american scene paintings from the john and susan
TRANSCRIPT
REGIONAL DIALECT: AMERICAN SCENE PAINTINGS FROM THE
COLLECTION OF JOHN AND SUSAN HORSEMAN
APRIL 5-JUNE 21 2009
FROM THE CLASSROOM TO THE MUSEUM: AN EDUCATIONAL GUIDE TO THE EXHIBITION
GRADES K-5
TABLE OF CONTENTS FOREWORD- by Associate Curator of Education, Margarita Palmer Contacts EXHIBITION GUIDE: An overview of the collection
Visual Thinking Strategies- How to look at art with your class THE EXHIBITION IN SECTIONS Riley and Vawter: Poet and Artist
Looking for the Regional Landscape Americans at Work The City of the American Scene Children of the American Scene The Garden as Region REGIONAL DIALECT IN YOUR CLASSROOM Kindergarten and First grade- Landscape Stories! Overview
The Activity: Includes Objectives, Curriculum Connections, List of Materials, Evaluation, Sample Question Guide, Vocabulary, Additional Resources, and a Museum Activity
Second and Third Grade- Mapping Cultures and Ways of Life Overview The Activity:
Includes Objectives, Curriculum Connections, List of Materials, Evaluation, Sample Question Guide, Vocabulary, Additional Resources, and a Museum Activity
Fourth and Fifth Grade-Recipe Swap! Overview Activity:
Includes Objectives, Curriculum Connections, List of Materials, Evaluation, Sample Question Guide, Vocabulary, Additional Resources, and a Museum Activity
Teachers Notes Page
QUICK ACTIVITIES Elements of Art Word Find
Regional Dialect Crossword Additional Activities Answers
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EVALUATION Oral Presentation Rubric WORKS CITED PAINTING CHECKLIST
COVER ART: William Samuel Horton, Children on an English Beach, c. 1918, Oil on board. Collection of John and Susan Horseman
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FOREWORD
The Dixon Gallery and Gardens is pleased to be organizing Regional Dialect: American Scene Paintings from the Collection of John and Susan Horseman. This exhibition traces the American life, its connection to the land, its strong work ethic, the importance of family and the pleasure of nature’s beauty. The artists featured in this exhibition do not adhere to any specific categorical style; they reflect the diverse influences that made America the melting pot that it still is.
The Dixon hopes you will use this educational packet to enhance the study of American history, its diversity and cultural richness. We are presenting you with three main lesson plans for grades Kindergarten through Fifth. They each include curriculum connection to the National Standards as well as evaluation tools, vocabulary, resources and a suggested activity to implement at the museum. For the Tennessee teachers, you will find the Tennessee Curriculum standards connections, including the SPI’s. We have also included Visual Thinking Strategies, a method of teaching art from the VUE tool (Visual Understanding in Education), that will help you bring appreciation of art to your students.
Each lesson plan comes with a power point presentation with selected paintings from the exhibition that have been chosen to accompany the lessons. We hope you can use this in your classroom. You will also find a few quick activities that will encourage the students to practice the vocabulary connected to Regional Dialect.
We appreciate your input and evaluation of the educational materials we produce, so please fill out the form included in this packet and return it with your comments and suggestions. Or email it to me at [email protected].
I want to thank our education intern Whitney Stem for all her hard work creating this educational packet. Without her enthusiasm and commitment to the Dixon this publication wouldn’t have been possible. And thank you for choosing to see Regional Dialect; we hope your museum experience is a wonderful one! Margarita Palmer Associate Curator of Education
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CONTACTS
Margarita Palmer Associate Curator of Education The Dixon Gallery and Gardens 4339 Park Avenue Memphis, TN 38117 901-761 5250 ext 104 fax 901-682 0943 [email protected] www.dixon.org
Ginny Crittendon Assistant Curator of Education The Dixon Gallery and Gardens 4339 Park Avenue Memphis, TN 38117 901-761-5250 ext 116 fax 901-682-0943 [email protected] www.dixon.org
EXHIBITION GUIDE
AN OVERVIEW OF THE COLLECTION
VISUAL THINKING STRATEGIES- How to look at art with your class
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AN OVERVIEW OF THE COLLECTION
Figure 2. John William Vawter, Friendly Neighbors, c. 1921,
Oil on canvas. Collection of John and Susan Horseman.
REGIONAL DIALECT: AMERICAN SCENE PAINTINGS is an expansive view of American life from the collection of John and Susan Horseman. Like America herself, the sampling of artists found in Regional Dialect do not adhere to a specific categorical style. Instead, the exhibition is a melting pot of influences that reflect America’s history and unique regional cultures. Although most of the featured artists are rooted in the Midwest, as an exhibit these pieces work together to illustrate the characteristics familiar to all walks of American life—our instinctive connection to the land, our strong work ethic, the importance of childhood and family, and the pleasure of nature’s beauty. By bringing your class to this exhibition, students will see the ever present theme of diversity in America—and how it relates so well with the way we live today.
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VISUAL THINKING STRATEGIES
Painting is just another way of keeping a diary.
-Pablo Picasso
Looking at Art with Your Class Art is not easily understood by all, and that’s fine! Here at the Dixon, we want to
help teachers to bring a better appreciation of art to students. A good way to begin
looking at art is by using a technique called VTS—Visual Thinking Strategies. VTS is a
method of teaching art from the non-profit organization VUE—Visual Understanding in
Education. VUE and VTS began as a fifteen year research study by the Museum of
Modern Art’s Director of Education Phillip Yanawine and Abigail Housen, a
developmental psychologist.
The VUE research team found that art viewers come in five stages, with the
majority of adults and children at a relatively naïve and inexperienced stage one or two.
