Georgia O`Keeffe - Meet the Masters

Transcription

G EORGIA O’KEEFFE – AGES 10 – A DULT | O NLINE EDITION
Step 1 - Introducing the Georgia O’Keeffe
Slideshow Guide
MOTIVATION
BEGIN READING HERE
You usually “Meet the Masters” by looking at slides of their artwork and hearing about their
lives. Today you will get to hear the real voice of our master artist, Georgia O’Keeffe! She
will tell you all about her artwork and her life in her own words. This famous artist will
share her feelings and ideas with you while you enjoy seeing her paintings.
Before we hear directly from our artist, let me further introduce her. Today we will meet
master artist Georgia O’Keeffe. What year did Georgia O’Keeffe die? (1986, POINT TO
EASEL) How old was she when she died? (98 YEARS OLD)
Click Start Lesson To Begin
1. EARLY 1900s
Let’s put ourselves in the period of Georgia’s lifetime. Her lifetime as an American
spanned nearly one hundred years. Do you think she witnessed major changes in our
nation? Imagine the contrast between riding in horse-drawn carriages as a child to
watching men land on the moon! New York, where she lived, was no longer the city of
gas-lit lamps but a city of skyscrapers with neon flashing lights. New ideas could also be
seen in the arts. This was the world in which Georgia found herself. Do you think there
were many women artists at that time? (NO) Do you think the male-dominated art
profession intimidated O’Keeffe? (NO) She was a very independent woman for her time,
and she fit in very well with her male artist friends.
So being a woman artist in that era set Georgia O’Keeffe apart, but there was something
else about her that was very different from other artists. Most artists struggle for many
years to gain recognition. They study, enter many exhibits, only to struggle some more.
Fame and success came easily and quickly to Georgia in a very different way. Let me tell
you the story.
Do you think O’Keeffe decided to become an artist when she was very young? (YES) By
the age of twelve she knew without a doubt what she wanted to do with her life.
Click Next To Change Slide
1 GEORGIA O’KEEFFE – Ages 10 – Adult | MeetTheMasters Online Edition
GEORGIA O’KEEFFE – AGES 10 – A DULT | ONLINE EDITION
2. PORTRAIT OF O’KEEFFE BY HILDA BELCHER
She attended Columbia University when very few women were enrolled and later became
a schoolteacher. But painting was her first love, and she devoted all her spare time to her
art. This is a portrait of Georgia at age twenty when she was a college student. She lived
near Columbia (NY) in a little $4 a week rented room in which there was a bed, a small
dresser, and a table and a chair.
She was unsure of her talent, so she sent a roll of her paintings to her best friend to get
her opinion. She also sent strict instructions not to show the paintings to anyone else.
Her friend ignored that request and showed them to Alfred Stieglitz, who owned a gallery.
He thought her work was so good, he immediately displayed her paintings in his gallery.
When Georgia found out about it, she stormed down there to demand that he take her
paintings down. She told him he had no right to exhibit her work without her permission!
They argued back and forth, and guess who won? Stieglitz got his way and the paintings
remained. But Georgia, even though outraged, was on her way to fame. Alfred and
Georgia were married a few years later.
O’Keeffe was a very popular and famous artist for most of her life. She won every award
possible, even the Civilian Medal of Honor, our nation’s highest award. As happens with
fame, many people were curious about her life and her art. So she agreed to be
interviewed. That interview was recorded, and you will hear parts of it today.
She was in her nineties when this interview took place, so her voice is not always strong
and clear. You will have to listen carefully to catch her words. Are you ready to hear all
about Georgia O’Keeffe in her own voice and words?
3. WHITE ROSE II
Click Audio
“I see shapes. It’s as if my mind creates shapes that I don’t know about. I can’t say it any
other way. I get this shape in my head, and sometimes I know what it comes from, and
sometimes I don’t. And I think with myself that there are a few shapes I have repeated a
few times, and I haven’t known I was repeating them until after I had done it.”
