Primary K-5
Middle 6-8
High School 9-12

Primary Level Lesson Plans (grades K — 5)

SOFT SCULPTURE SELF-PORTRAITS

Albert P. Henry (American, 1836-18726) Abraham Lincoln, 1865 Marble

A sculpture is a three-dimensional object, which means that you can walk all the way around it and see many different views. Sculptures are made from a variety of materials, including stone, metal, wood, and fabric. An artist chooses the material that will best suit what he/she is trying to express in the sculpture. Albert P. Henry, for example, might have chosen marble for his "Bust of Abraham Lincoln" because marble reminds us of the sculptures of the Roman emperors.

Objectives/Classroom Activity: Make a three-dimensional bust of yourself using a material that isn't like hard marble at all: soft and stuffable fabric! You will need to think about both the front and back of yourself to make this sculpture.

Grade Levels: 3rd, 4th, and 5th grades

Vocabulary:

Three-dimensional - Having height, width, and depth
Sculpture - Artwork that is three-dimensional
Bust - The head and shoulders of a person

Time Frame: Four 60-minute classes

Core Content Links:

The students will:

• describe works of art using appropriate art terminology (AH-E-4.1.31)
• utilize the art elements of line, shape, form, and color (AH-E-4.1.32)
• describe a variety of media to produce three-dimensional artwork (AH-E-4.1.34
• utilize the art media of pencil, crayon, and fabric (AH-E-4.1.35)
• utilize the art process of sculpture (AH-E-4.1.38)
• analyze how an artist uses various media and processes to communicate meaning in a work of art (AH-E-4.1.39)

Guiding Questions:

• How is a sculpture different from a painting?
• How would different materials change the mood of a sculpture?

Materials:

Motivational Tool: Albert P. Henry's "Bust of Abraham Lincoln"

Procedure:

Day One: View and discuss Albert P. Henry's "Bust of Abraham Lincoln." Then make a bust of yourself with muslin. Tape a 12"x15" piece of muslin onto the table. Then, using a pencil, draw the front of yourself from the shoulders up. Remember to include lots of details. Draw big, but leave at least a one-inch margin around your bust. When finished, go over all the pencil lines with a black marker.

Day Two: Color in the front of your bust. Color "waxy" (with short and close strokes) to get intense colors. When finished flip the muslin face down and tape it securely to the table. Tape a second piece of muslin on top of the first piece, and, with a black marker, trace the outline of the first piece onto the second. This outline will be the outline of the back of your head and shoulders. Draw in the details of the back with a pencil. Then go over all of the pencil lines with a black marker.

Day Three: Color in the back of bust. Then pin together the front and the back pieces with both sides facing in.

Day Four: Thread the needle, tie a knot at the end of the thread, and sew around the outline of the bust. Leave the bottom open about 3" for stuffing. Flip the bust rightside out at the opening and stuff with thinly shredded newspaper. Slip stitch the opening together.

Assessment:
Prompt: Look at the "Bust of Abraham Lincoln" by Albert P. Henry. This marble sculpture looks formal and cool, in large part because of the material that was used.

Directions: Make a soft sculpture bust of yourself with muslin. Describe how your sculpture is different from Henry's. Describe how your sculpture is different from a self-portrait painting. Use art vocabulary from this lesson.

Scoring Guide:

4 - The student makes a soft sculpture that shows much attention to detail and good craftsmanship. A definite personality is captured in the piece. The student describes the artwork, consistently using the correct art vocabulary.

3 - The student makes a soft sculpture that shows attention to detail and good craftsmanship. Some suggestion of a personality is evident in the piece. The student describes the artwork with a good knowledge of the correct art vocabulary.

2 Ð The student makes a soft sculpture that shows acceptable attention to detail and craftsmanship. The very general suggestion of a personality is evident in the piece. The student describes the artwork with a general knowledge of the correct art vocabulary.

1 - The student makes a soft sculpture with minor detail and minimal attention to craftsmanship and personality. The student describes the artwork with a limited use of the art vocabulary.

0 - Blank, no answer or irrelevant response.

Middle School Level Lesson Plans (grades 6, 7, 8)

Grade Level: 8th Art Class

Concepts / Objectives:

• Students will demonstrate an understanding of still life as subject matter
• Students will demonstrate an understanding of Dutch still life painting in the Baroque
• Students will demonstrate an understanding of tempera paint as media for artworks
• Students will demonstrate an understanding of how contrasts of light and dark can be utilized in a work of art
• Students will be able to describe and compare characteristics and purposes of a Dutch breakfast still-life painting and their own contemporary breakfast still-life painting.

