENDANCE

A 2 or fewer classes missed B 3-5 classes missed C 6-8 classes missed D 9-12 classes missed F 13+ classes missed

WORK HABITS

A Always spent class time on artwork; worked 4-6 hours per week on art outside of class B Sometimes visited too much or spent class time doing something else; spent 4-6 hours per

week on art outside of class C Wasted too much class time; spent 2-4 hours per week on art outside of class D Wasted too much class time; spent less than 2 hours per week on art outside of class F Wasted too much class time; did not spend time on art outside of class

MEETING DEADLINES/COMPLETING ASSIGNMENTS

A Always had required pieces ready or almost ready for critiques B Unprepared for critiques 2-4 times C Unprepared for critiques 5-6 times D Unprepared for critiques 7+ times F Hardly ever had required pieces ready for critiques

CRITIQUE PARTICIPATION

A Present at all critiques; offered help and encouragement to others B Missed 2-3 critiques; contributed in a positive way when present C Missed 2-3 critiques; did not contribute much when present D Missed 4-5 critiques; did not contribute much when present F Missed 6+ critiques

PUSHING LIMITS/ARTISTIC GROWTH

A Forced self out of comfort zone; tried new media and styles most of the time and grew tremendously as an artist

B Found it easier to work in comfort zone; worked in new ways about 50% of the time; saw improvement and growth as an artist

C Did high quality work but did not vary much in media or style; minimal growth as an artist D Work was often low quality and did not try new things F Work was very poor quality and showed no growth

SUCCESS OF FINAL PORTFOLIO

A Complete; very proud of accomplishments B Complete but weak in some areas; proud of most pieces C Complete; could have done much better D Missing a few pieces; lacks commitment F Not close to completion


SPECIAL EDUCATION MODIFICATION

PLANNING FORM

FROM _____________________________ TO _______________________________

THE LESSON FOR __________________________________ WILL BE:

SUBJECT ______________________________________________________

MEDIUM_______________________________________________________

MATERIALS/TOOLS ______________________________________________ TEAM MEMBERS ______________________________ ______________________________

______________________________ ______________________________

Can ____________________ participate like everyone else?

YES!

Then go have fun!

Can different materials be used?

If so, how will they be used?

_________________________________________

_________________________________________

_________________________________________

NO!

What can we do to include him/her?

Can friends help?

Name(s) ___________________

_________________________

Can adults help?

Name(s) ___________________

_________________________

What else can ____________________ do that is related to what the class is doing?

_________________________________________

_________________________________________

_________________________________________


SPECIAL EDUCATION MODIFICATION

PRESCHOOL ART LESSON

Med

ium

:

Sket

ch:

Boo

k:

Elem

ents

: C

olor

Te

xtur

e L

ine

Sha

pe

Form

Pre

para

tion

:

PR

ESC

HO

OL

SPEC

IAL

EDU

CA

TIO

N A

RT

LESS

ON

PLA

N:

MA

YA

GA

UV

REA

U -

MT.

ILI

AM

NA

Emph

asis

: Pr

oduc

t Pr

oces

s

Skill

s:

Glu

ing

Sni

ppin

g C

uttin

g R

ollin

g S

tam

ping

Pr

essi

ng

Sque

ezin

g S

tapl

ing

Tw

istin

g C

rum

plin

g T

earin

g P

ushi

ng

Rub

bing

Fo

ldin

g

Oth

er S

kills

:

Obj

ecti

ve:

Mat

eria

ls:

Less

on F

low

:

Enh

ance

men

t:


ART CRITICISM WORKSHEETS

ART JOURNEY TO BE USED WHILE VIEWING ART

TITLE _______________________ ARTIST ______________________ SCALE Large Small How big is it compared to you?

SPACE Shallow Deep (cannot see very far) (goes way in)

VIEWPOINT Birdseye Antseye Where are you? (on top looking down) (below looking up) Far away Close up VOLUME Flat 3-D LINES Straight Curvy SHAPES Geometric Organic BALANCE Symmetrical Asymmetrical The same on both sides?

LIGHT Much contrast Soft & blended Sharp light and deep dark?

TEXTURE Little/none A lot How does it feel? Smooth Rough PATTERN None A lot Repeated shapes or lines

COLORS Many A few Dark Light Warm Cool (red, yellow, orange) (green, blue, violet)



LOOKING AT ARTWORK Look carefully at the artwork together, then describe what you see.

STEP ONE: DESCRIBE THE ELEMENTS OF ART (BUILDING BLOCKS OF ART) 1. LINES – what kinds of lines do you see?

Remember lines are found on edges. Have someone trace the lines on the reproduction with a finger, if you want to, to help you see them better. Circle words that describe what you see:

sharp think fuzzy thin graceful smooth

jagged choppy angled vertical horizontal soft

curved heavy diagonal straight ____________ ____________ 2. SHAPES – what kinds of shapes do you see?

circles rectangles triangles square angular curved

irregular rounded soft-edged hard-edged ____________ ____________ 3. TEXTURES – what kinds of textures do you see?

rough smooth shiny soft hard dull

sharp ____________ ____________ ____________ ____________ ____________ 4. COLORS – what kinds of colors do you see?

bright soft dark strong few many

light dull ____________ ____________ ____________ ____________

WARM: reds pinks oranges yellows

COOL: blues greens violets

NEUTRAL: whites grays browns

OPPOSITE (complementary): reds/greens blues/oranges yellows/violets


STEP TWO: ANALYZE THE DESIGN (ART PRINCIPLES, OR HOW THE BUILDING BLOCKS ARE USED)

5. BALANCE – what kinds of balance are used?

Asymmetrical (each side of the artwork is different)

Symmetrical (each side of the artwork is similar) 6. EMPHASIS, FOCAL POINT – what is the first thing you see when you look at this artwork? 7 SAPCE – what kind of space is used?

Is this artwork 2-Dimensional (flat) or 3-Dimensional (not flat)?

Is there: deep space (looks like you can see for a long way) shallow space (looks like you can’t see very far) flat space (things don’t look 3-D at all)

8. PATTERNS – what kinds of patterns do you see?

Are there any repeated lines, shapes, or colors which create a pattern?

