art activities

INTRODUCTION TO ART

Maria Montessori never had a specific art programme, but she felt that the practical life and

sensorial activities are an indirect preparation for art.

Have an environment, in terms of art that stimulates an interest in the child.

As the directress it is your responsibility to:

-Be aware of the stages of development in childrens art -Be motivated

-Know about the development of art through time

-Know about some of the techniques and mediums that can be used.

-Prepare and care for the environment

Art, like anything in the Montessori environment, should move from the concrete to the

abstract.

Child sized materials should be used, and should be in good order.

There should only be one of each activity.

The art area should have a good sense of natural light. The floor should be washable, and

you should have a washbasin for the children to wash their hands.

A storage cupboard is necessary.

A washing line (child sized) with pegs is good for hanging art to dry.

Folders must be provided for each child to store their art.

Easels should be positioned outside, undercover, and they should be the correct height.

Your brushes, paints, chalk, and any other necessary materials must be positioned close to

the easels.

The children must be provided with aprons, or shirts to wear when participating in art

activities.

Have other drawing materials available- chalk, crayons, charcoal, etc- for the child at all

times. Your art is only going to be as good as the materials that you put out.

In art we need to focus on the creativity of the child. We should leave the child to his own

interpretation, but we must give him the tools to execute the task (quality materials as well

as the skill).

We should never show the child a finished product because:

-This leaves no room for creativity

-The child is then set up for failure, as they could never make their final

product look like yours.

When a child is drawing never ask them what they have drawn, rather say that their picture

is interesting, and ask them to tell you about it. This way is more open-ended.

The art must be displayed at the childs eye-level. Do not only display the beautiful art, as all the children have tried really hard, and it is your judgement, not theirs. You should also

cover the childrens names, when displaying the art, to avoid competition. The displays must also be changed regularly.

Do not do the childs drawing for him, as they then do not use their own creativity.

It is nice to have a project table in the environment.

Art should also follow the cosmic approach, i.e. give the child every material available to approach his art with.

Be aware of art possibilities outside and on nature walks.

Organise field trips to art galleries or studios, for the older children.

Avoid stylisation, which is typical pictures that are learned i.e. a typical cat, or house that

children draw because they have learned them from storybooks. This does not allow the

child to be creative.

THE STAGES OF DEVELOPMENT OF CHILDRENS ART.

1) THE MANIPULATIVE STAGE

This is approximately between 2 and 4 years of age.

It is divided into 2 categories:

a) Random manipulation:

The characteristics usually are-

The child uses all his senses to discover the unique qualities of the materials.

He makes random marks on the paper to gain control of the tool (often using the palmer grip

as apposed to the pincer grip).

He drips paint as he does not remove excess paint, and also over paints.

He uses large brushes.

He squeezes, pokes, pounds, and pinches clay.

He attempts to build blocks.

He is not trying to build, draw, or model objects. The experience is purely aesthetic, it relates

to muscle control.

a) Controlled manipulation:

This is towards the end of their 4th year

The child begins to gain control, and can repeat certain actions at will.

He can push crayons back and forth across the page at will.

He makes dark, bold lines with the crayon.

He eventually gets to the stage when he can push the crayon round and round; it begins to

take some form.

He piles blocks and can hammer pegs into holes.

He pulls, rolls, and squeezes the dough now.

He starts to name his drawings and paintings. This indicates a change from aesthetic

thinking (in terms of motions) to imaginative thinking (in terms of pictures).

Incidental forms may change their identity several times before completion (what starts off

as a dog may end up as a bus).

1) THE SYMBOLIC STAGE

This is between approximately 4 and 9 years of age.

It is divided into 2 categories:

a) Early symbolic stage:

This stage falls between approximately 4 and 7 years of age

At this stage the child begins to control his movements and creates symbols of certain ideas

and feelings he wishes to express. At first these symbols may not be recognised by the

adult.

Ideas are expressed by symbolic shapes and lines.