Pieter Claesz Breakfast Still Life

CONTENT/ PROCESS

Core Content for Assessment:

• AH-M-4.1.31
• AH-M-4.1.32
• AH-M-4.1.33
• AH-M-4.1.34
• AH-M-4.2.31
• AH-M-4.2.32
• AH-M-4.2.33

CRITICAL VOCABULARY

Still life
breakfast paintings
Baroque
middle class
Protestant Reformation
contrasts
vanitas
Catholic Counter-Reformation
contemporary
symbolism
Monochrome / monochromatic

QUESTIONS TO GUIDE YOUR INSTRUCTION

• 1. What is still life painting?
• 2. What was the Baroque period?
• 3. What were the most popular subjects for Dutch still life painting during the Baroque era?
• 4. How was symbolism used in some of the paintings in the Baroque period?
• 5. Why did still life painting appeal to the Dutch middle class during the Baroque era?
• 6. What are popular subjects for still life painting today?

INSTRUCTIONAL STRATEGIES AND ACTIVITIES

Materials
Print reproduction of the ÒBreakfast Still LifeÓ by Pieter Claesz
Chart paper or several sheets of poster board
Markers
Blank Venn diagram drawn on one of the poster boards
9Ó x 12Ó sketch paper for sketching compositions
chalk or charcoal for sketching
kneaded erasers
Student selected objects for individual still life compositions
Spot lights or other lighting devices for illuminating still life compositions
Empty copy paper boxes for containing the still life displays while working. A section of the box ÒtopÓ or side Òwall can be cut away to provide the light source on the still-life set-up.
Tempera paints
16Ó x 20Ó poster boards for painting
Black bristle school paint brushes with varying widths

Lesson Plan: Contemporary Still Lifes

1. Introduce students to the Pieter Claesz Dutch still life painting ÒBreakfast Still LifeÓ as a way of introducing the idea of a still life. Have students identify and discuss the composition, the placement of objects, colors, the artistÕs use of dark and light contrasts, and textures. List the items on the chart paper or the poster board so that all the students can see.

2. Introduce the Baroque period to the students using the information on the print reproduction of the ÒBreakfast Still LifeÓ and the web site: http://www.uakron.edu/education/temp/history/page1.html In a series of short lessons, the class will be able to get a good feeling for the Baroque period.

3. Focus on the Baroque period in Holland Ð a country where the Protestant Reformation took hold. Because Protestants believe that religious images go against the 2nd commandment (Thou shalt not worship graven images), the Dutch favor artworks that feature scenes of daily life Ð such as landscapes, portraits and still-life paintings. Those sorts of artworks are so popular, that the typical middle class Dutch home in the Baroque period contained about 24 paintings! The Dutch could afford all those paintings because their country prospered during the Baroque era. Generally speaking, the country was at peace and was a major center for shipping and for trade. The Dutch were big explorers back then, setting down trading posts in places as far away as New Amsterdam (later named New York) and Batavia in Java. Many of the people who benefited from the wealth of the country were those people who belonged to the middle classes Ð those people who, while not poor, were also not very rich either. While they may not have been able to buy huge homes or rich fabrics, they were able to afford modest paintings for their homes. This growing middle class in Holland helped to give the country political and economic stability.

4. The Dutch still-life painters during the Baroque period excelled at creating paintings that effectively mimicked the various objects in their compositions. Foreign visitors to Holland were so taken with these paintings that many bought them to take home with them. The still-life painters were so successful that many of them began to specialize in particular types of still-life paintings, such as floral still-life paintings. In the case of Pieter Cleasz, the artist specialized in his painted Òbreakfast still-lifes,Ó generally more neutral-color paintings of objectsthat might be found at a typical middle-class Dutch table during those times. This web site features other images of Pieter Claesz still-life paintings: http://www.artunframed.com/claesz.htm

5. Some artists and scholars see a symbolic use of objects and compositional devices in the still-life paintings of the Dutch. Introduce students to the concept of vanitas as an illustration for symbolism; pointing out how the image of the skull is a symbolic reminder of the fleeting nature of life on earth. This was a reminder urged the viewers to repent their earthly ways and concentrate on their spiritual lives Ð a major point of the Protestant religious beliefs. Many artists continued to use vanitas symbolism over the centuries, although many times for reasons other than those of the Dutch Baroque painters.