STEP THREE: INTERPRET THE MEANING What is the meaning of this? Here are some words which could be used to describe artwork. Do you think any of these help describe this artwork?

strength beauty anger hate death mystery

peace sadness loneliness hope love courage

honor excitement adventure happiness old age boredom

fun youth family society culture nature

about lines about shapes about color interest in simplicity interest in complexity

____________ ____________ ____________ ____________ ____________ ____________

STEP FOUR (OPTIONAL): JUDGE After looking closely at the art, thinking about how it was made and what it means, my opinion is:

I really like this art.

This art is OK.

I do not like this art.



ART CRITICISM

JUD

GM

ENT

Pers

onal

dec

isio

n ab

out

the

degr

ee o

f ar

tistic

mer

it.

INTE

RP

RET

ATI

ON

M

oods

, fee

lings

, and

id

eas

com

mun

icat

ed

by th

e w

ork.

TITL

E

DA

TE W

OR

K W

AS

MA

DE

AN

ALY

SIS

O

rgan

izat

ion:

how

prin

cipl

es

of a

rt h

ave

been

use

d to

ar

rang

e th

e el

emen

ts o

f ar

t.

DES

CR

IPTI

ON

Su

bjec

t m

atte

r an

d/or

ele

men

ts o

f ar

t no

ted

in t

he w

ork.

AR

T C

RIT

ICIS

M

STU

DEN

T N

AM

E

AR

TIST

Fairbanks North Star Borough School District Appendix: Art Safety Guidelines Art Curriculum A-28 Adopted March 18, 2008

ART SAFETY GUIDELINES

HANDLING MATERIALS, TOOLS, AND EQUIPMENT SAFELY

Teachers need to be aware of the potential for injury or illness from art-related materials, tools, and equipment. The following guidelines and information from the Art and Creative Materials Institute (ACMI) help ensure safety in your classroom. The Fairbanks North Star Borough School District Art Department makes every effort to purchase safe materials, especially for elementary schools, and to ensure materials are issued only to the level for which they are intended. However, teachers must be aware of hazardous situations (classroom full of Sharpie permanent markers, young students using rubber cement, etc.) and, if necessary, help others be aware of these dangers. 1) Make your classroom a safe place to be. Always check for safety labeling before using

materials.

Grades K-6 use water-based materials use nontoxic materials use appropriate scissors for age of students be careful when purchasing art materials for classroom use do not use sharp points with young students and only under strict supervision with older students;

plastic knives, toothpicks, wooden dowels, and other things can often work in place of a real knife or point

keep any questionable materials stored in a safe place that is inaccessible to students

Grades 7-12 • all of above as appropriate • store all flammable materials in flame-proof cabinet • have a vent system and use it when necessary • keep any potentially dangerous materials, tools, and equipment inaccessible to students when

not in use • keep a well-stocked first-aid kit on hand • label and date chemicals; store them properly; keep solvents and powders in containers with lids • report unsafe or malfunctioning equipment or facilities to the administration, verbally and in

writing • dispose of waste materials properly • clean up spills immediately

2) Read the label and only use age-appropriate materials.

• In grade school this means the use of only nontoxic materials. • In middle and high school this means the use of nontoxic materials whenever possible and clear

instruction, along with supervision, when using cautionary or toxic products.

Remember that children (young, bilingual, and others) might not be able to read or understand safety labeling precautions, so it is the teacher’s responsibility to provide appropriate materials and instruction.


3) Set high expectations regarding proper use and care of materials, tools, and equipment. Other things you can do: teach students how to care for and safely use art materials, tools, and equipment and reinforce

this throughout the year before each lesson, alert students to potential dangers and relevant safety procedures specifically

associated with the activity post safety rules in your classroom and enforce them regularly

4) Know your students.

Be aware of students’ allergies. Students with allergies to wheat, for example, may be irritated by wheat paste used in papier-mâché. Other art materials that may cause allergic reactions include chalk or other dusty substances, water-based clay, and any material that contains petroleum products.

Be aware of students’ habits. Some young students put everything in their mouths. Others, of all ages, act or behave aggressively. Use your knowledge of individual student tendencies to help you choose art activities that are safe and successful for all students.

5) Be aware that toxic materials can enter the body by:

Inhalation Eliminate from your classroom, or only use in a hooded vent system or outdoors -- aerosol spray mists or paints, solvents that give off vapors (turpentine, paint thinners, etc.), and gases such as those given off by some kiln fuels. Fine dusty particles (powdered paints and glues, premade papier-mâché mix, etc.) can also create problems. If students are around anything with dry particles then they should work at a vent station or wear a protective mask. They should also clean up with a vacuum or wet-mop, not a broom. Inhalation of a toxic substance can cause allergic reactions and, more seriously, lung disease.

Ingestion: Be aware of the “food appeal” factor any time you offer a material to a child. Children frequently taste substances that are not edible, but look that way. Some colors of paint and ceramic glazes for instance look tasty to a child, but may be fatal.

Skin contact: Allergic reactions and burns can result from contact with materials such as solvents. Even “safe” materials like powdered tempera paint can cause irritation if rubbed in the eyes. Encourage students to minimize the splashing, spilling, and pouring of liquid art materials.

Only nontoxic materials should be used in grades 6 and under, and any other materials supervised in grades 6 and over. Look for the safety seals indicating that the Art & Creative Materials Institute (ACMI) has tested the product and found it to be safe for humans, even if ingested (see next pages).

Further information is available from the City of Tucson's Environmental Management Division Web site: http://www.ci.tucson.az.us/arthazards/medium.html.


