The Artists' Specials - Teacher's Guide by MediaCan International

The Artists’ Specials

TEACHER’S GUIDE From The Devine Entertainment Video/DVD Series

Viewing Guides, Discussion Topics and Cross Curricular Activies

The Artists’ Specials NOW AVAILABLE ON VIDEO AND DVD! Share the magic of these award-winning videos and DVD’s that bring history’s greatest artists to life. DVD’s and VHS videos cost $19.98 plus $4.00 shipping and handling. Order by simply ﬁlling in the form below and sending with your payment to Devine Entertainment Corporation. 2 Berkeley Street #504, Toronto, ON, M5A 2W3 Canada. To order with VISA, please call 1-877-338-4633, Monday through Friday between 10:00 AM and 5:00 PM EST.

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Monet: Shadow & Light

DVD $19.98

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Degas and the Dancer

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Mary Cassatt: American Impressionist

DVD $19.98

VIDEO $19.98

Rembrandt: Fathers & Sons

DVD $19.98

VIDEO $19.98

Goya: Awakened in a Dream

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VIDEO $19.98

Winslow Homer: An American Original

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6 Pack Collector’s Set

DVD $89.95

VIDEO $89.95

3 DVD Collector’s Set: Rembrandt, Cassatt, Degas

$49.98

3 DVD Collector’s Set: Homer, Monet, Goya

$49.98

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Monet: Shadow & Light The story is of Claude Monet in 1869 at the very beginning of the Impressionist movement. In a small town on the banks of the Seine outside Paris, Monet is experimenting with his revolutionary new painting style. He is passionate about color, light and nature and he and his friend PierreAuguste Renoir spend days on end perfecting their canvasses that are shimmering reflections of the local landscapes. Monet has little success selling his works, but he remains an optimist. He is also proud, and extremely committed to his art, so much so that his rich father cuts him off from his only source of income – the family allowance. Luckily Monet has a friend in aspiring young artist Daniel, who is the son of his landlady. Daniel also has mixed feelings about his father, who he believes has run off to Avignon to paint. Monet gradually becomes both a mentor and father-figure in the boy’s life, as Daniel even skips school to accompany Monet on his painting excursions. This greatly dismays the boy’s mother who has just evicted Monet from the inn with great fanfare. Not only is the struggling artist swaying her son away from his education, he hasn’t paid rent in weeks! But when Daniel finally learns the truth – that his father has abandoned him – Monet is the only one who can reach through to him. Though they both feel like giving up, together they see through these difficult times. In doing so they teach each other the importance of holding on to goals and dreams.

The Life and Times of Claude Monet Claude Monet was just nineteen years old when he left home for Paris. He was quickly disillusioned by the rigid principles of the art establishment, preferring the relaxed art classes given by Charles Gleyre, where he met Pierre-Auguste Renoir and Alfred Sisley. They formed an immediate attachment through their intense dedication to their new art. Between 1869 (the year the film is set) and 1874, when the first Impressionist show was received poorly by the critics, Monet, Renoir, Sisley and the other members of the Impressionist movement painted every aspect of rural and urban life. Monet’s favorite locales included the Fountainbleu forest, La Grenouillère, on the Seine and his unusual studio boat. Monet was poor and completely unaware that within these five years the Impressionist movement would evolve to its peak. Even in this “starving artist” period, Monet’s paintings never became sombre. Monet finally achieved financial independence in 1890. He is best known for showing the world the fleeting effects of shadow and light. © 2005 Devine Entertainment Corporation

Priming the Canvas

Scenario Finding the Facts as you watch In this ﬁlm you will meet Monet, one of the most famous of the impressionist painters. You will also meet Louis Leroy, a very important Art Critic of the time, who didn’t approve of this new style of painting. Monet befriends the young Daniel, who wants to be like his own father whom he believes has left home to become a famous artist.

Before you watch the ﬁlm, talk about the following The Art of the Impressionists • Look at some impressionist paintings and discuss how they look different from some of the more classical paintings they have seen. The Critic • What is a critic? Which occupations have critics who review their work? • What do you think it feels like to have a critic look at your work? • Do you have critics in your life? Are they always negative, or are they sometimes positive? Parents and Children • What do most parents wish for their children? • Do parents’ expectations always match what children want for themselves? • What choices do children have in these situations?

What to watch for during the film • How the filmmaker recreates some of Monet’s painting by posing the actors to look like the paintings. Eg. The picnic, the boathouse studio etc. • How the critic influences people’s attitudes towards the work of Monet. • What Monet tells Daniel about the work of an artist. • How the filmmaker shows the similarities between Daniel and Monet. • How the filmmaker uses humor to make serious points.

Framing the Action

Learning Outcomes After viewing the ﬁlm and completing the suggested activities, students will • • • • •

Know facts about Monet and his work. Be able to identify the characteristics of impressionist paintings. Become aware of the relationship between artists and critics. Appreciate the sacriﬁces that have to be made to follow one’s dreams. Understand that there are times when family obligations are more important than dreams. • Experiment creating art in the style of the impressionist.

Fine Brushstrokes: Remembering details from the ﬁlm Answer these questions about the story, setting and characters. Primary Level • Why is Monet being chased through the town? • Why did Monet steal the eggs? • What does Daniel ﬁnd in the attic? • Why does Daniel want a job? • Who tells Monet that the Salon rejected his painting? • What do Monet and his artist friends do to the walls of Annette Fontaine’s dining room? Intermediate Level • Why is Monet hoping to have his work in the Paris Salon? • Why does Annette dislike Renoir? • What does Louis Leroy think of Monet’s paintings? • What do the artist friends of Monet think of Leroy? How do you know? • Why does Daniel give his money to Monet to buy paints? • What does Daniel discover about the letters from his Father? • What did Monet and Renoir do with their black paint? Why?

“I want to cha

nge t he wa y

people see. paint o I want t

s orld a w e th

it really is!”

Framing the Action

Examining the Landscape

Student Activity Pages 14 & 15

The Life of an Artist

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Examining the Landscape

The ﬁlm uses both humor and serious scenes to show us how Monet was forced to live if he wanted to pursue his art.

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• What do we learn from these scenes about the life of an artist who has not yet become famous? • Why is Renoir able to pursue his dreams without struggling to make a living? • Why does Daniel’s mother want him to go to trade school, rather than becoming an artist?

The Role of the Critic

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Art criticism is “spoken or written ‘talk’ about art”. The central task of criticism is interpretation. A good art criticism should include the following in a review of any art: description, analysis, interpretation, and judgment. Criticism is not just giving a negative opinion of something, but a thoughtful analysis of the good and bad aspects of the work.

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The Role of the Critic ��

The Review

Through the Critic, people learn how to look at art, analyze the forms, offer multiple interpretations of meaning, make critical judgments and talk or write about what they see, think, and feel. The Critics of Monet’s time had the power to make or break an artist. It was they who decided whose work would be shown in the famous Paris Salon. Artists who exhibited their work in the Salon would become well-known and often get more commissions for their work. (See the Degas section for more on the Paris Salon). ��

Here are some of the words and phrases that Louis Leroy used to describe the impressionist paintings: Did he fulﬁll the true role of the critic?

palette-scrapings mud-splashes

dirty canvas hair-raising

black tongue-lickings noxious

slap-dash

“Leave me alone, now, with your impression... it’s neither here nor there.” “When I beheld the work I thought that my glasses were dirty, what did this canvas mean?... Wallpaper in its embryonic state is more ﬁnished than that seascape.”

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Framing the Action

Vocabulary

Additional Vocabulary Exercises on Student Activity Pages 16 & 17

Primary Level Have students put the following words in alphabetical order, then deﬁne them and use them in a sentence. Style Adapt Trade Talent Caricature Fuzzy Pursue Shadow

Intermediate Level Have students put the following words in alphabetical order, name the parts of speech and check the words that relate to ﬁlm. Reputation Style Revolutionary Allowance Headmaster Adapt Trade Talent Monstrosity Conformity Caricature Bohemian Fuzzy Pursue Shadow Homage © 2005 Devine Entertainment Corporation

Painting a Portrait of Claude Monet

Claude Monet the Man Fine brushstrokes: what we learn from the story Answer these questions to paint a picture of Claude Monet 1. 2. 3. 4. 5. 6.

