Pierre-Auguste Renoir

Transcription

PIERRE-AUGUSTE-RENOIR – AGES 10 – ADULT | ONLINE EDITION
Step 1 - Introducing the Pierre-Auguste Renoir
Slideshow Guide
BEGIN READING HERE
MOTIVATION
Have you ever imagined what it would be like to have a famous artist for a father? Would
you like that? Can you think of any advantages and disadvantages? Do you think you
would write a biography of your famous father when you became an adult?
Click Start Lesson To Begin
1.ARTIST’S SON
Does this look like a boy or a girl to you? (GIRL) It’s a boy! And you’ll discover why he
looks like a “she” in a few minutes. But the little boy you see here is the son of the famous
artist we will learn about today. His father painted his portrait many times throughout his
childhood. When he became an adult, he wrote a book about his father, so the world
could share his memories and learn more about this famous artist.
Today we will meet Auguste Renoir through the eyes of his son, Jean, who authored the
book titled Renoir, My Father. He wrote the book as a partial answer to the questions he
was so often asked: “What sort of man was your father? Did you like being the son of a
famous artist?”
Click Next To Change Slide
DEVELOPMENT
Do you think it would be fun to pose for your father while he painted you? Do you imagine
Jean, as a young active child, found it difficult to remain still for this pose? Listen to Jean
describe how his father painted his portraits. Be able to tell me how Renoir managed to
have him hold still. And listen for the two reasons “he” looks like a “she!”
Click To Play Audio
SCRIPT: “When I was still very young, say at the age of three, four, or five, my father
would wait until I found something to occupy me and keep me quiet. Are you wondering
why my hair was so long for a boy? My father kept his children’s hair long, like you see
here, even at age seven, as a protection against falls. He was very concerned with safety.
He also enjoyed the pleasure of painting long hair, so I still had curly red locks at the age
of seven. I was never punished when I behaved badly while posing. My father allowed
me great freedom. He did not want a still model, so I could run about as I pleased. Only
now and then I had to be motionless for a few minutes. If some detail in a portrait required
that I should stay still for longer, my nurse would read Anderson’s fairy tales aloud, and
she and my father would enjoy them as much as I did!”
1 PIERRE AUGUSTE RENOIR – Ages 10 – Adult | MeetTheMasters Online Edition
2. SELF-PORTRAIT
SCRIPT: “My father was 5’10” tall, with light brown hair before it turned white. In his later
years he had a beautiful white beard. He always wore a beard -- not that he liked it
particularly, but because he saved time by not having to shave. What most struck people,
at first meeting my father, were his eyes and his hands. His eyes were light brown, and
they were sharp and penetrating. He would often point out a ladybug climbing up a single
blade in a tuft of grass. We, with our young eyes, did not see it! His eyes always seemed
to be laughing, but it was a gentle and loving laughter.”
3. PHOTO - OLD AGE
SCRIPT: “His hands were noticed, because they were terribly deformed. His arthritis had
made the joints stiff and caused the thumbs to turn inwards towards the palms, and his
fingers were bent towards the wrists. My father was a very happy man, and he loved life.
The world was a festival of colors and light to him.”
Does he sound like a man who would be a good father? It is no wonder, with his
personality and love of life, that Renoir has been called a “painter of happiness.” Can you
think of the colors he would use and of the subjects he would choose to paint? Let’s see if
you were right by seeing his work.
4. THE SWING
Can you remember the last time you stood in the shade of a tree, and light filtered through
in spots like you see here? Does this scene make you feel relaxed or tense? (RELAXED)
Besides color, can you remember what fascinated Renoir in the world around him?
(LIGHT) Is that fascination with light apparent in this painting? (YES) The name given to
artists who went against the popular painting styles of the time and showed light and color
in a new way is IMPRESSIONISTS.
This was painted in an abandoned park near Renoir’s house in Paris, France. He
explored the effect of light filtering through the trees and reflecting on faces, clothing, and
ground. Do you think he was successful at capturing that effect? (YES)
Jeanne, one of Renoir’s favorite models, stands under a tree, holding the rope swing.
Notice how he captures the play of silvery reflections on her gown, on the man’s suit, and
on the child’s dress.
Do you see a delicate pattern of rosy, off-white dabs of paint on the front of Jeanne’s
dress? (YES) One art critic referred to those dabs as grease marks.
