"Education, Faculty of"@en . "Curriculum and Pedagogy (EDCP), Department of"@en . "DSpace"@en . "UBCV"@en . "Stephen, Virginia"@en . "2010-04-17T19:54:06Z"@en . "1983"@en . "Master of Arts - MA"@en . "University of British Columbia"@en . "Almost all public art galleries, large and small, plan for the use of the gallery by school classes. In this manner, the gallery takes on the role of art educator, a role shared with most elementary school teachers. This shared responsibility implies a partnership between gallery\r\neducators and teachers, whereby each partner shares expertise and resources with the other. In this case study two workshop packages, including\r\npre-visit and in-gallery materials, for grades three through six, were developed and evaluated. It became evident that while gallery programs\r\ncan be designed to provide a good experience for children as well as professional development for teachers, there may be a lack of communication\r\nbetween galleries and schools. This impedes the potential success of gallery based art educational programs."@en . "https://circle.library.ubc.ca/rest/handle/2429/23793?expand=metadata"@en . "ART EDUCATION IN SCHOOLS AND GALLERIES: A CASE STUDY OF A SUBURBAN ART GALLERY'S EDUCATIONAL PROGRAM by VIRGINIA STEPHEN B.A., B.Ed., Queen's University, 1974 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Visual and Performing Arts in Education Faculty of Education We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1983 \u00C2\u00A9 Virginia Stephen 1983 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the requirements f o r an advanced degree a t the U n i v e r s i t y o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and study. I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may be granted by the head o f my department or by h i s or her r e p r e s e n t a t i v e s . I t i s understood t h a t copying o r p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l not be allowed without my w r i t t e n p e r m i s s i o n . Department of j & C ^ ^ ^ u ^ E ? t&cn/r*i -~^!bJ^ ^Ol(ccC

y^AND A V\ M LISTEN''FOR THESE WORDS THROUGHOUT THE LESSON! AT THE END OF THE ACTIVITY SHEET THERE IS A QUIZ TO SEE HOW WELL YOU LISTENED TO THE PRESENTATION. p o r t r a i t - a painting or photograph of a person, e s p e c i a l l y their face p e r s p e c t i v e - a way to draw furniture, rooms and landscapes so they show depth instead of looking f l a t landscape - a painting or photograph of scenery fresco - a painting done on a damp, freshly plastered wall commission - to hire someone to make something and pay them for the f i n i s h e d product (e.g. hire an a r t i s t to paint a p o r t r a i t ) pose - the way the subject of a painting i s s i t t i n g or standing (can apply to sculpture, photography etc.) chiaroscuro- the contrast between l i g h t and dark romantic- lovely, dreamlike, unreal s o c i a l comment- a statement about p o l i t i c s and l i f e tapestry - hand woven f a b r i c decorated with s t i t c h i n g to be used as decoration i n homes and churches subject - what the work of art i s about 220 A C T I V I T Y #1 Look c a r e f u l l y a t the p a i n t i n g on the s c r e e n by the a r t i s t Mantegna who p a i n t e d i t i n 1457 i n I t a l y . He has d i s c o v e r e d a formula f o r g e t t i n g the p e r s p e c t i v e r i g h t ! ! On the o u t l i n e below, t r a d e the l i n e s from the pavement stones, making them longer and longer u n t i l they a l l meet i n a p o i n t T h i s p o i n t i s c a l l e d the v a n i s h i n g p o i n t (please l a b e l i t on your p i c t u r e ! ! ) Now...find what o t h e r l i n e s can be lengthened so t h a t they alsc meet a t t h i s p o i n t . Draw them i n too. Now, u s i n g s t i c k ^ - p e o p l e , f i t the f i g u r e s i n t o the p i c t u r e . Look c a r e f u l l y a t the p i c t u r e you have now done and t r y to f i g u r e out how the v a n i s h i n g p o i n t i s used to p o i n t out the importance of the event. 221 ACTIVITY #2 Now l e t ' s f i n d out what new words you have l e a r n e d . F i l l i n the blanks i n the f o l l o w i n g s e c t i o n w i t h the c o r r e c t word from the l i s t a t the b e g i n n i n g of the a c t i v i t y s h eets. H i n t : read through each sentence f i r s t ; t h ere may be a c l u e to a mi s s i n g word a f t e r the blank i n the sentence. 1. 's FATHER WAS A VERY WEALTHY MAN IN 1500. your name HE DECIDED THAT HE MUST HAVE A PICTURE OF HIS CHILD PAINTED SO HE CALLED UPON THE ARTIST DA VINCI TO commission HIM TO DO A p o r t r a i t OF THE CHILD! ! SAID CHILD WAS NOT HAPPY TO HAVE TO SIT AND pose FOR THE PAINTING '. THANK GOODNESS IT WAS ONLY TO BE A SMALL PAINTING AND NOT A HUGE f r e s c o TAKING UP THE WHOLE PLASTER WALL! ! ! IT WOULD HAVE MADE MUCH HAPPIER IF FATHER your name HAD WANTED A NICE landscape \u00E2\u0080\u00A2 SHOWING THE COUNTRYSIDE. 2. C i r c l e the c o r r e c t meaning f o r the f o l l o w i n g word: C h i a r o s c u r o i s a) a hot I t a l i a n meal b) a type of c o l o u r p a t t e r n (g) the dramatic use of l i g h t and dark d) a type of c h a i r 3. C i r c l e the c o r r e c t meaning f o r the u n d e r l i n e d words i n the f o l l o w i n g : A romantic p a i n t i n g shows people a) i n l o v e , \u00C2\u00A9 i n an un-r e a l i s t i c , p e r f e c t d r e a m l i k e way or, c) i n t h e i r homes. However, an a r t i s t who wants to make a s o c i a l comment wants h i s p a i n t i n g s t o show, a) happy, r i c h people, b) how f a i r and e q u a l l i f e i s f o r everyone, or \u00C2\u00A9 how d i f f i c u l t l i f e i s f o r some people. 222 ACTIVITY # 3 - NOW IS YOUR CHANCE TO BE THE ARTIST. WHEN Y O U COME TO THE SURREY ART GALLERY WE WOULD LIKE T O SEE THE PICTURES YOU PRODUCE IN THIS EXERCISE. IMAGINE the Pharoah of Egypt has decid e d t h a t you, h i s humble s l a v e , must p a i n t a w a l l f o r h i s tomb!! In the space below p l a n what your s e c t i o n w i l l look l i k e . Remember t h a t you must show something about the r u l e r ' s l i f e t h a t w i l l t e l l how wealthy he i s or what good deeds he has done. R E M E M B E R T H E FORMULA THAT ANCIENT EGYPTIAN ARTISTS USED T O D R A W P E O P L E - heads i n p r o f i l e (from the side) eyes from the f r o n t s h o u l d e r s from the f r o n t l e g s from the s i d e and.... a l l of the f i g u r e s are i n a row.. 2 2 3 APPENDIX 9 224 SURREY ART GALLERY SEEING OURSELVES THROUGH ART A WORKSHOP ABOUT THE FIGURE IN CANADIAN PAINTING INSTRUCTOR NOTE: Set out the v i s u a l s so s t u d e n t s can a l l see them. INTRODUCTION In f r o n t of you a r e s e v e r a l v e r y d i f f e r e n t p i c t u r e s . Even though they a r e d i f f e r e n t from each o t h e r , can you see what they a l l have i n common? INSTRUCTOR NOTE: A l l o w s t u d e n t s t o d i s c u s s what the answer might be u n t i l t h ey come up w i t h 1 p e o p l e . ' In t h i s workshop we w i l l l o o k a t p i c t u r e s of p e o p l e done by Canadian a r t i s t s . The work of these a r t i s t s has much t o t e l l us about the a r t i s t s , the t r a d i t i o n s t h a t a r e b e h i n d t h e i r work, the l i v e s o f the peopl e i n the p i c t u r e s and the h i s t o r y of Canada as a n a t i o n of peopl e - n a t i v e p e o p l e and p e o p l e who came here from o t h e r l a n d s . Canadian a r t came out of the t r a d i t i o n s o f European a r t , such as t h a t w h i c h you saw i n your c l a s s r o o m p r e s e n t a t i o n , and g r a d u a l l y became something s p e c i a l t o Canada. Du r i n g t h i s p r e s e n t a t i o n l i s t e n f o r t h e s e new words: c o m p o s i t i o n r e p r e s e n t s monochromatic s i t t e r t r a d i t i o n c i v i l i a n r e a l i s t i c a u t h e n t i c SLIDE (Ha i d a , human f a c e mask, wood and p a i n t ) - Canada's e a r l i e s t ^ A p e o p l e , b o t h I n d i a n s and I n u i t , produced many o b j e c t s which have come t o be c o n s i d e r e d a r t . Many o f t h e s e p e o p l e l i v e d a l i f e t h a t r e q u i r e d them t o move about f r e q u e n t l y , f o l l o w i n g the a n i m a l s and f i s h w h i c h were t h e i r s o u r c e o f f o o d . T h i s l i f e - s t y l e d i d n o t l e a v e them time t o produce o b j e c t s o n l y as d e c o r a t i o n s f o r t h e i r homes, nor d i d t h e p e o p l e want t o c a r r y about o b j e c t s t h a t had no p r a c t i c a l p u r p o s e . I n s t e a d , t hey used t h e i r a r t i s t i c a b i l i t i e s t o d e c o r a t e c l o t h i n g and t o o l s or t o c r e a t e o b j e c t s t h a t were p a r t of r e l i g i o u s r i t u a l s . 