my future self final nr - origin.guggenheim.org · my future selfmy future self project overview...

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My Future SelfMy Future SelfMy Future SelfMy Future Self Project OverviewProject OverviewProject OverviewProject Overview

After studying heroes in mythology and literature and identifying the personality traits that they themselves would like to cultivate, sixth graders incorporated their knowledge of drawing, painting, collage, and printmaking to symbolically depict themselves as the embodiment of these qualities.

Essential Question:Essential Question:Essential Question:Essential Question:

How does a person’s character affect his or her destiny?

Artistic Goals: Artistic Goals: Artistic Goals: Artistic Goals:

1. Students will understand some of the ways that artists create portraits using both representation and abstraction. 2. Students will know how to use different mediums, including charcoal and water-based paints, and will understand

the properties of these mediums. 3. Students will understand that color, line, and shape have both visual and symbolic meaning.

Curricular Goals:Curricular Goals:Curricular Goals:Curricular Goals:

1. Students will explore character traits in themselves and historical characters/leaders and how these traits impact their lives.

2. Students will be able to analyze characters and identify internal and external character traits. 3. Students will be self-reflective in writing and conversation about their work. 4. Students will understand the concept of cause and effect, in both history and in their own lives.

National Content Standards Addressed:National Content Standards Addressed:National Content Standards Addressed:National Content Standards Addressed:

NSS-USH K-4.3: The History of the United States: Democratic Principles and Values, and the People from Many Cultures Who Contributed to its Cultural, Economic, and Political Heritage

• Understands how democratic values came to be, and how they have been exemplified by people, events, and symbols

NL-ENG K-12.2: Understanding the Human Experience

• Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions of human experience.

NA-VA K-4.3: Choosing and Evaluating a Range of Subject Matter, Symbols and Ideas.

• Students know the differences between materials, techniques, and processes

• Students describe how different materials, techniques, and processes cause different responses

• Students use different media, techniques, and processes to communicate ideas, experiences, and stories

NA-VA 5-8.1: Understanding and Applying Media, Techniques, and Processes

• Students select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choices


Part 1: RepresPart 1: RepresPart 1: RepresPart 1: Representational Portraits entational Portraits entational Portraits entational Portraits

What is a portrait?

Activity 1: Exploring Portraits Activity 1: Exploring Portraits Activity 1: Exploring Portraits Activity 1: Exploring Portraits Students were introduced to portraiture by viewing Picasso’s Woman Ironing. Together, they discussed what the mood of this woman might be, and what visual cues in the portrait led them to that conclusion. They considered the difference between internal and external character traits, and how they can be linked in portraits. Recommended Time: One 45-minute session Inquiry Artwork: Picasso, Woman Ironing Materials: Paper and pencils

Activity 2: Historical Figure PortraitsActivity 2: Historical Figure PortraitsActivity 2: Historical Figure PortraitsActivity 2: Historical Figure Portraits Part I: Exploring Historical FiguresPart I: Exploring Historical FiguresPart I: Exploring Historical FiguresPart I: Exploring Historical Figures Each student chose one historical figure from a biography they had read in social studies class to represent in a portrait. As students planned their portraits, they created T-charts listing the internal and external character traits of their figures. (See worksheet in Resources section.) They also viewed a series of portraits in a range of styles from many different historical periods, noting how the subjects’ facial expressions and gestures help give viewers clues about their character. Part II: PortraitsPart II: PortraitsPart II: PortraitsPart II: Portraits

The teaching artist introduced students to portrait techniques by conducting a brief guided session on drawing facial proportions and different facial expressions. This was also students’ introduction to drawing with charcoal and conté crayons. With these techniques in mind, students created the portraits of their selected historical figures, trying to communicate something about the subject’s outward appearance as well as his/her inward character. Finished portraits were exhibited in the classroom, and students reflected on the project by using sticky notes to comment on each other’s work.

Recommended Time: Two 45-minute sessions Materials: Paper for sketching, large paper for portraits, a variety of drawing materials (including pencils, charcoal, and conté crayons) Materials: Paper and pencils

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Pablo Picasso,Woman Ironing (La Repasseuse), 1904. Oil on

canvas, 116.2 x 73 cm. Solomon R. Guggenheim Museum,

New York, Thannhauser Collection, Gift, Justin K. Thannhauser

78.2514.41. © 2007 Estate of Pablo Picasso/Artists Rights Society (ARS), New York


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PPPPart 2: Abstraction in Portraitureart 2: Abstraction in Portraitureart 2: Abstraction in Portraitureart 2: Abstraction in Portraiture

How do artists use symbols, line, shape, and color to express internal character traits or feelings?