Gauge the students understanding of symbolism and work together to phrase a definition of symbolism that the class can agree upon. Write that definition on a piece of poster board and post it where all can see it easily. Then have the students attempt to interpret the possible symbols in ClaeszÕs Breakfast Still Life, considering the tipped-over glass, the precarious plates, and the half-peeled lemon. Note their interpretations on a sheet of poster board Ð accepting all of their explanations, and urging them to be open-minded of each otherÕs conclusions.

6. Introduce the students to a more contemporary perspective on still-life painting by have them visit the Audrey Flack web site at: http://www.audreyflack.com/paint/ Audrey Flack also uses the symbol of vanitas within her richly colored still-life paintings, and her artistic approach to still life can be contrasted with that of Pieter Claesz.

7. Use the blank Venn diagram to have students compare and contrast the approach to still-life painting and symbolism by both Pieter Claesz and Audrey Flack. Use the completed diagram to challenge students to articulate just what it is that makes FlackÕs painting more Òcontemporary.Ó

8. After having researched ÒBreakfast Still LifeÓ, Pieter Claesz and Audrey Flack, introduce to their assignment Ð create their own painted monochromatic still-life painting. Explain the use of a monochromatic scheme will keep them focused on the use of composition and contrast rather than becoming too focused on the other art elements. Students will work in pairs to create a still-life set-up that they both will work from.

Their still-life painting will have to be a contemporary ÒbreakfastÓ still life in that it must reflect something of their understanding of the contemporary world. In addition, the student must use symbolism in the painting Ð in the objects that they select, in the way the objects are arranged, or in the way that they manipulate art elements or design principles.

A class critique of the finished paintings will focus on how effectively the students were able to use art elements and design principles successfully in their still-life paintings. The critique will also assess how successfully the student was able to convey their goals with symbolism and creating a ÒcontemporaryÓ still-life painting.

9. Students will bring in their objects to include in their still life composition Ð using the idea of a contemporary ÒbreakfastÓ still life as reference. For instance:

• What do they eat for breakfast? Fast Food? Home cooked by a parent?
• Do they make their own breakfast? Leftovers or fresh made? Nutritious or junk food?
• How is their breakfast prepared? Refrigerated? Toaster? Microwave? Could this be included in their painting?
• Packaging of the breakfast food is also an element to be considered. Could a ÒPop TartsÓ box or plastic milk container be included as part of the still-life set-up?

Help them to understand how their choices of objects represent something about our own culture and times as well as themselves.

10. Assist the student pairs in working together and ironing out the minor disagreements that may occur in selecting and setting up their still-lives. Let students know that their cooperation and collaboration will be assessed as part of their overall grade on the project.

11. Directions for painting:

a. Have students do preliminary sketches of the still life set-up they have created. The sketches should focus on the general overall qualities of the set-up and should not be renderings or detailed studies.
b. With the teacherÕs approval the students are ready to begin. Students should draw out their painting using chalk or charcoal prior to painting.
c. Cover tables with newspapers. Encourage students to work one color at a time. Remind students to clean their brush between each color.
d. Encourage students to take their time. Craftsmanship counts.
e. Always allow ample time for cleaning up. Drying paintings should be pinned up, or laid on the floor out of the way to dry.

INSTRUCTIONAL SUPPORT / CONNECTIONS / RESOURCES

Print reproduction of Pieter Cleasz ÒBreakfast Still LifeÓ

Web links:
http://www.artunframed.com/claesz.htm A number of other still-life paintings by Pieter Claesz and a link to a short biography of Claesz.
http://www.audreyflack.com/paint/ (see site for contemporary examples of still life paintings)
http://www.uakron.edu/education/temp/history/page1.html overview of the Baroque period

ASSESSMENT:

Prompt: Dutch still-life painting of the Baroque period represents a rich chapter in the traditions of oil painting, and allows a special perspective on the Dutch culture of the 17th century. The use of symbolism within some of the paintings added another layer of meaning that could be appreciated by the viewer

Directions:
1.Students research Baroque period and the Dutch still-life paintings of the period.
2. Students research symbolism as it pertains to the Dutch still-life paintings.
3. Students research Audrey FlackÕs contemporary approach to still life painting.
4. Students select and set-up the objects for their own contemporary ÒbreakfastÓ still-life painting
5. Students paint their still-life paintings.
6. Students critique the finished paintings.