The child produces shapes now, and the shapes become more controlled (e.g. a rectangle

as a pool).

Detail is developing gradually.

Usually only parts that are important to the expression are used (if legs are not important

they do not appear).

There is usually no relation of colour to the object, colour is used emotionally.

The 5/6 year old is interested in the structure of things, and this is why they tend to draw a

cross section of objects. They will draw an external and internal view in one.

a) Later symbolic stage:

This stage falls approximately between 5 and 9 years of age

This is where the child uses art to express his ideas. He expresses what he knows, not what

he sees (if a child knows that a car has 4 wheels he will draw all 4, even though if you are

looking at it from the side you only see 2).

He divides his paper into ground, air, and sky.

He exaggerates the things that are important to him (e.g. mommys new hairstyle).

He has now discovered the relationship between colour and object.

He can tell episodes happening at different times in the same picture (i.e. the picture tells a

story).

CREATIVE ACTIVITIES

Art provides an essential part of the early childhood programme. Young children are given the

opportunity to work with a variety of materials and to experiment with many different techniques,

thereby expressing themselves creatively. These experiences do not just happen. They are a

result of careful planning.

Young children are not skilful users of materials. Much of their creative effort is spent in

manipulating material and exploring different techniques, thereby becoming acquainted with a

number of possibilities. Little children are more interested in DOING rather than PRODUCING

and rarely initiate a task with a planned intention. The emphasis must be on satisfying

experiences with many kinds of materials and every opportunity to become involved in the

process of making.

A major objective is to meet the needs of the child. This means that it must be designed for their

age, ability, and interest levels. Give each child the chance to think originally, and to work

independently. Encourage creative thinking. Creative children work freely and show flexibility.

They attack each problem without fear of failure. The art programme must allow the children to

grow at their own pace. Activities must be planned to stimulate the childs development, however true growth comes only at their own pace.

Teachers play an important role in the success of the early childhood art programme. They must

choose the right materials, as well as know the right way to present and use the materials.

SETTING UP ART ACTIVITES:

Keep these basic guidelines in mind when setting up:

Arrange for ease in dispensing materials

Arrange for ease in cleaning up

Make sure that there are set places for storing

Pack away the materials

Facilitate the childs creativity

Children work better in an organised, predictable environment.

WHAT TO DO WHEN PLANNING AND PRESENTING ART ACTIVITES

Consider the ages of the children and provide appropriate activities so that they can

succeed.

Provide materials with many possibilities so that the children can make discoveries.

Provide a choice of materials.

Apparatus must be in good working order.

The materials must be attractive, and you must provide enough of them.

Provide aprons for the children.

Set up in an area where the children are free to create, without distraction.

Show an interest and enthusiasm about the activity that you are presenting.

Allow the child to create for himself; there should be no wrong or right way.

Allow the child to explore the materials with his senses and appreciate his discoveries.

Show appreciation of his efforts.

Set limits-for example: paint on the paper, not the walls.

Ensure that the materials are child-safe.

WHAT NOT TO DO WHEN PLANNING AND PRESENTING ART ACTIVITES

Activities must be neither too easy, nor too difficult.

Dont make the childs decisions- let the child make his own decisions.

Dont encourage children not to mess. Rather provide aprons or shirts.

Dont make the children wait too long to begin, they will lose interest.

Dont provide an example for the child to copy. This leads to failure, as the child will not be able to complete their artwork to the standard of yours.

Dont make changes to his creation.

Dont force him to participate. Observing is also participating.

Dont attach value to the art that is pleasing to an adults eye. Art has a different meaning for the child. Display every childs art.

Dont allow children to interfere with the work of others.

Dont offer toxic or dangerous materials to the children.

USE AND CARE OF THE ART MATERIALS

Always keep the brushes flat on the table, or with the bristles facing upwards when not in

use.

Wash the brushes immediately after each use.

Teach the child how to dip only the bristles in the paint and how to remove excess paint

When using wax crayons it is a good idea to remove the paper covering them as the

children often break the crayons trying to do so.

