what’s different?...lesson plans from “responding by comparing and contrasting” k-5/...

L E S S O N P L A N S F R O M

“Responding by Comparing and Contrast ing”

K-5/ Responding

SUMMARY

Lesson plans designed for DVI by

Camilla S. Haneberg

www.davinciinitiative.org

BACKGROUND INFORMA-

What’s the same?

What’s different?

This lesson links the National Art Stan-dards with the Literacy Common Core Standards giving the students an opportu-nity to respond to, analyze and interpret pairs of paintings and then to compare and contrast them using writing.These skills are sharpened in this les-son to raise awareness of looking at and understanding art as well as for future self critique.

In art classes we have been comparing and contrasting artworks for a very long time. There is much to be learned by examin-ing artist’s intent for communication and comparing and contrasting the way that two artist’s intent for communication is ex-pressed. We can closely look at an artwork and ask questions that lead us to think deeply about how and why an artist makes her/his work.This introductory crosscurricular set of activities explores seeing and talking about artworks with possible interpretation and imaginative writing.The activities are designed to be used for K-5, and upon review of the concepts, you can decide which are appropriate to meet your students skill level and needs.

STANDARDS

NATIONAL ART STANDARDS:

VA:Re8.1.KaVA:Re8.1.1aVA:Re8.1.2a

“RESPONDING, COMPARING, CONTRASTING”

K-5/ Responding K-5/ Responding“RESPONDING, COMPARING, CONTRASTING”

ACTIVITY 1

ACTIVITY 2

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OBJECTIVES• analyzing subject matter for possible

meaning• decide on a mood for the painting,

based on observing characteristics and media

• using visual cues, describe the charac-ters/subjects in the paintings

• summarize and list relevant informa-tion used in your analysis

• conclude with an interpretation of an artwork

MINI ME VISITS A PAINTINGUsing the handout labeled A1, with the im-age, Edward John Poynter’s , The Ionian Dance, Make a copy per student and then instruct that each student make a mini me self portrait either on the provided

VA:Re8.1.3aVA:Re8.1.4aVA:Re8.1.5a

LITERACY COMMON CORE STANDARDS:

CCSS.ELA-LITERACY.SL.K.4 CCSS.ELA-LITERACY.SL.1.4CCSS.ELA-LITERACY.SL.2.4CCSS.ELA-LITERACY.SL.3.4CCSS.ELA-LITERACY.SL.4.4CCSS.ELA-LITERACY.SL.5.4

CCSS.ELA-LITERACY.SL.K.5CCSS.ELA-LITERACY.SL.1.5CCSS.ELA-LITERACY.SL.2.5CCSS.ELA-LITERACY.SL.3.5CCSS.ELA-LITERACY.SL.4.5CCSS.ELA-LITERACY.SL.5.3

WHAT ARE THEY THINKING ABOUT?This activity is a way of comparing and contrasting two images by the same artist that introduces the concept by looking at and talking about what is going on in each. The paintings are both by, Eugene de Blaas, and they both featuring a woman at a window sill (comparison). Although they are both women at windowsills, they are very different women (contrasting). Students are asked to look at the artworks and seek clues to determine what the wom-en are thinking about.This is another experiential activity to get the conversation and description of the artworks going.You may want to pay for an 11 X 17” color copy of the included two paintings (Ve-netian Beauty on the Balcony and God’s Creatures)and display them in the class-room, in which case you would not need to make copies of the A2 handout that is included.You can expand this lesson by asking about all kinds of detail in the art works...What are they wearing? Who wears those clothes? What else do you see in the im-ages? Why did the painter include those things?If you would like to you can also have stu-dents take notes or draw pictures of their ideas on the back of the handout and share out what they have written.

