portrait of a survivor lesson plan

(Max Beckman's "The Sinking of The Titanic" was completed in time for an exhibition in 1913, approximately one year after the ocean liner was lost at sea. The giant painting will again be on display at the St. Louis Art Museum in the Fall of 2011.)

Title of Lesson: “Portrait of A Survivor”

Topic: What motivates a painter? A portrait assignment integrated with eyewitness accounts of the historical sinking of the Titanic and the incredible artwork of the world-renowned artist, Max Beckman.

Integrated Subjects: Art History, Fine Art, Communication Arts

Grade Level: 6^th – 12^th

Length of Class Period: 55 min.

Time Needed: 4-5 days

Goals & Objectives:

• Students will read the eyewitness accounts that influenced Max Beckman’s artwork, “The Sinking of The Titanic.”
• While reflecting upon the feelings of others, students will gain a greater understanding of the struggles between man and nature.
• Students will learn the significant details of an important event in maritime history.
• Students will use hands-on, collage techniques to demonstrate the elements: value and shape and the principles: unity, repetition and emphasis. 
• Students will write a descriptive, personal narrative that is influenced by the newspaper accounts, painting by Max Beckman and their small and large group discussions.

Show-Me Standards: Fine Arts -In Fine Arts, students in Missouri public schools will acquire a solid foundation that includes knowledge of

1. Process and techniques for the production, exhibition or performance of one or more of the visual or performed arts

2. The principles and elements of different art forms

3. The vocabulary to explain perceptions about and evaluations of works in dance, music, theater and visual arts

4. Interrelationships of visual and performing arts and the relationships of the arts to other disciplines

5. Visual and performing arts in historical and cultural contexts

National Standards:

VA 1 ,  VA 2 , VA 4

Grade-Level Expectations: Visual Arts

Strand I : Product/Performance : 3. Communicate ideas about subject matter and themes in artworks created for various purposes.

A. Subject Matter: Fine Art:

• Grade 6 - Create original artwork using a realistic or abstract portrait
• Grade 7 – Create original artwork using a human figure
• Grade 9 – Create original artwork using a portrait
• Grade 10 – Communicate ideas through the creation of a portrait
• Grade 11 – Combine subject matter in original artworks to communicate ideas about the human figure
• Grade 12 – Select subject matter to communicate personal ideas through a series of original, related works (This means that if you are using the lesson plan here for 12 graders, teachers must use both combinations of creative writing and artworks to meet this standard.)

C. Theme:

• Grade 6 – Create an original artwork that communicates ideas about the function of art in culture or personal identity
• Grade 7 – Create an original artwork that communicates ideas about group identity or nature
• Grade 8 - Create an original artwork that communicates ideas about Environment or Time
• Grade 9 - Create an original artwork that communicates ideas about identity, power, time, nature, or illusion
• Grade 10 - Create an original artwork that communicates ideas about cultural identity, social commentary, reflection/transparency
• Grade 11 - Create an original artwork that communicates ideas about national identity, spirituality, vision, progress, human condition, narrative
• Grade 12 - Create an original artwork that communicates ideas about complex visual and/or conceptual ideas, imaginative or inventive approaches, and/or demonstrates risk taking

Strand II: Elements and Principles. 1. Select and use elements of art for their effect in communicating ideas through artwork

B. Shapes

• Grade 6 – Identify and use complex shapes such as people
• Grade 7 – Identify and use rhythmic shapes
• Grade 8 – Identify and use varied shapes
• Grade 9 – Differentiate between and use geometric and organic shapes
• Grade 10 – Identify and use complex shapes
• Grade 11 – Identify and use implied shapes
• Grade 12 – Use shapes expressively to communicate ideas