Teach the children how to sharpen the crayons correctly. Always use a good sharpener.

This can be done as a practical life exercise.

Teach the children that when they are mixing paints that they must not flatten the brush on

the bottom of the jar, but rather to move it round and round.

SOME IDEAS

1. DRAWING

Tools

fingers, Kokis, oil pastels, crayons, pens, pencils, chalk, nails, soap, toothpicks, candles, charcoal sticks, markers.

Surfaces

newspaper, wax paper, crepe paper, shelf paper, carbon paper, tracing paper, sandpaper,

paper plates, doilies, paper towels, wood, cloth, blackboards, polystyrene, foil, mirrors,

windows, tiles, wet and dry surfaces.

Levels

tables, floors, easels, walls, etc

2. PAINTING

Tools

hands, feet, brushes, string, feathers, pipe cleaners, rags, sponges, deodorant bottles,

cotton balls, ear buds, sponges, squeeze bottles, syringes, droppers, straws, pine needles.

Painting liquids

food dyes, powder paints, water colours, bleach, water, mud, tea, coffee, pudding, starch,

finger paint, etc

Painting additives

glitter, soap, glycerine, salt, sawdust, and damp sand.

3. MODELLING

Tools

clay, dough, putty, plasticine, sawdust, etc.

4. COLLAGE

Materials

nature, paper, fabrics, stone, yarn, geometric forms, confetti, seeds, etc.

Surfaces

choose surfaces capable of carrying the weight of the collage material.

Glue

wall paper glue mixed according to the instructions on the packet, alcolin, or wood glue.

Always provide scissors at the collage presentation.

5. CONSTRUCTION

woodwork, styrofoam, box building, toothpicks, straw, wire.

6. WEAVING

threading, stitching, weaving on sacking, canvas, polystyrene trays, paper, yarn, raffia,

laces.

7. BAKING

creative cooking experiences should be offered regularly.

POINTS ON THE CREATIVE CHILD

Intelligence

for high creativity one needs to be intelligent (this does not necessarily work in the reverse).

Awareness

creative people are very aware.

Flexibility

they are often more flexible and will try a variety of approaches to a problem.

Original

creative people are usually original in their ideas.

Elaboration

this person has ideas and follows them through.

Scepticism and credulity

creative people are more sceptical and not so suspicious of new ideas.

Persistence

creating requires strong motivation and hard work, no one in society works harder than the true creator

Withdrawn and aloof

they may be quite isolated

Non-stereotyped

they may have a non-stereotyped sex-identity.

Self-critical

the creative person is rarely satisfied with himself and his work.

Humour

the creative intelligent child has a well-developed sense of humour and they are playful with

ideas.

Non-conformity

the creative person does not conform.

Self-esteem/confidence

the creative person has an inner confidence and sees the worth of his work.

Willingness to take risks

he can even risk being laughed at, as it is not important to him what others think, but rather

what he thinks.

Not time bound

they do not respond well to deadlines.

Sustained curiosity

they will often ask questions, they have an enquiring mind.

Emotional stability

they are less anxious and neurotic as a group.

CUTTING EXERCISES

1. Use old computer paper with holes. The child just has to do a snip between the holes.

2. Make the paper slightly broader with longer lines to cut.

3. Make the paper broader and the lines slightly closer together.

4. Diagonal lines

a) thick lines b)thin lines

5. Curved lines

6. Zigzag lines

7. Castle lines

8. Snake mobile

9. Fringing

10. Paper weaving

a) b)

THE DIFFERENT METHODS OF TEACHING ART

Creative expression

The child has a choice. He may choose his own topic. He can then choose his own way to

express his topic (the medium). He also chooses how he wants to organise it.

Assigned topic

The child is given a specific topic but he can express and organise the topic in his own way,

e.g. spring, holidays etc.

Copying

The child can reproduce a model, design, or picture.

Directed methods

The child follows a prescribed course set by the adult, and controlled by the adult in a step-

by-step procedure.