MATERIALS:• Either a larger color copy of each the

attached paintings by Eugene de Blaas, Venetian Beauty on the Balcony and God’s Creatures OR copies, one per student of the A2 handout

• (optional) pencils for students to make notes on the back of the handouts

“cookie cutter” human shape or within the rectangular box provided, making it head to toe and as large as it can be with-in that box. Materials for this are up to you, pencil is great! Once the drawing is complete, the student cuts it out and “glue stick” glues it or tapes it to a coffee stirrer, puppet style. Divide student into groups of two or three and demon- strate how their “mini me” will jump into the painting and describe what they see to one another. Mingle and listen to what students are describing and encourage as needed.If your students are open to the idea, one or two could present to the class with a larger color copy of any of the included artworks for this lesson plan.The concept here is for the students to ver-bally describe what they are seeing while they are “in the painting”.

MATERIALS:• one copy each of the A1 attached

handout• pencils• erasers• (optional) crayons or colored pencils• scissors• coffee stirrers• if coffee stirrers are wooden, glue

sticks or tape, if they are plastic, tape to attach mini me

• (optional) larger color copies of the other attached artworks for description

ACTIVITY 3

COPY AND INTERPRETOne of the ways to study an artist’s work is to copy it. This method of learning went out of favor as the personal expres-sion “movement” came into fashion in art education history, but before that it was considered (and still is by some groups) a tried and true way to learn. Student’s may resist it because chances are it has been shunned in their history, but explain to them that we are studying by copying and we are also crediting the artist that we are copying from and not claiming the work as our own.Use the handout labeled, A3, Arthur Hughes’, A Spring Afternoon. Again, you can make a larger color copy of the art work, or project it on a computer projector or promethean board for this acivity.distribute a piece of white drawing paper to each student. Also distribute pencils, erasers, crayons, colored pencil or markers for use. Ask students to copy the artwork as accu-rately as possible on their paper.Early finishers may need to look again to see all the cool details, with your en-couragement. Or, the super slow workers might need encouragement to worry less about all the detail, but when students have reached a finished point, ask for volunteers to share out what they learned about the art work from studying it.Asking students questions like, “What did you notice copying the work that you did not notice prior? Why do you think the work is called, A Spring Afternoon? Why do you think Arthur Hughes chose to paint this landscape? What would you have done differently if you were painting this scene? Why? Do you like the painting more now that you have copied it?


K-5/ Responding



K-5/ Responding


ACTIVITY 4

ACTIVITY 5

WHICH IS WORTH MORE MONEY?Welcome to the world of art dealing! With this activity, students get to decide what the monetary value of an artwork is to them and who would be a good candidate for a customer...and why (of course).We are revisiting Eugene de Blaas’ “Ve-netian Beauty and God’s Creatures” for this activity seen on the attached handout labeled A4. There is also an A4 handout that features play money in varying bill amounts that you will have to choose to meet your student’s skill level and math concepts you want to include:CCSS.MATH.CONTENT.K.MD.A.2CCSS.MATH.CONTENT.1.NBT.B.2CCSS.MATH.CONTENT.2.NBT.A.1CCSS.MATH.CONTENT.3.NBT.A.1CCSS.MATH.CONTENT.4.NBT.B.4

Prep for this activity by copying the A4 play money handout and either cutting the bills apart on a paper cutter (and choosing the right bills for your student’s math lev-el) or providing scissors for students to cut out the bills themselves.Copy one A4 handout of the paintings per two students and pair them up to work to-gether. Once they have a partner, a hand-out and the bills ready to spend, introduce

ASK THE ARTIST HIMSELFThis silly activity is a way to keep things light and for students to imagine what they would ask the artist himself if he was in the classroom and what he might answer to their questions.Using the two attached A5 “mask” hand-outs, print onto cardstock and then cut out the edges and eyes of the artist’s heads. Laminate the mask and then tape it onto a paint stick as a hand hold.

