Core Content: The art of Gustav Klimt Concept to be taught: Abstra

 Core Content: Concept to be taught: Discipline Focus: Objectives: INDOE Standards: The art of Gustav Klimt Abstract portraits Production Students will complete one self-­‐portrait in the patterned style of Gustav Klimt using acrylic paint and printed photographs. Students will use at least five different Klimt patterns within their self-­‐portrait. 3.2.2 Identify & distinguish between representational, abstract, & nonobjective works of art 3.6.2 Create artwork that demonstrates personal ideas & experiences 3.7.1 Apply elements & principles in artwork that effectively communicates ideas 3.7.2 Identify & discriminate between types of lines, shapes, textures, colors, and space in own work and the works of others Materials/Resources: Per student: 2 sheets drawing paper 9x12, 1 sheet of photo paper, 1 sheet of heavy cartridge paper 9x12, 1 small sponge, 1 brush, 1 plastic cup and water, scissors, 1 pencil, 1 glue stick, 1 set of acrylic paints, 1 mixing tray For the class: metallic gold acrylic paint, 1 camera, extra “scrap” items (foil, sequins, magazines) Clean up: (per table) 1 bottle of spray cleaner, 1 sponge Visuals: See indicated visuals in sequence steps 1, 2, and 3. SEQUENCE 1. Introduce • Gustav Klimt was an Austrian symbolist painter. Symbolism in art means: • Using mythical or dream images to tell a story instead of creating realistic images • Symbols say something about the person or artist o Symbols could be shapes, colors, or lines • Show visuals: (realistic portrait vs symbolic portrait) •
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Klimt often painted portraits of women whose faces were very realistic, but whose clothing and surroundings were dreamlike and symbolic. He was very interested in Byzantine art (Roman art that last from around 330 A.D. to the mid fourteen hundreds) and often used it as inspiration o Byzantine art often used a lot of gold, and so did many of Klimt’s most famous paintings Klimt’s paintings focus on pattern o Patterns are decorative designs made of repeated shapes and lines o He especially used a lot of flowers, swirls, circles, rectangles, and ‘eye’ shapes 2. Present •
The Kiss, Klimt, 1907, oil on canvas. Adele Bloch-­‐Bauer I, Klimt, 1907, oil on canvas Realistic human features Realistic woman Use of gold colors. Large flowing dress filled with pattern Use of many different patterns. Almost entirely gold. Portrait of Eugenia Primavesi, Klimt, 1913, oil on canvas Portrait of Helene Klimt, Klimt, 1898, oil on card Realistic woman One of Klimt’s earlier paintings Bright, whimsical colors Very realistic Large, shapeless robes No whimsical colors or patterns NOT a strong example of what Klimt is known for Patterned T-­‐shirt T-­‐shirts with no pattern 3. Check Understanding Ask students questions: What is the difference between realism and symbolism? Would you say that this painting is realistic or symbolic? Why? Starry Night, Van Gogh, 1889, oil on canvas. How could color be used symbolically? What sort of colors would you use to paint yourself? Why? Can you think of one pattern that Klimt really liked to use? Is anything you’re wearing right now patterned? 4. Apply: Klimt style self-­‐portraits. • Step 1: Run through the sequence of steps with students, and then demonstrate how to make the piece’s background and how to pose for pictures. • Step 2: Students will pose for a photograph with either a ‘sleeping’ face with hands folded or a straight on ‘calm’ face. • Step 3: Students will sponge the metallic gold paint onto the background of one of their sheets of drawing paper. On the other paper, they will create a ‘ground’ using grass, flowers, etc. They will cut the ground down to approximately 1/3 of its original size and glue it to the bottom of their gold paper. • Step 4: Show students how to cut and place their photographs, and how to form the robes on cartridge paper. • Step 5: After their photographs are printed, students will cut out only the head and hands, and glue them in position to the heavy cartridge paper. They will draw loose robes or dresses around the photograph. They may add more hair if they choose. • Step 6: Students will section the robe into at least five areas of any shape they choose. They will paint each of the areas with a different pattern, making sure no two are exactly the same and if •
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there are similar patterns, that they do not touch. When they are finished painting, they will cut out the full figure and glue it on top of their other two papers. Step 7: Once everything is attached together, students will have the option of adding heavy black outlines or dots around their figure. Depending on the scrap materials available, students may add magazine collage, sequins, etc. Step 8: After completing their painting students will sign their name and place them on the counter to dry. Step 9: Once they are dry, each student will explain to the class one way in which their self-­‐
portrait looks like a Klimt portrait. 5. Assess • INFORMAL Assessment of student answers to questions and painting task. • Concrete assessment point: Students will be graded after they turn in their projects, and projects will be returned with comments on the back • Primary: Did the student complete a self-­‐portrait in the style of Gustav Klimt? • Secondary: Did the portrait include at least 5 different patterns within the figure?