End Of Audio – Continue Reading
What did O’Keeffe say her mind creates? (SHAPES) Besides just thinking up shapes,
Georgia had the talent to beautifully turn those shapes into works of art. Are the shapes
realistic or ABSTRACT? (ABSTRACT) An abstract work of art doesn’t look like a real
thing. It invites us to imagine and experience a feeling.
4. PINK TULIP
Do you collect something? Georgia had two special collections. Artificial flowers were
one of the things she collected. Why do you think an artist would collect artificial flowers?
(TO DRAW AND PAINT) Let’s remember, though, were O’Keeffe’s paintings realistic or
ABSTRACT? (ABSTRACT) So would her painting of this flower look just like it? (NO)
5. RED CANNA
I want you to pretend that you are a photographer that I hired to photograph a flower in a
unique way using a zoom lens. (OPTIONAL: USE AN ARTIFICAL OR REAL FLOWER
WITH LESSON) A powerful zoom lens would bring you closer and closer to the flower.
As that happens, you of course see less and less of the flower as it is SCALED to a larger
size. If you use your zoom lens, what would you see of the flower through your camera
lens? (PETALS, VEINS, CENTER, STEM)
Georgia looked at her collection of artificial flowers as if she had a zoom lens as part of her
eyes. She SCALED UP the flowers when she painted. Did the last few pictures remind
you of flowers at all? Let’s go back and take another look. Listen to the reasons Georgia
gives for painting the flowers so big.
Click Back
4. PINK TULIP
Click Audio Now
“There was a collection of paintings in New York that I would see every once in a while,
and they had a new painting, but it was a floral painting, about 20 x 16 maybe. But the
flower was beautifully painted, and I thought, now if I would paint that flower, just that
flower, the size it is -- no one would ever look at it. But if I enjoy the flower, and I would
paint the flower, I will paint it big, so they will have to look at it.”
End Of Audio – Continue Reading
Why did she scale up the flowers? (SO PEOPLE WOULD NOTICE THEM) Do you think
her plan worked? (YES) She became very famous for her flower paintings.
Click Back
3. WHITE ROSE II
The title of this painting is White Rose II. Is it scaled up? (YES) Look carefully and notice
that the rose seems to have been caught in various stages of its growth, as though it were
unfolding before our eyes. Do you feel like you’re viewing the beginning or the end of this
growth? Why? (COLOR, SHAPE)
Click Next 3 Times
6. BLUE AND GREEN MUSIC
Besides the shapes in this painting, what else catches your attention? (COLOR) Look
carefully. Do you see more than one color of blue in this painting? Do you see several
colors of green too? We call those different colors VALUES. Values of a color can go
from very light to very dark.
This painting is not a scaled up flower. I will tell you the story of what inspired Georgia to
paint this. While she was attending Columbia University, she was walking down the hall
one day and heard music coming from a classroom. Being curious she opened the door
and went in. The students were being asked to make a drawing from what they heard. So
Georgia sat down and made a drawing too. Then the teacher played a very different kind
of music for another quick drawing. This gave O’Keeffe an idea that continued to interest
her -- the idea that music could be translated into something for the eye.
The title of this is Blue and Green Music. What kind of music do you hear when you look
at it? (RESPONSES WILL VARY) - Click Next To Change Slide
7. SHADE AND TINT
Let’s find out how O’Keeffe created all those values of blue and green that we saw. Do
you know what O’Keeffe added to a color to make it darker? (BLACK) Black added to a
color makes a SHADE of that color. What would you add to make it lighter? (WHITE)
White added to a color makes a TINT of that color.