Patterns

Shapes are drawn or cut out by an adult, and then duplicated, or assembled by the child.

Prepared outlines

Children colour inside the lines someone else has drawn, e.g. colouring in books.

Note: Most M.Ds mainly do only methods 3-6. We must try to do methods 1 and 2 as well.

STYLES OF ART

IMPRESSIONISM

Originated in France in 1860, and lasted approximately 20 years.

Artists steered away from the strict representations of reality. Images appeared blurry.

Artists often moved their canvases outside (hillside, and flower paintings, etc.).

Often the same picture was painted at different times of the day to show the different

lighting.

This paved the way for abstraction.

POST-IMPRESSIONISM

This originated in France in 1880, and ran until approximately 1910.

It was a reaction against impressionism.

The artists used Pointillism (dots of pure colour).

These artists found Impressionism too limiting.

POINTILISM

The artists separated dots of pure colour creating an entire picture.

E.g. Cezanne, Gauguin.

FAUVISM

This was the first defiant movement of the twentieth century.

Fauvism comes from the French word meaning wild beast.

The artists used bold, garnish use of colour. This is conveyed with emotion.

The paintings were simplified. There was no precision of detail.

This era was short lived.

E.g. Henry Matisse.

CUBISM

Began in France in 1907, and lasted until approximately 1920.

It deals with 3 Dimensional images on a 2 dimensional surface.

They looked at a single image from many aspects. I.e. A full face and a profile in the same

painting.

It uses a geometric arrangement of lines, blocks and angles.

Artists played down colour and just put emphasis on form.

E.g. Baroque

ABSTRACT ART

This started in Munich, Germany around 1910.

The artists gave up painting real things.

They used colours, lines, patterns, and other effects.

The viewer had to look for the representation of emotions or moods.

It was quite big in the U.S.A.

E.g. Kadinsky

EXPRESSIONISM

This was influenced by World War One, 1914-1918.

Portrayed anguish and torment of the spirit. Mans troubled soul was portrayed.

It was a reaction against the unreal serenity of impressionism.

The artists used powerful distortions and harsh, violent colours.

E.g. Van Gogh.

SURREALISM

This originated in Paris in 1920, and lasted until 1930.

Was influenced by Sigmund Freud.

Here the unconscious mind was explored.

It was based on dreams, hallucinations, fantasies, and symbolism.

The artists distorted real images (cloths draped over real images).

The secret life of the mind was portrayed on canvas.

E.g. Marc Chagall, and Salvador Dali.

PRIMITIVE PAINTERS

These were self-taught artists with a natural simplicity.

They omitted shadows and dimension, but they had a good use of colour.

E.g. Rousseau

NAME OF ACTIVITY: Mommy its a Renoir / Child-size masterpieces

AREA: Art

AGE: 3+

MATERIALS USED: Card material for the child to pair. They may be paintings by

the same artist or different artists with similar styles or subject

matter. The cards move through various steps and levels.

Each differs and becomes more difficult as the child

progresses through them.

OBJECTIVES: To teach the child about the different types of art

This is an art appreciation exercise to allow the child the

opportunity to appreciate art

STEP 1: Matching identical paintings

Level 1: All the pictures are different in size, colour, style and

subject matter. They are identical pairs.

1. Invite the child to work with you, name the activity, show him where it is kept on the shelf

and ask the child to fetch a floor mat.

2. Lay out the first set of cards on the top of the mat.

3. Ask the child to match the 2nd

set of cards to the 1st set.

4. You can discuss the cards and ask the child which is his favourite and why.

5. Help the child to pack the work away randomly.

6. Thank the child for working with you.

Level 2: All the pictures have similar subjects, colours and

styles. They are identical pairs.









NOTE: The child will have to observe more carefully to match this set.

Level 3: All the pictures are very similar same artist, subject and style. They are identical pairs.