ACMI What is ACMI? The Art & Creative Materials Institute, Inc. (ACMI) is a non-profit association of manufacturers of art, craft and other creative materials. Since 1940, ACMI has sponsored a certification program for children's art materials, certifying that these products are non-toxic and meet voluntary standards of quality and performance. ACMI's certification program has received the endorsement of experts in the field of toxicology and is one of the finest industry programs in existence. The program has been a responsive one, evolving to meet new challenges and to include ever more products. In 1982, the program was expanded to include certification of a broad spectrum of art and craft materials, including adult products, ensuring that health warning labels are affixed on adult materials where appropriate. All children's materials certified by ACMI are non-toxic and cannot bear health warning labels. ACMI has over 220 members and has certified over 60,000 art, craft, and other creative materials. ACMI seeks to create and maintain a positive environment for art, craft and other creative materials usage; to promote safety in these materials; and to serve as an information and service resource on such products. In these ways, ACMI provides leadership, guidance, and education to all to achieve greater participation in art, craft and other creative activities.

CERTIFICATION SEALS What do the ACMI Seals mean?

The new AP (Approved Product) Seal, with or without Performance Certification, identifies art materials that are safe and that are certified in a toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans, including children, or to cause acute or chronic health problems. This seal is currently replacing the previous non-toxic seals: CP (Certified Product), AP (Approved Product), and HL Health Label (Non-Toxic) over a 10-year phase-in period. Such products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236, and the U. S. Labeling of Hazardous Art Materials Act (LHAMA). Additionally, products bearing the AP Seal with Performance Certification or the CP Seal are certified to meet specific requirements of material, workmanship, working qualities, and color developed by

ACMI and others through recognized standards organizations, such as the American National Standards Institute (ANSI) and the American Society for Testing and Materials (ASTM). Some products cannot attain this performance certification because no quality standard currently exists for certain types of products.

The CL Seal identifies products that are certified to be properly labeled in a program of toxicological evaluation by a medical expert for any known health risks and with information on the safe and proper use of these materials. This seal is currently replacing the HL Health Label (Cautions Required) Seal over a 5-year phase-in period. These two Seals appear on only 15% of the adult art materials in ACMI's certification program and on none of the children's materials. These products are also certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236, and the U. S. Labeling of Hazardous Art Materials Act (LHAMA).

Further information is available at the ACMI Web site: http://www.acminet.org.


HEALTH SAFETY AND QUALITY What makes an art material "safe"? Knowledge of materials and their proper use makes them safe. Be sure to read the label on all products you use so you will know they have been evaluated and are non-toxic or need special handling to avoid possible health hazards from misuse. Look for the ACMI Seals so you will know the product has been evaluated by a qualified toxicologist for both acute and chronic hazards. Or, you may see other indications that the product conforms to ASTM D 4236, the chronic hazard labeling standard that is now part of the U.S. labeling law. Follow all safe use instructions. Purchase only products with the ACMI Non-Toxic Seals [CP, AP, and HL (Non-Toxic)] for young children, the physically or mentally handicapped, and any persons who cannot read or understand the safety labeling on product packages. Observe good work habits and teach them to others. What are some common safety issues associated with art and craft products? The most common safety problems result from the improper use of creative materials. Some art products are manufactured strictly for use by adults because they contain ingredients that require knowledge of proper handling, storage, and ventilation. Solvents are one example of products that require proper handling to ensure safe use, including adequate ventilation, using the mildest possible solution to achieve the desired effect and using alternatives (such as non-toxic soaps for clean-up) whenever possible. How does a product get approved by ACMI? ACMI has a consulting toxicology team, led by the primary Toxicologist, Woodhall Stopford, M.D., M.S.P.H., at Duke University Medical Center, Division of Occupational and Environmental Medicine, who review the complete formulas of products in the certification program. In this evaluation, the Toxicologist takes into account:

each ingredient and its quantity possible adverse interaction with other ingredients the product's size and packaging potential acute and chronic harm to any part of the human body possible allergic reaction how a product is commonly used and misused U.S. national and state labeling regulations

The Toxicologist must approve the formula of every color of every product and must approve every formula change. Safety is the only consideration. The Toxicologist will not heed objections related to cost. The Toxicologist keeps informed of new scientific data on ingredients from government and private sources. He has banned previously-approved ingredients and established restrictions when new developments have occurred. The Toxicologist requires cautionary labeling on products when appropriate. All products certified as non-toxic by ACMI are non-toxic for both children and adults because the Toxicologist bases his evaluation on the use and misuse (such as ingesting a material) of the product by a small child. The Toxicologist's decisions are final, subject only to appeal to ACMI's Toxicological Advisory Board, which is composed of leading toxicological experts in the United States. These toxicologists act as a review board on issues of toxicity. They review the criteria used by ACMI's Toxicologist and make recommendations to ACMI. Current members of the Toxicological Advisory Board are: Elaina Kenyon, M.D., Toxicologist, U.S. Environmental Protection Agency; James C. Lamb IV, Ph.D., Vice President and Director of Toxicology at The Weinberg Group, Inc.; Dr. John H. Mennear, Consultant Scientist in Pharmacology and Toxicology, and Thomas B. Starr, Ph.D., Principal, ENVIRON International Corporation.


SAFETY TIPS GENERAL PROCEDURES FOR ALL ART AND CREATIVE MATERIALS Read the label! Always use products that are appropriate for the individual user. Children in grade six and lower and adults

who may not be able to read and understand safety labeling should use only non-toxic materials. Do not eat, drink, or smoke while using art and craft materials. Wash up after use - clean yourself and your supplies. Never use products for skin painting or food preparation unless indicated that the product is meant to be

used in this way. Do not transfer art materials to other containers - you will lose the valuable safety information that is on the

product package.