Now I want you to create a picture in your mind of brown hills. O’Keeffe painted hills with
so many values of brown that you can’t even count them, and the result is a rich,
interesting painting that captures the beauty of nature. See if her painting is anything like
what you pictured in your mind. - Click Next To Change Slide
8. THE MOUNTAIN, NEW MEXICO
Let’s experiment with shades and tints so that you really understand this art concept. I’m
going to point to a value in this painting, and you tell me if it is a shade or a tint. (POINT
TO SEVERAL DIFFERENT VALUES)
Georgia O’Keeffe was born and lived in the United States for her entire life. She lived in
New York for many years, but she preferred another part of America. Her favorite place
was a world completely different from New York, and that’s where she painted these
beautiful hills. Let’s look at another view of those hills she loved as she tells you all about
this place. - Click Next To Change Slide
9. BLACK CROSS, NEW MEXICO
AUDIO WILL AUTO PLAY
“When I got to New Mexico, that was mine. As soon as I saw it, that was my country. I’d
never seen anything like it before, but it fitted to me exactly. It’s something that’s in the air.
The sky is different; the stars are different. The wind is different. I shouldn’t say too much
about this, because other people might get interested, and I don’t want them interested.”
END OF AUDIO – CONTINUE READING
These hills were part of the landscape that she loved to visit and paint when she left her
home in New York. She would hike all over the desert to find vistas to paint and would set
up her easel and stay for as long as the daylight held. What part of the United States did
she say it is? (NEW MEXICO) This painting is titled Black Cross, New Mexico. If you
have ever visited that part of the country, you know that deserts and mountains make up
the landscape. O’Keeffe fell in love with that landscape the first time she visited. She
described it as a place with “terrible winds and a wonderful emptiness.” What else did she
enjoy? (STARS, SKY, WIND) Can you think why she liked that emptiness? In New York
she was bothered by having so many people around and found it hard to devote herself to
her art. But in New Mexico she found that peace and quiet, and she blossomed as an
artist -- just like the flowers she painted!
Let’s look at the colors in this dramatic painting. What creates contrast? (BLACK
CROSS, SIZE OF CROSS, COLORS OF HILLS) Notice how each hill has a shade and
tint of its own. Also, notice how each hill gets darker on its outer edge and seems to glow
from within. What color is the sky? (WHITE) Blue is not used in the sky but is painted in
the hills, making the sky seem brighter and lighter.
Georgia visited New Mexico in the summer. What would the weather be like in that part of
the country then? (VERY HOT) But she didn’t let that stop her from hiking and painting.
She would drive her car across the wide-open deserts where only Native Americans had
been before. To stay out of the scorching desert sun, she found the only shade available,
under her car. So after eating her lunch, she would climb under the car. She said it
wasn’t a very pleasant place to be, but it was better than nothing!
Remember I told you Georgia liked to collect things. Do you remember what she
collected? (ARTIFICIAL FLOWERS) She had another collection, a very unusual one. I
bet you have never heard of this collection before! Let me show you.
10. PELVIS WITH SHADOWS AND THE MOON
What did she collect on the dry deserts of New Mexico? (BONES) When Georgia had to
return to New York, she wanted to take something with her to remind her of the place she
loved. And this is what she chose! As she hiked over the deserts and hills, she would
collect dried, bleached bones. It was in her second summer in New Mexico that she
began to notice the bones of the desert. When she came across those bleached bones,
polished by wind and sand, she was fascinated. She spoke of them as her “treasures.”
Do we usually associates bones with death? (YES) Not Georgia! She saw the beautiful
shapes and thought the bones were very lovely!
Look at this bone as Georgia did, noticing the shapes created against the blue sky. Is it
evident that she was most interested in the holes in the bones and what she saw through
them? Georgia said she was the sort of child who ate around the raisin on the cookie and
ate around the hole in the doughnut, saving either the raisin or the hole for the last and
best. So probably, not having changed much when she started painting the bones, she
was most interested in the holes in the bones. She thought bones were most wonderful
against the blue of the sky.
Do you think these bone shapes are lovely, like Georgia did?
11. RED, WHITE, AND BLUE
With this painting she tried to show something not related to bones at all. Let’s see if you
can guess what it was. Here is your clue. Look at the background colors. (RED, WHITE,
BLUE) With what do we usually associate the colors red, white, and blue? (AMERICAN
FLAG) O’Keeffe said she wanted this to be strictly an American painting. She was very
proud of her country. It was certainly a unique way to show patriotism, wasn’t it? She also
knew cattle were important to America, and just for fun, she made it red, white, and blue -a new kind of flag almost. It always amused her when people didn’t understand.
