a versatile artist

("Luxembourg Garden, Paris." by Blenner)

      Carle J. Blenner belongs to that interesting group of American artists which we sometimes vaguely describe as "the younger me," or as vaguely again as "the rising men." A Virginian by birth, an alumnus of Yale, he has, within the space of a very few years, exhibited a capacity to be cosmopolitan in style to a degree such as only Americans, perhaps, ever can. He received his art education--or perhaps, in the case of a student so indefatigable, we should say the academic part of this education--at Paris, under Bouguereau, Schenchk, and other masters, from whom he returned with a firmly individual style

     His work displays a great deal of versatility, ranging from the most delicate forms of landscape to spirited portraiture. At the World's Fair he exhibits "Contentment," and a portrait of Senor Don Roderigo de Saavedra of the Spanish Legation, both admirable examples of his style. That Mr. Blenner will always be effective in portraiture is hinted in the force and character of his figure studies, which contain subtle draughtsmanship and wholesome phases of color. The head of an old woman reproduced in one of the illustrations to the present article is a piece of clever realism in which there is a keen reading of the human nature lying beneath the surface. "Country Life" tells the simple yet always freshly eloquent story of the farm and its unexciting routine. The elements of the picture are skillfully brought together, and the work through-out is sincere and direct. How neatly Mr. Blenner manages sentiment may be indicated by "Afternoon Tea," which belongs to the vers de societe of painting, and which makes no attempt to give to the old romance anything more than its natural charm. This is one of the stories that always are told best when they are told without flourishes--though, after all, it might be difficult to fancy a subject of which this could not be said.
     During his residence in Paris, Mr. Blenner appears to have become acquainted with many phases of French life and character. Certainly his studies of Parisian scenes and people are marked by a quite evident appreciation of something more than the shell of things. The "Luxembourg Garden," for example, strikes a truly Parisian note, and the same may be said of the glimpse into the grounds of the Musee de Cluny. Mr. Blenner enters with zest into the treatment of subjects nearer home. He has put real poetry in his "Old Fashioned Garden," one of those quaint, inartistic but delightful nooks of Connecticut, where there are stone walls for vines to grow on, and nature has a strongly distinctive cast. These nooks are so often neglected that it becomes a real pleasure to find them well treated by a discerning artist. "In the Cabbage Field" carries the eye across a stretch of cultivated country. These subjects are not fantastic; they do not bid for that dangerous adjective "ingenious." They deal with the fundamentals, and deal with them without sensationalism of any kind.

"Afternoon Tea" by Carle J. Blenner

     As an illustrator, Mr. Blenner has shown highly favoring gifts. The facility with which he eliminates unnecessary detail gives pertinence and clearness to his work. Illustrators are perhaps particular under the necessity for studying the element of proportion in the use of detail. Too many of our ambitious illustrators are missing the essentials of the art by overloading their pictures. Mr. Blenner appears to be in no danger of hampering himself by making this radical error. During the past summer he had charge of the Yale art school, and is now settled again in his New York studio in the Sherwood, where the winter days will be too brief to work up the thousand and one sketches treasured in his well-worn note-book. In his wide range of subjects, Mr. Blenner will easily avoid sameness of execution.  by Alexander Black, Quarterly Illustrator

• Floral Still Lifes by Carle J. Blenner
• Carle John Blenner, 1862 - 1952
• Portraits by Blenner here

teacher samples for a drawing class

     I've included here a small selection of my own drawings that I pin up along with magazine ads for students to work from. Students in my drawing classes are encouraged to work from photos, artworks and real life. I am not a snob about teaching students "how" to draw. If they need extra help, I give it to them. Children do not need to conform to the fanatical disciplinary measures of teachers who can not bring themselves to work from photos or other artist renderings. Working from real life is a bit more difficult for young and inexperienced artists. So, I allow students to improve their skills gradually through the use of photography and I make no apologies for it. 