Although the safety precautions below are not necessary with ACMI-certified non-toxic products, they are good habits to learn and practice with any art material use. Above all, purchase art materials that have been evaluated with your safety in mind, and read and follow any label directions to safely enjoy rewarding art, craft and other creative activities. Products that are hazardous require the following on their labels: a conformance statement to ASTM D 4236, unless impractical and, if so, then at the point of sale (This

requirement also applies to non-toxic products.) a signal word, such as Warning or Caution a listing of the ingredients in the product that are at a hazardous level a listing of how the product may hurt you if not used properly (may cause lung cancer, may cause harm to

the developing fetus, etc.) instructions on how to use the product properly and safely (do not eat, drink, or smoke; use a respirator;

wear gloves; etc.) an appropriate telephone number; usually the telephone number of the manufacturer or importer a statement that the product is inappropriate for use by children Additional procedures to follow when using products that have cautionary labeling: Keep products out of reach of children. Keep your work area clean. Vacuum or wet mop dust; don't sweep it. Don't put your brush, pen, etc. in your mouth. Keep your work area well ventilated; make sure you have a system that takes out old air AND brings in new

air. Avoid skin contact and eating these materials. Keep materials out of your eyes and mouth. Use any and all protective equipment specified on the label, such as gloves, safety glasses, and masks. Use a mask or gloves that are impermeable to whatever product you are using; the wrong type of

equipment could do as much or more harm than using no equipment at all! Protect any cuts or open wounds by using the appropriate gloves, etc. Mix and handle certain dry materials in a locally-exhausting hood or sealed box. Spray-apply certain materials only in a locally-exhausting spray booth with filters. Do not mix different food-safe glazes together because the balance of ingredients in the mixed glaze will be

disrupted and the resulting mixture may not be dinnerware safe. Carefully follow suggested disposal methods. Procedures to follow when a product has a flammability warning: Do not store or use product near heat, sparks or flame. Do not heat above the temperature specified on the label. Use explosion-proof switches and an exhaust fan with an explosion-proof motor, if specified on the label.

Fairbanks North Star Borough School District Appendix: Careers in Visual Arts Art Curriculum A-33 Adopted March 18, 2008

CAREERS IN VISUAL ARTS

The following is a list of art careers. Although this list is very comprehensive, it fails to denote the large number of positions in which an arts background encourages excellence. Many large corporations and universities seek candidates who have mentally challenged themselves creatively, as well as in their specific field. There is no field in which a study in the arts will not benefit a student. ARCHITECTURE AND RELATED DESIGN CAREERS architect architectural graphics designer architectural renderer/delineator architectural writer/critic city planner/environmental designer color consultant floral designer home furnishings designer interior architect/designer landmark preservationist/restorer landscape architect lighting designer marine architect model maker photostylist retail store owner/manager showroom director/manufacturer representative space planner/facility planner

ART EDUCATION/ART THERAPY CAREERS adult education, community center

supervisor/teacher art therapist in a hospital, geriatric or rehabilitation

institute, drug and alcohol abuse center artist-in-residence children’s museum director elementary school teacher high school teacher middle school teacher recreation center teacher school district art supervisor summer camp teacher special education program -

supervisor/instructor/writer university-level teacher

ARTS ADMINISTRATION CAREERS art director art staff community development officer grants officer program coordinator in city arts councils, state arts

councils, federal arts organizations, local nonprofit arts organizations

CRAFTS-RELATED CAREERS artist (for commissions) bookbinder ceramist cooperative workshop space director craft center director/teacher designer for industry fiber, textile, weaving artist furniture maker glassblower historical site restorer/demonstrator jewelry designer/goldsmith/silversmith quilter rug, tapestry maker

COMMERCIAL/PRODUCT DESIGN AND DISPLAY CAREERS

banknote designer digital game designer digital program-specific designer exhibition designer/artist floral designer lighting designer retail display coordinator stamp designer tradeshow designer/artist visual merchandiser Web site designer window and display designer

FASHION CAREERS accessory designer assistant designer boutique/store owner/manager costume designer fashion coordinator fashion designer fashion editor/writer fashion illustrator handpainter and weaver for special orders for

designer, manufacturer retail buyer shoe designer textile designer trade worker, i.e., pattern maker wholesale showroom manager


FINE ART CAREERS painter, sculptor, photographer, printmaker, potter,

filmmaker and video, performance, and sound artist: sell work to or through galleries receive corporate commissions or public commissions, i.e., % for art provide services to other artists through printmaking, pottery, or casting shop artist-in-residence

GRAPHIC DESIGN CAREERS ad agency print, fashion, or TV director airbrush artist animator architectural graphic designer audio visual producer book, CD illustrator book, CD graphics designer calligrapher, letterer, type designer comic strip artist computer graphics designer corporate art director digital game designer editorial illustrator graphic arts industry technician graphic designer illustration layout/paste-up artist magazine illustrator mechanical and production supervisor medical illustrator municipal graphic designer newspaper illustrator outdoor advertising designer police or courtroom artist political cartoonist retail computer programmer retail store art director scientific illustrator technical illustrator Web site designer

INDUSTRIAL DESIGN CAREERS cartographer houseware designer lighting designer package designer product designer stencil maker tool and equipment designer toy designer transportation designer

MARKETING ART CAREERS antique dealer appraiser art shipper artist’s agent auction gallery staff corporate consultant gallery assistant gallery owner/director/manufacturer paper merchant

MUSEUM ART CAREERS art librarian conservator and restorer in paintings, furniture,

textiles, ceramics, antiques curator/assistant/associate curator director docent education director/teacher exhibition designer/artist historic site supervisor publications coordinator/writer research associate

PHOTOGRAPHY CAREERS aerial photographer architectural photographer art photographer audio visual designer/photographer corporate photographer custom lab technician ecological photographer fashion photographer holographer medical photographer multi-image producer/technician museum photographer photojournalist portrait photographer press photographer product and food photographer sports photographer

PUBLICATION CAREERS art director book designer book/magazine editor editorial art director editorial illustrator fine press owner/director graphic designer illustrator layout designer/artist photo editor/researcher production designer writer/critic


THEATER AND ART CAREERS artist builder costume designer lighting designer makeup artist puppet designer/artist scenic designer sound artist

TECHNOLOGICAL MEDIA CAREERS advertising animation designer art director cinematographer computer game designer computer graphics designer computer software designer costume designer documentary filmmaker educational film and video producer film director film editor film, video, computers, sound staff independent filmmaker makeup designer production manager production technician set designer sound technician special effects designer/technician title designer TV commercial staff TV director/producer TV graphic artist

Fairbanks North Star Borough School District Appendix: Glossary Art Curriculum A-36 Adopted March 18, 2008