12. DEER’S SKULL WITH PEDERNAL
Sometimes Georgia combined the mountains she loved with her bone paintings. This
background shows her favorite mountain called the Pedernal. Is it a flat-topped mountain - a mesa? (YES) She enjoyed painting it over and over again, sometimes with her special
bones as you see here.
After hearing her voice, would you like to see a photograph of Georgia O’Keeffe? She
was married to a very famous photographer, and he took hundreds of pictures of her over
a thirty-year period. Do you think she enjoyed posing for him? Do you think she posed
painting a flower, a landscape, or bones? Let’s find out.
13. PHOTO OF ARTIST BY ALFRED STIEGLITZ
In Georgia’s words, posing for her husband drove her crazy! The cameras at that time
required you to hold still for three to four minutes for each photo. Have you ever
experienced being told to hold perfectly still, only to develop an itch and an uncontrollable
desire to scratch it? That’s what happened to Georgia while posing for Stieglitz. She said
in those endless three or four minutes she would feel more itchy places than you could
possibly imagine. It also interrupted her painting time, and she guarded that time for
herself.
What is Georgia painting in this photo? (FLOWERS) Do you think it will be just that size?
(NO, LARGER) - Click Next To Change Slide
14. PATTERN OF LEAVES
How is this painting different? (DARK COLORS, LEAVES NOT FLOWERS)
Georgia always denied that any of her paintings related to her personal life in any way.
But let’s look at this painting of leaves in relation to what was happening in her life at that
time. She was having many disagreements with Stieglitz over her art and in personal
matters also. Their marriage was not as strong as it once had been, and Georgia was
feeling the tension. Alfred was a great deal older than Georgia, and his health was
beginning to fail. What can you pick out in this painting that would reflect what was
happening in her life? (LEAVES SIGNIFY DECAY, AFFECT OF TIME,
DETERIORATING MARRIAGE)
15. O’KEEFFE GAME
Now it’s time to review all you’ve learned about Georgia O’Keeffe in a fun way. We are
going to play a rhythm game. Follow me. (HIT LAP, CLAP HANDS TOGETHER, SNAP
FINGERS IN A SLOW RHYTHM, PAUSING AFTER SNAP. CONTINUE TO REPEAT
RHYTHM UNTIL CHILD(REN) CAN FOLLOW EASILY.) Please stop now.
You know the rhythm now, so we will add words that match. We only say a word when we
snap our fingers, no other time. I will say my word on a snap. Then you say the first word
on the list on the next snap. Your word will match mine. Remember, Georgia saw shapes
in her mind. Let’s practice a few times. (START RHYTHM. ON SNAP, INSTRUCTOR
SAYS “SHAPES.” ON NEXT SNAP, CHILD(REN) SAYS “MIND.” REPEAT SAME
EXAMPLE UNTIL CONCEPT IS GRASPED.)
You are ready. Let’s continue down the list of matching words in order. Pay attention to
the matches, because next time the list will be taken away, and you will have to remember
the correct matching word.
INSTRUCTOR’S WORD LIST
1. Shapes
2. Hills
3. Red, White, Blue
4. Shade
5. Tint
6. Unrealistic
7. Bones
8. Light and Dark
9. Photographer
10. Scale
STUDENT’S WORD LIST (ON SCREEN)
1. Mind
2. New Mexico
3. American
4. Black
5. White
6. Abstract
7. Collection
8. Value
9. Husband
10. Size
Very well done! Study the list for a few seconds, because I’m going to take it away. We
will play our rhythm game again with you matching my words from memory.
(START RHYTHM, REPEAT LIST FROM TOP. CHILD(REN) RESPONDS FROM
MEMORY.)
Click Next Twice And read Pierre’s final thoughts
When complete, click Back To
Units
Step 2 - Learning From: Georgia O’Keeffe
Color Values
To balance the light and dark areas (values) of her paintings, O’Keeffe used tints and
shades. The values in the drawings on the right have been left out. Use tints and shades
to put them back.