F. Value

• Grade 6 – Identify and demonstrate shades and tints
• Grade 8 – Identify and use a range of values
• Grade 9 – Identify and use a range of values to create the illusion of simple forms
• Grade 10 – Identify and use a range of values to create the illusion of complex forms
• Grade 11 – Identify and use a range of values to create the illusion of form through observation of transparent and reflective objects (In other words, students should also illustrate portrait of survivor and include a watery surface along with it.)
• Grade 12 – Use value expressively to communicate ideas

Strand II: Elements and Principles. 2. Select and use principles of art for their effect in communicating ideas through artwork

B. Emphasis

· Grade 7 – Identify and use center of interest (focal point)

· Grade 9 – Identify and create emphasis through contrast and convergence

· Grade 10 – Identify and use emphasis through isolation and location

· Grade 11 – Use emphasis to support the communication of an idea

· Grade 12 – Use emphasis expressively

D. Rhythm/Repetition

· Grade 7 – Identify and use regular rhythm

· Grade 8 – Identify and use progressive rhythm

· Grade 9 – Identify and use elements to create regular rhythm

· Grade 10 – Identify and use elements to create progressive rhythm

· Grade 11 – Use rhythm to support the communication of an idea

· Grade 12 – Use rhythm expressively

E. Unity

· Grade 9 – Explain how elements and principles create unity in artworks

· Grade 10 – Identify and create unity through elements and principles

· Grade 11 – Use unity to support the communication of an idea

· Grade 12 – Use unity to support the personal expression of an idea

Strand V:  Historical and Cultural Contexts. 1. Compare and contrast artworks from different historical time periods and/or cultures

A. Historical Period or Culture:

·      Grade 7 – Identify works of art from Europe

·      Grade 11 – Identify artworks from German Expressionism

Show-Me Standards: Communication Arts - In Communication Arts, students in Missouri public schools will acquire a solid foundation that includes knowledge of and proficiency in

3. Reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)

4. Writing formally (such as reports, narratives, essays) and informally (such as outlines, notes)

5. Comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling, debates, lectures, multi-media productions)

6. Participating in formal and informal presentations and discussions of issues and ideas

FR: I 6a-c, 5-12

FR: I 1b, e, 5a-c, II 1c, f, III 2d, e, IV 2b-c, 5-8 and I 1b-d, 4a-b, 5a-c, 6d, II 1d, III 2c & d, 3e, 4e, IV 2b-c, 9-12

FR: I 1d-c, 3c, II 1b, 1d, 2a, 1e, III 1a, g-h, 2a-b, IV 2b-c, 5-8 and I 1a-d, 4a, 6d, III 1a,e & h, 2a-c, 3a-d, 1h, IV 2b, 9-12

FR: I 1c-d, 3a-c, f, III 3e, 5-8 and I 1d, 3a, d, f, III 1a, e, f, & h, 3h & IV 2a, 3a, 1f, 9-12

FR: I 6a, 5-8

FR: II 6d, III 4c, IV 3f, 5-8 and II 4e, 3a, 9-12

Grade-Level Expectations: Communication Arts: Reading

1. Develop and apply skills and strategies to the reading process

H: Post-Reading: Grades 6-12 – Apply post-reading skills to comprehend and interpret text: question to clarify, reflect, analyze, draw conclusions, summarize, and paraphrase

I: Making Connections: Grades 6-12 - Compare, contrast, analyze and evaluate connections between: information and relationships in various fiction and non-fiction works, text ideas and own experiences, text ideas and the world by analyzing and evaluating the relationship between literature and its historical period and culture

2. Develop and apply skill and strategies to comprehend, analyze and evaluate fiction, poetry and drama from a variety of cultures and times

C: Text Elements: Grades 6-12 – Use details from text to : identify plot and sub-plot, theme and various types of conflict, analyze cause and effect, Identify and explain point of view and mood, determine how an incident foreshadows a future event, evaluate the problem-solving processes of characters and the effectiveness of solutions

3. Develop and apply skills and strategies to comprehend, analyze and evaluate nonfiction (such as biographies, newspapers, technical manuals) from a variety of cultures and times