GLOSSARY

♦

A abstract art – Art which stresses elements of composition, rather than subject. The subject usually is

unidentifiable or, if identifiable has been simplified or rearranged. accent – A distinctive feature that accentuates or complements the overall design of a work of art. acrylic – Paint composed of pigments bound by acrylic resin, a type of plastic. Acrylic paints are water

soluble before they dry. actual texture – A texture that can be perceived through the sense of touch. additive sculpture – Process of creating a three-dimensional artwork by adding separate parts to

create a whole. Materials could include paper, wood, clay, found objects, metal, etc. aesthetics – The theory of the artistic or the beautiful; pertaining to work philosophically pleasing to the

emotional nature of humans. amorphous – Without definite form. analogous colors – Colors that are next to each other on the color wheel (e.g., yellow, yellow-orange,

and orange). Also called related colors; similar or alike. architect – Structural design professional who designs buildings and supervises their construction. architecture – The art and science of designing buildings and other large-scale, aesthetically pleasing,

functional structures. armature – A frame made of wire or other materials and used to hold up a sculpture. art criticism – Process of thinking and learning (making discriminating judgments) about a work of art

in order to be able to draw informed conclusions about its quality or meaning. art history – Study of the historical and cultural contexts of art. artifact – An object created by human beings. Most artifacts are originally produced to serve a function.

They acquire aesthetic value over time. artistic elements – Visual properties of color, line, shape, form, texture, and value. Sensory properties

are immediately visible in a work of art. artistic perception – Using awareness, sensitivity, and intuition to gain insight and knowledge

regarding natural and human-made environments. artist's intention – An artist's purpose or reason for creating a particular artwork; often difficult to

know. artwork – An object or image resulting from imaginative conception and creation that invokes a feeling

of pleasure or another emotional response in the viewer and that may convey meaning. assemblage – Type of three-dimensional art built by combining and connecting a variety of objects and

found materials to create a unified whole. asymmetrical balance – Type of balance in which two sides of an artwork are not alike, but carry

equal or nearly equal visual weight. Also known as informal balance. Athabascan – The term "Athabascan" refers to a large family that is represented in Alaska by eleven

separate languages. Other Athabascan languages are spoken in western Canada as well as the southwestern portion of the United States (Navaho and Apache are Athabascan languages).

B background – Part of an artwork that appears to be farthest from the viewer, or in the distance of the

scene. balance – The impression of equilibrium in a pictorial or sculptural composition. Balance can be

symmetrical, asymmetrical, or radial. Balance is a principle of design.


bird's-eye view – View from above or from a high vantage point. bisque – Unglazed fired ceramic clay. block printing – Method of printing in which a raised design or image is created on a flat surface. The

design is covered with ink or color and then paper is pressed onto it. book designer – An artist who designs and creates the layout of a book's cover and its pages. border design – Design that creates a framelike edge around a shape. brayer – In printing, a hand-held rubber roller used to spread ink over a surface. A small hand roller

used to spread printmaking ink thinly and evenly.

C calligraphy – The art of beautiful handwriting, often for decorative purposes. cartoon – The term has two well-defined meanings. Originally a cartoon was a full-scale and detailed

preparatory rendering for a painting, tapestry, or fresco. Now a cartoon is a drawing that shows people or things in a humorous situation and that is often accompanied by a caption.

carving – Creation of a three-dimensional artwork by cutting away unwanted parts of a block of hard material, such as wood or stone. This is the subtractive method.

center of interest – Part of an artwork the viewer notices first; most important part of an artwork. ceramic clay – Type of clay that, after being formed, is fired at a high temperature in a kiln to harden

and produce ceramic artworks. cityscape – An artwork showing a view of a city or a skyline. classical – Term applied to an artwork that exhibits the characteristics of ancient Greek and Roman art,

such as proportion, balance, and idealized forms and themes. clay – Substance found in the earth that is pliable when moist and hardens when baked. Clay is used to

create artworks such as sculpture and pottery. close-up – Point of view in which objects in an artwork appear to be very near the viewer. collage – A two-dimensional artwork created by arranging and gluing pictures or photographs, or pieces

of paper, fabric, or other materials onto a flat surface. color – Also referred to as hue, color is the appearance of an object created by the quality of light it

reflects or emits. Colors all come from the three primaries and black and white. Color has three properties - hue, value, and intensity. The term color also can refer to a paint, dye, pigment, or other substance that imparts color. Color is an element of art.

color family – A group of related colors. For example, warm colors and cool colors are color families. color scheme – A plan for combining colors in a work of art. color wheel – Circular chart that shows primary, secondary, and intermediate colors in an order that

illustrates progression through the spectrum and relationships among colors. complementary color scheme – Color scheme made from colors that are directly across from one

another on the color wheel. complementary colors – Colors that are directly across from one another on the color wheel. These

colors contrast strongly with one another. compose – To plan or create an artwork so all parts are arranged to make a unified whole. composition – The arrangement of the elements of art. Composition may also refer to any work of art

using the principles of art to create a unified artwork. computer-assisted art – Artworks created with the help of computer software. construct – To build or make something by putting materials together; additive art. contour – Outline of a shape or the surface of a form. A line that represents such an outline. contour line – Lines that represent the outer edge and undulating surfaces within a form, such as

shapes or wrinkles and folds. contrast – Difference between two unlike things, such as a dark color and a light color. converging lines – Actual or implied lines that move toward one another and conjoin at a point in

space. cool colors – Greens, blues, purples, and related colors; cool colors suggest cold and seem to move

away from the viewer. Cool colors suggest cool objects, places, and feelings.


creativity – Simply stated, the ability to create. However the word has connotations of originality, productivity, imagination and innovation.

credit line – Information that accompanies a reproduction of a piece of fine art. It usually includes the artist's name, title of the artwork, date the artwork was completed, medium used, and the artwork's current owner or location.

critique – A close examination; a critical review. cross-hatched lines – Parallel, crossed lines drawn in more than one direction gradually creating a

denser and denser pattern; often used to create a darker value in drawings or printmaking. culture – Customs, beliefs, arts, and way of life of a community or a population. curator – Administrative director of a museum. A person who conducts research for a museum. Curators

select artworks among a museum's permanent collection for display and recommend additional artworks for purchase by a museum.