MATERIALS:• A large color copy of A3 handoutOR• A projector to show a large image of

the A3 painting• drawing paper, one per student• pencils• erasers• crayons, colored pencils or markers

the scenario to the student pairs. One student will be the seller and the other the buyer. Each should know the following about themselves (these parameters are listed on the handout):SELLER: • the price of each painting (which must

be within the limits of the play money provided to each)

• how and what they will say to “sell” the painting/s

• reasons for why the painting is a good choice specific to the buyer’s wants/needs

BUYER:• how much to spend on one or both of

the paintings• What they like and dislike about the

paintings• Where the painting/s are going to be

hung • Who the painting/s are for

Give students some silent thinking time to prepare for the sale. They may take notes on the back of the paper or on scrap paper if that is helpful.When everyone is ready, let the negotia-tions begin. Mingle and bring up interest-ing points that you are observing to inspire deeper thinking about the value of the art works.Afterwards discuss any surprises or “take aways” (things learned for themselves) that the students made.Reverse partners to new roles or re-choose partners and go again with the same art works or any of the other’s available in this lesson’s attachments.

MATERIALS:• one copy per student of the A4 play

money• One copy per two students of the A4

• handout• (optional) scrap paper and pencils• (optional) copies of other attached art

works for further exploration with this activity

(Yes, I realize this looks a little creepy.)This is Eugene De Blaas.

Display one art work at a time by the artists and ask for a volunteer student to “become” the artist temporarily. The volunteer uses the mask while the oth-er students ask what they want to know about the art works. The “artist” (with the mask) answers what she/he thinks that artist may answer. The students may need prompting with questions such as, “What were you thinking about when you painted this painting? Did you have a model pose for you? Was it in your hometown? Did you know the woman? Did you use large or small brushes? In waht parts of the

painting where the large brushes used? And the small ones?” Students can take turns being the artist and answering any questions about the attached artworks.

MATERIALS:• one each copies of the A5 artist masks• two sheets of cardstock• tape• two paint sticks• large color copies of the de Blaas and

Poussin artworks OR projection of digital image

ACTIVITY 6

COMPARING AND CONTRASTING TWO ARTWORKSUsing the A6 attached handouts, and two of any of the attached art works included, your students can fill in venn diagrams pointing out the things that are the same or similar (comparison) or the things that are different (contrasting) in the two images. The handouts are fairly self explanato-ry and there is a rubric for this activity attached.This gives students a chance to work silently and think about analysis and in-terpretation within the structure of a venn diagram.

MATERIALS:• Large color copies of selected artworks OR projected images of two select ed artworks• one copy each of one or the other A6

venn diagram handouts (or both as separate activities)

• pencils• erasers• one copy each of the A6 Rubric, to

review before beginning the work


OBJECTIVES CRITERIA 1 2 3 4 5

ANALYZING SUBJECT MATTER FOR POSSIBLE MEANING:decide on a mood for the painting, based on observing characteristics and media

Student has recorded what is seen i.e. col-ors, shapes, onbjects and subjects, etc.

using visual cues, describe the char-acters/subjects in the paintings

Specifics such as color, media, methods, content, communicated meaning from each image is thoughtfully included in the venn diagram

summarize and list relevant informa-tion used in your analysis

Each of the compare and contrast areas of the venn diagram have useful and thought-ful information gleaned from observing the art works

conclude with an interpretation of an artwork

Students completed venn diagram shows an explorative yet clear collection of informa-tion from which conclusions can be drawn

A6 RUBRIC


Student Name_____________________________________________Period_____________________ A1-5 RUBRIC

Student Name_____________________________________________Period_____________________


ANALYZING SUBJECT MATTER FOR POSSIBLE MEANING:

Student considers what the artist is trying to communicate by looking at specifics about an artwork by: imaginging shrinking down and exploring the work, copying the art-work as a form of analysis, pretending to be the artist, pretending to buy or sell the work

decide on a mood for the painting, based on observing characteristics and media

Student can decide from observation what she/he thinks the artist is communicating.


Student looks at and describes what she/he sees in the art works


Student makes connection between obser-vations and possible meanings for them in the art works


Students can conclude after observation and analysis what they think the artist commui-cated through the art work


ANALYZING SUBJECT MATTER FOR POSSIBLE MEANING:decide on a mood for the painting, based on observing characteristics and media

Student has recorded what is seen i.e. col-ors, shapes, onbjects and subjects, etc.