C: Text Elements: Grades 6-12: Use details from text to: evaluate adequacy of evidence presented by author, determine author’s purpose based on text analysis, analyze the text for word choice and connotation, selection of details, organizational effectiveness, accuracy of information, analyze multiple texts, compare and contrast, determine importance of information, analyze author’s viewpoints, identify problem solving processes and explain the effectiveness of solutions

D: Understanding Directions: Grades 6-12: Read and apply multi-step directions to perform complex procedures and/or tasks

Grade-Level Expectations: Communication Arts: Writing

3. Write effectively in various forms and types of writing

A: Narrative and Descriptive Writing: Grade 6: Write a personal narrative that: chronicles a sequence of three or more events and includes sensory detail and dialogue

A: Narrative and Descriptive Writing: Grade 7: Write about personal experiences and revise by adding details and literary devices such as metaphors, analogies and symbols

A: Narrative and Descriptive Writing: Grade 8: Write about personal experiences and revise by adding details and literary devices such as metaphors, analogies and symbols

A: Narrative and Descriptive Writing: Grade 9-12: Write a personal narrative for real-life experiences (e.g., scholarships, applications and post-secondary/ college essays)

Grade-Level Expectations: Communication Arts: Information Literacy

2. Develop and apply effective skills and strategies to analyze and evaluate oral and visual media

A: Media Messages: Grades 6-12: Analyze, describe and evaluate the elements of messages projected in various media (e.g., videos, pictures, web-sites, artwork, plays and/or news programs) Facility & Equipment Requirements:

• One computer lap-top
• Room with good lighting
• Large tables, approximately ten, each seating four students
• Two sinks
• Dry erase board
• Drying racks
• Cabinets for storage
• Projector for viewing computer video, CDs and DVDs Resources Needed:
• Eye-witness graphic organizer
• Newspaper accounts
• Power Point about Max Beckman’s “The Sinking of The Titanic” called “Portrait Of A Survivor”

Vocabulary:

1. Eyewitness account – An account of events from those who watched them unfold personally.
2. Portrait – To ‘portray’ or represent a person or idea in a artwork, photograph, film or piece of literature.
3. Profile – Either the depiction of a person from the side or an article describing a person in the contemporary verb usage of the word
4. Survivor – Is a person who adapts to a circumstance or environment in which others have died
5. Scenarios – Scenes depicting a sequence of events in a work of art, play, movie or literature.
6. Environment – In art this describes the conditions in which a person, place, or thing exists.
7. Narrative Artwork – Artwork that illustrates a specific story.
8. Maritime –People, places or things having relationship to the sea
9. Tragedy -A misfortune or tribulation

Looking & Talking Activity: Teachers may download the free jpgs. for a Power Point depicting Max Beckman’s painting, “The Sinking Of The Titanic.” 

Literacy Activity: Teachers may download and print out the eyewitness graphic organizer; each student will need two identical sheets. Students should be divided into small groups and be given a newspaper account of one survivor from the Titanic. I choose create packets about the following survivors of the Titanic tragedy. In each packet I collected three to four newspaper articles, personal facts and sometimes photographs.

1. Miss Margaret Bechstein Hays
2. Mrs. Eleanor Genevieve Cassebeer
3. Clara Jensen
4. Mrs. Sam Aks (Leah Rosen)
5. Mr. Olaus Jorgensen Abelseth
6. Rhoda Abbott

One student should read aloud the newspaper accounts and then all small group participants may work together to answer the following questions on the first graphic organizer. Make sure that each student fills out the worksheet as they discuss the newspaper account together about their survivor in their small group. The questions are as follows:

1. What was he or she thinking?
2. What did he or she see?
3. What did he or she hear?
4. What did he or she say?
5. How would you feel under similar conditions?