225 - 2 -T h i s mask was made t o be used i n a Haida I n d i a n ceremony. A mask i s r e a l l y a f a l s e f a c e and was used by t h e Haida to i n d i c a t e t h a t the wearer was t r a n s f o r m e d i n t o a n o t h e r c h a r a c t e r . T h i s one r e p r e s e n t s a human f a c e - n o t a p a r t i c u l a r p e r s o n , but humans i n g e n e r a l . The mask maker made t h i s mask i n a t r a d i t i o n a l d e s i g n . In o t h e r words, he used t h i s d e s i g n because h i s p e o p l e had always made human f a c e masks l o o k l i k e t h i s . NEXT SLIDE SLIDE (Thebes, tomb p a i n t i n g , c l 4 0 0 B.C.) - Remember the a r t of the #1B E g y p t i a n s , where p e o p l e were a l l drawn t h e same way - not as i n d i v i d u a l s ? F o r b o t h the Haida and the E g y p t i a n s , the human was used o n l y as a p a r t o f the s t o r y , n o t as a p a r t i c u l a r i n -d i v i d u a l . NEXT SLIDE SLIDE ( F r e r e Luc, F r a n c e B r i n g i n g the F a i t h , 1671, o i l on canvas, #2A 218.4 X 218.4 cm). Among the e a r l i e s t p e o p l e t o come t o Canada t o s e t t l e were peo p l e from F r a n c e . They s e t t l e d i n e a s t e r n Canada i n what i s now Quebec, New B r u n s w i c k and Nova S c o t i a . These p e o p l e l e f t F rance t o t r y t o f i n d a new l i f e f o r t hemselves - a l i f e w i t h o u t p o v e r t y , w i t h o u t t i g h t c o n t r o l of t he government and w i t h o u t a f u t u r e t h a t h e l d l i t t l e hope f o r b e t t e r t i m e s . I n Canada, they hoped t o l i v e t he a d v e n t u r -ous l i f e of the e x p l o r e r s , share i n t h e w e a l t h of the f u r t r a d e r s o r perhaps own t h e i r own farm. The F r e n c h Roman C a t h o l i c Church saw the o p p o r t u n i t y to b r i n g C h r i s t i a n i t y t o the n a t i v e p e o p l e of Canada. The government of F r a n c e and the Roman C a t h o l i c Church s e n t r e p r e s e n t a t i v e s t o l o o k a f t e r the org a n -i z a t i o n of the new l a n d s . F r e r e Luc was a monk i n the Roman C a t h o l i c Church who came t o Canada t o h e l p s e t up the c h u r c h i n the 1600's. He was a l s o an a r t i s t who used h i s t a l e n t s t o t e l l t h e s t o r y of the c h u r c h i n t he new l a n d . Here he t e l l s of F r a n c e b r i n g i n g the C h r i s t i a n f a i t h t o the n a t i v e s . He i s u s i n g p e o p l e i n t h e p i c t u r e t o r e p r e s e n t d i f f e r e n t groups of p e o p l e . 3 - 3 - 226 SLIDE #2B SLIDE #2A SLIDE #2B INSTRUCTOR NOTE: D i s c u s s t h e p a i n t i n g u s i n g t h e f o l l o w i n g q u e s t i o n s as g u i d e l i n e s : Can anyone t e l l me a b o u t t h e r e l i g i o n t h e I n d i a n s had b e f o r e t h e coming o f t h e w h i t e man? Who i s ' F r a n c e ' ? How c a n you t e l l ? F r e r e L uc was t r a i n e d a s an a r t i s t i n t h e m o n a s t e r i e s o f F r a n c e and t h e r e f o r e shows t h e C a n a d i a n c o u n t r y s i d e l o o k i n g l i k e F r a n c e . NEXT SLIDE ( C l a u d e L o r r a i n , P a s t o r a l L a n d s c a p e , 1 7 t h c e n t u r y , o i l on c a n v a s , 40 X 42*2 cm) . Do you remember t h i s p a i n t i n g f r o m y o u r c l a s s -room p r e s e n t a t i o n ? Look a t how F r e r e L u c ' s Canada l o o k s j u s t l i k e L o r r a i n ' s ' r o m a n t i c ' F r e n c h c o u n t r y s i d e ! I s t h i s how you i m a g i n e t h e w i l d , u n e x p l o r e d C a n a d i a n f o r e s t l a n d w o u l d have l o o k e d ? INSTRUCTOR NOTE: Review t h e meaning o f ' r o m a n t i c ' i . e . an i d e a l i z e d v i s i o n o f how one m i g h t i m a g i n e a p l a c e . NEXT SLIDE ( F r e r e L u c, M o n s i g n e u r de L a v a l , 1671-2, o i l on c a n v a s ) (Anonymous, Mere J e a n F r a n c o i s e , 1684, o i l on c a n v a s , 71.1 X 58.4 cm). INSTRUCTOR NOTE: D i s c u s s t h e s e s l i d e s u s i n g t h e f o l l o w i n g q u e s t i o n s a s a g u i d e l i n e : What c a n you t e l l a b o u t t h e s e p e o p l e by t h e i r c l o t h i n g ? . . . t h e i r e x -p r e s s i o n s ? . . . t h e way t h e y a r e po s e d ? . . . t h e c o l o u r s t h e a r t i s t has c h o s e n t o u s e ? 4 - 4 - 227 A r t i s t s were p a i d t o p a i n t p i c t u r e s o f thes e i m p o r t a n t p e o p l e so t h a t t h e r e would be a r e c o r d of what they l o o k e d l i k e . Remember t h i s was l o n g b e f o r e t h e photograph was i n v e n t e d . A l s o , the a r t i s t s came from Europe where they r e c e i v e d t h e i r a r t t r a i n i n g . C o n s e q u e n t l y , t h e y p a i n t e d the p e o p l e of Canada e x a c t l y t h e same way they would p a i n t p e o p l e i n Europe. The p a i n t i n g s , t h e r e f o r e , a re not d i s -t i n c t l y Canadian. These p o r t r a i t s a r e v e r y f o r m a l - t h a t i s , the a r t i s t shows the p e o p l e s i t t i n g i n v e r y s t i f f p o s i t i o n s u s i n g sombre c o l o u r s and does n ot use a background t o t e l l p a r t of the s t o r y about the p e r s o n . These are p e o p l e of the ch u r c h - a p r i e s t and a nun, so th e y must l o o k s e r i o u s , i n -t e l l i g e n t and i m p o r t a n t . They must l o o k l i k e p e o p l e who command g r e a t r e s p e c t . The a r t i s t can g i v e a g r e a t d e a l of i n f o r m a t i o n about t h e s i t t e r s by the p o s i t i o n s i n wh i c h he p u t s them and the ex-p r e s s i o n he shows on t h e i r f a c e s (remember the Mona L i s a and her s m i l e ? ) ACTIVITY: (Leave t h e s l i d e on the s c r e e n . Turn on the l i g h t s . D i v i d e the group i n t o p a i r s and g i v e each p a i r a m i r r o r ) . Now we a r e g o i n g t o p r e t e n d t h a t we a r e a l l a r t i s t s p r e p a r i n g t o p a i n t a p o r t r a i t - a p i c t u r e of a p a r t i c u l a r t y p e o f p e r s o n . One o f you i s t h e a r t i s t and the o t h e r i s the s i t t e r -t he p e r s o n b e i n g p a i n t e d . The m i r r o r w i l l be the p a i n t i n g . I w i l l g i v e you a s h e e t of paper w i t h a c h a r a c t e r t o be p a i n t e d and you must a r r a n g e t h e s i t t e r so t h a t your p a i n t i n g t e l l s as much about the s u b j e c t as p o s s i b l e . Re-member, we w i l l o n l y see the head and s h o u l d e r s and maybe the arms. When you a r e f i n i s h e d , we w i l l choose a few p o r t r a i t s and see i f we can guess who you have p a i n t e d . You w i l l have about 5 m i n u t e s t o complete your p o r t r a i t . (Pass o u t a f o l d e d paper t o each a r t i s t . Suggested c h a r a c t e r s : the mayor, a movie s t a r , a f a r m e r , a p e r s o n t h a t ' s . . . 