The VUE website describes each stage as follows:
STAGE 1- ACCOUNTIVE viewers have an immediate response to what
they see. They start by naming objects and phenomena recognized from life
experience. Their lists of observations are usually short and random; these
viewers seem satisfied with a quick inventory of what is obvious to them,
named in an unsystematic way. They see concretely: a painted ball is a ball,
not a representation of a ball. Their simple observations are often
idiosyncratic—they will find things that are clear to them but not necessarily
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to others. They make sense of images using their senses and personal
associations, and if they go beyond short inventories, they tend to find
narratives—a person depicted is about to take a shower for example—though
these may or may not be intended by the artist. If any, judgments are based
on what they know and like. Obvious emotions are identified, as viewers
seem to enter the work of art and personalize story elements that capture
their attention.
STAGE II- CONSTRUCTIVE viewers’ comments reveal a vague sense about
what art is and may indicate some awareness of the process of looking. Similarly,
they might make vague references to artists. While they often briefly mention
narratives they find, their overriding focus is on building frameworks to make
sense of what they see using the most logical and accessible tools: their own
perceptions; their knowledge of the natural world and of the limited amount of
art they have seen; and the standards of their social, moral and conventional
milieu. If a work does not look the way it is “supposed to”—if skill, technique,
hard work, utility, and functionality do not conform to their expectations, or if
the subject seems objectionable—these viewers judge the work to be “weird”
and/or lacking in value. The standard most frequently invoked is realism: this
does or does not look as it would in reality. Though not systematic or
consciously analytical, they describe more of a work’s setting making general
reference to space. Comments on emotions begin to disappear.
STAGE III-CLASSIFYING viewers adopt the analytical and critical stance of
the art historian. They want to identify the work as to place, school, style, time
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and provenance. They decode the work using their library of facts and figures
which they are ready and eager to expand. This viewer believes that properly
categorized, the work of art’s meaning and message can be explained and
rationalized.
STAGE IV-INTERPRETIVE viewers seek a personal encounter with a work of
art. Exploring the work, letting its meaning slowly unfold, they appreciate
subtleties of line and shape and color. Now critical skills are put in the service of
feelings and intuitions as these viewers let underlying meanings of the work–
what it symbolizes–emerge. Each new encounter with a work of art presents a
chance for new comparisons, insights, and experiences. Knowing that the work
of art’s identity and value are subject to reinterpretation, these viewers see their
own processes subject to chance and change.
STAGE V-RE-CREATIVE viewers, having a long history of viewing and
reflecting about works of art, now using "willingly suspend disbelief." A familiar
painting is like an old friend who is known intimately, yet full of surprise,
deserving attention on a daily level but also existing on an elevated plane. As in
all important friendships, time is a key ingredient, allowing Stage V viewers to
know the ecology of a work–its time, its history, its questions, its travels, its
intricacies. Drawing on their own history with one work in particular, and with
viewing in general, these viewers combine personal contemplation with views
that broadly encompass universal concerns. Here, memory infuses the landscape
of the painting, intricately combining the personal and the universal (Housen,
“How VTS Affects Learning).
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In level four, one of the most important aspects of VTS is utilized—the personal
encounter with art. No one’s personal interpretation of an artwork can be technically
wrong, since it is how art specifically moves the individual. This is where VTS works
most effectively in the classroom. By asking open ended questions that foster classroom
discussion and construct narratives about the artwork, students enhance critical thinking
skills that can be applied to all areas of study, and gain confidence in their individual
ideas.
As evidence, with each of the Regional Dialect sections in this guide, poems are
included that can help further your class narratives. The selections are by poet James
Whitcomb Riley, who grew up in the same hometown as Regional Dialect artist Vawter.
Vawter sought to illustrate Riley’s poems through paintings, which is further proof that
art extends into all facets of life and education. Also included with each art lesson is a
list of open ended questions to promote the VTS technique. Hopefully, by using VTS
your students may begin seeing art as more than a painted canvas, and increase their
own critical thinking skills.
For a complete overview of VUE and VTS including research findings and further
classroom applications, see the website!
www.vue.org
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THE EXHIBITION IN SECTIONS
RILEY AND VAWTER: POET AND ARTIST
LOOKING FOR THE REGIONAL LANDSCAPE
AMERICANS AT WORK
THE CITY OF THE AMERICAN SCENE
CHILDREN OF THE AMERICAN SCENE
THE GARDEN AS REGION
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RILEY AND VAWTER: POET AND ARTIST
For each section we have selected a sample poem from James Whitcomb Riley that represents the
paintings and the connection between various forms of art. Read on to learn about Riley’s personal connection to Regional Dialect!
The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so
that a hundred years later, when a stranger looks at it, it moves again since it is life. ~William Faulkner
As previously stated, the poems in this guide come from the artistic connection between poet James Whitcomb Riley and artist John William Vawter who were both residents of Brown County Indiana. Today Vawter is known for his impressionistic depictions of Indiana landscapes, such as his painting Friendly Neighbors which is featured in Regional Dialect. However, he established himself as an artist not by landscapes, but by illustrating the poems of James Whitcomb Riley. James Whitcomb Riley is known as America’s children’s poet, and he was once described by President Woodrow Wilson as “A man who imparted joyful pleasure and a thoughtful view of many things that other men would have missed." Riley’s parents worried he would never amount to anything, since he continuously failed mathematics and history. However, Riley was a born storyteller who was more interested in the habits and tales human existence. He began writing songs and acting in small plays, choosing to write and entertain for his livelihood.