How does Monet feel when he thinks about or talks about his Father? Why does Monet say he continues to paint despite rejection? What does Monet’s Father send him? Why was Monet honest with Daniel about Daniel’s Father’s paintings? Why does Monet’s Father decide to cut off his allowance? At ﬁrst Monet says “conformity is death,” then later he says “conformity might be better than starvation.” What has changed? 7. Why does Monet throw his box of paints in the river?

Light and Shadow Monet is interested in the interplay of Light and Shadow. We can ﬁnd these same light and shadows in his life. Use the following model, to create a poem that expresses the light (positive) and shadow (negative) impressions of Monet. Try drawing a caricature to express your ideas (see Goya section for ideas about caricatures.)

Light: He paints what he feels Shadow: He doesn’t pay his bills Light ...

Claude Monet the Artist 1. What did Monet mean when he said “I want to paint the world the way it really is”? 2. When Daniel ﬁrst looks at the trees, he says he sees only green. Monet encourages him to look closer to see all of the colors. What colors does he see when he looks again? What causes the change in colors that he sees when he looks closer? (Shadows and light). 3. Why does Monet say that when painting, one must cover as much of the canvas as possible right away? (To catch the scene before the light changes). 4. Why did Renoir and Monet throw away their black paint? 5. What was Monet’s attitude towards Leroy, the art critic? Did he let Leroy inﬂuence his paintings? 6. Daniel asks Monet why he continues to paint even though he has no money, his father has disowned him and the critics hate his work? What is Monet’s answer? What do you think he means by this?

Painting In Light and Shadow Choose a scene from nature, such as a tree, a garden, a lake etc. Look at the scene at various times of the day. Take note of any changes in the colors that you see. Try painting the scene at the different times, adding the additional colors that you see. 8

Not a Still Life: Connecting the Lessons of the Film to the Real World

Broad Strokes

Student Activity Pages 18 & 19

Using higher level thinking skills to see the bigger picture.

Talking about the ﬁlm • What do we learn of Monet’s relationship with his father? How is it like Daniel’s relationship with his mother? • When Daniel sees the painting of Monet’s father, he asks why the father is turned away from the artist. Why do you think Monet composed the picture in this way? • Why does Daniel hang on to his fantasy about his father? • What is Daniel’s plan for his future? How does this differ from his mother’s plans for him? • Daniel tells Monet that he has been more of a father than Daniel’s real father. What does he mean by that? ��

Fathers and Sons

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There are three fathers shown or referred to in the ﬁlm, each with very different ideas about the role of fathers and sons. Complete a following chart contrasting the behavior and attitudes of the three fathers. (Please see page 18).

Painting a Role-Model • • • •

Monet is both a negative and positive role model for Daniel. What positive things does Daniel learn from Monet? What negative behavior does he learn from Monet? Create a chart, listing the positive and negative behaviors that Daniel learns from Monet. (Please see page 19). • List all the ways that Monet reacts to Leroy’s criticism. • Decide if his actions are appropriate. Why or why not? • What other ways could Monet have dealt with Leroy?

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• Choose one of the meetings between Monet and Leroy. • Look at the behavior of both characters. Was their behavior helpful or unhelpful in solving their conﬂict? • Daniel’s mother says she does not want him handling his problems with his ﬁsts. List some other ways to handle a bully (do some research if the class is not familiar with anti-bullying techniques). • Replay the scene through drama or storyboard, changing the behavior of one of the characters in order to get a different result.

Mixed Media: Cross Curricular Activities

You can extend your understanding of Monet and other Impressionist artists by completing one or more of the following. Language Arts Writing In Role • As Daniel, write a letter to your father telling him what has been happening at home while he has been away. Reviewing the Reviews • Bring some art reviews into class. Discuss what aspects of the artwork do they comment on? Do they talk about both the good and bad aspects of a work? List words or phrases that are positive and some that are negative.

Monet Game Preparing the game 1. Find and print several of Monet’s paintings on card stock. 2. Make a series of question cards (see sample questions below) on index cards. Playing the Game: in small groups 1. Choose one of the pictures and display for the group. 2. Place the cards, question-side down, on the ﬂoor or table. 3. First player chooses a question card and answers the question, using imagination. 4. Each player, in turn, answers a question about the painting. 5. At the end of the game, groups can share their ideas with the rest of the class. 6. Extension: using the ideas, write a story about the painting. Put the stories together into a book for the class. On the right are some of Monet’s paintings that you could use. Sample Questions for Monet Game Who are the people?

What are they doing?

What were they doing before the painting?

How do they know each other?

What are they going to do next?

Art History • In the ﬁlm we meet Renoir, another of the famous Impressionist paintings. Do some research on Renoir and make a presentation on his life and work.

Mixed Media: Cross Curricular Activities

French Parlez-vous Français? • There are many French words seen and heard in the ﬁlm. Make a list of the words and deﬁne their meaning. Try greeting each other in French. Listen and look for other French words as you watch. Auberge – Inn Bonjour – Good day Madam – Mrs. Salon – Literally a living room; in this case, a Monsieur – Mr. place where artists gather and show their work. Mademoiselle – Miss Merci – Thank you Coq au vin – A chicken dish made with wine À demain – ‘till tomorrow Maman – Mommy, mother

History • Research the role of the critic in European art in the 1860s-70s. What was their job? How did they inﬂuence the careers of the artists that they criticized?

Drama/Dance/Visual Art Bringing Painting to Life • In small groups, pose in tableau, as the characters in one of Monet’s paintings. Bring the characters to life by having them perform the movements before and after the painting. For example the people in the picnic must arrive, arrange the picnic items etc. • Add some dramatic aspect to the scene and act it out (rain, ants, uninvited guests etc.) Sculptures • In pairs: One person is “the Artist”, the other is a “mound of clay”. Step 1: The Artist chooses a character from a Monet painting. Step 2: The Clay closes eyes and allows the Sculptor to form him into the chosen character. Step 3: The artist slowly and carefully forms the clay into the selected character, by arranging heads, arms, legs etc. Step 4: The class examines the new “Sculpture” and comments on how closely the Artist has recreated the pose of person one. Step 5: The class become the art critics, walking around reviewing the sculptures that have been created. Copying the Masters • Students will try to recreate famous pictures in tableau and then compare them to the originals. • Teacher will write descriptions of three or four paintings on separate cards. • In small groups, the students will follow the description and recreate the picture, using themselves and simple props or costumes. • The teacher will take a Polaroid or digital picture of the students’ posed picture. • The students will then compare their picture to the original, examining such things as the placement of people and object; the focal point, etc. Guidance Hold a debate about who should decide a child’s education and career choice. • Be sure to have people on both sides of the issue. • Talk about the responsibility of both the parent and the child. • Debate in role as the characters from the ﬁlm or out of role, giving their own opinions. © 2005 Devine Entertainment Corporation