5 - 5 - 228 warm and f r i e n d l y , a mean o l d m i s e r . Have t h e c h i l d r e n change p l a c e s when f i n i s h e d so t h e s i t t e r s g e t a c h a n c e t o be t h e a r t i s t s . The p a p e r s c o u l d be c o l l e c t e d and r e s h u f f l e d o r you may w i s h \u00C2\u00B1o p r o v i d e new o n e s ) . NEXT SLIDE SLIDE ( E x V o t o - Mme. R i v e r i n , 1703, o i l on canvas, 40 X 52 cm) #4A SLIDE ( E x V o t o - 3 C a s t a w a y s , 1754, o i l on b o a r d , 12 X 20 cm) #4B As w e l l a s p a y i n g t o have p o r t r a i t s o f t h e m s e l v e s p a i n t e d , some o f t h e p e o p l e o f e a r l y F r e n c h Canada h i r e d a r t i s t s t o p a i n t \"ex v o t o \" p a i n t i n g s . \"Ex v o t o \" i s a L a t i n p h r a s e w h i c h means \" o u t o f a vow.\" P e o p l e had t h e s e p a i n t i n g s p a i n t e d t o r e c o r d t h e i r g r a t i t u d e f o r h a v i n g b een s a v e d f r o m a c r i s i s . T h e s e were a v e r y p o p u l a r t y p e o f p a i n t i n g i n E u r o p e among C a t h o l i c p e o p l e . Our e a r l y F r e n c h s e t t l e r s i m i t a t e d t h i s c u s t o m o f t h e i r homeland. The a r t i s t s who p a i n t e d t h e s e works were u s u a l l y p e o p l e w i t h l i t t l e t r a i n i n g and c o u l d be c o n s i d e r e d t h e f i r s t r e a l ' C a n a d i a n ' a r t i s t s b e c a u s e t h e y were n o t t r a i n e d i n E u r o p e . They a r e v e r y i n f o r m a l and v e r y human. The w e a l t h y Madam R i v e r i n a nd h e r c h i l d r e n h e r e g i v e t h a n k s f o r t h e i r r e s c u e f r o m a s h i p w r e c k . INSTRUCTOR NOTE: DISCUSSION: What do you su p p o s e i s t h e s t o r y b e h i n d t h e o t h e r p a i n t i n g ? (On J une 17, 1754, w h i l e c r o s s i n g t h e r i v e r , a b o a t w i t h 2 men and 3 young women o v e r -t u r n e d and t h e 3 young women f e l l i n t o t h e w a t e r . W i t h t h e h e l p o f S t . Anne t h e t h r e e g i r l s were r e s c u e d ) . Which o f t h e two p a i n t -i n g s a p p e a r t o have been done by t h e b e t t e r t r a i n e d a r t i s t ? What c l u e s h e l p you f o r m y o u r o p i n i o n ? (Mme. R i v e r i n - more d e t a i l , f a b r i c d r a p e r y ) . ( C astaways - n o t p r o p o r -t i o n e d , l a c k o f p e r s p e c t i v e , l a c k of a t t e n -t i o n t o d e t a i l ) . 5 - 6 - 229 NEXT SLIDE SLIDE (Kane, ( I n d i a n s P l a y i n g a t A l c o l o h , c l 8 5 1 - 6 , o i l on c a n v a s , # 5 A 18 X 29 i n c h e s ) \" SLIDE (Kane, S k e t c h e s , c l 8 5 0 ) # 5B The s e t t l e r s who came t o Canada from Europe saw many new s i g h t s and f a c e d many h a r d s h i p s . The n a t i v e p e o p l e were a c u r i o s i t y t o the Europeans. Because t h e i r way of l i f e was so d i f f e r e n t from t h a t of the s e t t l e r s , some of the s e t t l e r s r e g a r d e d them w i t h a m i x t u r e of f e a r , d i s t r u s t and i g n o r a n c e , as w e l l as c u r i o s i t y . They were p o p u l a r s u b j e c t s f o r a r t i s t s because they were new t o them and because they were a s o u r c e of c u r i o s i t y f o r p e o p l e l i v i n g i n Canada's growing c i t i e s and p e o p l e s t i l l i n Europe. As Canada became more s e t t l e d and s e t t l e m e n t s moved westward, some a r t i s t s saw the I n d i a n l i f e s t y l e as b e i n g i n danger of d i s a p p e a r i n g . These a r t i s t s wanted t o make s u r e t h e r e was a r e c o r d of t h e s e p e o p l e , whom they c o n s i d e r e d n o b l e . A r t i s t s such as P a u l Kane, who grew up i n Canada b u t s t u d i e d a r t i n Europe, t r a v e l l e d the c o u n t r y d o i n g s k e t c h e s of n a t i v e p e o p l e . They th e n took the s k e t c h e s i n t o t h e i r s t u d i o s and used them as models t o compose l a r g e p a i n t i n g s on canvas. These s k e t c h e s were v e r y l o o s e and f r e e . Sometimes they were done i n p e n c i l and o t h e r times i n c o l o u r , u s i n g w a t e r -c o l o u r or o i l p a i n t s . The f i n i s h e d canvases ended up l o o k -i n g v e r y c a r e f u l l y p l a n n e d , w i t h p e o p l e s t a n d i n g i n s t i f f f o r m a t i o n i n a l a n d s c a p e t h a t l o o k s more l i k e a m a n i c u r e d E n g l i s h garden than the w i l d s of the f o r e s t . I n o r d e r t o g i v e the i m p r e s s i o n of the d i g n i t y o f the p e o p l e , the a r t i s t used t e c h n i q u e s used by European p a i n t e r s when th e y r o m a n t i -c i z e d t h e i r s u b j e c t s . NEXT SLIDE SLIDE (Gainsborough, The B a i l l i e F a m i l y , 1784) #6B Do you remember s e e i n g t h i s f a m i l y p o r t r a i t b e f o r e ? How does i t compare t o P a u l Kane's I n d i a n group? ( i . e . s k y , h i l l s ) . - 7 - 230 SLIDE #6A SLIDE #7A SLIDE #7B ( W i l l i a m B e r c z y , Joseph B r a n t , 1 7 9 7 , o i l on canvas) T h i s p o r t r a i t of the famous c h i e f , Joseph B r a n t , l o o k s more l i k e a s t a t u e than a r e a l p e r s o n . A l t h o u g h by a l l r e p o r t s , the famous I n d i a n l e a d e r was a handsome and im p o s i n g man. T h i s p a i n t i n g l o o k s l i k e an a c t o r p l a y i n g an I n d i a n c h i e f . P o r t r a i t s of a c t o r s or of people i n t h e a t r e costumes were v e r y p o p u l a r i n England d u r i n g t h i s t i m e . T h i s a r t i s t , W i l l i a m B e r c z y , chose t o copy the s t y l e of t h e s e p a i n t i n g s . NEXT SLIDE ( K r i e g h o f f , H a b i t a n t s ' C a b i n , 1 8 5 0 ' s , o i l on canvas) ( C r u i k s h a n k , B r e a k i n g Road, 1 8 9 4 , o i l on c a n v a s , 8 8 . 9 X 172.7cm) The l i f e of t h e s e s e t t l e r s who wanted t o farm was a d i f f i c u l t one. There were few roads t o t h e farms and t h o s e t h a t e x i s t e d were v e r y rough. The p e o p l e l i v e d i n i s o l a t i o n - f a r from n e i g h b o u r s and s t o r e s - and had t o r e l y on t h e i r i n v e n t i v e n e s s t o c l e a r the l a n d , b u i l d the farms, f e e d and c l o t h e the f a m i l y and t o e n t e r t a i n t h e m s e l v e s . Many a r t i s t s wanted t o r e c o r d t h i s l i f e s t y l e . These were a r t i s t s who grew up i n Canada b u t had gone t o e i t h e r Europe or the U n i t e d S t a t e s t o s t u d y p a i n t i n g f o r m a l l y . P a i n t i n g s o f s e t t l e r s became q u i t e p o p u l a r among b u s i n e s s people i n the f a s t g r o w i n g Canadian c i t i e s , who c o u l d a f f o r d t o buy p a i n t i n g s . The a r t i s t s would not w a i t u n t i l they had customers b e f o r e p a i n t i n g , b u t would p a i n t a s e r i e s of p a i n t i n g s and then t r y t o s e l l them. O f t e n they had t o s u p p o r t themselves i n o t h e r ways, when p a i n t i n g d i d n o t produce enough money. They worked as t e a c h e r s , s i g n p a i n t e r s , house p a i n t e r s , any j o b t h a t would g i v e them money t o c o n t i n u e w i t h t h e i r a r t . The image of l i f e t h a t t h e s e a r t i s t s showed was o f t e n v e r y roman-t i c . The customers wanted t o see a c a r e f r e e , i d y l l i c l i f e . They d i d not want t o see the h a r d s h i p s of t h e r u r a l s e t t l e r s . Which of t h e s e p a i n t i n g s would you t h i n k i s most t r u e t o l i f e ? ( C r u i k s h a n k - B r e a k i n g Road - c o o l c o l o u r s , l o o k s c o l d and d r e a r y , s t r u g g l i n g a n i m a l s , g r i m f a c e d f a r m e r s ) . 