Riley’s poems are generally light and lively. Although he was a talented poet, he was a contemporary with the dark, popular Edgar Allen Poe. As a result, Riley feared he would never gain national recognition while in Poe’s shadow. Therefore, Riley wrote a hoax poem—“by” Poe. When people read the “faux –Poe” and loved it, Riley was revealed as its true author. As a result Riley made a name for himself and became the beloved poet we know today. Several of his poetry books were illustrated by Vawter—giving both men national recognition and leaving these two artistic Indiana natives forever tied together (JamesWhitcombRiley.com).
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LOOKING FOR THE REGIONAL
LANDSCAPE
Figure 3. Alexis Jean Fournier, Cloud Shadows in the Catskills, 1920, Oil on canvas.
Collection of John and Susan Horseman.
Aye, glad, my lad, I'll walk with you, whatever winds may blow, Or summer blossoms stay our steps, or blinding drifts of snow;
The way thay you set face an' foot 's the way that I will go, An' brave I'll be, abreast o' ye, the Saints and Angels know!
With loyal hand in loyal hand, an' one heart made o' two, Through summer's gold, or winter's cold, It's I will walk with you.
-“A Song of the Road” James Whitcomb Riley
THE FIRST NOTED AMERICAN LANDSCAPE PAINTINGS came from Hudson River School artists such as Thomas Cole, who portrayed the powerful beauty Americans found in their native land as westward expansion began. Manifest destiny served as a unifying purpose for the young country. However, this love for the land and expansion eventually led to industrialism, and eventual demolition of America’s natural wonders. Regional Dialect’s landscape portion illustrates America’s continued interest in nature from the view of early twentieth century Midwestern artists. The portion of the exhibition Looking for the Regional Landscape showcases America’s love affair with the land, and highlights the expansive beauty and diversity of America’s wilderness.
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AMERICANS AT WORK
Figure 5. May Ames, Corn Shocks, Brecksville, 1913, Oil on canvas. Collection of John and Susan Horseman.
Figure 4. Joseph Paul Vorst, Good Lord Gives Peace, c. 1943, Oil on canvas stretched on panel. Collection of John and Susan Horseman.
W'y, The Raggedy Man -- he's ist so good, He splits the kindlin' an' chops the wood;
An' nen he spades in our garden, too, An' does most things 'at boys can't do. --
He clumbed clean up in our big tree An' shooked a' apple down fer me --
An' 'nother 'n', too, fer 'Lizabuth Ann -- An' 'nother 'n', too, fer The Raggedy Man. --
Ain't he a' awful kind Raggedy Man? Raggedy! Raggedy! Raggedy Man!
-“The Raggedy Man” James Whitcomb Riley
AMERICA’S WORK INDUSTRY in the early twentieth century is easily
characterized by the boom and bust that led to the Great Depression. Regional Dialect’s American’s at Work section spans from 1895 to 1944, and shows America’s heartland in its labors. Pieces in this section span from colorful field scenes like May Ames Corn Shock’s Brecksville in 1913, to the work most representative of the depression era—Joseph Paul Vorst’s 1943 painting, Good Lord Gives Peace. Vorst’s work shows the utter desperation of the American farmer. These regional painting express in detail America’s changing economy and the resulting change in artistic interests during the early twentieth century.
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THE CITY OF THE AMERICAN SCENE
Figure 6. Glen Cooper Henshaw,
Madison Avenue after the Rain, 1915, Oil on canvas. Collection of John and Susan Horseman.
Figure 7. Jack Keijo Steele, Ann Arbor, c. 1945,
Oil on masonite. Collection of John and Susan Horseman.
While skies glint bright with bluest light Through clouds that race o'er fields and town,
And leaves go dancing left and right, And orchard apples tumble down;
While school-girls sweet, in lane or street, Lean 'gainst the wind and feel and hear
Its glad heart like a lover's beat,-- So reigns the rapture of the year.
-“Rapture of the Year” James Whitcomb Riley
THE CITY OF THE AMERICAN SCENE portion of Regional Dialect also
reflects America’s changing economy. Glen Cooper Henshaw’s work, Madison Avenue After the Rain, 1915 (shown above) shows the vitality of city life before the depression. However, other pieces such as Jack Keijo Steele’s 1945 painting, Ann Arbor show the hardships of post depression factory life with dark, somber colors. These very different paintings represent two very important aspects of the American personality—optimism as shown in Henshaw’s piece and the grit and resolve to move past the depression in Steele’s work.
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CHILDREN OF THE AMERICAN SCENE
O happy boy with untaught grace! What is there in the world to give
That can buy one hour of the life you live Or the trivial cause of your smiling face!
-“To a Boy Whistling” James Whitcomb Riley
Figure 8. Alice Schille, Play Time (Young Boy), c. 1908, Oil on canvas. Collection of John and Susan Horseman.
CHILDREN OF THE AMERICAN SCENE portrays the innocence and leisure of American childhood in the early twentieth century. These works of children at play, tender mother and child scenes, and vacation memories are all depicted with bright colors and canvases washed with sunlight. Mostly portraits, these paintings are the definition of idealistic—very unlike the works by their contemporaries in the Ashcan School, who sought to realistically portray gritty, lower class urban life. Instead, these Midwestern artists show the pleasantries of a comfortable romanticized youth. Once again, artists looked back to early American painters such as John Singer Sergeant and Mary Cassatt, who also painted portraits with similar themes, proving that the works in this portion of Regional Dialect are timeless.
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THE GARDEN AS REGION
The river's story flowing by, Forever sweet to ear and eye,
Forever tenderly begun -- Forever new and never done.
Thus lulled and sheltered in a shade Where never feverish cares invade,
I bait my hook and cast my line, And feel the best of life is mine.