The Gallery Tour

Appreciating the Art of Claude Monet

The Waterlily Pond 1899, oil on canvas 89 x 92cm

Clouds 1926, oil on canvas 12m x 71cm

Themes Both The Waterlily Pond and Clouds typify concerns central to Impressionism • Painting from direct observation. • Capturing the essence (or impression) of the subject. • Responding to the shifting qualities of nature, specifically the impact of a passing cloud, a breeze or a change of light. • The influence of Japanese design on modern European art. Techniques Specifically, Monet achieved the goals of Impressionism in these pieces by • Hiring six full-time groundskeepers to construct and tend to this elaborate, natural painting set. • Using a colorful, interpretive palette (as the years passed, Monet painted many images of this Japanese bridge. Some of the later work is so interpretive that they appear to be abstract swirls of red which merely hint at the bridge’s architecture). • Creating paintings that captured the surrounding “enveloppe”, a term Monet used to describe the atmospheric envelope of colored light in which a scene is bathed at any given time. • Eliminating horizon lines: in the case of The Waterlily Pond, the bridge obstructs our view of the far shore, while the foreground water and shore seem to blend together. In Clouds, Monet looks straight into the water at the reflected clouds above, completely removing all references to the horizon or the shore. • Constructing a Japanese bridge. The simple, balanced lines of this structure reflect Eastern design sensibilities, as does the bridge’s bold placement across the center of the painting. Points for Discussion 1. How did Monet capture the “enveloppe”? (Monet captured the atmospheric shifting light by using interpretive colors, painting from direct observation and minimizing the presence of the horizon). 2. Which elements suggest the influence of Japanese design? (The bridge and the compositionally bold use of the arch from one side of the canvas to the other). 3. Compare the two paintings. Which feels the most dreamlike? (By directing our eye to the sky, Clouds feels the most dreamlike and achieves Monet’s goal of creating a “sense of an endless whole”). 12

In the Studio

Fun Projects for you to do Extended Painting Materials Wooden dowels (one per student, minimum 24”) Acrylic paint 1” paintbrushes (one per student) Pie plates Plastic containers Rags Multi-media paper (24x36”, approx.) Masking tape Water Color reproduction of Monet’s Clouds or Morning, with Weeping Willow, divided vertically into as many sections as there are students in the class Process Like most Impressionist work, images appear dramatically different depending on the distance one stands from the piece: a flower from afar breaks down into a cluster of brushstrokes up close. To accommodate this optical challenge, Monet had his paintbrushes custom made with longer, flexible handles. • Each participant sets up their own work area consisting of: large sheet of multi-media paper securely taped to wall, pie-plate palette of acrylic paint set on floor, large-mouthed plastic container on floor, rag on floor. • An extended paintbrush is assembled for each student by tightly taping a standard 1” artist’s brush to the end of a wooden dowel. • Each participant is given a section of the reference painting (be sure to number the backs of the sections for later assembly). • While referring to the image fragment, students render an interpretive painting. • Encourage students to have fun and not worry about accuracy or if their section will line up with their neighbor’s. • At the end, once the paint has dried, assemble the images in order: voila! You’ve created what Monet called “the Sistine Chapel of impressionism”.

Framing the Action | Student Activity Page

Examining the Landscape The Life of an Artist Choose one funny and one serious scene that show that Monet is struggling to support his family. Draw a storyboard of each scene. Explain which one you think gets the message across better.

ÂŠ 2005 Devine Entertainment Corporation

Framing the Action | Student Activity Page

The Role of the Critic Examine the painting, Impression Sunrise, and write your own critique. Remember to include description, analysis of technique, interpretation and ďŹ nally judgement.

The Review

ÂŠ 2005 Devine Entertainment Corporation

Framing the Action | Student Activity Page

Wordsearch – Primary

P A E Y Z Z U F B C

J U V D E K X Y A K

R G R L A G G R V D

B W Y S T R I T B Z

L T H Z U C T A Y S

S J Y R A E P L X F

I N Z T B B A E X M

ADAPT CARICATURE FUZZY PURSUE SHADOW STYLE TALENT TRADE

O P U M P S D N D U

D R Z R Y W A T Y Y

E M S H A D O W N U

Framing the Action | Student Activity Page

Wordsearch – Intermediate R P O U M E D A R T R F I R Y

E Y U O Q O X L M E U A N I T

V R K R L X N B T Z S B E E I

O T U Z S V J S Z U O E G V M

L F P T T U A Y T H L A L X R

U Q U A A M E P E R M E V Z O

T I P E D C O M T O O P B M F

I H D A F A I O H O T S Q M N

O L E D P A E R W D A H I T O

N H U W N F L Z A Z L U Z T C

A M G I G Z Y U G C E B V G Y

R E P U T A T I O N N Z V F R

Y U I V H K S Q W E T C Q P L

E C N A W O L L A A X P J P Y

S H A D O W Z Y A E M D Q L D

ADAPT

ALLOWANCE

BOHEMIAN

CARICATURE

CONFORMITY

FUZZY

HEADMASTER

HOMAGE

MONSTROSITY

PURSUE

REPUTATION

REVOLUTIONARY

SHADOW

STYLE

TALENT

TRADE

Not a Still Life: Connecting the Lessons of the Film to the Real World | Student Activity Page

Fathers and Sons There are three fathers shown or referred to in the ﬁlm, each with very different ideas about the role of fathers and sons. Complete the following chart contrasting the behavior and attitudes of the three fathers.

Claude Monet

Claude Monet’s Father

Daniel’s Father

•

Not a Still Life: Connecting the Lessons of the Film to the Real World | Student Activity Page

Monet, the Role Model Monet is both a positive and negative role model for Daniel. In the chart below, give examples of the good and bad inﬂuences that Monet had on Daniel.

Positive Examples

Negative Examples

• Follows his dreams

• Shirks responsibility

•

Degas and the Dancer The story finds Edgar Degas (Thomas Jay Ryan) in a time of crisis following the death of his father. Saddled with debt and struggling to survive, he derives unexpected inspiration from an aspiring young ballerina named Marie (Alison Pill). Degas helps Marie tap into the incredible talent she doesn’t believe she has, especially when compared to her beautiful and confident sister Pauline (Kathryn Long) who is also a ballerina. At the same time, Marie convinces Degas to persevere in the face of relentless criticism from the Parisian art establishment. In the hours they spend together as artist and model they become friends and confidantes, finding in each other what they most need to move forward and follow their dreams.

Life and Times of Edgar Degas Impressionism: originally a derogatory term coined by a journalist from Monet’s “Impression – Sunrise.” It refers to the artistic impression of a scene that is painted at the same time the scene is observed, contrary to traditional means of doing sketches and then painting in a studio later. Degas (Hilaire Germain Edgar Degas, 1834 - 1917) grew up as the spoiled child of a wealthy banker and throughout his youth he was able to indulge his love of painting to the fullest extent without any ﬁnancial worries. His aristocratic family background gave him a haughty and detached manner that set him apart from his fellow artists, who had to struggle with the realities of making a living. He studied at the École des Beaux Arts in Paris, then, in 1854, he travelled to Italy where he studied renaissance art for ﬁve years. By the time he returned to Paris in 1859, he was entrenched in the classic views on art. Then he met Édouard Manet and began to develop a personal style. He turned his back on traditional painting (historical events or idealized landscapes) and instead combined his classic technique with contemporary scenes like the racetrack. In the 1870s he began his famous paintings of ballet dancers, sketching from models and combining the poses into groupings. The death of his father left Degas penniless and saddled with family debt. He was forced to paint to survive... and this is where our story begins. Continued on page 22 © 2005 Devine Entertainment Corporation

Continued from page 21

His classical training at the École des Beaux Arts, which none of his fellow artists had, always affected his attitude and work. As Degas shared the subject matter and style of the Impressionists, he exhibited with Pissarro, Cézanne, Monet, Renoir, Sisley, Cassatt, Manet and Guillaumin throughout the Impressionist era, turning his back on the conservative Salon with its prickly judges and tedious regulations. However, Degas never referred to himself as an Impressionist since he preferred to paint in the studio, not in the ﬁeld. Degas is the acknowledged master of drawing the human ﬁgure in motion. He worked in many mediums, but preferred pastel to all others. He is best known for his drawings, paintings and bronzes of ballerinas and race horses.

Priming the Canvas

Scenario Degas and the Dancer Degas is at a low point in his life. His father has recently died, leaving him saddled with debt. His carefree life is over and now he must paint for a living. He is arrogant and remote and he rages at his faithful maid, Zoe, and even at his best friend, Halevy, who only wants to help. Yet beneath his temper tantrums and his disdainful attitude lurks a gentle, sensitive and compassionate man who those close to him love and admire. Through his relationship with Marie, a young ballet dancer who is the model for his many sketches and paintings, he breaks through to his true art and to his better self. He also helps Marie to believe in herself, and in her ability to win the coveted place in the Opera Ballet.