8 - 8 - 231 SLIDE #8A SLIDE #8B NEXT SLIDE ( K r i e g h o f f , J.B. J o l i f o u , A u b e r g e r y 1871, o i l on c a n v a s ) ( H a r r i s , A M e e t i n g o f t h e S c h o o l T r u s t e e s , 1885, o i l on c a n v a s ) K r i e g h o f f s p o r t r a y a l o f t h e s e t t l e r s e n j o y i n g a happy t i m e p e r h a p s g i v e s an u n r e a l i s t i c v i e w o f t h e l i f e s t y l e . I t i s more l i k e l y t h a t t h i s was a r a r e , s p e c i a l o c c a s i o n . I n r e a l i t y , t h e s e t t l e r s i n a l l p a r t s o f Canada had t o f a c e many p r o b l e m s as t h e y worked t o s e t up t h e i r c o m m u n i t i e s . Look c a r e f u l l y a t t h i s s e c o n d p a i n t i n g . INSTRUCTOR NOTE: D i s c u s s t h e f o l l o w i n g q u e s t i o n s : Can you f i g u r e o u t what t h i s i s ? (a s c h o o l room - b l a c k b o a r d , d e s k ) . Can you t e l l who t h e l a d y i s ? ( s c h o o l t e a c h e r ) Who a r e t h e men? ( f a r m e r s , p a r e n t s , r e p r e s e n t community-s c h o o l t r u s t e e s ) . What i s h a p p e n i n g ? ( t e a c h e r t r y i n g t o w i n an a r g ument w i t h s c h o o l t r u s t e e ? ? ? ) . What do you know a b o u t s c h o o l s t h e n ? ( s m a l l , one room, one t e a c h e r ) . The a r t i s t has c r e a t e d a s e n s e o f drama by u s i n g c h i a r o s c u r o . Do you r e c a l l what t h a t i s ( c o n t r a s t between l i g h t and d a r k ) . NEXT SLIDE SLIDE #9A SLIDE #9B ( H a r r i s , F a t h e r s o f C o n f e d e r a t i o n , a s t u d y , 1884) (Photo, M e e t i n g o f t h e F i r s t M i n i s t e r s , 1981) I n t h e e a r l y p a r t o f o u r h i s t o r y , Canada was g o v e r n e d by c o u n t r i e s i n E u r o p e ; f i r s t F r a n c e and t h e n E n g l a n d . E v e n t u a l l y Canada s t a r t e d t o work t o w a r d s e t t i n g up i t s own g o v e r n m e n t . I n 1867, t h e w a i t p a i d o f f and B r i t a i n g a v e Canada t h e r i g h t t o i t s own g o v e r n m e n t . We c a l l t h i s \" c o n f e d e r a t i o n \" and t h i s p a i n t i n g shows t h e men who wanted t o e s t a b l i s h C a n a da's f i r s t . . . 9 - 9 - 2 3 2 constitution - the Fathers of Confederation. INSTRUCTOR NOTE: Discuss the following questions: - What was confederation? - Who are these people? - Who i s the most important person i n t h i s event? How can you t e l l ? - What does the setting t e l l about the event? ( i . e . windows - t a l l , arched, r i c h colours, elegant furniture, size of room, amount of setting shown). - Do you suppose that this i s what the event a c t u a l l y looked like? - Why do you suppose the a r t i s t was commissioned for t h i s painting? In 1981, the f i n a l stages of confederation took place with the bringing of the c o n s t i t u t i o n to Canada from B r i t a i n . The men in t h i s photograph are the p r o v i n c i a l premiers who brought this about. When Harris's painting of the Fathers of Con-federation was painted, the photograph was not yet a popular means of recording events. Today, we get most of our ideas about how special events looked from photographs and newspapers and magazines as well as t e l e v i s i o n coverage. INSTRUCTOR NOTE: Compare this photo to formal painting ( i . e . poses with tea cups; informal background - l i t t l e indicated; arrange-ment of people, where i s Trudeau? Furniture, clothing - business suits -not special as i n painting). N.B. people caught i n a casual moment rather than posed and positioned as i s necessary for painting (i.e sketches of each person, arrangement etc) - photo could not be used as reference for painting - a kind of sketch. ACTIVITY: Arrange the group for a class p o r t r a i t with a polaroid camera, discussing and rearrang-ing to explore: the e f f e c t of d i f f e r e n t . . . 10 - 10 - 233 r a t i o s of background to people, i . e . lower half of painting occupied by people, upper two thirds by background; d i f f e r e n t settings, poses of people, accessories; placement of people to show importance. How best could a l l of t h i s be arranged to give a true im-pression of the group? NEXT SLIDE SLIDE (Varley, Vera, 1930, o i l on canvas) #10A SLIDE (Varley, Vincent Massey, 1920, o i l on canvas, 119.4 X 142.2 cm) #10B In the twentieth century, art in Canada has progressed immensely. A r t i s t s now have a r t schools i n Canada as well as easier access to the U.S. and Europe. A r t i s t s also have much more opportunity through t r a v e l and publications to communicate with each other about th e i r work and ideas. As a r e s u l t , they could share ideas and also t r y out new ideas of th e i r own. Because many a r t i s t s now paint f i r s t and then worry about s e l l i n g the work, they are generally less concerned with producing what the buyers request. Frederick Varley was famous i n the 1920's and 3 0's for his por-t r a i t s . In the past, a r t i s t s doing p o r t r a i t s usually t r i e d to achieve an almost photographic attention to d e t a i l and used colour much as they saw i t i n r e a l l i f e . A r t i s t s such as Varley now f e l t a freedom to use colour to express their feelings about the personality of the subject. INSTRUCTOR NOTE: DISCUSSION: Why do you suppose he chose these colours? Can you pick out a l l of the colours he used i n the skin? Why did he use them? ( r e f l e c t i v e , expression). How would you describe the way the a r t i s t applies the paint? ( i . e . large brush, l o t s of paint, big strokes - makes the p o r t r a i t free and strong.) Now squint at the painting. How does i t look? (more photographic). 11 - 11 - 234 This p o r t r a i t , \"Vera\" i s of an ordinary person, no one famous. The other p o r t r a i t i s of Vincent Massey, a Governor General. How does i t d i f f e r from the.informal p o r t r a i t of Vera? (i.e . s t i f f pose, less freedom of brush work, more sober clothing and colours). NEXT SLIDE SLIDE (slide of photo p o r t r a i t ; Karsch, Robert Borden, 1933) *\"'\"\"'\"B Sir Robert Borden, the subject of th i s photograph, was Canada's prime minister during the f i r s t World War. This photo was taken i n 1933 when he was enjoying his retirement. The photo-grapher, Josef Karsch, i s famous for his p o r t r a i t s of well known Canadians. INSTRUCTOR NOTE: DISCUSSION: What does the photograph t e l l you about this man's personality? Would i t say more i n colour? How might a painter paint this man? i . e . what colours? What features would be emphasized? NEXT SLIDE SLIDE (Miller B r i t t a i n , Longshoremen, 1940, o i l on masonite, 120X25 in.) #11A SLIDE (Miller B r i t t a i n , Rummage Sale, 1940, o i l on masonite, 63.5X50.8cm) The depression years i n Canada, the 1930's, meant hard times for many. Jobs and money were scarce. People had to f i g h t for work and learn ways to stretch what l i t t l e money they could get so that the families had food and clothing. M i l l e r B r i t t a i n was a B.C. a r t i s t who did many paintings about that part of our history. The people i n the painting are Long-shoremen.. In the depression a Longshoreman would go down to the dockyards each morning and wait with hundreds of others u n t i l the employers came out and announced how many men he needed to work that day. Everyone else would then leave and hope for better luck