D depth – Perception of spatial distance between objects in a two-dimensional work of art. design – The creative, organized, and methodical arrangement of lines, spaces, colors, shapes, textures,

and other elements in an artwork. Also, the act of planning and arranging the parts of an artwork using the principles of design.

detail – The small parts of a larger structure, object, or image. diorama – A three-dimensional, often miniature scene. In a diorama, modeled figures are displayed

against a realistic, painted background. distance – In art, the illusion of the third dimension (depth, or near to far) created in a two-dimensional

artwork. distortion – The twisting or exaggerating forms from their normal shape, often done to express strong

emotion. drawing – An artwork consisting of lines and shapes sketched on paper with materials, such as pencils,

pens, chalk, or pastels. Also, the process of creating a line or shape on paper using a drawing implement.

E earth art – Type of art in which the completed artwork is made from and becomes an important part of

the environment in which it was created. Also called earthwork. elements of art – Basic components of an artwork, including line, shape, form, color, value, texture,

and space. embossing – A designed surface in which parts are raised. emphasis – Refers to the created center of interest, the place in an artwork where your eye first lands.

Emphasis is a principle of design. engrave – To use a sharp tool to carve letters or pictures into hard materials, such as metal or wood.

Also called etching. etching – Printmaking process in which a metal plate is coated with wax or a like substance, a design is

cut into the coating, and the metal plate is submerged in acid. The acid burns the metal along the lines of the design, creating grooves that hold the ink for printing.

exaggeration – Showing something in a way that enlarges or overemphasizes its importance. express – To communicate one's thoughts or feelings through words, gestures, or art.

F fantasy – Art inspired by the creative imagination; unrestrained fancy. femmage – Type of collage that includes fabric art traditionally made by women. fiber arts – Artworks created out of yarn, thread, or cloth (e.g., stitchery, weaving).


fired – Hardened by great heat; usually refers to clay. For example, in ceramics clay objects are fired in a kiln.

firing – Process of using extreme heat to harden objects made of clay. fixative – A substance that is sprayed over charcoal, pastel, or pencil drawings to make those materials

adhere permanently to the paper and to prevent smearing. focus – The central aspect of an image or that which draws the viewers attention. foreground – The part of an artwork that appears to be nearest the viewer, or in the front of the scene. form – Form has depth, length, and width, and resides in space. It is perceived as three-dimensional.

Form is an element of art. formal balance – Type of balance in which the visual properties or features on both sides of a center

line (vertical, horizontal, or diagonal) are similar or identical. Also known as symmetrical balance. found object – Any item that an artist finds and uses in an artwork. Found objects can be manufactured

items, such as clock parts or natural objects, such as tree bark. fresco – Painting technique, often used for murals, in which water-based paint is applied to wet plaster.

As it dries, the plaster absorbs the paint and the painting becomes part of the wall. functional – Something that is designed with a specific purpose in mind.

G galleries – Buildings or areas devoted to the exhibition of artworks for viewing or for sale. geometric – Term used to describe shapes or forms that are mathematically defined or regular in

appearance, such as circles, spheres, squares, or cubes (shapes that have names). gesture drawing – A drawing done quickly to show main action lines or paths of movement. glaze – Melted glass coating fired onto pottery; applied as liquid. graphic art – Design and production of commercial artworks, such as signs, posters, advertisements,

book jackets, and computer software. greenware – Any clay form that has not been fired.

H handbuilding – Working the clay with hands only; coiling, pinching, and slab building are three basic

techniques. heritage – History, culture, and traditions of a group of people. hieroglyphics – System of writing, such as that of the ancient Egyptians, that uses pictures or symbols

rather than words or letters. horizon line – The line created in an artwork by the meeting of sky and ground, usually on the viewer's

eye level. horizontal – Moving straight across rather than up and down. For example, the top edge of a piece of

paper is horizontal. hue – Another word for color.

I illusion – An image that tricks the eye or seems to be something it is not. illustrate – To create or design pictures for books, magazines, or other printed works. illustrator – An artist who creates pictures for books, magazines, or other printed works. imaginary – Of or having to do with the imagination; not realistic. imagination – Power of the mind to form a mental image or concept of something that is not real or

present. implied – Something that is suggested or inferred, rather than directly apparent. impression – Indentation in a material. A single copy of a print done in a set. informal balance – Type of balance in which two sides of an artwork are not alike but carry equal or

nearly equal visual weight. Also known as asymmetrical balance.


intensity – Brightness or dullness of a color. A color's intensity is highest, or most pure, when it is not mixed with another color. Colors that contain traces of other colors or of black or white have lower intensity.

intermediate colors – Colors created when a primary color (red, yellow, or blue) is mixed with a secondary color (orange, green, or violet).

irregular – Term used to describe shapes and forms that are not geometric. Also known as organic or amorphous (shapes that do not have a name).

K kiln – In art, an oven which reaches very high temperatures used to harden clay.

L landscape – An artwork depicting an outdoor scene or scenery. line – Line is the path of a point moving through space. Lines vary in width, length, direction, color, and

degree of curve and can be two-dimensional or implied. Line is an element of art. linear perspective – Technique that makes use of line to create the illusion of depth on a two-

dimensional surface. If the lines in an artwork created with this technique are extended, they converge at a point on an imaginary line that represents the eye level of the viewer. This point is called the vanishing point.

loom – Tool or device used to create fabric by weaving fibers together.