Before you watch the ﬁlm, talk about the following Art • Show one of Degas’ paintings of dancers to the class. Ask if and where they may have seen it before. • Discuss what they know about Impressionist painting. How is it different from the kind of painting that went before? Developing talents • Discuss what kind of lessons the children take outside of school. How often do they take lessons? How much do they practise in between lessons? What does it take to be the best at something?

What to watch for during the ﬁlm • • • •

The paintings of Degas, shown in the ﬁlm and how and where he worked. The kind of dancing performed at the Opera Ballet. How the ﬁlmmaker shows the sibling rivalry between Marie and her sister. The lessons that Marie and Degas learn from each other about hard work and perseverance.

“It is essential to

, ovement.” imes , not even m t n e t same s a hundred t ubject over again, be chance imes. Nothin em to g in art must se

do th e

Framing the Action

Learning Outcomes After viewing the ﬁlm and completing the suggested activities, students will • Know facts about the life and times of Edgar Degas and become familiar with his art. • Recognize the characteristics of Impressionist Art. • Appreciate the hard work and perseverance necessary to reach a goal. • Create art in the style of Degas.

Fine Brushstrokes: Remembering details from the ﬁlm Answer these questions about the story, setting and characters. Primary Level • What jobs did Marie do to help her mother in the laundry? • What kind of dance lessons did she and her sister take? • Why was Degas visiting the dance studio? • What did Degas hire Marie to do for him? • What special job did Marie win at the end of the ﬁlm? Intermediate Level • What job did Marie’s mother do to support herself and her daughters? • Why were all the girls at the dance studio working so hard? What job were they hoping to audition for? • Who did everyone think would win the job at the Opera Ballet? • How did Degas treat his housekeeper? Why do you think she didn’t quit? • How did Marie feel about posing for Degas at the beginning? How and why did that change? • What was Marie’s sister, Pauline, going to do if she won the place at the Opera Ballet?

Examining the Landscape

Fine Brush Strokes: Details we learn from the film The Salon Paris was one of the cities most famous for its art. Many artists, dancer, musicians and writers lived and worked in Paris at the time portrayed in this film. When Degas meets the other painters at the café, they are talking about who is and who isn’t included in the Paris Salon that year. He and his friends decide to hold their own independent art exhibit when they are not allowed to show their work in the Salon. • Degas has a group of artist friends who are not allowed to exhibit their work in the famous Paris Salon. Why were they excluded? • What do they decide to do so that they can show their work to the people of Paris? • Degas was allowed into the Salon at first, but as the film begins he is told that he won’t be included this year. What is his reaction to that? The Artist’s Life • As the film opens Degas is complaining about the fact that his father left him penniless. How does this affect his life and his work? • How does he make a living now that he is poor? • What other evidence is there that he is now poor? • Does Degas seem to have a schedule for work, or does he work whenever he wants?

Broad Brush Strokes: Looking beyond the ﬁlm • Find out about the Paris Salon and who was included in it. How were artists chosen for the salon? Why would Degas’ friends not be included? • When the Academy of Fine Arts (Academie des beaux-arts) rejected works of art to be displayed in the Paris Salon (Salon de Paris), the Salon des Refusés had its ﬁrst show. Despite the fact that most of the art work was considered of poor quality, there were some important painters who submitted works. Find out what important artists were displayed there in 1863, 1874, 1875, and 1886. • Who were some of the artists working in Paris at the time of Degas? Which ones painted in the same style as Degas? • What style of painting was allowed in the salon? Who were some of the artists who painted in this style? A Group show: Imagine that you are a gallery owner in Paris at the time of Degas. You want to put together a group show. Decide what the theme of your show will be (subject matter, style, medium, etc). Choose the works for your show. Find prints of the pictures and display your group show, with commentary.

Framing the Action

Examining the Landscape

Student Activity Page 36 & 37

The Opera Ballet The Opera ballet of Paris was one of the most famous places to see Ballet in Paris. Many young women worked long hours in order to get a place in the Corps de Ballet with this famous company. Corps de Ballet These are the dancers who have minor roles, much like a chorus in an Opera or musical. Nearly always from the lower classes, apprentice dancers -- nicknamed “les rats de Paris” -- often began to dance at age seven or eight, studying long hours without pay. When a position came open, the girls would prepare for an audition and then only one would be chosen. Many girls spent their whole career in the Corps, never becoming a principal dancer (star).

Fine Brush Strokes: Details from the ﬁlm • • • • • •

In the ﬁlm we see Marie, Pauline and the other dancers preparing for an audition. What was it for? What does the ﬁlm show us about the life of the ballet student at this time? Who did everyone believe would win the audition and why? What was keeping Marie from being the very best dancer in the class? Why did Pauline and the other girls want the job in Opera Ballet Corps? Who did win the place in the Corps? Why do you think she was chosen over Pauline?

Broad Brush Strokes: Looking beyond the ﬁlm

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Dance Ballerina, Dance! ��

Dance Ballerina, Dance Define these ballet words used in the film. Find pictures or draw illustrations to accompany the definitions. If there is a dancer in your class, have them pose to illustrate meaning of the words and teach the movements to the others. (Please see page 36).

Working Life of Girls and Women ��

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Working Life of Girls and Women Research occupations that would have been open to girls and women from the lower classes at this time. Choose one of the jobs and ﬁnd out what the daily life of such a person would be like. Create a portrait of the person, showing clothing, tools of the trade, and describing a day in the life. (Example: maid with uniform, duster, and outline of daily duties. Please see page 37). Students my select an occupation of lower class men and boys to complete this activity.

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Framing the Action

Vocabulary

Additional Vocabulary Exercise on Student Activity Page 38

Primary Level: Have students write these words in alphabetical order, deﬁne each word and use it in a sentence.

Dance Laundry Practise Pose Ballet

Intermediate Level: Have students write the words in alphabetical order, deﬁne each word, tell its part of speech, and use it in a sentence to show the meaning. Audition Penniless Salon Persevere Laundress Opera Illustrate

Painting a Portrait of Edgar Degas

Edgar Degas the Man

Student Activity Page 39 & 40

Fine brushstrokes: what we learn from the ﬁlm • What impression do you get of Degas from the way he treats his best friend, his housekeeper, and Marie? • Why is he so angry at the beginning of the story? • Whom does he blame for his troubles? • What evidence do we have that he has a caring side to his nature? Think of how he treated Marie. • What is his attitude towards his own art? Is he happy with it? How do you know?

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A Study of Opposites ��

On each easel, draw or describe a scene from the ﬁlm that shows a different aspect of Degas’ character. (The friend, the mean boss, the perfectionist etc. Please see page 39).

Broad Brushstrokes: Looking beyond the ﬁlm ��

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Do some research on Degas, to ﬁnd out about his life and work. Use the information to complete your portrait of the man.