Shade Method
Tint Method
Color + black = shade
Color + white = tint
Use only one color.
Use heavy pressure to let the white show through for the light values.
Color over the lightest values with white.
Color over darkest values gently with black.
Scale
Georgia O’Keeffe scaled up small flowers to very large sizes.
To enlarge or scale up a drawing:
Notice where lines hit
edges on the small
square, and mark
them on the large
square. Study the
curve of the lines
between the points
before copying them.
Copy each drawing, but scale it up to fit in the bigger box.
Texture and Color Values
1. Fill this rounded shape with straight pencil strokes.
2. Fill this rounded shape with rounded pencil strokes.
Which looks more round, the first circle or the second circle? _____________________
1 . Color the leaf with
strokes going in different
directions.
2. Color this leaf with strokes following
the direction of growth
out of the stem.
Which looks more realistic? Leaf 1 or leaf 2? ___________________________________
View Finder - Save this for your project.
Just as photographers look through the camera to
“frame” a picture, artists sometimes use a view
finder to find the best view to paint or draw. This
will be your view finder for your art project.
The last few pages of this section contain the Art Activity for Georgia O’Keeffe. This stepby-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.
Georgia O’Keeffe
(oh-KEEF) - American 1887–1986
Georgia O’Keeffe was a famous female American artist. Her modern desert and botanical
paintings inspired our young artists as they painted in her style. Her love of the American
Southwest was reflected in her work.
ART ACTIVITY EMPHASIS: Color Values
MEDIA: Black Crayons Drawing / Paint Crayons
Georgia O’Keeffe
(oh-KEEF) - American 1887–1986
Georgia O’Keeffe was a famous female American artist. Her modern desert and botanical
paintings inspired our young artists as they painted in her style. Her love of the American
Southwest was reflected in her work.
ART ACTIVITY EMPHASIS: Color Values
MEDIA: Black Crayons Drawing / Paint Crayons
Step 3 - Working With: Art Activity Instructions
ARTIST
Georgia O’Keeffe (oh-KEEF)
(1887-1986) American
ART ELEMENTS
Color value
MEDIA
Watercolor and crayon
TECHNIQUE
Scaled up drawing, crayon shade,
watercolor tint
EMPHASIS
Color Value
VOCABULARY
Wash, tint, shade, color value
VISUAL
Print: Red Canna
SUGGESTED MUSIC
Music from the
MATERIALS FOR INSTRUCTOR AND CHILDREN
Black crayon
One 12” X 12” white construction paper
Masking tape (one 2” piece per student)
One 12” X 18” sheet of newsprint
Water pitcher (for instructor only)
Paper towel
Scissors
Artist profile slip
One view finder from last page of Learning
One set of small botanical prints
Packet
Box of Payons (watercolor crayons)
Pencil
Watercolor paintbrush
Glue
Water cup
PREPARATION
Construct an example to become familiar with the procedure. Place the O’Keeffe print and
demonstration papers where they can be easily seen. Arrange materials nearby.
SET-UP [ 5 minutes ]
Distribute the following materials to each child:
SUPPLIES: Brush, Payons, black crayon, botanical prints, masking tape (2” piece
each). Distribute water cups and water after students have finished using Payons.
PAPER: White paper, newsprint, paper towel, and artist profile slip
ORIENTATION [ 2 minutes ]
What is special about Georgia O’Keeffe’s paintings? (COLORS, SHAPES, BONES,
AMERICAN LANDSCAPES, LARGE FLOWERS) Today you will magnify or scale up and
paint a leaf or a flower just as Georgia O’Keeffe would have. You will show the TINT and
SHADE of each color you use. You colored tints and shades with crayons in your Learning
Packets. You enlarged leaf and flower shapes. Then you learned how to use the direction of
your strokes to make something look realistic. Now you are ready to use what you’ve
learned! Let’s get organized so we can begin!