M medium – Material with which an artwork is created (e.g., charcoal, pastels, oil paints, clay). Medium

also refers to the technique used to make an artwork, such as painting, sculpture, or etching. (Plural – media or mediums.)

middle ground – The part of an artwork that appears to lie between objects in the foreground and background.

mixed media – An artwork created by using more than one medium. For example, a collage mixing drawing and painting can be a mixed-media artwork.

model – Someone or something that serves as a subject for an artist. Small replica of another larger object, usually built to scale. Also, to create an artwork by shaping a malleable substance such as clay.

modeling clay – Plastic material used for making forms. It usually comes in a variety of colors and can be reused since it does not harden. It cannot be fired and should not be used for permanent artworks.

monochrome – Color scheme limited to different values of one hue. Also, an artwork that is monochromatic.

monoprint – A single printing made from a plate, after which the plate needs to be reworked in order to pull another monoprint.

mood – The feeling or emotion created in a work of art. mosaic – An artwork created by setting tesserae (small pieces of glass, tile, stones, paper, or similar

material) into mortar or onto another adhesive background to create a unified pattern or image. motif – An element that is repeated often enough to be an important feature of a design. movement – Refers to the suggestion of motion through use of various elements in an artwork. mural – A large artwork, usually a painting, applied directly to a wall or ceiling. Murals often appear on

or in public buildings. museum – An institution designed for the acquisition, presentation, study, and exhibition of works of

artistic, historical, and cultural value.


N negative space – An enclosed empty space which helps define forms and makes an essential

contribution to the composition. neutrals – Term used for black, white, tints, and shades of gray. Some designers also consider browns

to be neutrals. nonobjective – Style of art that does not represent actual objects, scenes, or figures;

nonrepresentational. nonrepresentational – Term used to describe art in which the artist expresses ideas, thoughts, or

feelings without depicting a realistic subject; nonobjective.

O objective art – Representational; has recognizable subjects. oil pastels – Oil-based drawing crayon. opaque – Not allowing light to pass through; the opposite of transparent. organic – Term used to describe irregular shapes, particularly those resembling objects found in nature. original – An artwork that is singular and distinctive from other artworks. Also, the actual, authenticated

artwork, rather than a reproduction or copy of it.

P painting – An artwork created by using a brush or other tool to apply tempera, watercolor, oil, acrylic,

or another kind of paint to a surface. Also, the process of creating an artwork with paint. palette – A flat board on which an artist mixes colors. papier-mâché – Process of creating forms by covering an armature or other base with strips of paper

that have been soaked in watery paste, and then molding the strips. The form hardens as it dries. pastel – Drawing tool, similar in shape to a crayon, made from a paste of finely ground pigment. Also

refers to a tint of a color. pattern – Refers to the repetition or recurrence of a design element, exact or varied, which establishes a

visual beat. Pattern is a principle of design. Also, a plan or model to be followed when making something.

perspective – Techniques for showing three-dimensional objects or scenes on a flat or nearly flat surface.

photograph – An image recorded by a camera on film and then printed on photosensitive paper. An image recorded digitally, and read and printed by a computer.

photorealism – An international movement in painting and sculpture arising in the late 1960s and early 1970s characterized by the precise, observation of subject matter, such as street scenes or portraits, often taken from actual photographs.

pictograph – A highly simplified symbol of an object or action (e.g., Egyptian hieroglyphics). picture plane – A term used to describe the surface of the picture that can be imagined like a plane of

glass behind which the elements of the image are arranged. Through the use of various techniques such as perspective and overlapping of objects the artist creates an illusion of depth receding away from the picture plane.

pigment – Very fine, colored powder that is mixed with a liquid base such as oil or water to make paint. pinch method – Method of shaping clay into pottery by pinching, pressing, and pulling it with the

fingers and hands. plane – A flat surface. plate – In printmaking a piece of flat material, such as metal, stone, clay or wood, with a design on its

surface used to print an impression of the design. portfolio – Collection or sampling of an artist's artwork, arranged in a protective cover or folder for

review or display.


portrait – An artwork that features a person, an animal, or a group of people, usually placing emphasis on the face.

positive space – The space that a form or shape occupies in an artwork. pottery – Functional objects such as vases, bowls, pots, and dishes that are modeled from wet clay.

Pottery is usually fired in a kiln. primary colors – The three colors (blue, red, and yellow) from which other colors are made. The

primary colors cannot be made from other colors. principles of design – Set of guidelines for the arrangement of the elements of art. Principles of design

include unity, emphasis, balance, proportion/scale, pattern, and rhythm/movement. print – An artwork created by pressing a design onto paper or another flat surface using a block or other

object coated with wet color. Multiple copies of a print can be made by reinking the block and repeating the process. See printmaking.

printing block – In printing, a piece of material, such as clay or wood, into which a design has been carved. Ink or paint is applied to the surface of the block, paper is pressed onto the block, and an impression of the design is created. Also known as a plate.

printmaking – Process of creating prints, or multiple copies of a single image, using one of several techniques or media (e.g., a woodcut, an engraving or etching, transfer paper, a photographic negative).

proportion – Relationship between the size of a part when compared to that of another part or of the whole. For example, an artist drawing a head will keep in mind the size relationship of the nose to the face, an architect the door to the building. Proportion is a principle of design.

Q quilt – In art, a bedcover made from two layers of cloth which have been arranged and stitched together

in a colorful design. Also, the process of creating a quilt. quiltblock – A square, usually of fabric, that is decorated in some way and combined with other

quiltblocks to create a quilt.

R radial balance – A sense of balance created when lines or shapes spread out from a center point in a

regular pattern. radial design – Circular design radiating from center. raku – A fast firing, spontaneous clay method derived from the Japanese Raku dynasties of potters

(1500 to present). realism – Style of art that seeks to reproduce reality exactly, rather than to idealize or interpret them.

Realism was a dominant artistic style in the second half of the 19th century. realistic – A word used to describe artworks that depicts the size, shape, color, texture, and proportion

of objects or scenes as they are perceived by the senses. related colors – Colors that are next to each other on the color wheel (e.g., yellow, yellow-orange, and

orange). Also called analogous colors. relief print – A print made by covering a printing block with ink and then pressing paper onto the block. representational – Term used to describe art that depicts a subject as it appears. reproduction – Copy or replica of an original artwork; photograph or print of an artwork. resist medium – Material applied to a surface to protect it from liquids such as paint or dye. rhythm – Refers to the suggestion of motion or beat through use of the elements in an artwork. Rhythm

is a principle of design. rubbing – Copy of a textured or raised surface made by placing paper over the surface and rubbing the

paper with chalk, pencil, or crayon.