the next day, or the next. . . #12B 12 - 12 - 235 INSTRUCTOR NOTE: DISCUSSION: What story do the faces of the waiting men t e l l you? How do their faces t e l l these stories? Rummage sales became very popular i n the depression. What i s a rummage sale? Have you ever been to one? Do you remember what i t was l i k e ? What has the a r t i s t done to give the f e e l i n g of a crowded, hectic rummage sale? What kind of l i n e s do you see - 'curved.' What sort of colours are used? (deep, warm reds and orange.) How are the figures placed into the picture? (crowded, overlapped, p a r t l y i n and out of the picture - makes i t look l i k e move-ment) . The way the a r t i s t arranges things i n the painting i s c a l l e d composition. Have we seen the sort of composition i n the rummage sale before? (no, usually everything i s com-p l e t e l y i n the frame i . e . s l i d e 13B - Harris, Meeting of the School Trustees). NEXT SLIDE SLIDE (Charles Comfort, The H i t l e r Line, 1948) #12A SLIDE (Charles Comfort, Young Canadian, 1942, watercolour, 90.2X105.4cm) # 1 4R In the early 1940's Canada participated i n World War II to support B r i t a i n ' s war against the Germans who were lead by Adolf H i t l e r . The war took place i n Europe, so young Canadian men found themselves fi g h t i n g a war far away from home i n countries that look very d i f f e r e n t from Canada and where d i f f e r e n t languages were spoken. For these men i t was a lonely, frightening time, l i v i n g isolated from home and seeing death and destruction a l l around them. However, the war provided jobs for people whose i n t e r e s t was recording events and providing news about the war f o r the c i v i l i a n s or servicemen. .13 - 13 - 236 Newspaper j o u r n a l i s t s , photographers, f i l m makers and r a d i o b r o a d c a s t e r s were a l l working behind the scenes and a t the b a t t l e f r o n t s . Among these people were war a r t i s t s . These a r t i s t s were h i r e d to r e c o r d scenes of the war and t r y to express peoples' emotions about war. Most of them worked i n p e n c i l sketches and small water c o l o u r p a i n t i n g s on the spot. Some of these were l a t e r turned i n t o o i l p a i n t i n g s i n t h e i r s t u d i o s . The p o r t r a i t i n t h i s p a i r of p a i n t i n g s by C h a r l e s Comfort i s of another war a r t i s t , C a r l S h a e f f e r , s i t t i n g with h i s p a i n t box i n the midst of b a t t l e . What does the f a c e t e l l you about how he f e l t ? What does the way he i s s i t t i n g t e l l you? The a r t i s t has used v e r y few c o l o u r s - j u s t browns and a l i t t l e d u l l blue. When an a r t i s t l i m i t s the c o l o u r s he uses to d i f f e r e n t shades of one c o l o u r , f o r example l i g h t , medium and dark brown, we c a l l i t a 'monochromatic' c o l o u r scheme. T h i s way of u s i n g c o l o u r g i v e s a very sombre e f f e c t and looks q u i t e u n n a t u r a l . What a good way to show the f e e l i n g of war! The a r t i s t has a l s o used l i g h t to emphasize t h i s u n n a t u r a l f e e l i n g . INSTRUCTOR NOTE: DISCUSSION: Where does the l i g h t f a l l ? (hands and f a c e ) . Why do you t h i n k l i g h t has been used to emphasize hands and face? (they j u s t hang, they have heavy l i n e s , they look t i r e d , heavy and hard-worked) . The other p a i n t i n g , Comfort's \" H i t l e r L i n e \" shows s o l d i e r s i n the midst of b a t t l e . The c o l o u r s used f o r t h i s p a i n t i n g are monochro-matic again, except f o r the reds. Why do you suppose he chose those c o l o u r s ? (the monochro-matics make the reds stand out and look v e r y s t a r t l i n g ) . What do the reds r e p r e s e n t ? (blood, c o l o u r of bombs), i n your rmind's eye take away the fence p i e c e s a t the f r o n t of the p a i n t i n g . Is the p a i n t i n g as e f f e c t i v e , i s i t - 14 - 237 as s t a r t l i n g , without them? The a r t i s t has used the fence to create a diagonal i n the composition. A diagonal i s a l i n e that divides the picture on an angle (as opposed to those on the horizontal -across, or vertical-up and down). This diagonal upsets our sense of order and makes us uneasy because we want to straighten i t . A r t i s t s make use of diagonals when they want their paintings to be dramatic and disturbing. NEXT SLIDE SLIDE (West, Death of Wolfe, 1770, o i l on canvas, 59h X 84 in.) #13A A r t i s t s i n former wars painted their work mostly i n studios and wanted to show how noble war was. Compare thi s \"Death of Wolfe,\" i n the War of 1812 to Comfort's p o r t r a i t . Comfort's generation of a r t i s t s were more interested i n portraying the r e a l i t i e s of war for the public. NEXT SLIDE SLIDE (Hughes, American and Canadian Troops, Medupat Main Post #14A Exchange, Kiska, Alaska, 1944, o i l on canvas) Since W.W.II much has happened to change the Canadian way of l i f e . Rapid advances i n technology - t e l e v i s i o n , f i l m , computers and fas t , convenient transportation - have enabled us to see the l i f e s t y l e s of other people. To a ce r t a i n ex-tent, these factors have relieved the a r t i s t of having to re-cord fact, and thereby have l e f t him free to use his imagin-ation, r e s u l t i n g i n more personal expression. NEXT SLIDE SLIDE (William Kurelek, Women Feeding the Threshing Gang, a c r y l i c #15A on board, 61 X 74.9 cm) William Kurelek i s an a r t i s t whose work you may have seen i n books or magazines. He has been painting since the 1950's. His scenes of country l i f e are quite popular and often seen reproduced i n books. The good quality of reproduction now available i n books allows a l l of us to enjoy works of art from museums and ar t g a l l e r i e s around the world. - 15 - 238 SLIDE #15B SLIDE #16A SLIDE #16B (Cruikshank, Breaking Road) L i f e has not changed much from Cruikshank's day. Kurelek's p a i n t i n g of women pr e p a r i n g to feed the t h r e s h i n g gang shows a s e t t i n g t h a t i s s t i l l i s o l a t e d and g r e a t l y a f f e c t e d by the weather. The women are c a r r y i n g out a t r a d i t i o n t h a t has been a p a r t of ha r v e s t f o r hundreds of y e a r s . What i s d i f f e r e n t about these two p a i n t i n g s i s the s t y l e i n which the a r t i s t s have chosen to p a i n t these scenes of r u r a l l i f e ? You w i l l r e c a l l t h a t i n Cruikshank*s time, a r t i s t s were o f t e n t r a i n e d i n European t r a d i t i o n and d i d p a i n t i n g s t h a t looked very s i m i l a r to European p a i n t i n g s . Kurelek has developed a s t y l e which i s much more 'Canadian;\" a s t y l e he f e e l s i s more e x p r e s s i v e of Canadian r u r a l l i f e . Can you see some d i f f e r e n c e s i n how these people p a i n t ? K u r e lek's work i s done i n a simpler s t y l e - i t looks more l i k e i t was p a i n t e d by an amateur, perhaps a r e a l farmer. He does t h i s on pur-pose to make the p a i n t i n g seeem more a u t h e n t i c . INSTRUCTOR NOTE: DISCUSSION: How do the two compositions compare? How are they arranged? Which i s simpler? NEXT SLIDE (Kurelek, photo of the a r t i s t ) (Kurelek, S e l f - p o r t r a i t , 1957) These are both p i c t u r e s of the a r t i s t W i l l i a m Kurelek. One i s a photograph and the other i s a s e l f - p o r t r a i t ; the a r t i s t ' s p a i n t i n g of h i m s e l f . INSTRUCTOR NOTE: DISCUSSION: Which t e l l s more about the person? Why? Look c a r e f u l l y a t the background. What does each show? Why do you suppose Kurelek chose to p a i n t the background he uses? Can you see something wrong i n the photo of Kurelek? (he i s ' p a i n t i n g ' an a l r e a d y framed p i c t u r e ! ) . 