-“At Broad Ripple”
James Whitcomb Riley
Figure 9. Yeteve Smith, Sewing in the Garden, 1925, Oil on canvas. Collection of John and Susan Horseman.
A GATSBY-LIKE GARDEN PARTY might be your first thought when
looking at Yeteve Smith’s above painting, complete with a roaring twenties attitude fashionably bobbed hair. It is true that most of the paintings in The Garden as Region section of the exhibit come from the twenties era, but they depict a tamer, more genteel way of life. For instance, although the girl above has the trademark twenties look, she is also sewing—a very traditional female hobby. The rest of the paintings also depict similar themes—that although women’s hair and hemlines became much shorter, there are some American traditions that will not be broken—such as our longstanding appreciation for nature’s beauty in our own backyard.
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REGIONAL DIALECT IN YOUR CLASSROOM
KINDERGARTEN AND FIRST GRADE: LANDSCAPE STORIES!
SECOND AND THIRD GRADE:
MAPPING CULTURES AND WAYS OF LIFE
FOURTH AND FIFTH GRADE: RECIPE SWAP!
TEACHER’S NOTES PAGE
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KINDERGARTEN AND FIRST GRADE
LANDSCAPE STORIES! Social Studies, Science, Language and Visual Arts
DURATION: 45 minutes
Figure 10. Sven Birger Sandzen, Poplars in the Moonlight, 1919, Oil on canvas.
Collection of John and Susan Horseman.
ACTIVITY OVERVIEW: Students will create their own landscape in relation to the seasons and their
home
OVERALL OBJECIVE: Students will express themselves orally and visually, and also examine what
makes them individual
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OBJECTIVES: • Students will connect personal experiences with a work of art • Students will compare their lifestyle with other cultures and time periods • Students will share ideas about art and express themselves • Students will associate colors with seasons and weather conditions CURRICULUM CONNECTIONS Yes, SPI’s!
National curriculum standards can be found online on the National Education Association‘s website:
http://www.nea.org/classroom/curr-standards.html TENNESSEE STANDARDS:
• VISUAL ARTS- MEDIA TECHNIQUES AND PROCESSES- CONTENT STANDARD 1.0 o K-1.2, 1-1.3 Apply a variety of techniques and processes to produce original
works of art that reflect personal experiences, imagination, and observations • LANGUAGE ARTS, READING- CS 1.0
o K& 1 1.01 Develop oral language • SOCIAL STUDIES-CULTURE CS-1.0
o K & 1.03 Identify similarities and differences in food, clothes, homes, games, and families in different cultures.
• SCIENCE-ATMOSPHERIC PATTERNS-CS 8.0 o K& 1-8.1 Recognize daily and seasonal weather changes
MATERIALS NEEDED:
• Dixon Education Guide and CD • Heavyweight paper • Choice of paints, markers, etc. in seasonal colors( red, orange, brown, yellow, green,
white, blue, pink, purple) • paintbrushes • Sample Questions • See sample rubric
ACTIVITY: 1. As a class, view works from the Regional Dialect exhibition CD. 2. Discuss what each work shows and make connections by asking VTS questions (See sample question section below). 3. Explain the correlation between season’s weather and symbolic colors. For instance, fall is characterized by oranges, reds, and yellows, while spring is recognized by greens, purples, and pinks.
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4. Explain that each work is a depiction of daily American life—people working, playing, relaxing etc. 5. Discuss different family activities that students might do at different times of the year. Ex. Go to the beach in the summer, building a snowman, jumping in leaves 5. Assign each student a season and have them create their own “landscape story” that shows their daily American life at that time in the year. Example, winter might show their family decorating their house for Christmas or having a snowball fight. (This could be made easier by assigning groups to specific seasons and giving them only that season’s colors to work with.) 6. When artwork is complete, have each child share their “seasonal story” with the class. Have them explain what colors, what season, and what story their picture shows. EVALUATION: See presentation rubric at end of guide.
SAMPLE PAINTING QUESTIONS:
VTS Questions to ask your class
• What season does this painting represent? • What colors do you see that make you think that? • What kind of weather conditions do you see happening? • What kinds of things are happening here? • What kinds of things would you do in a place like this? • What kind of clothes would you wear here and why? • How does this painting make you feel?
VOCABULARY
From the Tennessee State Education Website: http://www.state.tn.us/education/ci/doc/academic_vocab.pdf
KINDERGARTEN Science
• Cloud • Color • Moon • Night • Day • Seasonal change • Shape • Size • Weather
Social Studies
• Celebration • Family • Holiday • Job • Neighborhood • United States
FIRST GRADE Science
• Balance
• Environment • Heat • Weather patterns • Location • Light • Star
Social Studies
• Citizen
• Globe • Community • Continent • Needs • America • Past • Present
ADDITIONAL RESOURCES: Books related to the lesson: The Little House, Virginia L. Burton- This children’s book illustrates the differences between country and city life Madeline- Ludwig Bemelmans, The culture of Paris and the courage of a young girl define this classic read Tar Beach, Faith Ringgold, A young girl in Harlem dreams of flying above her city life, and teaches children that dreams are what truly make one fly Online: More ideas for art in the classroom: http://www.nga.gov/education/classroom/ Kids Culture Center: http://www.kidsculturecenter.com/
AT THE MUSEUM: TEACHER: As you walk through the museum as a class, reiterate the VTS questions. Think about color, line, narratives, things students can count in the paintings etc. Have students identify the seasons in the paintings. Encourage students to express their ideas and form opinions about the art. Remember, there are no wrong answers!
