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4.
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The process of object analysis allows the student to perceive the facts of a work by taking it apart layer by layer. In this way, speculation or how they feel about a work is reserved until last, and students are able to see things in the work they would ordinarily pass by with casual observation. Students interact with the works of art and become “active” viewers, not just “passive receivers.”
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A.
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Describe physical characteristics (may be unclear in reproductions)
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1.
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Size
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2.
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Materials
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B.
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Taking inventory (this is also subject matter, but I have renamed the idea to make it clearer to the students).
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1.
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Name the things (everything!)
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2.
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Work larger to smaller
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C.
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Formal analysis using art terms of line, shape, color, value, texture
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1.
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Where are dominant lines?
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2.
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Where do lines come together into geometric shapes?
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3.
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Does it look like there are any solid geometric shapes in the work?
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4.
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Describe the colors from strongest (most saturated) to weakest.
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5.
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Describe the light or value in the work from brightest to darkest.
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6.
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Where is the texture? Is it on the surface? Is it depicted (painted to look like) or could you really feel it?
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D.
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Arriving at deductions: using the descriptions from above, what are some reasonable conclusions? What seems logical?
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Two ways to help figure out what is going on in the piece are, first, to imagine being inside the work and wondering what you see. The second is to imagine being outside the work thinking about what they might see in relation to you.
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E.
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Speculation—the fun part!
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How do you feel about it? Why do you feel that way? Students should be able to back up their judgments with reasons. This will help them feel more confident about offering an opinion, since it is now an “informed” opinion. Using the art vocabulary should also be encouraged at this point to help legitimize students’ feelings.
2
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5.
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Understanding the intrinsic value of works of art and gaining a cultural perspective (objectives #5 and #6) will come from the last section, speculation, of the object analysis process, and through the actual creation by students of their own art based on various aspects of the selected works of arts viewed.
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Art elicits both individual and cultural responses because each of us has aesthetic needs and expectations. These needs manifest themselves in a concern for how things look and for harmonious organization. This awareness is processed through the personal experiences and the development of the individual. A wide variety of individual responses may be expected from students since these responses result from various levels of awareness, including knowledge of self and sensitivity to one’s social environment. In contrast, a cultural response reflects identification with peers or community, and students have a tendency to stay within the confines of the peer group’s value system. Therefore, the students should be encouraged to define their personal reactions to works of art in order to stimulate the understanding of something new and unfamiliar. In this way, they have the opportunity to learn more about themselves and their own culture.
Students will also learn to value art as they begin to create their own work based on a particular aspect of one of the selected works of art. Several slides by the same artist will be shown, accompanied by biographical information about the artist. One work will be selected and analyzed according to strategy #4 in group discussion. A lesson will be presented which incorporates a stylistic or characteristic quality of the artist. Students will be encouraged to use what they have seen, discussed, and felt about the selected works of art. They will gain cultural perspective through active involvement and invention. In this way, they will have transformed their own experience into something concrete and fulfilled a universal need to express the human spirit.
Lesson Plan #1
“OBJECT ANALYSIS:
BLUES
, BY ARCHIBALD MOTLEY, JR. (1929)”
Objective
Produce a written analysis of Archibald Motley, Jr.’s painting, Blues (1929).
Materials List
The Cotton Club
, 1984, Francis Ford Coppola, Director
-
Reproduction of
Blues
(1929)
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Handout
Motivation
Show the opening segment of the movie
The Cotton
Club
that depicts the atmosphere inside the club in 1928. The film should be stopped to allow the class to describe the scenes in detail. Students should be encouraged to describe the characters and their dress or costuming, art forms (singing, dancing, instrumental music, etc.), and props. Students should also discuss the social stratification portrayed in the film.
Display the reproduction of
Blues
(1929), supplying artist’s name, title of work, and when it was painted. Distribute handouts and follow the process of object analysis as explained in strategy 4. Use the descriptive experience from the film to initiate the inventory phase. This first analysis can be done as a group with the teacher writing the students’ interpretations on the board as they write the same material on their own papers. The speculation section can be individually written and voluntarily read aloud so as not to intimidate budding critics.
Provide the remaining biographical information in its historical context and encourage discussion.
Lesson Plan #2
“MOVING FIGURE”
Objective
Paint a repeated moving figure using geometric shapes.
Materials List
Magazines and catalogues
-
Tracing paper
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Tape
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Pencils
-
Watercolor paints, brushes, and paper
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Water containers
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Sponges
Words to Emphasize
Value—perceived lightness and darkness in a visual image
Contrast—Noticeable differences in one art element, such as value, color, or texture
Motivation
Present the slides of Jacob Lawrence’s art with biographical information. Analyze Parade (1960) according to strategy 4.
Describe the lesson objective and display an unfinished example. Start by demonstrating how to look for a high contrast color photograph of a complete figure, at least 5‘ or 6‘ high, in magazines and catalogues. Look for one which suggests movement. Point out the shapes made by the lighting contrasts in the photograph. Where are the darkest values, the lightest, and the medium values? Demonstrate how to tape tracing paper over the photo and trace the outlines of the darkest shapes first, the lightest second, and the medium value shapes last, working from the most obvious values to the most subtle. Simplify each form and leave no unconnected lines.
Take finished tracing, turn it over so that the pencil side is next to the watercolor paper, and retrace, transferring the tracing as if it were a carbon. After the first figure is finished, move the tracing around as desired and retrace three or four more times. Add a simple background suggesting an indoor or outdoor space.
Review watercolor techniques and have students choose a limited palette of four or five mixed colors. Show how to control the values by adding more water to get a light shade and how to use the sponge to avoid “puddles.” The use of black should be minimal in order to maintain clarity.
By painting the repeated shapes of the figure with a limited palette of contrasting colors, students will understand how to unify their compositions in much the same way Jacob Lawrence did in
Parade
. The appeal lies in the manipulation of formal elements, and our students can learn to do it, too.
Lesson Plan #3
“MEMORY PICTURE”
Objective
To make a cloth collage representing an event or memory.
Materials List
-
Felt and cloth scraps
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12” x 12” burlap
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White muslin
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Scissors
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Glue
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Newsprint
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Pencils
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Permanent fine-line markers
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Tape
Words to Emphasize
Style—the quality which gives a particular character to artistic expression
Naive—referring to style: unsophisticated, unschooled, or natural. This term, when used in art, does not refer to lack of talent or ability; it is descriptive rather than judgmental.
Motivation
Present the slides of Faith Ringgold’s art with biographical information. Choose one work and analyze it according to strategy 4. Read and discuss together Ringgold’s children’s book, Tar
Beach
. (Refer to bibliography.)
Ask students if they have any wishes or memories similar to Cassie’s in
Tar Beach
. (Suggestions: birthdays, a new baby, falling off a bicycle.) How would they draw this event?
Does it have to look realistic? Why or why not? Do Ringgold’s works of art look realistic? Why did she choose this style of painting?
Sketch two or three ideas onto newsprint. Write down the accompanying memories and make sure that the picture idea coordinates with the written statement.
Draw desired shapes onto scraps of fabric and felt and cut them out. Assemble pieces large to small, layering and overlapping as desired. Glue in the same way, large pictures first.
Tape a muslin strip flat and use a ruler and pencil to space writing. Write down in pencil
very lightly first
. Write over with permanent marker. Cut out strip and glue to 12” x 12” burlap square.
Piece together or arrange separately.