Specifics such as color, media, methods, content, communicated meaning from each image is thoughtfully included in the venn diagram


Each of the compare and contrast areas of the venn diagram have useful and thought-ful information gleaned from observing the art works


Students completed venn diagram shows an explorative yet clear collection of informa-tion from which conclusions can be drawn

A6 RUBRIC

Student Name_____________________________________________Period_____________________ A1-5 RUBRIC

Student Name_____________________________________________Period_____________________


ANALYZING SUBJECT MATTER FOR POSSIBLE MEANING:

Student considers what the artist is trying to communicate by looking at specifics about an artwork by: imaginging shrinking down and exploring the work, copying the art-work as a form of analysis, pretending to be the artist, pretending to buy or sell the work

decide on a mood for the painting, based on observing characteristics and media

Student can decide from observation what she/he thinks the artist is communicating.


Student looks at and describes what she/he sees in the art works


Student makes connection between obser-vations and possible meanings for them in the art works


Students can conclude after observation and analysis what they think the artist commui-cated through the art work

Eugene de Blaas, Venetian Beauty on Balcony, Oil on Canvas Eugene de Blaas, God's Creatures, Oil on Canvas, 1877www.davinciinitiative.org www.davinciinitiative.org

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Brief background info on the artists: (for teachers K-5)

Eugene de Blaas:He was born at Albano, near Rome, to Austrian parents. His father Karl, also a painter, was his teacher. The family moved to Venice when Karl became Professor at the Academy in Venice. He often painted scenes in Ven-ice, but also portraits and religious paintings. He became professor in the Academy of Venice.

(en.wikipedia.org/wiki/Eugene_de_Blaas)

Arthur Huges:Hughes was born in London. In 1846 he entered the art school at Somerset House, his first master being Alfred Stevens, and later entered the Royal Academy schools. Here he met John Everett Millais and Holman Hunt, and became one of the Pre-Raphaelite group of painters. His first picture, Musidora, was hung at the Royal Acad-emy when he was only 17, and thenceforth he contributed almost annually not only to the Royal Academy but later also to the Grosvenor and New Gallery exhibitions.[1]

In 1855 Hughes married Tryphena Foord, his model for April Love. Hughes died in Kew Green, London in 1915, leaving about 700 known paintings and drawings, along with over 750 book illustrations. Following the death of Tryphena Hughes in 1921, their daughter Emily had to move to a smaller house. There was, therefore, a shortage of space. As a result, she had her father’s remaining preparatory sketches, and all his private papers and correspondence, destroyed. He was the uncle of the English painter Edward Robert Hughes.

(en.wikipedia.org/wiki/Arthur_Hughes_(artist)

Edward John Poynter:Edward Poynter was the son of the architect Ambrose Poynter. He was born in Paris, though his parents re-turned to Britain soon after. He was educated at Brighton College and Ipswich School, but left school early for reasons of ill health, spending winters in Madeira and Rome. In 1853 he met Frederick Leighton in Rome, who made a great impression on the 17-year-old Poynter. On his return to London he studied at Leigh’s academy in Newman Street and the Royal Academy Schools, before going to Paris to study in the studio of the classicist painter Charles Gleyre where James McNeill Whistler and George du Maurier were fellow-students. In 1866 Poynter married the famous beauty Agnes MacDonald, daughter of the Rev G B MacDonald of Wolverhamp-ton, and they had three children. Her sister Georgiana married the artist Edward Burne-Jones; her sister Alice was the mother of writer Rudyard Kipling; and her sister Louisa was the mother of three-times-Prime Minister of the United Kingdom Stanley Baldwin.

(n.wikipedia.org/wiki/Edward_Poynter)

Nicolas Poussin:Nicolas Poussin (French); June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.

He worked in Rome for a circle of leading collectors there and elsewhere, except for a short period when Car-dinal Richelieu ordered him back to France to serve as First Painter to the King. Most of his works are history paintings of religious or mythological subjects that very often have a large landscape element.

(en.wikipedia.org/wiki/Nicolas_Poussin)


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A4


A4

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A5


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A6

what’s different?...lesson plans from “responding by comparing and contrasting” k-5/...

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