Activity 3: Introduction to Abstraction Activity 3: Introduction to Abstraction Activity 3: Introduction to Abstraction Activity 3: Introduction to Abstraction Together, the class looked at Picasso’s Head of a Woman (Dora Maar) and discussed how recognizable features are sometimes abstracted in portraits. They considered why Picasso may have made the choices he did when creating this painting, and also discussed how shape, line, rhythm, and color can convey a feeling. Recommended Time: One 45-minute session

Inquiry Artwork: Pablo Picasso, Head of a Woman (Dora Maar)

Activity 4: From RepActivity 4: From RepActivity 4: From RepActivity 4: From Representation to Abstraction resentation to Abstraction resentation to Abstraction resentation to Abstraction To begin, each student was given a limited palette of watercolors and was asked to brainstorm a list of emotions or feelings that they associated with those colors. With pencil and marker, each artist drew a small portrait of a person, conveying one of those emotions through facial expression or body language. Next, to add color to their images, students painted their portraits using the initial watercolor palettes. Then they cut or ripped their portraits into dozens of small pieces and rearranged those pieces into a collage while paying careful attention to rhythm, pattern, and line. Recommended Time: Two 45-minute sessions Materials: Paper, pencils, markers, watercolors, brushes, scissors, and glue

AAAActivitctivitctivitctivity 5: Historical Figure Abstractions y 5: Historical Figure Abstractions y 5: Historical Figure Abstractions y 5: Historical Figure Abstractions Students were asked again to create a portrait of a their chosen character from mythology or ancient history, but this time the portrait was to be abstract, without actually representing a physical likeness of the character. Building upon previous work, students used line, shape and color to create an “internal” portrait of a character, representing only that individual’s personality and not their physical features. Students were given a choice of materials including charcoal, chalk, watercolor, collage, or any combination of these mediums. Recommended Time: Two 45-minute sessions Materials: Large paper, choice of mediums (charcoal, chalk, watercolors, brushes, collage elements, pencils)

Pablo Picasso, Head of a

Woman (Dora Maar), 1939.

Oil on wood panel, 59.8 x 45.1 cm

From left to right: Stacey Morillo, Ashley Santiago, and Destiny Spencer, 6th grade, P.S. 86, The Bronx.


Part 4: SelfPart 4: SelfPart 4: SelfPart 4: Self----Portrait SeriesPortrait SeriesPortrait SeriesPortrait Series How can I represent visually who I am and who I will be? Activity 7: SelfActivity 7: SelfActivity 7: SelfActivity 7: Self----PortraitsPortraitsPortraitsPortraits Part I: Reflective WritingPart I: Reflective WritingPart I: Reflective WritingPart I: Reflective Writing To prepare for their final self-portraits, students responded to a series of questions about themselves and their lives in their sketchbooks. While many questions provoked short, one- to two-word answers, at least one led to a meaningful reflection. (See the worksheet on page 7 for sample questions.) These questions and answers served as a catalyst for self-portrait ideas. Part II: SelfPart II: SelfPart II: SelfPart II: Self----PorPorPorPortraitstraitstraitstraits As a culminating activity, students were asked to create a self-portrait, incorporating skills learned thus far, to address the question: “Who am I now, and who will I be in the future?” In addition to choosing between representation, abstraction, or a combination of the two approaches, students had their choice of materials for this project. Students filled out planning worksheets and made preliminary drawings in their sketchbooks to help them organize their ideas before beginning. As a class, they discussed Marc Chagall’s Paris Through the Window to consider how artists show multiple ideas, scenes or time periods in a single image. Recommended Time: Three to Four 45 Minute Sessions Inquiry Artwork: Chagall, Paris Through the Window Materials: Large paper, choice of mediums (charcoal, chalk, watercolor, brushes, collage elements, pencils)


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ImagesImagesImagesImages:::: Guggenheim Collection Online, http://www.guggenheim.org/new-york/collections/collectiononline Selected works of art used in conjunction with this project can be found here, including:

• Marc Chagall, Paris Through the Window, 1913 • Pablo Picasso, Woman Ironing, spring 1904

Images are also available for purchase as posters from the Guggenheim Museum’s online store: • Paris Through the Window, http://www.guggenheimstore.org/chagposparth.html • Woman Ironing, http://www.guggenheimstore.org/picposwomir1.html

Media and TechniquesMedia and TechniquesMedia and TechniquesMedia and Techniques:::: Bell, Julian. Five Hundred Self-Portraits. London: Phaidon, 2000. National Portrait Gallery, http://www.npg.si.edu/ “Proportions of the Human Head.” About.com, http://drawsketch.about.com/library/weekly/ aa121202a.htm Curricular ResourcesCurricular ResourcesCurricular ResourcesCurricular Resources:::: D'Aulaire, Ingri, and Edgar Parin D'Aulaire. Ingri and Edgar Parin D'Aulaire's Book of Greek Myths. New York: Delacorte, 2003. Humphrey, Sandra McLeod. Dare to Dream!: 25 Extraordinary Lives. Amherst: Prometheus Books, 2005. Time for Kids Biographies Series (ages 7–9). Editors, Time for Kids.