16 - 16 - 239 NEXT SLIDE SLIDE (Snow, Test Focus Figure, 1965, o i l on canvas, 152.4 X 203.2 cm) #17A SLIDE (Blank) ^ 7 B In the 1960's and 1970's many Canadians began to f e e l that because businesses were getting to be so large, c i t i e s so enormous and everything computerized, the i n d i v i d u a l was becoming less and less important to the people i n power and society as a whole. This painting by Michael Snow uses the figure of a woman as a part of a pattern. She i s not a part-i c u l a r person but could be any woman from the 1960's - she has a t y p i c a l 60's h a i r s t y l e and dress. The a r t i s t uses her not as a portrayal of people or of a personality but as a shape to be used to explore arrangements of colour and pattern. By using the human figure just as a shape i n a pattern, the a r t i s t expresses the impression of many that the i n d i v i d u a l was no longer important i n our society. NEXT SLIDE SLIDE (Danby, At the Crease, 1972, egg tempera on board, 28 X 40 in.) #18A SLIDE (Ronald, Helen, 1972, o i l on canvas, 198.5 X 152.5 cm) # 18 B Much of Canadian art today i s painted i n a sty l e that we c a l l 'realism' or 'magic realism.' Many a r t i s t s experimented for years with d i f f e r e n t styles of abstract painting, which con-fused the public because i t did not look l i k e anything they had seen before. (Abstract art does not have a r e a l i s t i c subject that we can recognize-it relys on the basic elements of art - colour, shape, lines etc. - to make a f i n i s h e d comp-osition) . For many people, r e a l i s t i c art, l i k e t h i s painting of a goalie by Ken Danby, i s something that i s easier to under-stand. By concentrating on painting so much d e t a i l , the a r t i s t has created something that looks very much l i k e a photograph. In fact, i t looks almost more r e a l i s t i c than a photograph. 17 - 17 - 2k0 INSTRUCTOR NOTE: DISCUSSION: Does t h i s p a i n t i n g communicate much f e e l i n g o r e m o t i o n t o you? The pose i s t e n s e ; you c a n i m a g i n e how t h i s g o a l i e must f e e l , e s p e c i a l l y i f you you have e v e r p l a y e d h o c k e y . Do you t h i n k t h i s i s a p a r t i c u l a r h o c k e y p l a y e r o r i s he a f i g u r e t h a t r e p r e s e n t s a l l g o a l i e s ? Many o f u s p l a y some k i n d o f s p o r t , so i t i s e a s y f o r us t o i m a g i n e o u r s e l v e s i n t h i s a t h l e t e ' s p l a c e . NEXT SLIDE SLIDE #19B ( H a i d a , human f a c e mask, wood and p a i n t ) ( r e p e a t ) The g o a l i e i s w e a r i n g a mask t h a t h i d e s h i s f a c e and c o n -s e q u e n t l y h i d e s h i s i n d i v i d u a l i t y , as d i d t h e mask f o r t h e I n d i a n who wore i t i n ceremony. L i k e t h e I n d i a n mask, t h e g o a l i e mask i s s t y l i z e d and r e p r e s e n t s a c h a r a c t e r , a g o a l i e . The f o r m t h e mask t a k e s i s d i c t a t e d by how i t i s t o be u s e d and by t h e way o t h e r s i m i l a r masks l o o k e d . The h o c k e y mask i s m o s t l y meant f o r p r o t e c t i o n b u t a t t h e same t i m e i t h i d e s t h e p e r s o n ' s f a c e , t h e r e b y h i d i n g t h e c l u e s we u s u a l l y u s e t o f i g u r e o u t what t h e i n d i v i d u a l l o o k s l i k e . U s e d i n a p a i n t i n g , i t makes t h e s c e n e v e r y i m p e r s o n a l . SLIDE #1 SLIDE #2 S t u d i o A c t i v i t y I n t r o d u c t i o n F a c e s o f p e o p l e have a l w a y s been a p o p u l a r s u b j e c t f o r a r t i s t s i n Canada and a r o u n d t h e w o r l d . ( F r e r e L u c , M o n s i g n e u r de L a v a l , 1671-72) O r i g i n a l l y t h e a r t i s t t r i e d t o u s e t h e p o r t r a i t t o show us what a p e r s o n ' s f e a t u r e s l o o k e d l i k e , what h i s p o s i t i o n o r j o b was, and p e r h a p s what h i s p e r s o n a l i t y was l i k e . The p o r t r a i t s l o o k e d q u i t e r e a l i s t i c and r e c o g n i z a b l e . ( P e l l a n , Type de l a Rue S a i n t L a u r e n t , 1941) I n r e c e n t y e a r s , a r t i s t s became l e s s c o n c e r n e d w i t h e x a c t l y what t h e i n d i v i d u a l l o o k e d l i k e and more c o n c e r n e d w i t h e x -- 18 - 241 pressing their thoughts about the indi v i d u a l ' s personality. This p o r t r a i t i s c a l l e d 'Type de l a Rue Saint Laurent' i n other words, a t y p i c a l person on St. Laurence Street. The a r t i s t has chosen colours, shapes and d e t a i l s that he thinks represent that type of person, i . e . fedora hat, flashing striped jacket, straight hair and angular face. The a r t i s t i s also exploring how the painting works as a composition - how the l i n e s , colours and shapes can be ar-ranged for the best e f f e c t . SLIDE (Claude Breeze, Faces #2, 1967) This painting i s merely c a l l e d Faces #2. There are some things we can fi n d i n i t that represent f a c i a l features, teeth, noses, eyes, ears, but these are rearranged and coloured i n a very unusual way. INSTRUCTOR NOTE: DISCUSSION: Why do you suppose this might be? (e.g. using f a c i a l features as part of the design, record most measurable features of the face, express confusion). A r t i s t s i n the past few decades have experimented with some-thing c a l l e d 'abstraction.' This means that the a r t i s t i s moving away from painting things as they looked. Instead, he uses ideas about colours, shapes, patterns or compositions. SLIDE (Leslie Poole, Personal P o r t r a i t , Nov. 7, 1978, A c r y l i c on canvas) This painting by Vancouver a r t i s t L e s l i e Poole i s c a l l e d 'Personal P o r t r a i t . * The painting i s i n two halves - both sides are abstract but one i s much more abstract than the other. INSTRUCTOR NOTE: DISCUSSION: What does the painting t e l l you about Mr. Poole? ( i . e . his choice of colours, his personality, what he looks like) 19 - 19 - 242 cm ( W i l l i a m R o n a l d , H e l e n , 1972, o i l on c a n v a s , 198.5 X 152.5 Do you remember t h i s p a i n t i n g ? T h i s p a i n t i n g i s c a l l e d ' H e l e n . INSTRUCTOR NOTE: DISCUSSION: Can you f i n d a woman i n i t ? What t h i n g s a b o u t t h e p a i n t i n g t e l l you i t i s a b o u t a woman? ( c o l o u r s - p i n k r e p r e s e n t s ' g i r l s ' - s o f t c o l o u r s , r o u n d s h a p e s - womanly). How m i g h t i t be changed t o be a b o u t a man? ( J . H u r t u b i s e , K a t h e r i n e , 1967, o i l on c a n v a s , 173 X 173 cm) T h i s s l i d e i s o f a p a i n t i n g , b u t what o t h e r o b j e c t does i t l o o k l i k e ? (a q u i l t ) . The a r i t s t c a l l s t h e p a i n t i n g ' K a t h e r i n e INSTRUCTOR NOTE: DISCUSSION: Why m i g h t he have c h o s e n t h i s p a t t e r n t o r e p r e s e n t ' K a t h e r i n e 1 ? What d o e s i t t e l l you a b o u t h e r ? To r e v i e w : When an a r t i s t d o e s a p a i n t i n g of a p e r s o n he has t o t h i n k a b o u t : 1) what t h e p e r s o n l o o k s l i k e 2) what a p e r s o n ' s p e r s o n a l i t y i s l i k e T h e n he h a s t o t h i n k a b o u t ways o f showing t h e s e w i t h t h e e l e m e n t s o f d e s i g n l i k e c o l o u r and shape and how he combines t h e s e e l e m e n t s i n t o a c o m p o s i t i o n . STUDIO PROJECT ( L e s l i e P o o l e , P e r s o n a l P o r t r a i t ) F o r our p r o j e c t we a r e g o i n g t o do \" s e l f p o r t r a i t s \" - e a c h o f us w i l l do a p o r t r a i t 'about' h i m s e l f . We w i l l n o t be w o r r i e d a b o u t t h e d e t a i l s o f how we l o o k ; l i t t l e c u r l s i n o u r h a i r o r f r e c k l e s on o u r f a c e , b u t we w i l l want t o show b a s i c a l l y what we l o o k l i k e a nd s o m e t h i n g a b o u t our p e r s o n a l i t y , p e r h a p s t h e mood we a r e i n r i g h t now. \u00E2\u0080\u00A2 M a t e r i a l s : - c o l o u r e d t i s s u e p a p e r and c o n s t r u c t i o n p a p e r - g l u e - p a p e r f o r s u p p o r t o f c o l l a g e i . e . l i g h t c a r d , w h i t e c o n s t r u c t i o n p a p e r . . . 