NOTE: This is more of a challenge for the child as all the pairs are by the same artist. The child

has to compare fine details in order to match the identical painting


AREA: Art

AGE: 3+









STEP 2: Pairing companion paintings

Level 1: Each pair is painted by the same artist. They are

similar, but not identical. Each pair is radically different from

the other pairs in style, colour and subject matter.









NOTE: The child will use subject clues to distinguish the companion pairs of one artist from

another.

Level 2: Each pair is again painted by the same artist. The

subjects are similar. The pictures are highly contrasting in style

and colour between the different pairs.









NOTE: The child now uses both subject and style clues to distinguish the companion pairs of

one artist from another.

Level 3: Each pair is again painted by the same artist. All the pairs have

the same subject matter and some of the pairs use similar

colours. Each pair is by the same artist.









NOTE: The child looks at the artists style as the principal clue for matching each pair


AREA: Art

AGE: 3+









STEP 3: Grouping 4 paintings by 1 artist

Level 1: Here there are 3 different artists, each with 4 paintings. Each

artists own paintings are similar, but radically different from the other artists paintings.



2. Tell the child that you are going to group the paintings that are from the same artist and

are similar looking.

3. Lay out each heading card down the L.H.S. of the mat, naming each artist and discussing

each painting as you do.

4. Allow the child to help you to group the paintings.

5. There should be 3 rows of 4 cards.

6. Discuss the paintings with the child, asking him which is his favourite and why, etc.

7. Help the child to pack the work away randomly with the heading cards on top.


Level 2: Here there are 3 different artists, each with 4 paintings. Now all

the subject matter is similar, but each style is radically different.




similar looking.

3. Lay out each heading card down the L.H.S. of the mat, naming each artist as you do.



6. Discuss the paintings with the child.



NOTE: The child looks at the artists style as the principle clue for grouping each set.

Level 3: Again there are 4 paintings, each by 3 different artists. Now the

subject matter and styles are similar.




similar looking.

3. Lay out each heading card down the L.H.S. of the mat, naming each artist as you do.



6. Discuss the paintings with the child.



NOTE: The child must notice fine differences in style when grouping the paintings


AREA: Art

AGE: 3+









STEP 4: Learning the names of the artists

This is like a Classified card set. There are matching pairs of

labelled and unlabelled sets of cards with loose labels. Each

pair is an identical painting. Many different artists are portrayed

here.



2. Lay the labelled set of cards out on the top of the mat and name the artist.

3. Ask the child to match the unlabeled set to the labelled set.

4. Ask the child to match the labels.

5. Help the child to pack the work away.


NOTE:

1. Follow this lesson with a 3 period lesson using 3 different artists to teach the child their

names.

2. This can be followed by a presentation for the reading child, however some of the names

could be very difficult to read.


AREA: Art

AGE: 3+









STEP 5: Learning the names of famous paintings

This is again like a classified card set. There are matching

pairs of labelled and unlabelled sets of cards with loose labels.

Each pair is an identical painting. Here the child learns the

names of the paintings.



2. Lay the labelled set of cards out on the top of the mat and name the painting.

3. Ask the child to match the unlabeled set to the labelled set.

4. Ask the child to match the labels.

5. Help the child to pack the work away.


NOTE:

1. Follow this lesson with a 3 period lesson using 3 different paintings to teach the child their

names.

2. This can be followed by a presentation for the reading child, however some of the names are

very difficult to read.


AREA: Art

AGE: 3+






A time-line




STEP 6: Learning about the schools of art

Here you have several examples of paintings from each

important school of art (cubism, realism etc.) The child

becomes aware of the characteristics of the paintings in each

particular school of art. They also learn the names of the

schools most well known artists. This is a discussion exercise.

STEP 7: Grouping paintings from the same school

This is a sorting exercise where children learn to distinguish

one school of art from another. Again there are several

examples from each important school of art.

STEP 8: Using a time-line of art

Here children place paintings beside their appropriate dates on

the time-line to form a visual representation of the sequence of

developments in paintings.

art activities

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