Internal Character TraitsInternal Character TraitsInternal Character TraitsInternal Character Traits External Character TraitsExternal Character TraitsExternal Character TraitsExternal Character Traits

Name___________________________________________________________

Historical Figure Portraits: Internal and External Character TraitsHistorical Figure Portraits: Internal and External Character TraitsHistorical Figure Portraits: Internal and External Character TraitsHistorical Figure Portraits: Internal and External Character Traits Internal character traits are the qualities a person exhibits through his or her actions. Courage, shyness, or generosity could all be internal character traits. External character traits are how a person shows their traits through their facial expressions or movements. A snicker, a smile, or perfect posture could all be considered external character traits. Think about the historical figure you have selected to depict in a portrait. Use the chart below to list both internal and external character traits that figure possesses. Think about how the two types of character traits may relate to each other and how this relationship influences your choices when creating the portrait.

Your Historical Figure: ______________________________________________


Name: Name: Name: Name:

Planning your final project: A SELFPlanning your final project: A SELFPlanning your final project: A SELFPlanning your final project: A SELF----PORTRAIT that shows who you are NOW, PORTRAIT that shows who you are NOW, PORTRAIT that shows who you are NOW, PORTRAIT that shows who you are NOW, and who you might become in THE FUTURE.and who you might become in THE FUTURE.and who you might become in THE FUTURE.and who you might become in THE FUTURE. Cut up these questions. Pick one out at a time and write down an answer. Try to write a long answer for at least a couple of questions. Use these ideas to plan your portrait!

What characteristics would you like to

show about yourself NOW?

What characteristics

would you like to show about your FUTURE self?

What parts of your self-portrait will you draw REALISTICALLY?

What parts of your portrait will

be ABSTRACT?

Name two colors that you think will be important to use in your project. Think about how colors

can help to express a feeling in your

artwork.

Will you include any words in your self-portrait?

What words will you use?

What character trait do you have now that you would still like to have when you are 20 years

old?

Who do you most admire?

Why?

What will be different about you when you are 20

years old?

Complete this sentence: “I hope that in 10 years, I

will…”

What character trait do you have now that will be helpful to you in the

future?

What word would your best friend use to describe you?

Finish this sentence: “What I like most about myself is…”

Do you have any character traits that get you into trouble? If so, what are they?

What art materials would you like to use in your project? Choose from charcoal, watercolor, or paint. You can use as many as you’d like!

What is something nice that you have done for

somebody?


Sample Inquiry PlansSample Inquiry PlansSample Inquiry PlansSample Inquiry Plans =

=Pablo Picasso,Woman Ironing (La Repasseuse), 1904. Oil on canvas, 116.2 x 73 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.41. © 2007 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

This image can also be viewed on the Guggenheim Web site: www.guggenheim.org/newwww.guggenheim.org/newwww.guggenheim.org/newwww.guggenheim.org/new----york/collections/collectionyork/collections/collectionyork/collections/collectionyork/collections/collection----onlineonlineonlineonline

Inquiry Script:Inquiry Script:Inquiry Script:Inquiry Script: • Take a minute to sketch this woman. What did you notice?

• What might this woman be thinking about? What do you see that makes you say that?

• Many have noticed that Picasso painted the woman with a thin, long figure sloping forward while she irons. How might this external gesture relate to the woman’s internal traits?=

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Pablo Picasso, Head of a Woman (Dora Maar), 1939. . . . Oil on wood panel, 59.8 x 45.1 cm

Inquiry Script: • What do you notice?

• How is this similar to or different from other portraits you’ve seen?

• Sometimes artists simplify or exaggerate the features of their subjects in order to communicate a mood or feeling. How would you describe the mood of this painting?

• How do shapes, lines, rhythm, and color convey feeling in this picture?

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Marc Chagall, Paris Through the Window, 1913. Oil on canvas, 53 1/2 x 55 3/4 inches. Solomon R. Guggenheim Museum, Gift, Solomon R. Guggenheim. 37.438. Marc Chagall © 2005 Artists Rights Society (ARS), New York/ADAGP, Paris

This image can also be viewed on the Guggenheim Web site: www.guggenheim.org/newwww.guggenheim.org/newwww.guggenheim.org/newwww.guggenheim.org/new----york/collections/collectionyork/collections/collectionyork/collections/collectionyork/collections/collection----onlineonlineonlineonline

Inquiry Script • What do you see?

• What did you notice about the colors the artist used? What did they make you think of?

• Some people think the man in the bottom right-hand corner is the artist, Marc Chagall, looking both east toward Russia (where he was from) and west toward Paris (where he lived when he painted this piece). Chagall was living in Paris, but he knew he might have to move back to Russia.

• How do you think Chagall felt about both of these places? How do his choices of colors communicate that?

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my future self final nr - origin.guggenheim.org · my future selfmy future self project overview...

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