The fifth question doesn’t have a “right” or “wrong” answer. Students should be candid about how they answer the question. After small group discussions, teachers will then ask each team to share a summary of each newspaper account and a few answers to some of the questions asked of them from their graphic organizer. Students will then be asked to fill out the second copy of their “eye-witness” account as their own personal dramatic account of the Titanic tragedy.  Students may choose to be an adult or child passenger or even a crewmember. This second “eye-witness” account will be used to write a brief newspaper report that will be attached to the studio art assignment.

Eyewitness graphic organizer. Click on the image to 
download the largest possible file.

Art Supplies:

• Newspapers
• White glue
• Scissors

Below are teacher examples of the studio assignment.

Newspaper portrait of "Titanic Survivor"

Close-up of "Titanic Survivor"

Teachers may display artworks by mounting the students portraits 
onto an actual newspaper page. The student's account of their 
experience might be positioned beneath their portrait as well.

Survivors of the Titanic recall their experiences of the sinking, 
accompanied by original photos of the Titanic.
Short clips of 2nd Officer Charles Lightoller, 4th Officer 
Joseph Boxhall, passenger Edith Russell and Cape Race
 wireless operator Walter Gray.

art education at the saint louis art museum

Original photo by Matt Kitces

The Saint Louis Art Museum is one of the principal U.S. art museums, visited by up to a half million people every year. Admission is free through a subsidy from the cultural tax district for St. Louis City and County.

   Located in Forest Park in St. Louis Missouri, the museum's three-story building was constructed as the Palace of the Fine Arts for the 1904 World's Fair, also known as the Louisiana Purchase Exposition. Architect Cass Gilbert was inspired by the Baths of Caracalla in Rome, Italy. The British architect Sir David Chipperfield was selected to design a major addition to the museum. It will add 224,000 square feet (20,800 m²), including above ground gallery space and underground parking. Construction began in 2009, with completion planned for 2012. Michel Desvigne has been selected as landscape architect.

   In addition to the featured exhibitions, the Museum offers rotating exhibitions and installations. These include the Currents series, which showcases contemporary artists, as well as regular exhibitions of textiles, new media art, and works on paper.

   The collection (virtual tour) of the Saint Louis Art Museum contains more than 30,000 art works from antiquity to the present. The collection is divided into eleven areas and the museum offers education materials for educators under the following categories: African * American * Ancient Egypt * Islamic * Asian * Contemporary * Decorative Arts and Design * Early European * Modern Europe * Oceanic * Pre-Columbian and American Indian * Sculpture * Prints, Drawings, and Photograph.

   The modern art collection includes works by the European masters Matisse, Gauguin, Monet, Picasso, and Van Gogh. The particularly good collection of 20th-century German paintings includes the world's largest Max Beckmann collection. The museum has Chuck Close's Keith (1970).

    The collections of Oceanic and Pre-Columbian works, as well as handwoven Turkish rugs, are among the finest in the world. The museum holds the Egyptian mummy Amen-Nestawy-Nakht, and two mummies on loan from Washington University. Its collection of American artists includes the largest U.S.-museum collection of paintings by George Caleb Bingham.

   Teacher may access press releases, RSS Feeds, article listings, a calendar of events, frequently asked questions, a library for research, free newsletters and exhibition catalogues online.

   Below are lesson plans that I have specifically written for those teachers who wish to utilize both the collections at the St. Louis Art Museum and the web database generated by the museum's staff.

1. Portrait of A Survivor - is a lesson plan integrating both art history, the visual arts, and literacy. 
2. Tialoc Mask - is a lesson combining paper mache and mosaic methods. This one is still "under construction" I'll include the teacher's sample and photos soon
3. Drawing from Greek and Roman Pottery - is a lesson that focuses the student's attention on the elaborate design details used by ancient Greek potters.
4. The Egyptian Scribe and His Equipment - This art lesson includes a literacy activity describing the life style and routine of an Egyptian scribe along with an art activity. 
5. Egyptian Jewelry Design - includes instructions for making a press mold. I will include photos of this method at a later date.
6. Ancient Effigy Pot - made with an old paper mache method.

study native americans online

       Archaeology is the science and humanity that studies historical human cultures through the recovery, documentation, analysis, and interpretation of material culture and environmental data, including architecture, artifacts, biofacts, and landscapes. Archaeology aims to understand humankind through these humanistic endeavors. In the United States the field is commonly considered to be a subset of anthropology, along with physical anthropology, cultural anthropology, and linguistic anthropology, whilst in British and European universities, archaeology is considered as a separate discipline.