STUDENTS: Have students bring a few colored pencils representing their favorite season’s colors, and a sheet of paper. After viewing the exhibition, have students sketch their favorite painting with their seasonal colors. This may mean a fall painting will become a winter scene, but it will encourage the children to imagine, recall seasonal characteristics and look deeper into works of art.
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SECOND AND THIRD GRADES
REGIONAL RESEARCH: MAPPING CULTURES AND WAYS OF LIFE
Social Studies, Science and Visual Arts DURATION:
Three 45 minute sessions
Figure 11. Frederick Greene Carpenter, Quatre Arts Ball, 1913, Oil on canvas.
Collection of John and Susan Horseman.
ACTIVITY OVERVIEW: Students will investigate United States regional cultures and create an artwork to
reflect their research!
OVERALL OBJECTIVE: Student will differentiate United States different cultural locations and
characteristics by sharing their group’s regional research.
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OBJECTIVES: • Students will explore the different cultures within the United States • Students will compare their lifestyle with other regions • Students will visually locate different cultures and regions • Students will associate a cultures characteristics with its location CURRICULUM CONNECTIONS Yes, SPI’s!
National curriculum standards can be found online on the National Education Association‘s website:
http://www.nea.org/classroom/curr-standards.html TENNESSEE STANDARDS:
• SCIENCE: EARTH FEATURES-CONTENT STANDARD 9.0 o 2.9.1: Recognize earths major geological features
• SOCIAL STUDIES: CULTURE-CS 1.0 o 2.1.01: Understand the diversity of human cultures. Recognize patterns of
cultural traits such as language, religion, and family structure. o 2.1.01Recognize communities have customs and cultures that differ. o 3.1-SPI.1.: Recognize some of the major components of a culture (i.e., language,
clothing, food, art, and music). o 3.1.02: Determine similarities and differences in the ways cultural groups address
basic human needs • VISUAL ARTS: MEDIA: TECHNIQUES AND PROCESSES-CS 1.0
o 2-1.3, 3-1.2: Explore a variety of techniques and processes to produce original works of art that reflect personal experiences, imagination, and observations.
MATERIALS NEEDED:
• Paper • Dixon Guide and CD • Map of United States • Choice of paints, markers • Grading rubric (at end of guide)
ACTIVITY: 1. As a class, view the selected works from the Regional Dialect exhibition. Discuss what each work shows and make connections by asking visual thinking skills questions (See sample question section below). 2. Go over the components of a culture (language, clothing, food, art and music). What components make up our local culture? 3. On a class map, locate five different regions in the United States. (Suggestions for sample paintings and regions below). 4. Have students research differences of these regions. They may work in groups or on their own. 5. After the research is completed, have individual students create an artwork that shows an aspect of that culture. Ex. A picture Colorado could show a cowboy in the mountains, a picture representative of coastal life could show a surfer or a fisherman.
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EVALUATION: See presentation rubric at end of guide.
SAMPLE PAINTING QUESTIONS: VTS Questions to ask your class
Sample Paintings and Regions
1. Birgir Sandzen, Mountain Splendor, Colorado 2. Paul Cornoyer, Bryant Park, New York City- North, City life 3. Alexander Watson Baird, Cotton Pickers Serenade- The American South- Agriculture 4. Mary Bradish Titcomb, In the Dune Country- Massachusetts, Coastal Life 5. Yeteve Smith, Sewing in the Garden, Ohio- Life in the Midwest
Questions • What landforms do you see here? • What kind of food might people grow/eat here? • What kind of clothing are the people wearing? Why? • How would you feel if you were in this painting? • What kind of things would you do if you lived here?
VOCABULARY
From the Tennessee State Education Website:
http://www.state.tn.us/education/ci/doc/academic_vocab.pdf
SECOND GRADE Science
• Characteristics • Distance • Earth resources • Habitat • Similar • Different
Social Studies
• Authority • Climate • Goods • Heritage • Landmark • Rural • Urban
THIRD GRADE Science
• Energy • Conservation • Geological features • Natural resources • Observe
Social Studies
• Agriculture • Barter • Consumer • Industry/manufacture • Population • Wants and needs • Suburban
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ADDITIONAL RESOURCES: Books related to the lesson: The Hundred Dresses- Eleanor Estes, The heartwarming story of a young Polish girl who is rejected by her culturally different classmates The Family Under the Bridge-Natalie Savage Carlson, Garth Williams (Illustrator), This short chapter book about a homeless family in Paris illustrates to children that family is about more than DNA and what kind of house you live in The Art Lesson- Tomie de Paola, This charming book highlights the importance of one’s individuality and creativity Explore America’s Cultural Cuisine! http://whatscookingamerica.net/AmericanRegionalFoods/RegionalAmericanIndex.htm The National; Writing Project’s Rural Voices Radio: This Radio program done by students and teachers is 30 minutes long, and describes distinct U.S. locations with essays, poems, and local music. Best of all it’s free for teachers!
<http://www.nwp.org/cs/public/print/doc/programs/rvr.csp> Teacher’s Background Reading: Wallace Stegner, The Sense of Place As an American are you a placed person? Stegner categorizes Americans as either “placed” or “displaced”, and examines people’s relationships with the place and culture they live in. Some people may be deeply rooted in one “known” place or culture, while others may associate themselves with many places, and a desire to keep moving. This is an interesting essay that will put you in the mood for the lesson and the exhibit. http://www.colorado.edu/Sewall/sense.htm AT THE MUSEUM: TEACHER: As you walk through the museum as a class, reiterate the VTS questions. Make connections with the cultures your class studied and the ways of life depicted in the Regional Dialect paintings. Think about color, line, narratives, things students can count in the paintings etc. Encourage students to express their ideas and form opinions about the art. No answers are wrong! STUDENTS: Have students bring a pencil and paper to the museum. While viewing the exhibit, have students try to categorize which region each painting might come from by using visual clues and their research.