Now that you’ve studied this painting you will be able to answer this question. Did Renoir
discover that light affects the color of an object? (YES)
Now I want you to carefully observe the SHADOWS Renoir has painted. Where do you
see shadows? (BEHIND PEOPLE, IN TREES, ON GROUND) Impressionists studied
how colors relate to each other, and they mixed the COMPLEMENT of a color to show a
shadow.
5. COLOR WHEEL
Complementary colors are opposite each other on the color wheel.
6. COMPLEMENTARY COLORS
Blue and orange are complementary colors, so an IMPRESSIONIST would mix orange
with blue to create a shadow of something blue. If a flower were red, what complementary
color would be mixed with red to create shadow, or show shading? Here’s your hint -think Christmas! (GREEN)
Most people at the time, including art critics, had no idea that the Impressionists were
discovering the magic of color and light. Because their paintings were repeatedly rejected
for exhibition in the popular Salon Exhibition of Paris, the Impressionists decided to hold
their own exhibits.
This painting by Renoir was shown in the Third Impressionist Exhibit. Do you think Renoir
attracted any buyers when he exhibited this painting, titled The Swing? (NO) When it was
unsold at the end of the exhibit, a good friend bought it to offer Renoir both financial and
moral support. Do you think Renoir liked to be called an Impressionist painter? Let’s have
Renoir answer that in his own words. He said, “The only thing I got out of the exhibit was
the label ‘Impressionist,’ a name I hate.” The Impressionists preferred to be called “The
Independents.”
Let’s travel with his son, Jean, to one of his favorite places to visit in spring and summer.
7. SEINE AT CHATOU (sane at shah-too)
Picture Renoir at his easel along the banks of the Seine River in the summertime, and this
is one of the paintings completed there. The newly built railways took the artist and his
family out of Paris in minutes to the cool riverbanks where they could swim and sail.
Renoir would happily paint while his family had a picnic, played, and relaxed.
Let’s hear how Renoir’s son, Jean, describes this area he visited often with his father.
Listen carefully, and be able to tell me what fascinated Renoir when he painted
landscapes.
Click To Play Audio
SCRIPT: “It was the most delightful spot in the world -- shaded by giant trees, laughing
groups of boaters at the water’s edge, gaily dressed girls on the shore, and dancing
gleams of sunlight flashing through the leaves. My father would eagerly set up his canvas
by the river’s edge. He would talk to us as he painted saying, ‘Just look closely at the
water. It changes from hour to hour. Right now it’s green with a little orange in it, but in an
hour it will be yellow and violet, and if you mix the right values…’ and he would go on and
on about the changing colors.”
END AUDIO
Does it sound like a place you would enjoy visiting, like Renoir, in the summertime?
Renoir and his fellow Impressionists did painting after painting of landscapes showing
flowing, sparkling, shimmering water. Why do you think it was so fascinating to them?
(COULD EXPLORE REFLECTIONS, LIGHT, COLORS, SHADOWS)
I’m sure his son, Jean, watched him as he painted the river scenes. Let’s take a close-up
view of this painting, as Jean must have seen it. Do you think we can find those same
colors that Renoir talked about seeing in the water -- yellow, violet, orange, and green?
8. CLOSE-UP CHATOU
Can you find those colors in the water? (YES) Can you see Renoir’s brushstrokes?
(YES) That was another characteristic of Impressionism. Can you tell that he painted
very quickly and used small strokes of bright color to capture the effect of sunlight and
movement? (YES)
CONTINUE ASSEMBLY AUDIO - RENOIR ADVANCED LEVEL
Click To Play Audio
SCRIPT: “When my father painted, he sometimes made you think he was fighting a duel.
His rapid brushstrokes were urgent and precise. He makes me think of the zigzag flight of
a swallow catching insects. Renoir had a wild side to him which startled me and my
brothers several times when we were small.”
END OF AUDIO
Which is more fun, to be on the banks of a river or on a boat in the river? (BOAT) Let’s
take a look.
9. THE SKIFF
Do you see any reflections in this Renoir painting? (YES) Quickly count about how many
reflections you see. (MANY) You will be creating reflections in your art project, too.
When Renoir was painting the scenes along the river, he was still a young struggling artist.