      Archaeology involves surveyance, excavation and eventually analysis of data collected in order to learn more about the past. There are various different goals to the discipline, including the documentation and explanation of the origins and development of human cultures, understanding culture history, chronicling cultural evolution, and studying human behavior and ecology, for both prehistoric and historic societies. Indeed, archaeology is particularly useful in discovering information about human Prehistory, which comprises over 99% of total human history, due to the lack of written sources for this period and the full reliance on archaeological evidence. However, alongside this it is also used to investigate more recent history, even that reaching back only a few decades.

 Left, Artist Lucy Telles and large basket, in Yosemite National Park, 1933 Center, Haida totem pole, Thunderbird Park, British Columbia. Right, Mata Ortiz pottery jar by Jorge Quintana, 2002. Displayed at Museum of Man, San Diego, California.

      In broad scope, archaeology relies on cross-disciplinary research. It draws upon anthropology, history, art history, classics, ethnology, geography, geology, linguistics, physics, information sciences, chemistry, statistics, paleoecology, paleontology, paleozoology, paleoethnobotany, and paleobotany.

      Looting of archaeological sites is an ancient problem. For instance, many of the tombs of the Egyptian pharaohs were looted during antiquity. Archaeology stimulates interest in ancient objects, and people in search of artifacts or treasure cause damage to archaeological sites. The commercial and academic demand for artifacts unfortunately contributes directly to the illicit antiquities trade. Smuggling of antiquities abroad to private collectors has caused great cultural and economic damage in many countries whose governments lack the resources and or the will to deter it. Looters damage and destroy archaeological sites, denying future generations information about their ethnic and cultural heritage. Indigenous peoples especially lose access to and control over their 'cultural resources', ultimately denying them the opportunity to know their past.

      Popular consciousness often associates looting with poor Third World countries, but this is a false assumption. A lack of financial resources and political will are chronic worldwide problems inhibiting more effective protection of archaeological sites. Many Native American Indians today, such as Vine Deloria, Jr., consider any removal of cultural artifacts from a Native American Indian site to be theft, and much of professional archaeology as academic looting.

 Left, Storyteller Under Sunny Skies, storyteller doll by Rose Pecos-SunRhodes (Jemez), 1993, collection of the Children’s Museum of Indianapolis. Center, Una Vida Pueblo, Chaco Canyon, New Mexico. by photographer James Q. Jacobs. Right, "Carpet" of land in the Town Hall Square in La Orotava Tenerife in celebration of Corpus Christi.

      In 1937 W. F. Hodge the Director of the Southwest Museum in Los Angeles CA, released a statement that the museum would no longer purchase or accept collections from looted contexts. The first conviction of the transport of artifacts illegally removed from private property under the Archaeological Resources Protection Act (ARPA; Public Law 96-95; 93 Statute 721; 16 U.S.C. 470aamm) was in 1992 in the State of Indiana.

      In the United States, examples such as the case of Kennewick Man have illustrated the tensions between Native Americans and archaeologists which can be summarized as a conflict between a need to remain respectful towards burials sacred sites and the academic benefit from studying them. For years, American archaeologists dug on Indian burial grounds and other places considered sacred, removing artifacts and human remains to storage facilities for further study. In some cases human remains were not even thoroughly studied but instead archived rather than reburied. Furthermore, Western archaeologists' views of the past often differ from those of tribal peoples. The West views time as linear; for many natives, it is cyclic. From a Western perspective, the past is long-gone; from a native perspective, disturbing the past can have dire consequences in the present.