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FOURTH AND FIFTH GRADES
RECIPE SWAP! Social Studies, Science, Math, and Language Arts
DURATION: 1 hour
Figure 12.George G. Adomeit, A Cool, Refreshing Drink, 1931, Oil on canvas.
Collection of John and Susan Horseman.
ACTIVITY OVERVIEW: Students will share a special family recipe to compare cultures and learn about
self-expression, the science of cooking, and fractions! Students will see how everyday activities can tie into creativity and individuality with this lesson.
OVERALL OBJECTIVE:
Students will use math, science, individual culture, and writing to express themselves and share individuality.
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OBJECTIVES:
• Students will connect personal experiences with culture • Students will compare their families culture with other students families • Students will share individual aspects of their lives and express themselves • Students will use cooking to practice measuring fractions • Students will recognize that cooking causes food to change and identify the
changing types of matter
CURRICULUM CONNECTIONS: Yes, SPI’s!
National curriculum standards can be found online on the National Education Association‘s website:
http://www.nea.org/classroom/curr-standards.html TENNESSEE STANDARDS:
• SOCIAL STUDIES- CULTURE- CONTENT STANDARD 1.0 o 4.1.02, 5.1.02 Discuss cultures and human patterns of places and regions of the
world • SCIENCE- INTERACTIONS OF MATTER- CONTENT STANDARD 13.0
o 4.13.1, 5.13.1Describe the types of changes that result from interactions of matter
• MATH-NUMBER AND OPERATION- CS 1.0 o 4.1.1 Understand numbers, ways of representing numbers, relationships
among numbers, and number systems (g) use models to compare and order commonly used fractions
o 5.1.1 Understand numbers, ways of representing numbers, relationships among numbers, and number systems (g)recognize and generate equivalent forms of commonly used fractions, decimals, and percents (e.g., 1/10, 1/4, 1/2, 3/4);
• LANGUAGE ARTS- WRITING- CS 2.0 o 4.2.07 Write narrative accounts (d) Incorporate sensory details using vivid
words and figurative language to establish a context that enables readers to visualize an event or experience.
o 5.2.07 Write narrative accounts (e) Elaborate through the use of sensory details, vivid words, and figurative language to establish a context that enables readers to visualize an event or experience.
MATERIALS NEEDED:
• Student Recipes to share • Class recipe and ingredients • Measuring cups
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• Pencils • Paper • Grading Rubric(at end of packet) • Dixon Regional Dialect Education Guide and CD
ACTIVITY: 1. At home encourage your students to find a family favorite recipe with their parents. Ask them what makes this recipe special to their family, when they eat it, and where it came from. 2. In class, have children write out the recipe with a short summary of why this recipe is special to their family. Have students share with class or in small groups. 3. Copy each recipe and compile them for a class cookbook. 4. Plan a special party for the class cookbook’s debut. Ask students to bring in samples of their recipes from home for other students to try. 5. As a class, choose a recipe to make (Suggestions below). Use measuring cups to demonstrate fractions, and talk about the changes the ingredients will go through. Ex. Mixing, liquid to solid, etc. 6. Enjoy! EVALUATION: See presentation rubric at end of guide.
SAMPLE PAINTING QUESTIONS: VTS Questions to ask your class
1. William Samuel Horton, Children on an English Beach 2. William H. Kinnicut, Public Square, Cleveland 3. Miriam McKennie, The Gleaners 4. Robert Emmet Owen, Snowstorm 5. Bernard Peters, Gloucester Harbor Questions:
• What do you think the people are doing in this picture? • What might they do for a living? • What kinds of foods might they eat? • When you look at this painting, how does it make you feel? Why do you think so? • How would you feel if you lived here?
VOCABULARY:
From the Tennessee State Education Website: http://www.state.tn.us/education/ci/doc/academic_vocab.pdf
FOURTH GRADE FIFTH GRADE SCIENCE: SCIENCE:
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Mixture States of Matter Solution Liquid Solid Gas MATH: Equivalent SOCIAL STUDIES: SOCIAL STUDIES: Religion Oral Traditions LANGUAGE ARTS: LANGUAGE ARTS: Compare Theme Contrast Summary ADDITIONAL RESOURCES: Kid's Cookbook: A Great Book for Kids Who Love to Cook! Williams Sonoma Easy step by step recipes, and basics for kids in the kitchen. Kids Cook 1-2-3: Recipes for Young Chefs Using Only 3 Ingredients- Rozanne Gold, Susan Pinto Easy, fun ideas to make with your class. Cooking With Kids Website! More easy recipe ideas. http://www.cookingwithkids.com/ An easy suggestion from the Dixon: Peanut Butter Apple Dip Serves 20 Prep time 10 minutes
1- 8ounce block of Cream Cheese 1 cup Peanut Butter I cup brown Sugar ¼ cup milk Sliced Apples
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AT THE MUSEUM: TEACHER: Use VTS questions to encourage students to voice their ideas about the art. Point out different cultural “cues” that tell about the painting. STUDENTS: Have students bring a pencil and paper to the museum. After initially viewing the works, have students choose a work that they relate to the most—one they could see themselves “in”, and have them sketch their own version that includes a self portrait. Back at school, have each child share their sketch. Why did they identify with this scene? How does it relate to their life and family?
