Part One

*This page still needs a lot of fine-tuning!

Unit 4: A World of Art and Artists

• Additional Reading: The Visual Experience, Chapter 15: Interpretation: There Is More to It Than Meets the Eye, pp. 200-205
• Lesson 1: Mysteries of Long Ago
• Studio 1: Create a Cave Painting (Variation: Making Elemental Drawing Materials)
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I, pp. 244-246
• Lesson 2: Art of Ancient Egypt
• Studio 2: Design a Symbolic Throne
• Studio: Draw Like an Egyptian
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I (Egypt), pp. 246-249
• Lesson 3: Art of Ancient Greece
• Studio 3: Make an Olympic Poster
• Studio: Three Columns
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I (Greece), pp. 250-253
• Lesson 4: Art of Ancient Rome
• Studio 4: Design a Model with Arches
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I (Rome), pp. 254-258
• Lesson 5: Art in the Middle Ages
• Studio 5: Make an Illuminated Storybook
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I (The Middle Ages), pp. 259-265
• Meet the Artist: Diego Rivera
• Look and Compare: Faces of Motherhood
• Lesson 6: Architecture in the Americas
• Studio 6: Design a Mayan-Style Movie Theatre
• Lesson 7: The Art of Renaissance Europe
• Studio 7: Create a Renaissance-Style Portrait
• Additional Reading: The Visual Experience, Chapter 18: Islands of Time I (The Renaissance), pp. 266-273
• Lesson 8: Early Eastern Art
• Studio 8: Make a Banner
• Studio: Tie-Dye Shibori Vessel
• Additional Reading: The Visual Experience, Chapter 16: Non-Western Art, pp. 206-223
• India, pp. 206-211
• Southeast Asia, pp. 212-218
• Studio 16.1: A Watercolor Wash Landscape
• Studio: Cat Painting (China/Shen Quan), Usborne Art Treasury, pp. 56-59
• Japan, pp. 219-223
• Sea Print (Hokusai), Usborne Art Treasury, pp. 12-15
• Additional Reading:  The Visual Experience, Chapter 16: Non-Western Art II, pp. 224-243
• Islam, pp. 224-228
• Studio: Sparkly Tiles, Usborne Art Treasury, pp. 84-87
• Africa, pp. 230-233
• African Masks, Usborne Art Treasury, pp. 24-27
• Pre-Columbian, pp. 234-237
• North America, pp. 238-243
• Studio: Aztec Warriors
• Additional Reading: The Visual Experience, Chapter 19: Islands of Time II, pp. 274-305
• The 1600s and the Baroque Style, pp. 275-279
• The Enlightenment, Rococo, and Neoclassicism, pp. 279-281
• Romanticism, Realism, Impressionism, and Post Impressionism, pp. 283-288
• The Industrial Revolution; Architecture: Frame Construction, pp. 288-289
• Art of the First Half of the Twentieth Century (Fauvism, Expressionism, Cubism, Dadaism), pp. 290-297 (See projects below)
• Architecture of the First Half of the Twentieth Century, pp. 298-299
• Art of the Second Half of the Twentieth Century, pp. 300-302
• Studio: Splatter Painting (Pollack), Usborne Art Treasury, pp. 80-83
• Architecture of the Second Half of the Twentieth Century, p. 303
• Postscript: The Post-Modern Era, pp. 304-305
• Lesson 9: Modern Western Art
• Studio 9: Create an Abstract Collage
• Studio: Reptile Relief (Kandinsky), Dynamic Art Projects, pp. 29-30
• Lesson 10: Modern Global Art
• Studio 10: Create a Ceremonial Sculpture
• Exit Through the Gift Shop: Banksy/Street Art
• Portfolio Project: Create a Clay Vehicle Create a Free Form Vessel

• Lesson 1: People as Subjects
• Studio 1: Create a Wire Sculpture
• Lesson 2: Proportion and Faces
• Studio 2: Draw a Self-Portrait
• Studio: Modigliani Inspired Self-Portraits (Stretched Proportions)
• Lesson 3: Animals as Subjects
• Studio 3: Make an Animal Vessel
• Lesson 4: Still Life as Subject
• Studio 4: Create a Cubist Still Life
• Studio: Still-Life Closeups (Cezanne), Drawing and Painting, pp. 20-21
• Studio: Artist's Studio (Vuillard), Discovering Great Artists, p. 55
• Lesson 5: Landscape as Subject
• Studio 5: Draw a Pointillist Seascape
• Meet the Artist: Miriam Schapiro Pablo Picasso
• Studio: Picasso-Inspired Soft Sculpture
• Studio: Picasso Masks
• Studio: Fractured Friend (Picasso), Discovering Great Artists, p. 70
• Studio: Clown Collage (Picasso), Usborne Art Treasury, pp. 20-25
• Look and Compare: Outdoor Sculpture
• Lesson 6: Impressionism
• Studio 6: Draw Like an Impressionist
• Studio: Mini "Monets"
• DVD: The Impressionists
• Lesson 7: Expressionism
• An Introduction to Fauvism: Matisse and Derain (video + art projects)
• Studio 7: Paint in Fauve Colors
• Studio: Paintings Like Stained Glass (Rouault), Drawing and Painting, pp. 46-47
• Lesson 8: Surrealism
• Studio 8: Create a Surrealist Painting
• Lesson 9: Pop Art
• Studio 9: Make a Pop Art Sculpture
• Studio: Comic Dots (Lichenstein), Discovering Great Artists, p. 102
• Abstract Expressionism Unit: Action Painting and Color Field (Jackson Pollock, Willem de Kooning, Mark Rothko and Helen Frankenthaler)
• Portfolio Project: Paint in Your Individual Style

• Lesson 1: Murals Tell Stories
• Studio 1: Create a Mural for Your School
• Lesson 2: Mosaic Expression
• Studio 2: Design a Mosaic Mural
• Lesson 3: The Art of Assemblage
• Studio 3: Create a Combine Painting
• Studio: Assemblage Art
• Lesson 4: Expressive Points of View
• Studio 4: Create an Abstract Cityscape
• Meet the Artist: Georgia O'Keefe
• Studio: Close-Up Flower Painting (O'Keefe), Discovering Great Artists, p. 86
• Studio: Petal Collage (O'Keefe), Usborne Art Treasury, pp. 76-79
• Look and Compare: A Change of Styles
• Lesson 5: Expression Through Symbols
• Studio 5: Create a Totem
• Lesson 6: Maks for Expression
• Studio 6: Create a Papier-Mache Animal Mask (Variation: Mexican "Tona" Animal Masks)
• Lesson 7: Expression Through Humor
• Studio 7: Create a Caricature
• Lesson 8: The Art of Industrial Design
• Studio 8: Create a Model for a Prototype
• Lesson 9: Graphic Design as Expression
• Studio 9: Create a Poster Portfolio
• Studio: Even Poster (Toulouse-Lautrec), Discovering Great Artists, p. 52
• Project: Create a Found-Object Sculpture

• Additional Reading: The Visual Experience, Chapter 20: Criticism and Critics, pp. 308-311
• Additional Reading: The Visual Experience, Chapter 21: A Critical Method, pp. 312-323