Edgar Degas the Artist

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Degas as an Impressionist Artist ��

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Fine brushstrokes: what we learn from the ﬁlm

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Impressionism began in the mid- to late 1800s when a group of French artists wanted to create a different kind of art. They chose subjects that had to do with scenes of everyday life instead of what other artists had painted before: portraits (paintings of people), landscapes (paintings of the outdoors), and historical scenes (paintings that showed people and events from history). They liked to paint people living and working in the city and the country. This new art would show light and color in unusual ways. The Impressionist artists used brushstrokes that were short and choppy. Impressionists usually paint what they see directly on to their canvas, rather than making sketches which they reproduce in the studio. ��

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Degas is known as an Impressionist, but the ﬁlm shows some differences from others. Compare and contrast Degas as an artist to other impressionists. (Please see page 40). 28

Painting a Portrait of the Characters

Painting Movement Fine brushstrokes: what we learn from the film “What matters to me is to express nature in all of its aspects, movement in its exact truth.” –Edgar Degas (1834-1917) Degas is known for his ability to show movement in his paintings. His paintings of scenes at the racetrack and of the dancers of the Ballet Opera are examples of this work. What evidence do we see of this in the film? In his drawing of the dancers, we see them in classic ballet poses, but also in other moments, such as tying a shoe. Why do you think he includes these naturalist sketches? Here are some quotes from Degas on the subject of art. Degas tells Marie “people are at their most beautiful when working...it’s their concentration that makes them beautiful”. Is there evidence in the film that he practices what he preaches? Snapshots and Moving Pictures It may surprise you to learn that the impressionists were influenced by the invention of the camera. Black-and-white photography not only recorded the scene for later study, but also captured the very real-life moments that Impressionists pursued. Most of the Impressionists had cameras. Degas experimented with one of the early Kodak portable models. Degas was also interested in the newly invented motion picture machine. By taking multiple photographs of moving objects at high shutter speeds, he was able to better study movements and gestures. Degas called photography “an image of magical instantaneity.” • How would these modern inventions have helped Degas and other Impressionists in their work? Recording your Impressions Depending on the equipment available, complete one of the following projects • Use a digital camera to take pictures of a landscape at different times of the day. Notice the different colors in the in scene at different times of the day. Notice the different light and shadows. Display your pictures with appropriate captions, explaining your observations. • Ask a friend to pose for you by moving in slow motion, doing some ordinary movement, like swinging a bat or taking off and landing a long jump. • Record the movement with a camcorder or digital camera. Notice how the different parts of the body move as the model lifts the bat, swings it back and then swings it forward. (E.g. head, arms, legs, spine, shoulders etc.) Sketch the sequence, trying to capture the movement in each pose.

Off the Canvas: Bringing the Lessons of the Film to Life

Broad Brush Strokes

Student Activity Pages 41 & 42

Use higher level thinking skills to get the big picture

For Love or Money In the ﬁlm we meet two sisters, Marie and Pauline. Both would like to get a job in the Opera Ballet Corps. Each of the sisters has different attitudes towards dance. One is interested in the art of dance, while the other sees it as a way out of a future as working in a laundry. Compare and Contrast the sisters’ attitude and approach to dance. Which do you think will make the better dancer? Discuss the following with the students • List the outside activities that you are involved in. Which ones could lead to a career? Which ones do you love the most? Are they the same ones? Which ones should you spend more time learning? • Discuss the role of the artist in society. How does the artist contribute to society? Are their jobs important? • Choose an artist, from any discipline (visual, dance, music, theatre, etc.) whose work you admire. Find out when the person started to learn the art, how much they practised, what they gave up to follow their dream, and how they have fulﬁlled their dream. Using the information you have gathered, write what the artist did for money on the page with the “$” and what the artist did for love on the page with the “ ” (use point form). In your opinion, does this artist work for love or money? (Please see page 41).

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For Love or Money ��

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A Motto for Success Discuss with the class the fact that both Marie ngs, until you spread your wi can f l h l a and Edgar Degas have moments in the ﬁlm, u ’ v o e y n u ly o idea how high ! yo when they want to give up. • What does Edgar tell Marie about perseverance, hard work, and following your dreams? • Later what does Marie tell Edgar when he wants to give up? • Have students relate stories about themselves and people that they know who have been in similar situations. Did they give up? Did they persevere? How did it turn out? • Ask the children ﬁnd or create mottos that have this sentiment, and print them on crests or coats-of arm. (Please see page 42). 30

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Mixed Media: Activities Across the Curriculum

You can extend your understanding of Degas and other Impressionist artists by completing one or more of the following. Dramatic Arts/History • In pairs, research what the critics (e.g. Louis Leroy and Albert Wolff) said about Degas artwork. Using this information, write the script and act out a scene in which you are two opposing art critics viewing an exhibition of Degas’ work. Perform the scene for the class. Act out what you think happened just before and after the moment captured in the painting.

Dance/Dramatic Arts • In groups, choose one of Degas’ paintings and decide what was happening to the people in the scene. Perform the scene that you imagine. For example, dance the dance the ballerinas were in the middle of, or be the dancers practicing.

Language Arts/History • Research the history of ballet. How did it start? Who were some of the famous ballet dancers? What are some of the famous ballets? Write a report about your ﬁndings and present it to the class.

Music/Dramatic Arts/Visual Arts • Listen to the music from a ballet and move to the music. Draw or write what you imagine as you listen to the music. You could choose from one of the famous ballets such as Tchaikovsky’s Swan Lake or The Nutcracker, or Léo Delibes’s Coppélia.

The Gallery Tour

Appreciating the Art of Degas: The Star The Star is an excellent example of Degas’ thematic interests and stylistic innovations. This art appreciation lesson will discuss the artist’s creative process as well as his use of line and composition to create a sense of movement within the picture. To create interesting painted textures, Degas began this drawing by making a monotype print. The process is as follows • An image is painted with oil paint on a sheet of glass. • While the paint is still wet, paper is placed ﬂat on top of this painting. • The reverse side of paper is ﬁrmly rubbed. • The paper is immediately peeled off the glass. • Paper, with transferred, painted image is set to dry. “They call me the painter Degas then drew with soft chalk pastel over the monotype print.

of dancers, without understanding that for me the dancer has been the pretext for painting beautiful fabrics and rendering movement.”

Themes This image typiﬁes Degas’ thematic interests. Speciﬁcally, it demonstrates his • Concentration on the spontaneous, unplanned qualities of the theater by including events behind the scenes. • Refusal to idealize dancers by drawing them both on stage and at rest, in the wings. • Use of unusual vantage points.

Techniques Degas’ approach to design or image composition create a sense of movement. Specifically, he uses • An asymmetrical placement of elements on the page. • Diagonal shapes of scenery. • An off-balance pose for the main dancer . • Empty space that suggests where the dancer will next step. The artist’s use of materials also imply movement. We can see the • Raw brushwork created by the monotype process. • Use of short, light, broken lines. • Absence of heavy outlines defining the figures. Points for Discussion 1. Is the dancer the center of attention? Where is she placed on the page? How much space does she actually occupy? 2. Why does the left foreground remain empty? 3. How would you describe the lines used to draw the dancer? Are they long and slow, short and rapid, solid and dark? How do these compare with the way the scenery is drawn? 4. Although this scene occurs on a horizontal stage, can you locate any strong, solid horizontal lines? What effect does this have on the image? Does it give a sense of calm or movement? 32

The Gallery Tour

Appreciating the Art of Degas: Woman Ironing Themes In the film, Degas points to the painting, Woman Ironing, and explains that “people are at their most beautiful when working...it’s their concentration that makes them beautiful”. Throughout the ten paintings that made up his Laundress series, Degas was interested in • Representing the dignified nobility of humble labor. • Documenting modern urban life. • Avoiding historically grand themes. • Showing the physical and emotional strain of hard work. Techniques All of these concerns are visible in Woman Ironing • The lines used to paint the woman’s body are coarse and firm. • In contrast, her face is refined yet weary. • There are no references to ancient history painting, unlike Ingre’s history painting shown in Degas’ studio. • As Degas’ character states, the laundress is more like Manet’s stately pear than Ingre’s mythological nobility. • The woman’s posture is unselfconscious, unlike a formal portrait. • The laundress is surrounded by a haphazard patchwork of her industry. Questions for Discussion 1. Compare the way Degas has painted the body and the face. Why is the paint handling so different? 2. Much of the canvas has been left raw, or unpainted, yet it is signed and therefore finished. Why would Degas have chosen to do this? 3. Notice the ghost-like lines around the woman’s arms. What do they suggest about the this type of work?

In the Studio

Fun Projects for you to do Not-so-still Still Lifes Process Lesson 1: Composition Review After studying The Star, review ways in which artists create visual movement by using • Strong diagonal shapes. • Off-balance physical gestures. • Flickering, broken lines. • Asymmetrical design. • Rapid brushwork. • Empty space.