Susquehannock artifacts on display at the 
State Museum of Pennsylvania, 2007

      As a consequence of this, American Indians attempted to prevent archaeological excavation of sites inhabited by their ancestors, while American archaeologists believed that the advancement of scientific knowledge was a valid reason to continue their studies. This contradictory situation was addressed by the Native American Graves Protection and Repatriation Act (NAGPRA, 1990), which sought to reach a compromise by limiting the right of research institutions to possess human remains. Due in part to the spirit of postprocessualism, some archaeologists have begun to actively enlist the assistance of indigenous peoples likely to be descended from those under study.

      Archaeologists have also been obliged to re-examine what constitutes an archaeological site in view of what native peoples believe to constitute sacred space. To many native peoples, natural features such as lakes, mountains or even individual trees have cultural significance. Australian archaeologists especially have explored this issue and attempted to survey these sites in order to give them some protection from being developed. Such work requires close links and trust between archaeologists and the people they are trying to help and at the same time study.

      While this cooperation presents a new set of challenges and hurdles to fieldwork, it has benefits for all parties involved. Tribal elders cooperating with archaeologists can prevent the excavation of areas of sites that they consider sacred, while the archaeologists gain the elders' aid in interpreting their finds. There have also been active efforts to recruit aboriginal peoples directly into the archaeological profession. (Wikipedia.org)

Archaeology Links:

• Archaeology Daily News
• Pastscape. 400,000 records of archaeological sites and architecture in England
• NPS Archeology Program: Visit Archeology (Archeology travel guides)
• Great Archaeology - the history of archeology
• Archaeological news - updated daily
• Council for British Archaeology
• Fasti Online - an online database of archaeological sites
• The Archaeology Division of the American Anthropological Association
• The Archaeological Institute of America
• The Society for American Archaeology
• The World Archaeological Congress
• archaeolog.org - a collective blog dedicated to all things archaeological
• The Archaeology Data Service - Open access online archive for UK and global archaeology

Museums that house significant Native American Collections for teachers and students to study from. These museums also host numerous Native American exhibitions:

• The Abbe Museum
• Arizona State Museum
• Autry Nattional Center for the American West
• Bill Reid Gallery of Northwest Coast Art
• Bowers Museum
• Burke Museum of Natural History and Culture
• Cantor Arts Center
• Carnegie Museum of Natural History
• Cherokee Heritage Center
• Colorado History Museum
• Denver Art Museum
• Detroit Institute of Arts
• Gilcrease Museum
• The Heard Museum
• Heritage Hall Museum and Archive
• High Desert Museum
• Historic Arkansas Museum
• Historic Toadlena Trading Post Weaving Museum
• Historical Museum of Southern Florida
• Institute for American Indian Studies
• Fred Jones Jr. Museum of Art
• Kennedy Museum of Art
• Lancaster Quilt and Textile Museum
• Lauren Rogers Museum of Art
• Maine State Museum
• Marin Museum of the American Indian
• Frank H.McClung Museum
• Millicent Rogers Museum
• Mitchell Museum of the American Indian
• Montana Historical Society
• Monterey Maritime and History Museum
• Museum of Contemporary Native Arts
• Museum of Indian Arts & Culture
• National Cowboy & Western Heritage Museum
• National Museum of the American Indian
• Navajo Nation Museum
• Nelson-Atkins Museum of Art
• Northwest Museum of Arts & Culture
• Peabody Essex Museum
• Peabody Museum of Archaeology and Ethnology
• Philbrook Museum of Art
• Princeton University Art Museum
• Royal British Columbia Museum
• Santa Barbara Museum of Natural History
• Seattle Art Museum
• Sharlot Hall Museum
• Southern Ute Cultural Center and Museum
• Taylor Museum
• Utah Museum of Fine Arts
• Wheelwright Museum of the American Indian

More of The Best Native American clipart, photographs, illustrations, and engravings. Our staff updates all of the links listed below.