A sample of a child's hands drawn from life many years ago when my children were young.

A sample of adult hands I drew from a photograph last year.

A sample of an elderly woman's portrait drawn from a photograph when I was fifteen years old.

A sample drawing of a traditional exercise used in high school drawing curriculum. I made this sample two years ago.

A sample, in color, drawn from a photograph for a high school art lesson I wrote last year.

Making Mosaics With Paper Clay, Paper Pulp & Found Objects

 (Mosaic Madonna created with paper clay and paint on wood. approximately 29" x 41")

      I've worked with multiple paper clays and pulps for years. This large "mosiac" took several years to complete as do many of my three dimensional pieces. There are approximately three hundred flowers in this artwork. The frame cost me a small fortune but I do believe that it helps make the piece. I also repainted it to match the color selections in the mosaic and this particular mosaic is permanently attached to its' frame.

close-up of the above mosaic

another close-up of the mosaic Madonna

      I've included below a lovely mosaic that I worked on with my kids when they were small. This piece was created by more traditional methods utilizing glue, grout and varnish. Many students enjoy working with mosaics because they can produce fast, professional results without much experience. It is one of the few processes that can be adapted for so many grade levels. The last two photographs are of paper mache bowl samples that include mosaic applications. I crafted these for future lessons in my art classroom.

mosaic by Grimm kids



My teacher samples of mosaic paper mache bowls.

A close-up of one of the sample paper mache bowls.

The photographs/artwork and articles found on this page are not for public use or downloading. 

Teaching art movements, neo-classicism resources

Art Movement: Neoclassicism is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that draw upon Western classical art and culture (usually that of Ancient Greece or Ancient Rome). These movements were dominant during the mid-18th to the end of the 19th century

Date: mid-18th to late 19th century

Artists: Robert Smirke, Robert Adam, Antonio Canova, Jean-Atoine Houdon, Bertel Thorvaldsen, J.A.D. Ingres, Jacques-Louis David, and Anton Raphael Mengs

The Art Project Ideas:

• Design A Neoclassical Paper Theater (Visit the Coleccion Lucia Contreras Flores Teatros De Papel on the internet.)
• Paint Small Ceramic Tiles with Neoclassical Designs (Visit The History of Ornament: Design in the Decorative Arts page)

Enhance The Experience:

• Visit a local historical home influenced by neo-classical design.
• Send students on a "photo scavenger hunt." Students can photograph or film architectural elements in their environment that are influenced by Greek and Roman classic designs.
• Collect interesting articles about Neo-classical design for students to read.

Links To Art Lessons About Neo-Classical Design:

• A New Style Inspired by Ancient Greece and Rome
• Neoclassicism and the Enlightenment: A Curriculum for Middle and High School Teachers

My Personal Education Philosophy

      I believe primarily in the perennialist philosophy of education when instructing the young in a formal institutional environment. As a teacher, I believe that it is my obligation to pass down information collected by those who are most successful within a given area of expertise. This presumption does not necessarily mean that all of our best knowledge comes from western European studies. Every educational philosophy should also be examined and considered in the overall application of learning within a person's life span. Essentialism, romanticism and progressivism all contribute dynamic methods for imparting knowledge, but it is classical thought and subject matter knowledge that create both a stable, well informed individual and a sophisticated society at large.

         My goal as an art educator is to consider and implement two important points that are all about time and timing. How much time do I have to teach the very best information about art to children and what is the proper time in which to do it? In the field of art, there is more knowledge to be had than there is time given to teach it. Therefore, I must make critical decisions about what is best for children to learn within the few years that I have to teach them. Although much of this material is already suggested by the state GLEs, I must also consider the very large body of excellent material that is not. What will my students need to know about art that will be personally relevant to each of their individual needs, culture and future goals? Art is more than a career for a few talented individuals. Art is a language that when used properly may open up doors to creative processing in other fields of study. Art is a therapy to those who have difficulty communicating emotional issues. Art may also speak to our understanding of the universe, our own culture's wisdom and even how we view God. There is so much to learn through art as well as about art.