He rented a studio in Paris for a while and paid the bills by painting and selling portraits.
All the money he could scrape together went to pay for his studio, a model, and coal for
his stove.
Renoir never forgot the magic summers he spent painting and developing a new way of
seeing that would change the history of art forever.
Besides loving to paint sparkling water, Renoir loved to paint…
10. LUNCHEON AT THE BOATING PARTY
… his friends!
Can you think of a title for this painting? The title is Luncheon at the Boating Party. Does
it seem like the people are enjoying themselves and are relaxing with their friends? (YES)
Before Renoir came along, no one had ever thought of recording an event of everyday life,
outdoors, on a large canvas. On many Sundays, Renoir’s friends would help carry his
canvas from his studio to the scene he wished to paint. He would paint his friends in the
picture.
Let’s see if you can guess which woman later became Renoir’s wife. (GIRL ON LEFT
HOLDING DOG) Also, which man do you think was a fellow artist friend? (MAN SITTING
ON CHAIR BACKWARDS)
Renoir was a master of color and light, but he was also very skilled in the art of
COMPOSITION. Let’s see if you can tell from my clues what the word composition means
in art. Looking at this painting, Renoir’s composition leads your eye in a circular pattern.
(POINT OUT IN VISUAL) Follow the arm of the man on the left leaning against the railing;
follow to his future wife’s arm, across the table to the arms of the two men. Then we
notice the faces in the background and around to the railing. We find ourselves back to
where we started!
Now, can you tell me what the art word “composition” means? (THE WAY AN ARTIST
ARRANGES THINGS IN HIS PAINTING, HIS CHOICE OF PLACEMENT AND SUBJECT
MATTER)
Imagine Renoir at his easel, enjoying his friends and the luncheon on a warm summer
day. Can you find the river that provided their transportation? (YES, AT TOP)
Renoir enjoyed luncheons with his friends as you’ve just seen. Let’s take a look at another
pleasurable way of spending a relaxing day.
11. DANCE AT BOUGIVAL (boo-zhi-vall)
Renoir painted this two years after his marriage. It is filled with tenderness and romance.
How lovely and graceful is the young lady in her red bonnet and white swirling dress! Is
her partner paying special attention to her? (YES) You would be amazed at the size of
this painting -- it is nearly life-size!
We will now leave the outdoors, Renoir loved, to enjoy an evening indoors.
12. THE THEATRE BOX
Looking carefully, can you tell me where these people are? The title will tell you if you
guessed correctly. It is called The Theatre Box. What told you they were in a theatre?
(OPERA GLASSES, LOOKING AT PERFORMANCE, DRESSED UP)
You were good at defining composition, so now let’s look for it in this painting. As you let
your eyes walk through the path skillfully laid out by Renoir, what do you discover? First,
in what direction do your eyes travel? (CIRCLE) Next, what color patterns do you see?
(BLACK-WHITE PATTERN)
I want you to notice the woman’s complexion. Look how creamy and delicate her skin
looks. Renoir chose models who had that type of complexion, as if their skin had light
from within that gave them a special glow.
Do you like this painting? It was exhibited at an Impressionist’s Exhibit and was criticized
a great deal. Renoir felt hurt by the negative comments, but he still felt it was well painted.
This next painting was very, very important in Renoir’s life. Let’s find out why.
13. MADAME CHARPENTIER (char-pen-tee-ay) AND HER CHILDREN
This painting marks a change in Renoir’s art career. It was accepted for exhibition into the
famous Paris Salon Exhibit and received much praise and attention. The woman in the
portrait was responsible in large part for that acceptance. She was an important lady of
high society, and she used her influence to have the Salon accept this painting. Renoir
painted five portraits of the members of her wealthy family. He became their friend, and
they became his supporter.
Renoir wanted this family to look relaxed. One daughter is so relaxed she’s sitting on the
family dog! Let’s return to the outdoors in this next masterpiece.
14. IN THE MEADOW
What season of the year do you think it is? (SUMMER, SPRING) Notice how the mild sun
casts a warm glow across the distant hill, on the strollers down the path, and throughout
the meadow. What is happening in this painting? (TWO GIRLS VISITING
COUNTRYSIDE, RESTING IN THE GRASS)
The girls blend wonderfully into the light-drenched landscape, to create a feeling of peace
and contentment. From this time on Renoir devoted himself almost exclusively to
portraits. See if you recognize the next two girls in this portrait.