20 - 2D -243 Materials: v - scrap paper for planning - pencils for planning only \u00E2\u0080\u00A2 Steps: Planning - Use a p e n c i l and scrap paper to plan the basic composition of your p o r t r a i t . You might divide your paper into two compositions l i k e Poole did. Use these questions to help you plan your p o r t r a i t : How big i s the nose? What i s your basic hair style? What are your ears l i k e ? For clues, use the mirrors and f e e l your face. Remember, just do your head and shoulders. Next, pick out the colours you want to use. The colours you use shouldn't be f a c t u a l but should t e l l about your personality. You might want lo t s of colour or you might want to use monochromes ( i . e . a l l shades of one colour). Doing: A) Gather together your materials for your p o r t r a i t . You w i l l need: 1) a piece of card or heavy paper 2) the colours of tissue and construction paper you need. 3) glue B) L i g h t l y sketch your design on the card, using your sketch as a guide. C) Tear out the coloured paper i n the shapes you need for your p o r t r a i t . No scissors! I Remember that you can over-lap the tissue for more colours. You can also f o l d and c r i n k l e the paper for some intere s t i n g textures. When you are finished, we w i l l have a look at a l l of the s e l f -p o r t r a i t s to see how well you have done. 244 SURREY ART GALLERY: SEEING OURSELVES THROUGH ART WORKSHOP SLIDE LIST: F o l l o w i n g a r e s l i d e s l i s t e d i n o r d e r of t h e i r p r e s e n t a t i o n . I f two p r o j e c t o r s a r e used, A = p r o j e c t o r A; B = p r o j e c t o r B 1. 1-A Haida mask, human f a c e , wood and p a i n t 2. 1-B Thebes, L a d i e s and M u s i c i a n s , tomb p a i n t i n g , c. 1400 B.C. 3. 2-A F r e r e Luc, F r a n c e B r i n g i n g t h e . F a i t h , 1671, o i l on canvas, 218.4 X 218.4 cm. 4. 2-B Claude L o r r a i n , P a s t o r a l Landscape, 17th C., o i l on canvas, 40 X 42% i n . 5. 3-A F r e r e Luc, Monsigneur de L a v a l , 1671-72, o i l on canvas 6. 3-B Anonymous, P o r t r a i t of Mere Jeanne F r a n c o i s e , 168 4, o i l on canvas, 71.1 X 58.4 cm 7. 4-A Anonymous, V o t i v e of Mme. R i v e r i n , 17 03, o i l on canvas, 4 0 X 5 2 cm 8. 4-B Anonymous, V o t i v e of Three Castaways, c. 1754, o i l on board, 12% X 20 i n . 9. 5-A P a u l Kane, I n d i a n s P l a y i n g a t A l c o l o h , c. 1851-6, o i l on canvas, 18 X 29 i n . 10. 5-B P a u l Kane, s k e t c h e s from h i s notebook, c. 1850 11. 6-B Gainsborough, The B a i l l i e F a m i l y , 1784, o i l on canvas, 99 X 90 i n . 12. 6-A W i l l i a m B e r c z y , Joseph B r a n t , 1797 13. 7-A C o r n e l i u s K r i e g h o f f , H a b i t a n t s ' C a b i n , 1850's o i l on canvas 14. 7-B W i l l i a m C r u i k s h a n k , B r e a k i n g Road, 1894, o i l on canvas, 88.9 X 172.7 cm. 15. 8-A C o r n e l i u s K r i e g h o f f , J.B. J o l i f o u , A u b e r g e r , 1871, o i l on canvas 16. 8-B Ro b e r t H a r r i s , M e e t i n g of the S c h o o l T r u s t e e s , 1885, o i l on canvas 17. 9-A R o b e r t H a r r i s , F a t h e r s of C o n f e d e r a t i o n , a s t u d y , 1884 18. 9-B Photo: Bob Cooper, F i r s t M i n i s t e r s , 1981 19. 10-A F r e d e r i c k V a r l e y , V e r a , 1930, o i l on canvas 20. 10-B F r e d e r i c k V a r l e y , V i n c e n t Massey, 1920, o i l on canvas, 119.4 x 142.2 cm. 21. 11-B K a r s c h , R o b e r t Borden, 1933, photograph . . ./2 245 S l i d e L i s t - Page 2 22. 12-B M i l l e r B r i t t a i n , The Rummage S a l e , 1940, o i l on m a s o n i t e , 63.5 x 50.8 cm. 23. 11-A M i l l e r B r i t t a i n , Longshoremen, 1940, o i l on m a s o n i t e , 20 x 25 i n . 24. 13-B R o b e r t H a r r i s , M e e t i n g o f t h e S c h o o l T r u s t e e s . 1885. 25. 12-A C h a r l e s C o m f o r t , The H i t l e r L i n e , 1948, o i l on c a n v a s 26. 14-B C h a r l e s C o m f o r t , Young C a n a d i a n , 1942, w a t e r c o l o u r , 90.2 X 105.4 cm 27. 13-A B e n j a m i n West, D e a t h o f W o l f e , 1770, o i l on c a n v a s , 59h X 84 i n . 28. 14-A E . J . Hughes, A m e r i c a n and C a n a d i a n T r o o p s , Medupat M a i n P o s t E x c h a n g e , K i s k a , A l a s k a , 1944, o i l on c a n v a s , 40 X 48 i n . 29. 15-A W i l l i a m K u r e l e k , Women F e e d i n g t h e T h r e s h i n g Gang. a c r y l i c on b o a r d , 61 X 74.9 cm. 30. 15-B W i l l i a m C r u i k s h a n k , B r e a k i n g Road 31. 16-A W i l l i a m K u r e l e k , p h o t o o f t h e a r t i s t , f r o m : t h e V a n c o u v e r Sun, Weekend, v o l . 24, #27, p.8. 32. 16-B W i l l i a m K u r e l e k , S e l f P o r t r a i t , 1957 33. 17-A M i c h a e l Snow, T e s t . F o c u s F i e l d F i g u r e , 1965, o i l on c a n v a s , 152.4 X 203.2 cm. 34. 17-B B l a n k 35. 18-A Ken Danby, A t t h e C r e a s e , 1972, egg tempera on b o a r d , 28 X 40 i n . 36. 18-B W i l l i a m R o n a l d , H e l e n , 1972, o i l on c a n v a s , 198.5 X 152.5 cm. 37. 19-B H a i d a mask, human f a c e , wood and p a i n t . STUDIO ACTIVITY INTRODUCTION SLIDES: 1. F r e r e L u c , M o n s i g n e u r de L a v a l , 1671-72 2. A l f r e d P e l l a n , Type de l a Rue S a i n t L a u r e n t , 1941 3. C l a u d e B r e e z e , F a c e s #2, 1967 4. L e s l i e P o o l e , P e r s o n a l P o r t r a i t , Nov. 7. 1978, a c r y l i c on c a n v a s 5. W i l l i a m R o n a l d , H e l e n , 1972, o i l on c a n v a s , 198.5 X 152.5 cm. 6. J . H u r t u b i s e , K a t h e r i n e , 1967, o i l on c a n v a s , 173 X 173 cm. 248 249 APPENDIX 10 2 5 0 SURREY ART GALLERY: SEEING OURSELVES THROUGH ART WORKSHOP Follow-up A c t i v i t i e s : Teacher Note: A f t e r your v i s i t to the Surrey Art G a l l e r y f o r the \"Seeing Ourselves Through A r t \" workshop, you might want to do one of these follow-up a c t i v i t i e s with your c l a s s : 1) P a i n t i n g s of everyday l i f e are c a l l e d \"Genre\" p a i n t i n g s . Have your c l a s s do p a i n t i n g s or c o l o u r e d drawings t h a t i l l u s t r a t e t h e i r everyday l i f e - o r d i n a r y people, doing f a m i l i a r a c t i v i t i e s . R e c a l l the work of Kurelek, K r e i g h o f f , or Robert H a r r i s that was shown in the workshop. 2) A v i s u a l notebook: One of the things that we n o t i c e d about the p a i n t i n g s we saw i n the workshop i s that o f t e n they r e f l e c t the s p i r i t and environment of the times i n which they were p a i n t e d . Have the students compile a scrapbook of \" v i s u a l \" items which become meaningful or s i g n i f i c a n t because of t h e i r arrangement or simply because the student thought the item important enough to keep. The items should be found r a t h e r than j u s t c l i p p e d from a v a i l a b l e p e r i o d i c a l s . . . i . e . , p r i n t e d wrappers, menus, packaging, envelopes, o l d n e g a t i v e s , t i c k e t stubs . . . The idea of the notebook i s to c r e a t e a s o r t of \"time c a p s u l e \" that might be found by someone 100 years from now. S t r e s s the idea of using a theme to u n i f y the p r o j e c t and choosing o b j e c t s that r e f l e c t contemporary times. 