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TEACHER’S NOTES
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QUICK ACTIVITIES
ELEMENTS OF ART WORD FIND
REGIONAL DIALECT CROSSWORD
ADDITIONAL ACTIVITIES
ANSWERS
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ELEMENTS OF ART WORD FIND
G A Y J Y I E J E Y E C M A P U N E R O L O C W Z U U K O F M R G C P W W W O L L E Y I W T Q S R A W W B X J B P G H U R E U E E P V Y I E X Q N O H M P N S K E S H F D E Q B Z J X I C P Q G N P S U B O F E V L R D P M A A Q F K H W F F F Q M E S V F U M C I R C L E P Z L G D U N E R U T X E T G Q C R N Q O P W O E Z J N F X H T Z A B T G B F X L J G Y E O G X R Y K Z J F Y Q Y N Z R D Q Z O G G W A W R Z F D Q N L W B E P A H S M C C O G P A E
COLOR FORM LINE SHAPE SPACE TEXTURE RED BLUE GREEN YELLOW ORANGE PURPLE CIRCLE SQAURE
REGIONAL DIALECT CROSSWORD
1 2
3
4
5
6
7
8
ACROSS
2. season when the leaves change colors 3. four of these in one year 5. coldest season 6. people who live in a shared environment 7. place where one family lives 8. season with lots of rain and flowers
DOWN
1. many families that live in a small area 4. tells you whether to wear a coat if its cold 8. hottest season
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ADDITIONAL ACTIVITIES
COMMON INDIVIDUALITY
After talking about cultural diversity and individuality, have students apply a small amount of paint to their thumbs. Press to a small sheet of paper such as a 3x5 index card. Use a magnifying glass to examine the thumbprints and show that no two are alike, just as no two people are alike!
ART VISION GOGGLES
Decorate a pair or two of art goggles or glasses for your class and help your students get in the mood to observe art! You can paint them, add rhinestones or trinkets etc. When you come to the museum, have students take turns wearing the goggles. Whoever wears the goggles has the floor. The bespectacled student looks closely at the work, makes observations about the art, and has the floor to talk.
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ANSWERS
1
N
2 F
A L L
3 S
E A S O N S
I G 4 W
H 5 W
I N T E R B A 6 C
O M M U N I T Y
R H H E 7 H
O M E 8 S
P R I N G
O U D M M E R
ACROSS
2. season when the leaves change colors 3. four of these in one year 5. coldest season 6. people who live in a shared environment 7. place where one family lives 8. season with lots of rain and flowers
DOWN
1. many families that live in a small area 4. tells you whether to wear a coat if its cold 8. hottest season
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G A Y J Y I E J E Y E C M A P U N E R O L O C W Z U U K O F M R G C P W W W O L L E Y I W T Q S R A W W B X J B P G H U R E U E E P V Y I E X Q N O H M P N S K E S H F D E Q B Z J X I C P Q G N P S U B O F E V L R D P M U A Q F K H W F F F Q M E S V F A M C I R C L E P Z L G D U N E R U T X E T G Q C R N Q O P W O E Z J N F X H T Z A B T G B F X L J G Y E O G X R Y K Z J F Y Q Y N Z R D Q Z O G G W A W R Z F D Q N L W B E P A H S M C C O G P A E
COLOR FORM LINE SHAPE SPACE TEXTURE RED BLUE GREEN YELLOW ORANGE PURPLE CIRCLE SQAURE
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EVALUATION
SAMPLE ORAL PRESENTATION RUBRIC
SUBJECT KNOWLEDGE
Student does not have grasp of information; student cannot answer questions about subject.
Student is uncomfortable with information and is able to answer only rudimentary questions.
Student is at ease with expected answers to all questions, but fails to elaborate.
Student demonstrates full knowledge (more than required) by answering all class questions with explanations and elaboration.
GRAPHICS
Student uses superfluous graphics or no graphics
Student occasionally uses graphics that rarely support text and presentation.
Student's graphics relate to text and presentation.
Student's graphics explain and reinforce screen text and presentation.
MECHANICS
Student's presentation has four or more spelling errors and/or grammatical errors.
Presentation has three misspellings and/or grammatical errors.
Presentation has no more than two misspellings and/or grammatical errors.
Presentation has no misspellings or grammatical errors.
EYE CONTACT
Student reads all of report with no eye contact.
Student occasionally uses eye contact, but still reads most of report.
Student maintains eye contact most of the time but frequently returns to notes.
Student maintains eye contact with audience, seldom returning to notes.
ELOCUTION
Student mumbles, incorrectly pronounces terms, and speaks too quietly for students in the back of class to hear.
Student's voice is low. Student incorrectly pronounces terms. Audience members have difficulty hearing presentation.
Student's voice is clear. Student pronounces most words correctly. Most audience members can hear presentation.
Student uses a clear voice and correct, precise pronunciation of terms so that all audience members can hear presentation.
Total Points:
(Mcullen)
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WORKS CITED
Faulkner, William. Brainy Quote. 9 October 2008. http://www.brainyquote.com/quotes/quotes/w/williamfau112189.html
Housen, Abigail. “How VTS Affects Learning.” Visual Understanding in Education. 9 October 2008.
http://vue.org/research_theory.html McCullen, Caroline. “Presentation Rubric.” Information Technology Services- North Carolina Department of Public Instruction. 9 October 2008.
http://www.ncsu.edu/midlink/rub.pres.html Picasso, Pablo. Think Exist. 9 October 2008.
http://thinkexist.com/quotes/pablo_picasso/4.html Riley, James Whitcomb. “At Broad Ripple.”Poem Hunter. Poem Hunter. 9 October 2008. http://www.poemhunter.com/poem/at-broad-ripple/ ---. “A Song of the Road.” Poem Hunter. 9 October 2008. http://www.poemhunter.com/poem/a-song-of-the-road/ ---. “To a Boy Whistling.” Poem Hunter. 9 October 2008.