15. TWO GIRLS AT THE PIANO
Did you recognize them as the same two girls In the Meadow? Do the girls look relaxed?
Renoir would talk to his models to relax them, or they would listen to music. He felt men
were too tense, so he preferred painting women and children. He painted several versions
of this same subject.
Through the following years, Renoir succeeded in establishing a wide reputation as a
skillful artist. Art dealers were all furiously competing for his work. The great museums
everywhere had opened their doors to him, and young people traveled to his home to try
to see the master for a few moments.
16. PHOTO - OLD AGE
Near the end of his life he still painted everyday, but work caused him so much pain that
he had to stop frequently to rest. Let’s let Jean tell us about his condition.
CONTINUE ASSEMBLY AUDIO - RENOIR ADVANCED LEVEL
Click To Play Audio
SCRIPT: “My father’s arthritis, it is said, forced him to paint with brushes strapped to his
hands. That’s not entirely accurate. The truth is that his skin had become so tender that
contact with the wooden handle of the brush injured it. To avoid this difficulty, he had a
little piece of cloth inserted in the hollow of his hand. His twisted fingers gripped rather
than held the brush. But until his last breath, his arm remained as steady as that of a
young man, and his eyesight as keen as ever. I can still see him applying a point of white,
no larger than a pinhead, to his canvas to indicate a reflection in the eye of a model.”
END OF AUDIO
17. TWO GIRLS AT THE PIANO
Let’s use this painting to review all the aspects of Renoir’s art that we have discovered.
Click Next To Begin Quiz
Quiz
1.Tell me something about the composition. (CIRCULAR)
2.Point out contrasts between light and shadow. (PIANO, FACES, DRESSES, DRAPES)
3.Does the term “light from within” apply to anything you see? (YES - SKIN)
4.Name two complementary colors used in this painting. (ORANGE, BLUE)
5.What is this type of painting called? (IMPRESSIONISM PORTRAIT)
Now we will review more about Renoir’s life:
1.Why did Renoir like to paint water so much? (REFLECTIONS, COLORS)
2.Where did Renoir live? (FRANCE)
3.Did he like the name “Impressionist?” (NO)
4.Describe Renoir’s personality. (HAPPY, LIKED PEOPLE)
5.Renoir was fascinated with the affect of _____ on color. (LIGHT)
That is excellent, you know so much about Renoir!
Click Next To
Finish Lesson
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Step 2 - Learning From: Pierre-Auguste Renoir
Reflections
Renoir studied how water
sometimes acts like a mirror,
reflecting things in, or near it.
Reflections are the same size but upside
down. The picture below, needs some reflections in the water.
Use the side of your pencil to draw the watery reflections.
Shadows
Impressionists mixed dark colors for shadows
using the color of the object plus its compliment.
Complementary colors are opposite each other
on the color wheel.
Use the impressionist’s method of coloring the shadows below.
First color the tree or bush, then color the shadow using the same color.
Overlap the shadow with the complementary color.
The last few pages of this section contain the Art Activity for Pierre-Auguste Renoir. This
step-by-step outline will be a guide for instructing your child(ren) through the activity. The
parent/instructor should review all steps necessary to complete this project before
beginning any work.
Cut out the Artist Profile Slip below and attach it to the back of the completed art project.
Auguste Renoir
(aw-GOOST ren-WAH)
French
1841-1919
Renoir was called a “Painter of happiness.” His Impressionistic portraits and landscapes
were painted with a beautiful rainbow palette. The children enjoyed seeing his works of art
while learning about color and reflection.
ART ACTIVITY EMPHASIS: Impressionistic Landscapes
MEDIA: Watercolor Crayons
LEONARDO DA VINCI
Auguste Renoir
(aw-GOOST ren-WAH)
French
1841-1919
Renoir was called a “Painter of happiness.” His Impressionistic portraits and landscapes
were painted with a beautiful rainbow palette. The children enjoyed seeing his works of art
while learning about color and reflection.