3) Face of our times: Choose a photograph of the face of a p u b l i c f i g u r e of our times, ( p r e f e r a b l y a Canadian) and cut i t up i n t o squares, one square per c l a s s member. S h u f f l e the squares and d i s t r i b u t e them to students, who w i l l , using markers, draw an enlarged v e r s i o n of t h e i r s e c t i o n on a p i e c e of paper at l e a s t 12\" x 12\". Reassemble the \"photograph\" on the w a l l to c r e a t e a \"fa c e mural\" of your c h a r a c t e r . M0880 2 5 1 APPENDIX 11 APPENDIX 12 256 TEACHER EVALUATION OF PRE-VISIT PREPARATORY KIT I = INUIT S = SEEING OURSELVES THROUGH ART In order to produce materials that will be of maximum use to you, we would like your input. Your evaluation of the materials that you have just used with your class will be most appreciated by those preparing out ki ts. Please answer the following questions: NAME: SCHOOL: GRADES USING THE MATERIALS: Grade 4 Grade 5 Grade 6 & 7 Grade 7 TOTAI Grade 4 Grade 5 Grade 6 Grade 7 TOTAL 1 3 \u00E2\u0080\u00A21 1. WHICH KIT HAVE YOU JUST USED? INUIT SEEING OURSELVES THROUGH ART Questionnaires: - completed - 4 - not completed - 1 - not used - 1 returned - 3 kit not sent - 1 kit not used - 1 2. DO YOU HAVE A BACKGROUND IN THE SUBJECT COVERED IN THE KIT? I - l i t t l e - 2 S - yes - 2 - no - 1 3. DO YOU HAVE AN ART BACKGROUND? I - l i t t l e - 2 - none - 2 S - yes (limited) - 2 - no - 1 WOULD YOU NORMALLY DO A PREPARATORY LESSON WITH YOUR CLASS BEFORE VISITING AN ART GALLERY IF YOU HAD NOT BEEN SENT THE MATERIALS? I S - yes no IF YES WHAT FORM WOULD THAT LESSON TAKE? I - information & discussion, film, pictures S - Same as per I. - general information about an art gallery 257 WOULD YOU HAVE REQUESTED THIS KIT HAD IT NOT BEEN AUTOMATICALLY SENT TO YOU UPON BOOKING YOUR WORKSHOP? I - yes - 2 - no - 1 ( 1 wouldn't have expected there to be one) S - yes DO YOU THINK IT IS A GOOD IDEA TO DO A PREPARATORY LESSON? WHY? I - yes - 4 S - yes - 3 -provides tie between school and gallery WERE YOU CLEAR AS TO WHAT YOUR VISIT TO THE SURREY ART GALLRY WOULD ENTAIL? I - yes - 4 S - yes - 3 DID YOU ENJOY THIS PREPARATORY KIT? I - yes - 4 S - yes - 3 DID YOUR CLASS ENJOY THE PRESENTATION? I - yes - 4 S - yes - 3 DID YOU USE ALL OF THE MATERIALS INCLUDED IN THE KIT, I.E. SLIDES, TAPE, COMMENTARY, ACTIVITY SHEETS? I - yes - 4 (but not tapes) S - yes - 3 (except tape for 2) CHECK OFF THE APPROPRIATE COMMENTS ABOUT THIS KIT: (PLEASE FEEL FREE TO ADD COMMENTS) I Length: I too long too short 1 good length Vocabulary: too dif f icult too simplistic 3 appropriate Detail 1 too detailed Instructions 4 too sketch For Use: 2 appropriate 3 clear too detailed too sketchy confusing 258 Material Presented: Activity Sheets: I S I S boring 3 _3_ enjoyable 4 J _ _ interesting _ unnecessary 2 J _ _ appropriate _ inappropriate 3 _3_ _ helpful 2 J _ helped peak student 4 _3_ _ relevant to curriculum interest in their 2 J _ enhancing to curriculum gallery visi t not relevant to curriculum but valuable addition to program 12. YOUR COMMENTS AND/OR SUGGESTIONS: I_ - you do a good jobl _S - very helpful; good kits - covenient to use information not available - more slides per comment - more 'art type' activities - more 'art' activities - less vocabulary 13. YOUR STUDENTS' COMMENTS AND/OR SUGGESTIONS: I - See letters in next Appendix APPENDIX 13 f 260 TEACHER EVALUATION OF \"AT THE GALLERY WORKSHOP\" I = INUIT S = SEEING OURSELVES THROUGH ART We would greatly appreciate your help in evaluating our programs so that we can design them to your maximum benefit. Please answer the following questions: NAME: SCHOOL: GRADES: WORKSHOP ATTENDED: INUIT: ARTS & CULTURE / SEEING OURSELVES THROUGH ART Evaluation: Completed: 5 Completed: 5 Incomplete: 1 1. WAS THE PRE-VISIT PREPARATORY KIT THAT WE SENT YOU, A HELPFUL INTRODUCTION TO THE WORKSHOP AT THE GALLERY? I - yes - 4 S - yes - 3 - no - 1 (not received) - not used - 1 DID IT HELP MAKE YOUR CLASS MORE RECEPTIVE TO THE WORKSHOP? I - yes - 4 S - yes - 3 2. DID YOUR CLASS ENJOY THE WORKSHOP? I - yes - 5 S - yes - 5 3. WAS THE MATERIAL COVERED NEW TO THEM? I - yes - 2 S - yes - 2 - partially - 3 - partially - 3 4. WAS YOUR CLASS FAMILIAR WITH THE STUDIO TECHNIQUE USED IN THE PRODUCTION PART OF THE WORKSHOP? I - yes - S - yes - 4 - some - 3 - no - 1 - no - 2 261 5. DOES YOUR CLASS HAVE ART REGULARLY AT SCHOOL? I - yes - 4 - no - 1 (irregularly) yes no 4 1 6. DID THE WORKSHOP ENHANCE YOUR REGULAR ART PROGRAM? I - yes - 5 S - yes - 5 7. WHY DID YOU SCHEDULE THIS VISIT FOR YOUR CLASS? required by school district required by school 4 4 initiated by you 4 2 relevant to classroom studies this year 4 4 seemed like a valuable experience for your class other 8. DO YOU LIKE THE FORMAT OF OUR WORKSHOPS? I - yes - 3 - more student participation - 2 S - yes - 5 9. WHAT IMPROVEMENTS COULD WE MAKE TO THE PRESENTATIONS? LENGTH: 2 - more time for pri nt-making shorter si i de selection 2 - good FOCUS: I i 2 - good CONTENT: LANGUAGE: 3 - good 4 - good PRESENTATION: good I - comments: - 'good the way i t is ' S - slide presentation - 'happy with i t as is ' excellent - break up slide section 262 10. WOULD YOU USE CLASSROOM FOLLOW-UP SUGGESTIONS? 1 I - yes - 4 - sometimes S - yes - 4 - sometimes 1 11. WHAT TOPICS WOULD YOU LIKE TO SEE COVERED IN THIS WORKSHOP FORMAT? S I - 2 - Group 7 1 - Indian printmaking day (already offered) - Indian 12. WOULD YOU USE ANY OF THE FOLLOWING IF THEY WERE AVAILABLE FROM US? l_ S 3 4 teacher workshops 5 4 more kits 4 3 preparation material 1 bibliography _I 4 5 classroom visits for _4_ 2 s 1 studio lesson 3 presentation similar to workshops _3_ art appreciation lessons 13. DO YOU LEARN FROM OUR WORKSHOPS? I S 1 studio ideas _3_ _4_ _3_ 2 4 ideas for how to approach art history or art appreciation topics 1 new knowledge from the content of the presentations _2_ more confidence for using art in the classroom 263 APPENDIX 14 INSTRUCTOR EVALUATION OF WORKSHOP MATERIALSt Workshop taught: sjknu^f' CuJ~ f CuXtu^. Grade l e v e l : X- (=> Number of students: Z\u00C2\u00A3_ School: 1 Please comment b r i e f l y on the following aspects of the material you used: length of s c r i p t as givEn to you: a d a p t a b i l i t y of that s c r i p t f o r your s p e c i f i c group, i e ) length, langi and content: usefulness of information given: , _^ -choice of v i s u a l s : y s u i t a b i l i t y of and ins t r u c t i o n s f o r , studio p r o j e c t : student response to the workshop materials and a c t i v i t i e s : suggestions f o r future use and ammendment: INSTRUpTOR EVALUATION OF WORKSHOP MATERIALS i Workshop t a u g h t i -XfJtii t Q r K ^CultUlC _____ Grade l e v e l t 5\" Number, o f s t u d e n t s i 2^\" S c h o o l i JFIee\ uicc^cl P l e a s e comment b r i e f l y on the f o l l o w i n g a s p e c t s o f the m a t e r i a l you used: l e n g t h o f s c r i p t as g i v s n to you: T hciJC i . K c t k n p ^ cic -b cLcoi^odoK \u00C2\u00BBJ- 4t> S u i t Q \-0 6ot h o o t p r e f i t -2 6 6 APPENDIX 15 267 268 269 APPENDIX 16 "@en . "Thesis/Dissertation"@en . "10.14288/1.0055114"@en . "eng"@en . "Visual and Performing Arts Education"@en . "Vancouver : University of British Columbia Library"@en . "University of British Columbia"@en . "For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use."@en . "Graduate"@en . "Art education in schools and galleries : a case study of a suburban art gallery\u00E2\u0080\u0099s educational program"@en . "Text"@en . "http://hdl.handle.net/2429/23793"@en .