SCORING GUIDE

4

• The student completes a monochromatic still-life painting project.
• The student designs an effective still-life painting that clearly reflects an understanding of all the elements of art and principles of design that accompany the lesson.
• The project reflects the studentÕs best effort and craftsmanship.
• The student follows all directions, and always asks questions whenever uncertain.
• The student is a cooperative and positive collaborator with their student partner.
• The student is an active participant in the class critique, whose remarks reflect a clear understanding of the project and the critique as a tool for assessment.

3

• The student completes a monochromatic still-life painting project.
• The student designs a somewhat effective still-life painting that reflects an understanding of most of the elements of art and principles of design that accompany the lesson.
• The project reflects a good effort and craftsmanship on the part of the student.
• The student follows most directions, and usually asks questions whenever uncertain.
• The student is a cooperative collaborator with their student partner.
• The student is a good participant in the class critique, whose remarks reflect a clear understanding of the project.

2

• The student completes a monochromatic still-life painting project.
• The student designs an acceptable still-life painting that reflects an understanding of some of the elements of art and principles of design that accompany the lesson.
• The project reflects an acceptable effort and craftsmanship on the part of the student.
• The student follows a few key directions, and usually doesnÕt asks questions whenever uncertain.
• The student is an acceptable collaborator with their student partner.
• The student is an acceptable participant in the class critique when called upon, and whose remarks reflect a general understanding of the project.

1

• The student completes a monochromatic still-life painting project.
• The student designs a still-life painting that reflects a minimal understanding of some of the elements of art and principles of design that accompany the lesson.
• The project reflects a minimal effort and inadequate craftsmanship on the part of the student.
• The student follows a few directions, and doesnÕt asks questions whenever uncertain.
• The student is an inadequate collaborator with their student partner.
• The student is an inadequate participant in the class critique when called upon, and whose remarks reflect a minimal understanding of the project.

0

• The student doesnÕt complete a monochromatic still-life painting project. Blank, no answer or irrelevant response

High School Level Lesson Plans (grades 9, 10, 11, 12)

Henry Moore Reclining Figure: Angles, 1979 Bronze

Grade Level: High School Humanities

Concepts / Objectives Students will-

• Students will understand the influential role of Henry Moore in the history of 20th century sculpture.
  
• Students will create an abstract sculpture in the style of Henry Moore.
  
• Students will present their sculpture to one another and demonstrate their understanding of the use of the Elements of Art and Principles of Design by Henry Moore.

CONTENT/ PROCESS

Core Content for Assessment:

• AH-H-2.31
• AH-H-2.32
• AH-H-2.35
• AH-H-2.35
• AH-H-2.37
• AH-H-2.39
• AH-H-3.31
• AH-H-3.312
• AH-H-3.2

CRITICAL VOCABULARY

Art Elements- line, texture, space (negative space), shape, form
Principles of Design- proportion, movement, contrast
Abstract
Modern
Papier-mache
Armature

QUESTIONS TO GUIDE YOUR INSTRUCTION

1. What is abstract art?
2. What was Henry MooreÕs unique contribution to modern sculpture?
3. How did Henry Moore utilize the Elements of Art and PrincipleÕs of Design in his sculptures?
4. What Elements of Art and Principles of Design are required to produce an effective sculpture in the style of Henry Moore?

INSTRUCTIONAL STRATEGIES AND ACTIVITIES

Materials

1. 18Ó x 24Ó newsprint paper for sketching
2. Newspaper strips approximately 1Ó width
3. White glue and water OR wheat paste
4. Wire
5. Tin cans
6. Small cardboard containers of various shapes
7. Wire
8. _Ó to 1Ó masking tape
9. Acrylic paint
10. White-King sized flat bed sheet
11. Charcoal
12. Kneaded erasers
13. Drawing Boards large enough to accommodate 18Ó x 24Ó paper
14. Magazine Picture

Lesson Plan: Henry Moore Sculptures

Note: This project will need approximately 10 1-hour class sessions to accomplish

1. Introduce students to the work of Henry Moore.

2. Go on-line with your students to visit additional artworks by Henry Moore at these sites:

a. ÒReclining NudeÓ at www.tate.org.
b. ÒRecumbent FigureÓ at www.tate.org.
c. ÒFamily GroupÓ at www.moma.org.