ART ACTIVITY EMPHASIS: Impressionistic Landscapes
MEDIA: Watercolor Crayons
Step 3 - Working With: Art Activity Instructions
ARTIST
Auguste Renoir
(aw-GOOST ren-WAHR)
(1841-1919)
French
LEVEL
Advanced
ART ELEMENT
Color
VOCABULARY
Impressionism, complement, reflection,
landscape, highlight, shadow
©
MEDIA
Watercolor crayons
TECHNIQUE
Impressionistic use of color
with folded monoprint
PRINT
The Seine At Asnieres
EMPHASIS
Impressionistic use of color
SUGGESTED MUSIC
Impressionistic Music
MATERIALS FOR INSTRUCTOR AND STUDENTS
One 9” x 12" sheet of white construction paper
One 12” x 18" sheet of newsprint
Paper towel
Artist profile slip
Boxes of watercolor crayons
Wide sponge brushes
Wide water containers
Water pitcher (for adult only to fill and empty water containers)
Masking tape (for instructor only)
Pencil
Glue
PREPARATION
Construct an example to become familiar with the procedure. Different brands of watercolor
crayons and paper yield different results, so testing is important! Place the Renoir print in
front of the room. Tape your demonstration paper to the board and arrange materials
nearby.
SET-UP [5 minutes]
Distribute the materials:
SUPPLIES [3] Watercolor crayons, sponge brush, container for water
PAPER [4] White construction paper, newsprint, paper towel, and artist profile slip
ORIENTATION [5 minutes]
(The students should have their Learning Packets and a pencil ready.) What fascinated
Renoir about painting water? (REFLECTIONS, COLORS) What is special about how
Auguste Renoir painted? (DABS OF COLOR, LIGHT) The IMPRESSIONISTS painted with
small dabs of colors. We will create light and color dabs using our special watercolor
crayons.
Renoir loved to paint outdoors, especially by the edge of a river or pond where he could paint
the reflections of trees and boats in the water. That is what we will do today. We will paint a
landscape along a riverbank, just as Renoir would have. In your Learning Packets, you had
some practice showing REFLECTIONS. (Find an example to share.) Today you will learn
another way to show reflections.
DEMONSTRATION AND ACTIVITY
Have the students repeat each step immediately with their materials:
ORGANIZE YOUR WORK AREA [3 minutes]
1.Place your white paper vertically or horizontally in the center of your desk, on top of your
newsprint.
2.Put your watercolor crayons, brush, and water cup to one side on your paper towel.
3.Use your pencil to print your name on the back of your paper.
WATERCOLOR CRAYONS
Watercolor crayons are harder than your school crayons. You will have to press a little
harder to get the color to show.
THE RIVER BANK AND LAND [3 minutes]
Watch how to draw the edge of the water:
1.It is very straight and flat. To make it look that way, fold your paper just above or below the
center to make a fold that goes across the page.
2.When we think of trees, we think of the many colors that are found in trees. Decide now if
your trees will be made of warm colors, or cool colors. (Discuss the difference.) Warm trees
are autumn and golden. Spring trees are often cool colors. Think of trees when the sun is
shining and the water is blue. They are green, gold, orange and yellow. If the water is
reflecting the warm colors of the sunset or sunrise, often the trees seem in shadow and are
cool colors. Purple, blue and green are cool colors.
3.Choose a warm or cool color (opposite of your tree color) to draw the line that will be the
water’s edge right in the fold. What are the three cool colors? (BLUE, GREEN, VIOLET)
What are the three warm colors? (YELLOW, ORANGE, RED)
4.Above the water line decide what the land mass will be. It may be rolling hills or two river
banks on either side of the river. Lightly draw the outline of your landscape.
ARCHITECTURAL OR PHYSICAL OBJECT [5 minutes]
PIERRE-AUGUSTE-RENOIR – AGES 10 – ADULT | O NLINE EDITION
Plan your composition to include an inanimate object (bridge, dock, fishing shack, boat).
This object will be in the foreground, in front of the trees, perhaps. Sketch lightly so that all of
the pieces of the composition can be darkened later. (A bridge might span two banks.)
A TREE TRUNK [5 minutes]
Watch how to make a tree trunk:
1.Use any color, and press lightly, to make a vertical
guideline for your tree trunk standing upright on the edge of
the water.