Materials you will need • • • • •

Drawing paper/sketch books Charcoal, pencils Erasers Pastels Still life objects: 2 bottles, plain fabric, plastic ﬂower with stem

Contrast these principles with techniques for creating a very stiff image • Strong, uniform, solid line. • Balanced composition. • Dominant use of horizontals and verticals. • Stable postures. • Minimal texture. Lesson 2: Very Still Still-Lifes • On a small table in the center of the room, place objects in such a way that the still-life demonstrates the principles of static composition. For example, place fabric flat on table, place two bottles side-by-side in center of table and insert flower in one bottle. • Draw the subject using pencils on paper. • Encourage students to consider using heavy, solid lines to give sense of solidity. Lesson 3: Not-so-still Still-Lifes • Again, set-up still-life in center of room. • Place elements so that they suggest visual movement. For example, arrange fabric to create strong diagonal lines, place one bottle on its side and dangle flower over table edge. • Draw the subject using pencils on paper. • Encourage students to exaggerate the implied movement and consider using loose, light lines. Lesson 4: Completed Still-Lifes • Based on the two earlier studies, students complete a final image that is either really stiff or really dynamic. • Consider using pastel on paper for these drawings.

In the Studio

Fun Projects for you to do Monotype Prints Process Materials you will need • Non-absorbent surface (Plexiglas, glass, plastic board) • Acrylic or tempera paint • Brushes • Bond or cartridge paper

• Follow directions as described on page 32 for monotype prints. • Unlike Degas’ process, the paints recommended for this activity are water based and dry rapidly. • It is important to work quickly so that the paint remains wet while the paper is placed on painting, rubbed with palm of hand and carefully removed. • After transferred image dries, students may draw on surface with oil or chalk pastels or pencil crayons.

Everyday Heroes Process

Materials you will need

• Draw a series of sketches that record people engaged in work. • Sketchbook • Students may base their drawings on watching family • Pencils members doing household chores, or by observing • Eraser community laborers such as bus drivers, construction workers, coaches, etc. • If drawing from direct observation is not an option, students may use magazine or library book pictures of people at work.

Framing the Action | Student Activity Page

Dance Ballerina, Dance! Define these ballet words used in the film. Find pictures or draw illustrations to accompany the definitions. If there are a dancers in your class, ask them pose to illustrate meaning of the words and teach the movements to the others. Add two more words from your research on ballet.

Bras bas

Arabesque

Jette

Ballon

Framing the Action | Student Activity Page

Working Life of Girls and Women Research occupations that would have been open to girls and women from the lower classes at this time. Choose one of the jobs and ďŹ nd out what the daily life of such a person would be like. Create a portrait of the person, showing clothing, tools of the trade, and describing a day in the life. (Example: maid with uniform, duster and outline of daily duties.)

ÂŠ 2005 Devine Entertainment Corporation

Framing the Action | Student Activity Page

Vocabulary Fill in the blanks with the words from the word list.

Primary Level 1. Pauline and Marie take ________________________ lessons. Dance Piano Tennis Art 2. The girls helped their Mother in the ________________________. Bakery Butcher Shop Laundry Church 3. Marie must ________________________ to become good at ballet. Sing Fall Practise Jump 4. Degas asked Marie to ________________________ while he drew her portrait. Sleep Pose Dance Talk 5. Arabesque, ballon, bra bas, and jette are terms in ________________________. Soccer Tap dancing Ballet Hip Hop

Intermediate Level 1. Pauline has worked very hard for a chance to ________________________ for a spot in the Ballet. Pose Audition Sing Cry 2. Degas Father left him no money so he was ________________________. Rich Sad Penniless Famous 3. Degas hoped for his paintings to be displayed in the ________________________. Salon Bathroom Palace Kitchen 4. Both Marie and Degas learned they have to ________________________ to reach their goals. Persevere Give up Pay money Sleep well 5. Pauline and Marieâ&#x20AC;&#x2122;s Mother was a ________________________. Baker Nurse Laundress Pioneer 6. In the Opera ________________________ the story is told through singing and dancing. Storybooks Fables Paintings Ballet. 7. Degas did not want to ________________________ the programs for the Opera Ballet. Read Illustrate Sell Buy 38

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Painting a Portrait of Edgar Degas | Student Activity Page

A Study of Opposites “In painting you must give the idea of the true, by means of the false.” This quote could be used to describe the character of Degas that we see in the film. Degas seems to have many different personalities. One minute he is happy and friendly, and the next he is angry and mean. Give evidence from the film to show this is true. On each easel, draw or describe a scene from the film that shows a different aspect of Degas’ character. (The friend, the mean boss, the perfectionist etc.)

Painting a Portrait of Edgar Degas | Student Activity Page

Degas as an Impressionist Artist Degas is known as an Impressionist, but the ďŹ lm shows some differences from others. Compare and contrast Degas as an artist to other impressionist.

Characteristic of Impressionists

The same

e.g Work out in nature

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Different Works in his studio

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

For Love or Money Choose an artist, from any discipline (visual, dance, music, theatre, etc.) whose work you admire. Find out when the person started to learn the art, how much they practised, what they gave up to follow their dream, and how they have fulﬁlled their dream. Using the information you have gathered, write what the artist did for money on the page with the “$” and what the artist did for love on the page with the “ ” (use point form). In your opinion, does this artist work for love or money?

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

A Motto for Success Find or create a motto that expresses never giving up. Display your motto on your own personal Coat of Arms.

ÂŠ 2005 Devine Entertainment Corporation

Mary Cassatt: American Impressionist The story is of American artist Mary Cassatt in Paris in the last century. She was one of the Impressionists and a close friend of the great artist Edgar Degas (Thomas Jay Ryan). Cassatt (Amy Brenneman) is an intelligent, charming and fiercely independent artist with an ordered life in Paris, until her brother and his wife arrive with their three unruly kids. At first dreading the presence of the children, she soon finds herself inspired by them and even uses them as models. Her teenage niece Katherine (Charlotte Sullivan), who believes that getting married is essential to positioning oneself in society, plays matchmaker between Cassatt and Edgar Degas. Though the match is not meant to be, Cassatt’s feminist ideals greatly influence Katherine and change her life forever and for the better. Likewise, the influence of the children softens Cassatt and inspires her to renew stronger contact with her family back in Philadelphia.

Life and Times of Mary Cassatt (1844 - 1926) Impressionism: originally a derogatory term coined by a journalist from Monet’s “Impression - Sunrise” (1874). It refers to the artistic impression of a scene that is painted at the same time the scene is observed, contrary to traditional means of doing sketches in the ﬁeld and then completing the painting in a studio later. Mary Cassatt is truly unique in the world of art and is a thoroughly modern role model for girls and women. Not only was she one of the few artists to achieve critical success in her lifetime, she was the only American invited to exhibit with the Impressionists in Paris. Her accomplishments came at a time when few women dared to pursue their passion and have a career. Mary Cassatt was born to a wealthy family in Pennsylvania and by the age of 16, she had decided to devote herself to the study of art. She attended the Pennsylvania Academy of Fine Arts and left for Europe at age 22. By 1872, after studying in the major museums of Europe, she settled in Paris, where she remained for the rest of her life. Cassatt was fascinated by contemporary art. Although the Paris Salon had accepted one of her early paintings, The Mandolin Player (1868), her subsequent entries were refused. Thus she Continued on page 44

Continued from page 43

veered away from the Salon’s formal rules and regulations, preferring the creative freedom of the “Impressionists.” In 1877, Cassatt was invited to join the Impressionists by Edgar Degas who became her lifelong friend. “I accepted with joy,” she said later. “At last I could work with absolute independence... I hated conventional art.” A few paintings by Cassatt reprise Degas’ style; Degas hung one of her oils prominently in his apartment. Cassatt painted what she saw: interiors and gardens filled with the social activities of her family and friends. She gave life and meaning to the role of women. In 1888 she began her long series of mother and child portraits such as The Bath (1892). Both she and Degas became fascinated with printmaking and Cassatt became an innovative printmaker reflecting a strong Japanese influence on her colors and configuration. Her paintings were enormously popular in France but Cassatt, who considered herself “American”, was largely ignored by America at the time, much to her disappointment. Today however, there is a strong resurgence of interest in her life and work. A major exhibition, “Mary Cassatt: Modern Woman” organized and launched at the Art Institute of Chicago, brings together a collection of 100 paintings, pastels, drawings and prints.

