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| Overview |
 These activities were designed to compare writing with Impressionism, a guide for viewing paintings in the context of communication with originality and imagery. They could be adapted to any art form, developing the writing process with a focus on comparison and analysis.
Modest Petrovitch Moussorgsky (1839-1881) wrote, "Art is a means of communicating with people, not an end in itself." Students examine a work of art of their choice to discern purpose, audience, form and function. Their observations and reflections use transitional and comparative vocabulary to discuss similarities between writing and painting an idea or story.
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| From Theory to Practice |
Studies done by Silver, Strong,and Perini (2000) show there are relationships between multiple intelligences (Howard Gardner)and learning styles (Carl Jung). For example, the 'sensing-style' learner often corresponds with the bodily-kinesthetic student. 'Feeling-style' learners make use of their interpersonal or intrapersonal intelligences. Diverse learning styles can be addressed by asking questions that require explanation; using one's imagination; and reflecting upon/sharing feelings.
Schema theory supports brainstorming and clustering as ways to approach writing with purpose and confidence. Bloom's Taxonomy ranks analysis, synthesis and evaluation at the top of the congitive matrix. Bruner (1990) suggests that students make meaning within a cultural context. Also, research has validated the importance of student choice of writing topics. In this lesson, the importance of individual choice is extended to non-print media which reflects a cultural context.
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| Student Objectives |
Students will
- demonstrate proficiency in using the writing process.
- make connections between prior knowledge and new information using prewriting strategies.
- write in response to a self-selected example of nonprint media, demonstrating an awareness of purpose, audience, voice, and style.
- note relevant information using listening and visual literacy.
- synthesize information in order to produce a piece of writing that demonstrates an understanding of comparison, analogy, and metaphor.
- use a variety of technology and multi-media resources.
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| Instructional Plan |
Resources
Preparation
- Provide choices of non-print media for student viewing (field trip to local gallery, or prepare a classroom "gallery" of prints).
- Preview URLs for art resources and virtual tours.
- Prepare student handouts—a guide for viewing and comparison.
Instruction and Activities
Session One
- Display a print from one of the Impressionists (Monet, Renoir, Manet)—The painting could be selected from one of the virtual galleries found in the Web resources.
- In a large group brainstorming session, note and record details of what the students see at a distance. Select several students to study the painting closely, making verbal observations that are recorded.
- Repeat with several others viewing up close. Again in large group, discuss differences noted when painting is viewed closely. Discussion becomes more specific as students use the handout to record specific details.
- Discuss different perspectives from distant and close viewing.
- Now shift the discussion to identifying ways in which writing a scene or description is similar to painting:
Author's Word Choice
| Artist's Brushstrokes, Color, and Medium Selected
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Author's Point of View
| Artist's Perspective
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Author's Purpose
| Artist's Purpose
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Author's Main Idea
| Artist's Subject
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Author's Setting—time, place
| Artist's period, time, place
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- Use the Comparison and Contrast Guide to introduce basic characteristics and strategies for comparing items.
- List words writers use to help readers understand similarities and differences when two concepts are being compared. Small groups can develop word lists then combine into whole class working word bank. (Examples: compare, contrast, metaphor, analogy, alike, similar to). Work bank should be entered in students' journals for future reference, or transcribed to the computer and printed out.
Session Two
- The class may be viewing a virtual museum or on a field trip to a local gallery.
- Ask students to use the "close, distant, close again" to examine pieces of art, and record their observations based on the terms identified in the previous session.
- After individuals or partners complete their viewing and analysis, meet as a whole group for debriefing, sharing what was observed.
Session Three
- Discuss the art in general terms of analogy and metaphor. Seek examples of specific paintings and how they demonstrate communication of an idea or feelings. Develop a literary term for each of the terms used to analyze the art form.
Title _________________
Artist_________________ (Author)
Time painting was done __________________(setting)
Brushstrokes _______________ (words,genre,style)
Lines ______________________ (style, form)
Colors______________________ (word choice, style)
Shadings ___________________ (inferences)
Shadows ____________________ (inferences,opinion)
Perspective _________________(point of view, bias)
Focal Point _________________(point of view)
Background __________________ (setting)
Subject of painting _____________ (main idea)
- Discuss this as a prewriting framework. Talk through, verbally model, how these ideas can shape a discussion of art as a means of communication, comparing the similarities between writing and painting—both the artist and the author are portraying an idea, images, a story, and/or an opinion.
- The students will use this framework to express their thoughts about ways in which the process of writing is similar to the process of creating art, using the transitional, comparative vocabulary developed for the class word bank.
- Introduce the Compare and Contrast Map, and demonstrate how students can use the online graphic map to organize their ideas.
- Using examples from the nonprint media they have studied, and perhaps examples from literature, ask students to write a compare and contrast essay. Allow time for them to revise, edit, and type their essays.
Web Resources
- Web Museum, Paris
http://www.ibiblio.org/wm/
- A virtual museum of famous works of art. The Paul Cezanne collection shows the transition from Impressionism to Cubism. This Web museum offers many other works of art, plus a link to a glossary of painting styles, which provides specific vocabulary for young authors and artists.
- Harvard University Art Museums
http://www.artmuseums.harvard.edu/
- Virtual access to one third of the art collections at Harvard University Art Museums. The Fogg Art Museum houses one of America's finest collections of Impressionist and post-Impressionist art. Look for Picasso here too, as well as collections of photographs, prints, and drawings.
- Education at the Getty
http://www.getty.edu/artsednet/images/index.html
- Image galleries and exhibitions are indexed by artist, by title, by date, and by gallery topics. Example—Jacob Lawrence: Storyteller—his work appears in an image gallery with information about the size and media of each piece, accompanied by related history lessons on "The Migration of the Negro."
- American Family
http://www.pbs.org/americanfamily/mural.html
- As part of multimedia projects on the American Family, the mural as an art form is explored as a predominant art form in Los Angeles. Click to view images such as “Waiting for the End of the Twentieth Century” by Alexi Begov, Russia
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| Student Assessment/Reflections |
Impressionism was inspired by the music of Modest Petrovitch Moussorgsky who translated Russian literature into musical genres. Understanding of the similarities between the creative processes of composition—writing, art, and music—could be assessed through extended synthesis, after listening to Moussorgsky's "Pictures at an Exhibition" (Maurice Ravel's 1922 orchestration). Student responses could be noted through contributions to a large group discussion or reflective journal entries (written or drawn).
The students' written responses to the painting (or other art form) can be assessed with a rubric based on
- their use of transitional and comparative words (e.g. alike, similar to, close to, both, also, not only, therefore, consequently, next, in fact, still, besides, finally, furthermore, consequently)
- their inclusion of literary terms applied to the non-print media (see previewing and prewriting
handouts)
- evidence of careful editing and proofreading
Students could be given the option to demonstate their understanding by creating an original art form—computer generated, mixed media, musical piece or mix, etc.—accompanied by a written piece that could be used as a gallery print release about a "newly recognized artist". The written piece would address the artist's perspective/point of view; choice of media; purpose; focual point/main idea; and technique. These pieces could develop into a classroom or school exhibit—a form of publication.
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1 - Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
4 - Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
5 - Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
6 - Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
7 - Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.
8 - Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
9 - Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
10 - Students whose first language is not English make use of their first language to develop competency in the English language arts and to develop understanding of content across the curriculum.
11 - Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
12 - Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
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