      Timing is critical in teaching art successfully, because so much of what children learn about art is dependent upon the development of their brain, their environment, and receptiveness to experiencing new ideas. Age appropriate lesson plans have long been a key factor in the appropriate transmission of artistic knowledge. Watching students carefully and identifying with their creative ideas all play into the introduction of particular lessons as well. Some students advance slowly and others quickly through projects. I will need to provide an ample variety of lessons for those who are advanced and ample time for those who can‘t finish within a brief allotment of time. These things I have learned by observation and discussion with other experienced art teachers.

      I will also develop curriculum based upon theories like Gardner's intelligences and Bloom's Taxonomy. These gentlemen have greatly influenced how I will interact with students.  Gardner believed all children to process information through multiple capacities such as: linguistics, visual and spatial relationships, mathematical, and musical. Because I believe this to be true as well, I will develop art lesson plans that combine multiple interests with art. This curriculum will touch on areas of "intelligence," i.e. "interests," that many children have already. For example, Gardner recently identified another member of the multiple intelligence family-- the naturalist intelligence. The naturalist is a person who has an aptitude for understanding and collecting knowledge of the natural world. This kind of child would be an example of a student predisposed to artistic studies in botany. Feeding a child's natural instinctive inclinations with artistic lesson plans will help him to develop an appetite for art. There are ample opportunities in the arts to reinforce curriculum that taps into all kinds of multiple intelligences.

     Bloom's Taxonomy is a classic theory of developing learning strategies based upon the incremental development of higher-order-thinking. This type of theory lends itself perfectly to the teaching of art. As children progresses through their work, I will advance their learning through different manipulations of the materials and also gradually teach them abstract ways of interpreting their artistic subject.

      The student's role in the classroom is to participate with enthusiasm! However, I would consider it my primary responsibility to create an artistic environment that will spark their creative interests. What I expect from children immediately is that they will be children. They may be full of giggles, or other times act moody. Sometimes they are deep into their thoughts, and yes, sometimes they can even be very disruptive. I would not expect them to be any other way and that is why it is so important for my students and myself to maintain a good amount of order and a good amount of humor during art class.

"Three Machines" by Wayne Thiebaud

"Art is not delivered like the morning paper; it has to be stolen from Mount Olympus." Wayne Theibaud

Wayne Thiebaud (born November 15, 1920) is an American painter whose most famous works are of cakes, pastries, boots, toilets, toys and lipsticks. His last name is pronounced "Tee-bo." He is associated with the Pop art movement because of his interest in objects of mass culture, although his works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work. 

Greek and Roman Pottery Design Lesson Plan

Krater (mid - 5th Century BC) may be viewed at the Saint Louis Art Museum.

Left, Teacher sample drawing of Greek pottery. Right, A second sample of the assignment using a
portrait design typically found on Greek pottery.

Type of Lesson Plan: Object-based Lesson Plan/Reading Comprehension (Integrated Studies)

Topic: Greek/Roman pottery design

Goals:

• Students identify design and pattern common to ancient Greek pottery.
• Students participate in meaningful drawing activities that reflect their willingness to communicate art concepts they have learned through observation.
• Students actively participate in larger classroom discussions involving art aesthetics.

Objectives:

• Students will be able to identify the general characteristics of Greek designs in pottery when asked questions and shown slides/pictures.
• Students will be able to produce a contour drawing of a Greek inspired pot.