Priming the Canvas

Scenario Finding the Facts as you watch In this ﬁlm you will meet Mary Cassatt, an American artist living in Paris. When her Brother and his family come for an unexpected visit, her niece, Katherine, learns that there comes a time when you need to make a choice between doing what is expected and doing what you love.

Before you watch the ﬁlm, talk about the following Art • Look at one of Cassatt’s paintings and discuss how she chose to paint domestic activities. • Talk about what they know about women artists and the struggle to be accepted. Expectations • Talk about what the students believe is expected of boys and of girls by: their parents, their family, their friends, their school, their community, their culture and their society. How do these expectations differ from their expectations of boys and girls? • Talk about gender roles, and how they have changed or not since the time of Mary Cassatt.

What to watch for during the ﬁlm • • • •

The paintings of Mary Cassatt. The expectations that the Cassatts had of the women in the family. How both Mary and the children learn from each other. The artwork of the Impressionists.

“Acceptan

ms, rejection” ce, u r e t s ’ nder s omeone else rse than is wo

Framing the Action

Learning Outcomes After viewing the ﬁlm and completing the suggested activities, students will • Know facts about the life and times of Mary Cassatt and become familiar with her art. • Recognize the difference between expectations in gender roles in Mary Cassatt’s time and now. • Appreciate the struggle of women in the arts in the late 19th, early 20th century. • Create art in the style of Mary Cassatt.

Fine Brushstrokes: Remembering details from the film Answer these questions about the story, setting and characters. Primary Level • Where do Alexander and Lois Cassatt go for vacation? • Why can’t Robert and Elsie go with their parents on vacation? • Why does Katherine send the letter to Degas? • Why does Mary have flowers, the children and the dog at the dinner with Degas? • What does Degas say about Mary’s paintings? Intermediate Level • Why is Mary reluctant to have her family come to visit? • What is Katherine’s first impression of Mary and her paintings? • What does Lois Cassatt say about Mary’s paintings in the beginning of the film? • What does Lois think about Impressionist paintings? • Why does Mary agree to let the children keep the dog? • What do Mary and Degas find they have in common?

Framing the Action

Examining the Landscape Women in Paris during the 1870s Although women were granted the right to stand for election in the United States in 1788, they were not granted the right to vote until 1920. Women were not granted the right to vote in France until 1944. The 1870s in Paris was a time of great change and growth for many art forms. But is was also a time of struggle for women who not only had to struggle as artists, but also as women who were not doing what was expected of them.

Role of Women Artists Art history tells us very little about women artists in any time period, although there were certainly women who were painting throughout history. Some other women who were painting at the same time as Mary Cassatt were Marie Bracquemond, Eva Gonzales and Berthe Morisot. Students can ﬁnd out more about these female impressionists by completing one of the following. • Find information about these three female Impressionist painters who worked with Mary Cassatt. What kind of work did they create? How was there work received etc. • It was traditional for women and girls to pose for portraits standing or sitting in a rigid position. What was different about the work of Cassatt and Morisot? Find some examples of both types of paintings to show to the class.

Framing the Action: Focus on Character

Vocabulary

Additional Vocabulary Exercise on Student Activity Page 56

Primary Level Have students put the following words in alphabetical order, then deﬁne them and use them in a sentence. Splint Broad Brushstrokes Delicate Beaux Servant Journal Pastel Blurry

Intermediate Level Have students put the following words in alphabetical order, name the parts of speech and check the words that relate to ﬁlm. Masters Splint Broad Brushstrokes Delicate Beaux Servant Journal Gallery Pastel Blurry Constructive Texture Collaboration Bachelor

Painting a Portrait of Mary Cassatt

Mary Cassatt the Woman

Student Activity Page 57

Fine brushstrokes: what we learn from the story Answer these questions to paint a picture of Mary Cassatt 1. How does Mary react when the children make a mess in her studio? 2. Why is Mary eager for her family to leave? 3. How does Mary respond to insults about her work from various people? 4. Describe the conversation between Mary and Louisa May Alcott. What were their thoughts about women in the arts? 5. How does Mary respond to the invitation to display her work in the Impressionist exhibit? 6. What does she tell Katherine about the role of women, and the Traditional/Non-Traditional choices that Katherine has? ��

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Broad brushstrokes: looking beyond the ﬁlm Mary Cassatt did not live up to the traditional expectations for women at the time. Although she was like other women in many ways, she chose a non-traditional profession. Inside the house, list the ways that Mary was fulﬁlling the roles expected of women. On each of the lines outside the house, write an example of the ways in which she is non-traditional. (Please see page 57).

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Mary Cassatt the Artist Fine brushstrokes: what we learn from the ﬁlm 1. Who were the models for many of Cassatt’s paintings? 2. How did she pose her models, formally or informally? 3. What kind of beauty did she say she painted? 4. What were her subjects doing in her paintings? 5. Name some of the artists who inspired her work? 6. In the ﬁlm, who prompts Mary to use brighter colors in her work? 7. What help did Degas give her on her painting of Elsie, now known as Little Girl in a Blue Armchair?

“Acceptance, under someone else’s terms, is worse than rejection.”

Painting a Portrait of the Characters

Student Activity Page 58

Fine brushstrokes: what we learn from the story 1. 2. 3. 4. 5. 6. 7. 8.

How does Lois Cassatt treat Matilde and her son Gilbert? Why is Katherine so concerned about planning her Coming Out party? Why does Katherine spend so much time brushing her hair? How does Katherine respond to Gilbert’s ﬂirting? Why is Katherine excited to meet Louisa May Alcott? What advice does Louisa May Alcott give to Katherine? Why does Katherine pretend to sprain her ankle? How does Katherine offend Gilbert and how does she apologize?

Broad brushstrokes: looking beyond the ﬁlm ��

A Change of Heart ��

When Mary gives Katherine a diary, Mary writes; “Dearest Katherine, sort out your thoughts and follow your heart.” Complete one or both of the following activities to show how Katherine’s thinking changed during her stay with her Aunt. • In the diary pages, illustrate the key scenes that show Katherine’s transformation from a girl who wants to do what is expected to a girl who wants to follow her heart. or • Pretend that you are Katherine and write a page in the diary that she might have written at the beginning of her visit and one that she might have written later on. (Please see page 58).

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Off the Canvas: Bringing the Lessons of the Film to Life

Broad Brush Strokes

Student Activity Page 59

Using higher level thinking skills to get the big picture.

Talking about the ﬁlm • What does Mary mean when she says, “to be accepted by the Salon is ... well ... to be accepted.” • Why do the children want Mary and Degas to fall in love? • What does Mary mean when she says to Degas, “you paint these women’s lives from the inside looking out”?