2.Start at the bottom and draw a slow, wiggly line that goes
up your sketched line. Start slightly out from the line at the
bottom, and draw the line slowly toward the trunk and then
up to almost the top where it may branch upward or
outward in any direction before it stops. Use very firm
pressure on your crayon. Pretend it is like a worm crawling
and wiggling up the tree trunk. When it gets near the top, it
wiggles off in another direction and then stops. You might have four or five branches that go
in different directions from the trunk.
3.Add many different colored lines that start at the base of the tree and wiggle along until
they get near the top where they branch out. What three colors combined make the color
brown? (THE THREE PRIMARY COLORS: RED, BLUE, AND YELLOW)
4.The students will draw one to five trees. One or two can be right on the horizon line, and
more can be placed on the hills in the background. The students can add more tree trunks in
the distance. Objects in the distance are smaller and higher than objects in the foreground
PIERRE-AUGUSTE-RENOIR – AGES 10 – ADULT | O NLINE EDITION
5.Fir or pine trees have branches that start at the trunk and stretch outward. Their branches
are shorter at the top and grow wider toward the bottom. Firs and Pines have needles
instead of leaves.
THE LEAVES [15 minutes]
Now watch how to put some leaves on the trees. Use either warm or cool colors for the
leaves. Encourage the use of MANY colors.
1.Dab some leaf colors on top of the trunk for leaves. To show leaves on these trees, you
don’t have to draw each leaf, draw large horizontal dabs all around and on top of the tree
trunk (demonstrate). Make the dabs larger than your thumbnail. Have colors overlap so that
they blend.
2.Use firm pressure on your crayons and rub back and forth to make each dab of color.
3.Add dark colors (blues and purples, no black) wherever there are shadows. If the sun is
shining from the left, where will the shadows be? (To the right and below.)
4.Darken any lines as necessary.
(Give the students at least 20 minutes to complete their trees. Play the Impressionistic
music. This is a good time to fill each cup about 1/3 full with water.)
COLOR THE WATER [5 minutes]
Color the water with either warm or cool colors (opposite of what was used for trees).
1.Remove the watercolor crayon from the cardboard tube.
2.Use horizontal strokes with the side of the crayon across the bottom half of the paper.
Look at the location of the reflections in the water, and make the colors less intense in those
areas. Overlap the colors and make the colors darkest at the horizon line.
(When the students are finished coloring, have them put away the watercolor crayons and
collect them before adding the water with the sponge brush.)
CREATE THE REFLECTION [5 minutes]
(Demonstrate first and show the students how they must work very quickly! To achieve good
reflections, the water should sit on top of the paper and not have time to soak into the paper.)
1.Refold your paper to make a solid crease along the water line that goes across your paper.
You will brush on water only to the area below the fold in your paper.
2.Soak sponge in water and touch it to the side of the water cup to let excess water drop off.
3.Start on one side at the water line below the fold. Rest the brush firmly against the paper
and pull it across the top of the water - from one side to the other. Then go right back over
that stroke (pulling instead of pushing the brush). It is a two-part stroke - across and back.
4.Soak the brush and paint another two-part stroke right below the first one.
5.Continue down the page, dipping the brush for each two-part stroke. The paper below the
fold should be very wet! (Paint ONLY the water.)
6.To make the reflection in the water: Quickly fold the top of your paper onto the water part
of your paper and press it firmly. Rub back and forth across the folded paper with the palm
of your hand. Take your time! Press firmly and rub (especially press over where your tree
trunk and leaves are). Count to 30 and then gently unfold your paper to see your reflections.
MOUNTING THE ARTIST PROFILE SLIP [2 minutes]
(Profile slips for each artist are provided. They give a brief description of the artist, the
technique, and the media used in the art activity. They should be mounted on the back of
each art project after it is completed.)
1.Write your name on the front of the artist profile slip.
2.Using glue, mount the profile slip on the back of your artwork (when it is dry enough).
3.Encourage students to discuss their artwork at home using this artist slip of information.
CONCLUSION
Remember how Renoir would travel to the countryside outside of Paris? He would take
along family or friends to enjoy while he happily painted along the riverbanks to create
beautiful reflections as you have done today. You can join Renoir as an Impressionist artist!
THIS CONCLUDES PIERRE AUGUSTE RENOIR UNIT.

Pierre-Auguste Renoir

Transcription

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