http://www.poemhunter.com/poem/to-a-boy-whistling/
---. “Rapture of the Year.” Poem Hunter. 9 October 9, 2008. http://www.poemhunter.com/poem/the-rapture-of-the-year/ ---. “Raggedy Man.” Poem Hunter. 9 October 2008. http://www.poemhunter.com/poem/the-raggedy-man/
Seivers, Lana C. “Tennessee Academic Vocabulary: A Guide for Tennessee Educators.” Tennessee. Gov Department of Education. 9 October 2008. http://www.state.tn.us/education/ci/doc/academic_vocab.pdf
Sharp, Kevin and Pierotti, Julie Novarese. Regional Dialect: American Scene Painting from the John and Susan Horseman Collection. Memphis: The Dixon Gallery and Gardens, 2009 Webb, Dr. Timothy K. “Curriculum Standards: K-8 by Subject.” Tennessee. Gov Department of Education. 9 October 2008.
http://www.state.tn.us/education/ci/curriculum.shtml
PAINTING CHECKLIST
Painting notations come from Regional Dialect, a book from the Dixon’s own Kevin Sharp and Julie Pierotti
1. William Samuel Horton Children on an English Beach, c. 1918 Oil on board Collection of John and Susan Horseman 2. John William Vawter Friendly Neighbors, c. 1921 Oil on canvas Collection of John and Susan Horseman 3. Alexis Jean Fournier Cloud Shadows in the Catskills, 1920 Oil on canvas Collection of John and Susan Horseman 4. Joseph Paul Vorst Good Lord GivesPeace, c. 1943 Oil on canvas stretched on panel Collection of John and Susan Horseman 5. May Ames Corn Shocks, Brecksville, 1913 Oil on canvas Collection of John and Susan Horseman 6. Glen Cooper Henshaw Madison Avenue after the Rain, 1915 Oil on canvas Collection of John and Susan Horseman 7. Jack Keijo Steele Ann Arbor, c. 1945 Oil on masonite Collection of John and Susan Horseman 8. Alice Schille Play Time (Young Boy), c. 1908 Oil on canvas Collection of John and Susan Horseman 9. Yeteve Smith Sewing in the Garden, 1925 Oil on canvas The John and Susan Horseman Collection 10. Sven Birger Sandzen Poplars in the Moonlight, 1919 Oil on canvas. Collection of John and Susan Horseman 11. Frederick Greene Carpenter Quatre Arts Ball, 1913 Oil on canvas Collection of John and Susan Horseman
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12. George G. Adomeit A Cool, Refreshing Drink, 1931 Oil on canvas Collection of John and Susan Horseman
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Evaluation Form Thank you for taking the time to complete this evaluation form, we truly appreciate your feedback. After we receive the completed form, we will send you two free admission passes to the Dixon. Please make sure you include your address. Grade level of your class: ________ Number of students ____________ 1. Did you use any of the lessons or activities included in this packet? Yes______ no_______ I plan to_________ 2. Did you use this packet before or after your museum visit? Before_____ after ______ 3. Was the information about the exhibition sufficient? Yes____ somewhat_____ not at all_______ 4. Were the lessons helpful to plan your visit to the museum? Yes ___ somewhat______ not at all________ 5. Were you familiar with the Visual Thinking Strategies tool? Yes _____ no______ 6. Were these strategies helpful while observing the paintings? Yes ___ somewhat______ not at all________ Please explain: ________________________________________________________________________________________________________________________________________________ 7. How helpful was the power point presentation CD? Very helpful ______ somewhat helpful ______ Not helpful_______ 8. Did the curriculum connections help you plan your class and visit to Regional Dialect? Yes____ somewhat_____ not at all_______ 9. Overall, was this educational packet helpful? Yes ___ somewhat______ not at all________ Please explain: ________________________________________________________________________________________________________________________________________________ Thank you very much! Feel free to use the back of this page to add comments and suggestions. Education Department Dixon Gallery and Gardens
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Regional Dialect:American Scene Paintings from the
John and Susan Horseman Collection
Landscape StoriesK-1
Alexis Jean Fournier. Cloud Shadows in the Catskills, 1920Oil on canvas
Carl Gaertner. Winter Homestead, 1928Oil on canvas
Glen Cooper Henshaw. Madison Avenue after the Rain, 1915Oil on canvas
2
William S. Horton. Children on an English Beach, c. 1918Oil on canvas Alice Beach Winter. The Garden Gate, 1921
Oil on canvas
1
Regional Dialect:American Scene Paintings from the
John and Susan Horseman Collection
Mapping CulturesGrades 2-3
Birger Sandzen. Mountain Splendor, Colorado, c. 1920Oil on panel
Alexander Watson Baird. Cotton Picker’s Serenade, 1938Oil on canvas Paul Cornoyer. Bryant Park, New York City, c. 1910
Oil on canvas
2
Mary Bradish Titcomb. In the Dune Country, c. 1919Oil on canvas Yeteve Smith. Sewing in the Garden, 1925
Oil on canvas
1
Regional Dialect:American Scene Paintings from the
John and Susan Horseman Collection
Recipe SwapGrades 4-5
William S. Horton. Children on an English Beach, c. 1918Oil on canvas
William H. Kinnicutt. Public Square, Cleveland, c. 1919Oil on canvas
Miriam McKinnie. The Gleaners, c. 1934Oil on canvas
2
Robert Emmett Owen. Snowstorm, c. 1912Oil on canvas
Bernard Peters. Gloucester Harbor, 1929Oil on canvas