Missouri Show-Me Standards: FA 2, FA 1, FA 3

GLE’s:

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

C. Grade 6 – Create an original artwork that communicates ideas about the following theme

• Functions of Art in Culture
• Personal Identity

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

A. Grade 6 – Identify and use converging lines and Identify and use contour lines to define a complex object

A. Grade 7 – Identify and use rhythmic lines

A. Grade 8 – Identify and use varied line quality

Strand III: Artistic Perceptions – Investigate the nature of art and discuss responses to artworks

A. Grade 6 – Discuss how different cultures have different concepts of beauty and explain how responses to artworks from various cultures are based on both personal experience and group beliefs

Grade Level Targeted: Middle School (7-9)

Number of Class Periods: two, 55 minute class periods

Facility & Equipment Requirements:

• Classroom
• A computer for the slide show

Resources needed for teaching lesson:

• Power point/slide show for Greek Pottery
• Teacher’s sample of the art project

Materials Per Student:

• A selection of black, gold, and orange construction paper
• Large and fine tip black markers
• White glue
• Large stencils of Greek vessels

Vocabulary Terms: The following terms are applicable to identifying the designs found in Greek pottery. Because this particular lesson plan emphasizes Greek design found on pottery, the vocabulary normally associated with clay pottery assignments is not included. This art activity included for this lesson is 2-dimensional.

1. wheel made pottery - is thrown by hand on a potter's wheel that could be either manually or electrically powered.
2. coil pot - is built with a series of layered rolls of clay built up to create a hollow form
3. mold-made pottery - These pots are made by one of two methods: A potter may ''cast'' a molded pot by pouring a liquid clay into a ceramic mold. A potter may form by hand a slab of clay by shaping it around or inside of a stone mold (sometimes called a "Bat") constructed specifically for this purpose.
4. Hydria shaped pot - was used for storing water
5. Krater shaped pot - was used for mixing wine and water
6. Amphora shaped pot - was primarily used for storage
7. Greek key ornament – A geometrical ornament consisting of horizontal and vertical lines joined together at angles.
8. Meander – is a decorative boarder based upon a repeated motif that has no beginning or ending to it
9. Symmetry – in design is a formal, balanced pattern whose sides, right and left, mirror each  another

Step-by-step activity: First I will share a power point (slide show) with my students before actively demonstrating the following art assignment. During this presentation the students will be asked to share their reactions and I will also teach them the vocabulary terms. 

1. Students will design, draw, and cut one paper stencil of either a Hydria, a Krater, or an Amphora shaped pot. (additional stencil samples here)
2. Then they will trace around this stencil on top of a large sized piece of black construction paper with a white colored pencil.
3. Carefully, they will cut the shape out of the center of this black paper leaving behind a replica of their design when the black background paper is placed upon an orange or gold sheet of construction paper of the same large size. Remember, you do not want the shape to be black but the background to be black and the shape orange or gold.
4. Carefully glue down the black paper to the orange sheet of construction paper.
5. Then students should draw out a pattern reflecting the themes and tastes of Greek pottery in general with a black ink marker. They may choose to lightly draw their ideas out in pencil before “blacking in” the design.

Cleanup Time & Strategy: Students will be allotted five minutes to dispose of trash, wipe down tables and place their artwork on drying racks.

Assessment: I will be using an informal assessment and will also take notes during the completion of the projects. The grades will be posted online for the students and their parents to view at a private rubrics site hosted by their school district. Below is a list of criteria that I will be looking for while assessing the student's grades on this particular project:

• The student was able to cut a reasonably accurate representation of a Greek pottery prototype out of construction paper and mount it to another paper surface.
• The student successfully designed a Greek design inspired graphic and drew it with care onto his/her art project. If the student made alterations of his own and demonstrated his resolve to interpret the designs as his own, he is given a better grade.
• The student demonstrated his knowledge of the vocabulary discussed during the power point presentation by conversing actively with the instructor and his peers when asked to.
• The student turned their assignment in on time.

All lessons copyrighted by Grimm, 2010
The above photograph is by the Saint Louis Art Museum, used by permission. 

This printable page of Decorative Elements Found on Greek Pottery may be printed out by teachers to share with students in their classrooms. I've included information below for each design numbered above. These descriptions may come in handy if your are thinking of adapting this lesson for older students.