TITLE of Gr 4 Project: I’m Not Watching

MEDIUM: Pencil

BIG IDEA: Trust Your Eyes

ESSENTIAL QUESTION: Can a portrait with the person looking at us bring us into their experience – their place? Can you learn to draw without looking at your paper?

MATERIALS: 90 lb white cardstock 8.5X11” paper; pencils; paper plates

RELATED HISTORIC ARTWORK: Jean-Auguste-Dominique Ingres PPt

Marcotte d’Argenteuil by Jean-Auguste-Dominique Ingres, 1810, Oil paint on Canvas

TEKS: Grade 4. 1. a. b. c. (explore ideas for life; elements & principles of art; discuss elements & principles) 2. a. b. c. (create art using life experiences; composition; artwork with different media) 3. a. b. c. d. (artwork from life; historical & cultural art; art careers; art in other disciplines) 4. a. b. c. (evaluate art; artist statements; compile work in portfolio)

SAMPLE OF ARTWORK: Sample Artwork by Kinderart

https://kinderart.com/art-lessons/drawing/blind-contour-drawing/

DISCUSSION: Can a portrait with a person looking at us bring us into their experience? Their place? What if you draw it while you aren’t looking at the paper? Will it be good artwork? Spend quality time asking the questions and allowing the students to respond. This will inspire their own vision for their artwork.

OBJECTIVES: The student Will Be Able To (TSWBAT):

1. realize and understand art doesn’t have to be perfect to be good art 2. express with lines 3. trust what their eyes see by not looking while they’re drawing 4. draw what they truly see rather than what they think they see 5. understand that art has significance 6. understand and use art vocabulary & concepts

STUDIO PROCEDURES: 1. Look at the PPt about Jean-Auguste-Dominique Ingres. 2. Have the discussion using the key questions. 3. Students will lightly write their names on the back of their vertical piece of cardstock paper. 4. Choose someone from class who will pose for you while you draw. 5. Poke the center of a paper plate onto the eraser part of your pencil. The plate will keep you from watching your paper while you draw. 6. Pick a point on your friend where your eye can begin its slow journey around the contour or edge of the object. Remember, the eye is like a snail, barely crawling as it begins its journey. 7. When the eye begins to move around the edge of the object, so should the hand holding the pencil. At no time should you look at your hand as it draws. Try drawing the entire contour of the objects without lifting our pencil from the paper. 8. Practice. The more you draw these contours drawings the better they will look. Don’t panic if your drawing doesn’t look exactly right – just have fun drawing. 8. Encourage creativity in with the final product. 9. Have a writing assignment where students talk about distorted shapes.

RELATES TO OTHER CONTENT AREAS: Math: measuring & geometric shapes Science: biology of sight, eye/hand coordination ELA: writing

VOCABULARY: Vertical: up and down. Contour: an outline, especially one representing or bounding the shape or form of something. Line: a long, narrow mark or band Expression: process of making known one’s thoughts or feelings Portrait: a painting, drawing, photograph of a person Shape: areas of enclosed space that are two-dimensional. Shapes are flat.

ART HISTORY

Jean-Auguste-Dominque Ingres

1780-1867

Neoclassicism

Marcotte

d’Argenteuil

By Jean-Auguste-Dominique

Ingres (French), Neoclassicism

1810

Oil on Canvas National Gallery of Art, Washington, DC

This is a Portrait. Why? When the person in the

portrait is looking at the viewer, does it make

you feel like you are a part of the scene? Why?

Jean-Auguste-Dominique Ingres was a French Neoclassical

artist. He became the principal proponent of French Neoclassical

painting and his cool, meticulously drawn works were the antithesis of

the emotional and colorful contemporary Romantic school. As a

monumental history painter, Ingres sought to perpetuate the Classical

tradition of the Renaissance artists. Ingres received his first artistic

instruction from his father who was an artistic jack-of-all-trades. He

studied art in Paris and won many awards at a very early age –

becoming a well known portrait painter. He drew and painted

portraits in Rome for many years in order to support himself and

painted many historical and mythological paintings. He finally won

acclaim after moving to Florence and was admitted to the Académie

des Beaux-Arts. Eventually he earned acclaim in France where he

opened a teaching studio in Paris. Later he went on to teach at the

École des Beaux-Arts in Paris and even because its president. He was

criticized by political and cultural critics in France and because he

was very sensitive he moved back to Italy and was made the director

of an art school in Rome. Later he was received back in Paris.

Jean –Auguste-Dominique Ingres (from Art Smart Study Guide)(This info is directly from the 2019-21 UIL Art Smart Study Guide – share this in a simple way for Grade 2)

The Neoclassical style that developed in the second half of the 18th century was greatly

influenced by painting and sculpture in ancient Greece and Rome. In the long debate among

artists between color and line, Neoclassic painters were on the side of line. They believed

clear drawing and form were much more important elements than color and decorative

detail. They emphasized formal order and balance in their compositions.

Ingres created many paintings of history or religion, as well as excellent portraits. The mood

of this portrait is more serious than our last one was. It portrays the sitter with almost

photographic accuracy. His expression and the style of his clothing suggest his importance

as a French government official. The artist's dramatic use of light and shadow on his face

strengthens the impression of seriousness and importance. The work offers examples of

several characteristics common in Neoclassical paintings. It was created with smooth,

invisible brushstrokes that give it a glossy, polished surface. Crisp, clean edges outline the

sitter's face and hands, the different items of his clothing, even the folds in the tablecloth. The

composition is carefully built around a central line from the sitter's fingers through the

features of his face. Its structure emphasizes strong, formal order.

Jean –Auguste-Dominique Ingres (from Art Smart Study Guide)Ingres moved several times during his career between Paris and Rome. He began studying

both music and painting as a child. While he was still a teenager, he trained in the Paris

studio of the greatest Neoclassical painter and worked as his master's assistant. The

influence of Rome's art increased after he won the French Academy's prize allowing him to

study there. He stayed for years after his scholarship was completed, supporting himself in

part by painting portraits. This image of his f iend and patron was one of them. His interest in

creating graceful beauty sometimes made his paintings seem less serious than other

Neoclassical works. But he never changed his opinion that "drawing is everything; it is all of

art."

Joséphine-Éléonore-

Marie-Pauline de

Galard de Brassac de

Béarn (1825-1860),

Princesse de Broglie

Madame Paul-

Sigisbert Moitessier

“One must keep right on drawing; draw with your eyes when

you cannot draw with a pencil.” Jean-Auguste-Dominique Ingres

Napoleon I on His

Imperial Throne

Louis-Francois

Bertin

The Montagu

Sisters at Rome(one of his pencil

drawings)

The Martyrdom of St.

Symphorian