During this lesson, student artists take their objects and their self-portraits and combine them to create a portrait that represents them both inside and out.
Students will be working individually, so have materials prepared to go out to tables/desks depending on how your class is set up.
Pencil, eraser, tracing paper with objects from Lesson 1, extra tracing paper
N/A
N/A
⚲'Lady Playing a Lute', Bartolomeo Venteto, 1500s
This painting would have told a story to its viewers, who would have known how to ‘read’ the symbols: the woman has her head tilted to the side and wearing an enigmatic expression as a young woman plays the lute. Instead of consulting the open book of music at the bottom of the painting, the lutist faces the viewer; the lute and the music are just props. The rich fabric and jewels on her dress mark her as upper class. A fur piece is draped over her left arm. Worn by high-ranking women in the 1500s, such furs were thought to keep away fleas. The many versions and derivations of this portrait made by different artists indicate that the subject enjoyed great popularity in Milan in the first half of the 1500s.
Project the inspiration image where students can see it. Give students a moment to study it silently, then begin a brief discussion with the phrase, “What can we find?”. Paraphrase what students say for the benefit of the class, being careful to remain neutral, then ask “What else can we find?”.
Alternately, allow them to draw or write what they notice on a blank piece of paper or in a sketchbook.
The point of this discussion time is to have students learn and add onto each other’s thoughts. By remaining neutral and simply repeating what students say you allow students to do the heavy mental lifting and also create an environment where there is no wrong answer, fostering creativity and mental risk-taking.
Check for understanding by asking, “Who was listening closely that can sum up what we are doing today?” Make sure that student artists can list all the steps and clarify anything that needs clarifying.
The students work independently on their work as the teacher circulates. Foster strong work habits by commenting on student artists who are focused on their work as well as student artist who seems be pushing themselves to try new things.
At this point, the focus of the class period should be getting student artists to incorporate the objects that they chose to represent themselves into their realistic portraits. The teacher wants to make sure that s/he is encouraging unique depictions; comment on the students who are invested in telling their own story in their portrait rather than mimicking their neighbors or the examples. This project has a great deal of choice in it, so the teacher should make sure that that s/he is setting up an environment where students are comfortable making decisions as well as mistakes. S/he should be enthusiastic but commenting genuinely; making sure to recognize those kids embracing their own choices and, while maintaining positivity, not giving empty compliments. Make sure to have the books and magazines available that students referenced in Lesson 1. Many students will want to revisit tracing/symbolism now that they have a clear idea of the outcome, which is fine.
Use 'what, how, and why' and then take comments or questions.
Depending on the teacher’s style of classroom management, it might be helpful to only choose and train a few kids to clean. The rest of the class can be busy with the presentation. Make sure to train these helpers well in advance so that you aren’t left with a messy room.
Clean-up times will vary with materials; get to know your class and allow 5-10 minutes depending on how efficient they are and whether or not the material was messy.
Choose presenting student artists in advance and let them know during their work time so that they are prepared.
Sharing should work as follows:
Students should be encouraged to add their objects in whatever way they feel comfortable; some will hesitate to alter their portraits from the previous lesson, in which case they can develop a background for their portrait and incorporate the objects into that. Other students will jump headfirst into erasing and editing with their objects.
If they get frustrated with things not looking like their original tracing, you can place their tracing paper ON TOP of their drawing and show them where the two differ.
Students can take out another piece of paper and list a secret “Key” to their drawing (object=meaning).
|
|
|