DEMONSTRATION AND ACTIVITY
ORGANIZE YOUR WORK AREA [ 2 minutes ]
1. Place your newsprint horizontally (DEMONSTRATE) on your workspace, with your white
paper and Learning Packet on top.
2. Put your small flower print beside your white paper.
3. Open your Payons and place them on a newsprint corner.
4. Place your scissors, pencil and artist profile slip at the top corner of your workspace.
THE VIEW FINDER [ 5 minutes ]
In order to zoom in on the part of the flower you want to enlarge or scale up, you will need a
view finder – to help you frame your picture – or to find a view for your picture. This is how to
make one:
1. Turn to the last page of your Learning Packet.
2. Follow the dotted line to cut out the view finder. Cut very slowly. It is important to stay on
the dotted line so that your view finder will be perfectly square.
3. Place your view finder over the flower print. Move it around until you see an arrangement
that interests you. Try to include some white space in the arrangement. Look for a balance
of light and dark areas. When you are happy with it, tear your piece of masking tape in half
and tape the view finder in place on the print (in two places).
(Have the students find their views; check papers.)
THE DRAWING [ 10 minutes ]
Draw your “view” on your white paper. Make it large enough to fill the paper: You are
enlarging the “view” from 1” x 1” to 12” x 12”.
1. Notice where lines hit edges on the view finder and mark them on your large paper. If a
line hits an edge of the view finder in the middle (demonstrate with a dot) it will also hit the
edge of the white paper in the middle (mark with a dot).
2. Then study the curve of the lines between the points you have marked, and LIGHTLY
sketch those lines on your paper.
3. For lines not touching an edge; estimate how far they are from lines or points you have
drawn.
THE SHADING [ 15 minutes ]
1. Color each section of the drawing with different color Payons. Contrast light and dark
sections. Encourage the students to leave some white spaces.
2. Look for the darkest areas of the picture. Shade them with the black crayon. Keep your
shading strokes going in the direction of the growth of the leaf or petal on which you are
working. These strokes usually go from the stem toward the tips of the leaves and petals.
3. Press hard where it is very dark and ease up on the lighter areas to show the many values
of each area, creating tints and shades.
4. Go over all outlines with a black crayon. Press hard to create the wax “dam” to keep
Payon colors from running together when we add the water.
Have students draw, color, and shade with crayons for at least 25 minutes. Play the music.
PAINT ONE SECTION AT A TIME [ 5 minutes ]
(Stop the work for this demonstration.)
Have the students pack up and close the Payons before they begin “painting” with the water.
You will add water to the flower in the sections that are divided by your black lines. Watch, so
you’ll know how:
1. Dip the brush into the water and tap the bristles gently on the rim of the cup, keeping the
tip pointed.
2. Hold the brush the way an artist does; toward the end of the handle, with your arm up,
parallel to the desk. When you make a stroke, use a sweeping motion.
3. As you add water, the crayons turn into paint. The fewer strokes you use the fresher and
brighter the color will be. Only use enough water to make the crayon colors turn to paint –
the paper should not be saturated or have puddles.
4. Keep each color separate by cleaning your brush with each color change. Do not go from
one section to another, but paint each separately. Begin with lightest colors first.
CLEAN YOUR BRUSH!
Rinse your brush in the water and dry it gently to a point on the paper towel.
MOUNTING THE ARTIST PROFILE SLIP [ 1 minute ]
(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 to 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.
3. Encourage students to discuss their artwork at home using this artist slip of information.
CONCLUSION
Why did Georgia O’Keeffe paint her flowers so large? (SO PEOPLE WOULD NOTICE HER
PAINTINGS) As I look at your beautiful creations, I think she was right. I would certainly
notice your paintings! Your excellent and dramatic colors along with the views you chose
would really please Georgia O’Keeffe.
GUIDANCE
Watch the clock! This project takes a lot of time, so keep demonstration times to a minimum!
THIS CONCLUDES THE GEORGIA O’KEEFFE UNIT.

Georgia O`Keeffe - Meet the Masters

Transcription

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