Describes how third grade students learned about fresco paintings in Pompeii and made their own frescoes by pouring plaster into styrofoam trays and painting the surface. Students discovered they could control the paint better because of the porous surface of the plaster. (KM)

Uses the artwork of Color Field painter, Helen Frankenthaler, to discuss abstract painting, how mood can be conveyed through color, different methods of applying color, and how different color combinations change the appearance of colors. Suggests art-related activities for elementary and secondary levels. (KM)

Outlines the life of Henri Matisse and how he created his paper cut-outs, which were reproduced in a book. Discusses the importance of artists' books. Suggests some creative activities for all grades in book making and paper cut-outs that could be worked in conjunction with a language arts program. (KM)

Shows how high school students used foam carpet padding to create forms for still-life drawing. Discusses learning to progress from simple-line drawing to a three-dimensional image. Identifies the drawing of shadows, and extreme light and dark values, as points that need to be emphasized repeatedly. (KM)

Justifies examining still-life pictures of flowers to provide students with an opportunity to learn how one distinguishes between deeply artistic pictures full of emotion and pictures lacking this quality. Claims that students will develop their own artistic expression. Offers pictures by Diego Rivera, Watanabe Shiko, Consuelo Kanaga, and Rachel…

Presents a lesson plan that enabled students to create their own portraits in the style of Pablo Picasso; students utilized their initial collages/drawings, enlarging them with an overhead projector, to paint their final products using oil pastels. Indicates the students also learned about the different "periods" of Picasso's artistic…

Explores Robert Henri's philosophy that art making is the inevitable result of reaching a state of heightened awareness. Considers how art teachers can convey this to students. Examines creative feelings, learning characteristics, and teaching strategies. Concludes that teachers' experience of this awareness as artists determines their ability to…

Describes objects from everyday life and analyzes artworks by four contemporary artists whose works make use of familiar objects (Louise Nevelson, Claes Oldenburg, Mitchell Syrop, and Betye Sarr). Divides lesson into four steps: (1) discussing everyday objects; (2) viewing artworks; (3) studying artists; and (4) class activities related to the…

Describes how the art program in Kosciuszko Middle School, Milwaukee, Wisconsin has developed, with an emphasis on multicultural students' needs. Uses a hands-on integrated approach to learning about art and artists, and makes art relevant to students' lives. Describes teaching strategies, art facilities, the aesthetic environment, and curriculum…

Portrays the spiritual and natural content of Haitian art, illustrates a characteristic cut-metal sculpture, and lists highlights of Haitian art history. Suggests activities for elementary and secondary students designed to help them understand art forms that provide insights into the myths and mysteries of other cultures. (KM)

Outlines how a museum visit and the Looking/Learning article, "Painting: Neo-Impressionism," ("School Arts," September 1989) were used to inspire sixth grade students to make their own Neo-Impressionist works. Comments on the diversity of the students' techniques in attempting to blend color visually. (KM)

This document was developed to assist Colorado school districts in establishing a comprehensive arts curriculum. The assigned task force identified three goals: (1) expression, production, and performance of the arts; (2) analysis, interpretation, and evaluation of the arts; and (3) personal, cultural, and historical understanding. Within each…

Explores the value of teaching art criticism and aesthetics to young children. Maintains that critical aesthetic experience reinforces such experiences in art production. Outlines seven methods to develop aesthetic language and shows how art criticism and aesthetics can be used by visiting a gallery or museum. (KM)