S scale – Proportional relationship between an object represented in an artwork and the real object.

Something drawn 1/3 scale means all parts are drawn 1/3 the size of the original. score – To use an instrument to roughen or scratch joints of a clay sculpture prior to joining them. To

scratch a line in order to easily bend a paper. scoring – Inscribing or scratching with a tool in any medium. sculptor – An artist whose primary medium is three-dimensional art or sculpture. sculpture – An artwork made by modeling, carving, casting, or joining materials into a three-

dimensional whole. Also, the process of making such an artwork. Clay, wood, stone, and metal are common materials used for sculpture.

seascape – An artwork that represents the sea, ocean, or shore. secondary color – A color created by mixing two primary colors in equal proportions. The secondary

colors are orange (made from red and yellow), green (made from blue and yellow), and violet (made from red and blue).

self-portrait – An artwork showing a likeness of the artist who created it. senses – The faculties of hearing, sight, smell, touch, and taste. An artwork may appeal to one or more

of the senses. shade – A dark value of a color created by adding black to the color. shading – A way of showing gradual changes in lightness or darkness in an artwork. Shading helps

make an artwork appear more three-dimensional. shape – Implies spatial form and is usually perceived as two dimensional. It is distinguished from its

surroundings by its outline. A shape encloses space and can be geometric (e.g., circle, square) or organic (having an irregular outline). Shape is an element of art.

silhouette – Images showing no interior detail set against a contrasting background. sketch – A quick drawing that contains little detail but captures the main features of a subject. A sketch

is often used to explore a theme or to plan another, more detailed artwork. slip – Creamlike mixture of clay and water that acts as glue to join scored pieces of clay. space – Refers to the area in which art is organized. Shapes and forms are defined by the empty space

surrounding them (negative space) and by the space they occupy (positive space). Space is an element of art.

stencil – Piece of paper, cardboard, plastic, or another material with a cutout design; an image is made when paint or ink is applied through the design to a surface underneath.

still life – An artwork showing an arrangement of inanimate objects. story quilt – A quilt showing pictures that tell a story. style – An artist’s unique way of creating is referred to as his/her particular style. Style can also be

characteristic of a group of artists, a culture, or a period in time. An artwork’s style includes all the features that make it different from or similar to other works.

subject – Person, object, or scene represented in an artwork; the recognizable topic of an artwork. subtractive – Removing material from the starting form to create a sculpture. subtractive method – Process of creating a three-dimensional artwork by removing, or subtracting

material, as in carving a form from a plaster block. symmetrical balance – Type of balance in which the visual properties or features on both sides of a

center line (vertical, horizontal, or diagonal) are similar or identical and feels balanced. A human face, for example, is symmetrically balanced (although not identical) along a vertical line. Also know as formal balance.

T tempera – Chalky, water-soluble paint, also known as poster paint. texture – Refers to the tactile qualities of a surface (actual) or to the visual representation of such

surface qualities (implied). Texture is an element of art. theme – The artist's particular interpretation of a broad or abstract topic such as nature, love, or beauty.


three-dimensional – A form in space which can be measured in three directions; having height, width, and depth; not flat. Also, the illusion of depth.

tint – A light value of a color created by adding the color to white. tradition – Knowledge, beliefs, or activities handed down from one generation to the next. translucent – Allowing the passage of light but not the perception of distinct images. transparent – Able to be seen through clearly; the opposite of opaque. two-dimensional – Flat, on one plane; can be measured in two directions.

U unity – Appearance of oneness; it is the design continuity that eliminates confusion. Unity is a principle

of design. utilitarian art – Art created primarily for a practical purpose. A quilt, for example, is a utilitarian

artwork.

V value – Relative lightness or darkness of a color and is perceived in terms of contrast. For example, pink

is a light value of red, while navy is a dark value of blue. Value is an element of art. vanishing point – In an artwork using linear perspective, the point at which converging lines meet. variety – Use of different elements of art to add interest to an artwork. Variety is a principle of design. vertical – Upright, at right angles to the horizon. viewpoint – An angle or side from which an object can be seen or depicted in an artwork. visual texture – Texture that is perceived by sight rather than by touch, as in an artwork (implied

texture).

W warm colors – Reds, oranges, and yellows; warm colors suggest warmth and seem to move toward the

viewer. Warm colors suggest warm objects, places, and feelings. warp – In weaving, fibers stretched vertically on a loom and across which the weft is woven. watercolor – Paint composed of a water soluble pigment. A painting with watercolors plays with levels

of transparency. weaving – Process of interlacing strands of fiber, such as thread or yarn, on a loom to create a piece of

fabric or an artwork. weft – In weaving, fibers woven from side to side and through the warp on a loom. wet on dry – A watercolor technique in which a wet paintbrush on dry watercolor paper which causes

sharper and dark edged brush strokes. woodcut – A print made by inking a carved block of wood and pressing it onto paper or another flat

surface. Piece of wood into which a design is cut and from which prints are made.

The Fairbanks North Star Borough School District does not discriminate on the basis of race, color, religion, sex, age, national origin, disability, marital status, pregnancy, sexual orientation, or veteran status. The Fairbanks North Star Borough School District does not discriminate on the basis of sex in violation of Title IX of the Education Amendments of 1972 in the educational programs or activities which it operates. The Fairbanks North Star Borough School District does not discriminate on the basis of disability in violation of Section 504 of the Rehabilitation Act of 1973. This includes admission or access to, or treatment or employment in its programs, services, and activities. Individuals requiring further information should contact the designated compliance director:

Ms. Bett Schaffhauser

Employment and Educational Opportunity Director 520 Fifth Avenue

4th Floor, Suite A, Room 411 Fairbanks, Alaska 99701 (907) 452-2000, ext. 466

Fax (907) 452-3172 [email protected]

September 2008

Public Notice

Art Curriculum.pdf - Fairbanks North Star Borough School ...

Documents

Transcript of Art Curriculum.pdf - Fairbanks North Star Borough School ...