1. First People's giant collection of indian clipart.
2. Native American Clipart from old books.
3. Indian graphics from Greasy Grass
4. Native American Clipart from the Public Domain
5. Heartland Ranch Indian Graphics
6. Heartland Prairie Indian Graphics
7. School Clip Art of Native Americans
8. Blue Cloud Abby Native American Photograph Collection.
9. Pictures of Native Americans in the United States
10. Edward S. Curtis's The North American Indian
11. American Indians / Native Americans from the Chicago Daily News
12. National Anthropological Archives
13. Indians of North America-Theodore De Bry Copper Plate Engravings
14. Index of White Watercolors and De Bry Engravings
15. Picturing the New World, The hand-colored De Bry Engravings of 1590
16. Public Domain Images of Native Americans
17. Native portraits from the Public Domain Photo Blog
18. National Anthropological Archives
19. Native American Photochroms
20. After Columbus: Four-hundred Years of Native American Portraiture
21. American Indian Occupation of Alcatraz Island
22. American Indians of the Pacific Northwest Digital Collection
23. Benedicte Wrensted: An Idaho Photographer in Focus
24. Dawn of a New Day, photograph collections at the Arizona State University Library
25. Early Photographers Of First Peoples In British Columbia
26. Edward Harvey Davis Photo Gallery - San Diego Historical Society
27. Gallery of the Open Frontier, University of Nebraska Press and the National Archives
28. Images of the Indian Peoples of the Northern Great Plains
29. Indians near Warner Springs - San Diego Historical Society
30. Mi'kmaq Portraits
31. Native American Photographs : Nineteenth Century Images, Pitt Rivers Museum, University of Oxford
32. Panoramic photographs from the National Archives, including one of a large group on Indians.
33. Photographs from the Union Pacific Railroad Archives
34. Picture Collection Online from the New York Public Library
35. Pictures of Indians in the United States , in the National Archives
36. Prints and Photographs Reading Room , Library of Congress
37. llustrations and Photographs, 1891-93 by Thomas W. Kavanagh
38. Wanamaker Collection of American Indian photographs
39. Reading Historic Photographs: Photographers of the Pawnee by Thomas W. Kavanagh
40. Richard Throssel: Photographer of the Crows
41. Special Collections and Archives Department, Cline Library , Northern Arizona University
42. Stereotyping Native America
43. The Outsider and the Native Eye: The Photographs of Richard Throssel
44. Visual Records Collections, British Columbia Archives
45. Wisconsin Historical Images
46. Alaska Clipart Collection
47. ETC's Native American Clip Art
48. Native American Clipart from U.S. History Images
49. Native American Symbols
50. Native American Indian Graphics from classroomclipart.com
51. Native American Tribal Designs from Adcre8tr.com
52. Tribal Clip Art from Native American Art Prints

art lessons about vincent van gogh

Bedroom in Arles (1888), Van Gogh Museum

      Vincent Willem van Gogh  ( March 30, 1853 – July 29, 1890) was a Dutch post-Impressionist painter whose work had a far-reaching influence on 20th century art as a result of its vivid colors and emotional impact. Suffering from anxiety and increasingly frequent bouts of mental illness throughout his life, he died largely unknown at the age of 37 from a self-inflicted gunshot wound.

Van Gogh did not begin painting until his late twenties, most of his best-known works dating from his last two years. In less than a decade, he produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. His work included self portraits, landscapes, portraits, and paintings of cypresses, wheat fields and sunflowers.