As part of this introduction, discuss MooreÕs use of the Elements of Art (line, texture, space, shape, form) and Principles of Design (proportion, movement) in his artworks.

3. Have a student model for the other students by totally cover himself / herself in the white bed sheet. Have the model stretch the cloth to create tension lines within the fabric and to accent the forms of their body. Have the other students sketch the modelÕs abstracted forms with the charcoal and eraser.

Ask the students to sketch their figures approximately 18Ó high on the paper, and situate several drawings on a page. Have the students draw several views of the same pose to help them better understand the idea of a three-dimensional drawing as the basis for a three-dimensional sculpture. Have the student complete 5 pages of sketches before moving onto the next phase of the project.

4. Ask students to use their sketches as the basis for developing their ideas for an abstracted figure sculpture. Have them return to the Moore images as help in solving problems and getting them back on track with a ÒMooreÓ abstracted approach to the figure. After selecting a particular sketch, have them envision and sketch the figure from several other positions to help them prepare for the sculpture. The student will create an 18Ó tall figure sculpture in papier-mache.

Create Sculpture in the style of Henry Moore

5. Teacher will demonstrate 3 different processes for creating an armature (like an internal ÒskeletonÓ for the form of the sculpture): creating one with rolled up newspaper ÒsticksÓ, wire armature using clothes hangers , cardboard support.

6. The teacher will then demonstrate how to pad the armature with wads of newspaper to add onto the armature. Teacher will then demonstrate how to apply the papier-mache over the armature and padding.

7. Students will choose one of the 3 approaches to armatures to create their sculptures.

8. After the sculptures are dry, students will use acrylic paints or other surface treatments to complete the sculpture Class Presentations- Students will present their individual projects to the class and include appropriate vocabulary reflecting their knowledge of the style of Henry Moore.

ASSESSMENT:

Prompt:

Students will use an examination of the work of sculptor Henry Moore to utilize the Elements of Art and the Principles of Design in the creation of a small sculpture in the style of Henry Moore.

Directions:

1. Introduce Students to the work of Henry Moore
2. . Have students do gesture drawings of veiled figure to obtain ideas for their own sculpture.
3. Teacher demonstrates use of a n armature (framework structure) and the papier-mache process.
4. Students create their papier-mache forms and paint.
5. Students present their finished pieces to the rest of the class.
6. Evaluate completed sculptures and class presentations.

SCORING GUIDE

4

• The student completes a sculpture and presents it to the class.
• StudentÕs sculpture reflects a strong understanding of the elements of art and principles of design that result in an effective sculpture.
• Student project demonstrates their best effort and effective craftsmanship.
• The student is an active participant in the project, follows all directions, and asks questions when uncertain. In addition, the student is able to competently assist other students who have questions or need assistance.
• Presentation to the class is informative, clear and enthusiastic.

3

• The student completes a sculpture and presents it to the class.
• StudentÕs sculpture reflects a good understanding of the elements of art and principles of design that result in a fairly effective sculpture.
• Student project demonstrates a good effort and effective craftsmanship.
• The student is a fairly active participant in the project, follows most directions, and generally asks questions when uncertain.
• Presentation to the class is generally informative, clear and enthusiastic.

2

• The student completes a sculpture and presents it to the class.
• StudentÕs sculpture reflects an acceptable understanding of the elements of art and principles of design that result in an acceptable sculpture.
• Student project demonstrates an acceptable effort and craftsmanship.
• The student is an acceptable participant in the project, but doesnÕt do anymore than is necessary to complete the project.
• The student follows some directions, and generally asks questions when uncertain.
• Presentation to the class is generally informative.

1

• The student completes a sculpture and presents it to the class.
• StudentÕs sculpture reflects a minimal understanding of the elements of art and principles of design that result in a minimally acceptable sculpture.
• Student project demonstrates a minimal effort and craftsmanship.
• The student is an unsatisfactory participant in the project, who unwilling to do anymore than is absolutely necessary to complete the project.
• The student follows minimal amount of directions, and doesnÕt ask questions when uncertain.
• Presentation to the class is a minimal introduction to the studentÕs finished sculpture.

0

• The student doesnÕt complete a sculpture.

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