      Van Gogh spent his early adulthood working for a firm of art dealers, traveling between The Hague, London and Paris, after which he taught for a time in England. One of his early aspirations was to become a pastor and from 1879 he worked as a missionary in a mining region in Belgium where he began to sketch people from the local community. In 1885, he painted his first major work The Potato Eaters. His palette at the time consisted mainly of somber earth tones and showed no sign of the vivid coloration that distinguished his later work. In March 1886, he moved to Paris and discovered the French Impressionists. Later he moved to the south of France and was taken by the strong sunlight he found there. His work grew brighter in color, and he developed the unique and highly recognizable style which became fully realized during his stay in Arles in 1888.

      The extent to which his mental illness affected his painting has been a subject of speculation since his death. Despite a widespread tendency to romanticize his ill health, modern critics see an artist deeply frustrated by the inactivity and incoherence brought about by his bouts of illness. According to art critic Robert Hughes, Van Gogh's late works show an artist at the height of his ability, completely in control and "longing for concision and grace".

Art Lessons About Vincent Van Gogh: 

• “StarryNight” It’s Elementary!
• Oil andChalk Pastel Art in Grade Four
• Van Gogh’sSunflower Ceramic Relief
• The 1stGrade Sun Flower Painting Art Gallery (Dedicated To Vincent Van Gogh)
• Van GoghSunflower Art Lesson In Oil Pastel
• Van Gogh’sShadowbox Bedroom
• Hangin’ WithVincent 

More Links About Vincent Van Gogh:

• Vincent van Gogh Biography, Style and Critical Reception.
• Vincent van Gogh Gallery. The complete works and letters of Vincent van Gogh.
• Van Gogh Letters – The complete letters of Van Gogh, translated into English and annotated. Published by the Van Gogh Museum.
• Memoir of Vincent van Gogh. By Johanna Gesina van Gogh-Bonger, Vincent's sister in law.
• Van Gogh's Letters, unabridged and annotated.
• Van Gogh Museum, Amsterdam, The Netherlands.
• Works by or about Vincent van Gogh in libraries (WorldCat catalog)
• Vincent van Gogh at the Museum of Modern Art
• Van Gogh at the National Gallery of Art, Washington, D.C., United States.
• 'Drama at Arles new light on Van Gogh's self-mutilation' from Apollo, September 2005 by Martin Bailey.
• Painted with Words: Vincent van Gogh's Letters to Emile Bernard, New York Times, 9 September 2007
• Painted with Words: Vincent van Gogh's Letters to Emile Bernard – Facsimiles at The Morgan Library & Museum
• Art Historians Claim Van Gogh's ear 'Cut Off by Gauguin' by Angelique Chrisafis, The Guardian, 4 May 2009
• Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Vincent Van Gogh. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
• Admiel Kosman, Treading toward sanctity. Musings and meditations on close to a century's worth of discussions occasioned by Van Gogh's series of paintings of worn shoes. Was the artist's statement primarily aesthetic, or political, or was it religious?

art lessons about m. c. escher

Relativity, 1953

Maurits Cornelis Escher (17 June 1898 – 27 March 1972), usually referred to as M. C. Escher  was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.

Art Lessons About M. C. Escher:

• The Incredible Tessellations Page
• Lesson 7 Art Part: Escher
• Tessellations.org
• Tessellations from KidsArt
• Mrs. Reekie’s Student Samples

More Links About M. C. Escher:

• "M.C. Escher official website"..
• "Math and the Art of M.C. Escher". USA: SLU..
• Artful Mathematics: The Heritage of M. C. Escher. USA: AMS..
• Escherization problem and its solution. CA: University of Waterloo..
• "Escher for Real". IL: Technion. — physical replicas of some of Escher's "impossible" designs.
• "M.C. Escher: Life and Work". USA: NGA..
• "US copy right proctection for UK artists". UK.. Copyright issue regarding Escher from the Artquest Artlaw archive.
• Schattschneider, Doris (June/July 2010). "The Mathematical Side of M. C. Escher" (PDF). Notices of the American Mathematical Society (USA) 57 (6): 706–18. Retrieved 2010-07-09.
• Gallery of tessellations by M.C. Escher