Talking beyond the film: Women and Art In the film we are shown a world in which women have to struggle to be accepted in roles outside of wife and mother. Mary Cassatt chose to live her life as a single woman. She never married. It was difficult for women of the time to make that choice. Their families and the society around them expected them to marry. Because Mary came from a wealthy family, she was able to support herself in her career as an artist. Discuss the following with the students • Discuss what women in the 1870s were expected to do with their lives? • List other women at that time who were in non-traditional careers, and what these careers were? • Create a timeline of female artists. Present your timeline on the pictures on the clothesline. (Please see page 59). ��

Women Artists before and after Mary Cassatt

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Mixed Media: Activities Across the Curriculum

You can extend your understanding of Mary Cassatt and other female artists by completing one or more of the following. Language Arts • Read Little Women, by Louisa May Allcott, and compare the character of Jo to the character of Katherine Cassatt. • Write in role: Pretend you are one of the children in the ﬁlm and write a letter to your parents or a friend, explaining why you are or are not enjoying your visit with Aunt Mary. • Find some other characters (both male and female) from the children’s books of this time. Draw the following chart on the blackboard and ﬁll it in to compare the traditional characters to the non-traditional characters. Traditional Character

Non-traditional character

History • Choose a female artist, writer, dancer, musician, or actress from the 1800s or early 1900s. Research their biography. Write a report on their life as an artist. Include examples of their work in your presentation. • Find out the meaning of “a good match.” At the turn of the 20th century, how did people determine who would make a good husband or wife? (money, social position, family background, etc.) List the characteristics that were considered in making a good match. Make a list of characteristics that your family or culture believe would make a good match. Finally, make a list of what you believe would make a good match. What are the similarities and differences among the three lists.

Dramatic Arts • Act out a scene in which Katherine tells her parents or her best friend that she wants to be a writer and to marry for love not just someone who is “a good match.” • Act out a scene in which Robert convinces his Mother to get a dog. • Act out the dinner scene where the children are acting as matchmakers between Mary and Degas. The scene should show Mary’s attempts to discourage Degas. Refer to the letter of acceptance Degas sent to Mary before the dinner.

The Gallery Tour

Appreciating the Art of Mary Cassatt Similar to her Impressionist colleagues, Cassatt was interested in challenging the conventions of formal portrait painting. Consider a comparison of a conventional portrait with Cassatt’s work. Help the students to discover the following differences between formal and impressionist portraits as you examine the two paintings. Then consider the way in which each painting was completed. Little Girl in a Blue Armchair: Cassatt Elements • Sitter in casual position (her skirt is riding up!). • Sitter’s facial expression naturalistic. • Sitter in natural, domestic setting. • Center of painting is empty. • Large chairs dominate scene. • The title does not include sitter’s name. Techniques • Bright colors used to convey child’s exuberance. • Spontaneous, loose brushwork. • Decorative design on chair visually festive. Mary Cassatt Little Girl in a Blue Armchair 1878 Oil on canvas 89.5 x 130cm

Portrait of Miss Cicely Alexander: Whistler Elements • Carefully posed subject. • Sitter’s facial expression forced. • Sitter in artificial setting. • Main subject placed in center of painting. • All remaining objects in scene are de-emphasized by being located at edge of painting. • Title of painting announces the subject. Techniques • Somber colors to reflect seriousness of the event. • Highly refined paint handling. James Abbot McNeil Whistler Portrait of Miss Cicely Alexander 1872 Oil on canvas 97.8 x 189.9cm

The Gallery Tour

Appreciating the Art of Mary Cassatt Points for Discussion 1. Cassatt’s painting, Little Girl in a Blue Armchair, was refused for exhibition in the 1878 American section of the Exposition Universelle due to its loose brushwork, bright colors and casual posture. What qualities were the judges expecting in a portrait painting? (Refer to the conventions of formal portraits listed above). 2. Degas did in fact paint part of this image. Can you identify the area where the paint handling is different? What impact does this have on the image? (Using even looser brushwork, Degas added a brighter white to the windows at top center. This creates a sense of mid-day radiance, compositionally balances the white dress and also adds to the room’s spatial depth). 3. As noted above, the center of the painting was left empty. What effect does this have on the image? (It challenges the convention of putting the primary subject in the center and also tells us that the painting is as much about the room and time of day as it is about the sitter). 4. In order to complete Whistler’s painting, the girl had to pose seventy times! She was a member of a highly influential family and her parents paid a lot of money for the portrait. In contrast, Cassatt’s painting was not commissioned and was virtually completed in one sitting. Do these underlying differences show in the final works? (While Whistler’s subject is rendered stiffly with forced importance, Cassatt’s painting reflects the artist’s joy of painting a little girl in a casual context).

In the Studio

Fun Projects for you to do Portraits: Formal and Fun

Materials you will need

• Costume elements Lesson 1: Dressing Up/ Dressing Down • Props • Instructor sets-up two or three photographic settings • Pencils before class. This need not be complicated: a fancy • Charcoal chair, window with drapery and bookcase or table • Pastels (soft chalk and oil) will do. Ask each student to bring in five costume • Eraser elements and props (hats, clothing, still-life elements, • Newsprint paper props such as swords, etc.) students may share • Good-quality drawing paper elements or be responsible for their entire costume (cartridge) (18” x 24” pad) and props. Review formal portrait conventions listed • Camera (digital is best) above. Each student selects costuming elements and • Film (if not using digital camera) context in which to be photographed. • Remember to emphasize (or even exaggerate!) the formality of the event and ask students to reflect this in their poses for the camera. After each participant is photographed in extremely formal pose and context, participants are again photographed in casual dress and position (again, it is best to offer two of three concrete options such as at their desk, in the hall or sitting casually on the floor). Lesson 2: Reviewing the photographs • Each student is given two photographs, one formal and the other casual. After reminding participants of formal portrait conventions, students complete two studies from the photographs; one formal, the other casual. In order to encourage participants to explore inventive compositional solutions, these studies are best done loosely with pencil or charcoal on newsprint paper. Celebrate the completed project with an opening or salon. • Design and send out invitations to parents, administrators, and other classes. The image on the invitation should show what the exhibition is about. It should have the time and place, as well as the theme of the show, and the artists who are exhibiting their work. • The students should write a caption for their own work, with the title, the medium, and a short explanation. • Designate students as Docents (experts who can give guided tours of the work.) • Provide refreshments and welcome your guests.

Lesson 3: Completing the Portraits • Students complete both portraits in color medium of their choice (soft chalk pastel or oil pastel suggested). Lesson 4: Portraits at an Exhibition • By hanging each student’s contrasting drawings together, create a DIPTYCH (or a single work of art made up of two images).

Framing the Action | Student Activity Page

Vocabulary

Across 1. Wide in extent from side to side 3. Smear, or stain, or smudge 4. How the paint is applied 6. A diary 8. A crayon made of dried paste

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Down 2. Fine or dainty 4. A boyfriend 5. Employed to perform domestic duties 7. To prevent a fractured bone moving

Painting a Portrait of Mary Cassatt | Student Activity Page

Traditional/Non-Traditional Mary Cassatt did not live up to the traditional expectations for women at the time. Although she was like other women in many ways, she chose a non-traditional profession. Inside the house, list the ways that Mary was fulďŹ lling the roles expected of women. On each of the lines outside the house, write an example of the ways in which she is non-traditional.

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Painting a Portrait of the Characters | Student Activity Page

A Change of Heart When Mary gives Katherine a diary, Mary writes; “Dearest Katherine, sort out your thoughts and follow your heart.” Complete one or both of the following activities to show how Katherine’s thinking changed during her stay with her Aunt. • In the diary pages, illustrate the key scenes that show Katherine’s transformation from a girl who wants to do what is expected, to a girl who wants to follow her heart. OR • Pretend that you are Katherine, and write a page in the diary that she might have written at the beginning of her visit and one that she might have written later on.

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

Women Artists before and after Mary Cassatt

Mary Cassatt Impressionist 1844 â&#x20AC;&#x201C; 1926

On each of the canvases on the clothesline, write the name and some information about a female artist who worked before, at the same time, or after Cassatt. Choose one of the artists and present their life and work to the class.

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Rembrandt: Fathers & Sons At the height of Rembrandt’s success as a portrait artist in 1630’s Amsterdam, he is losing interest in the kind of art he is commissioned to do. He would like to have more freedom to pursue his own artistic visions. At this time, he becomes involved in the life of a young Jewish neighbor named Samuel, who is struggling to break free of his father, who wants him to follow in his footsteps as a scholar and Rabbi. Samuel decides that the only way to be free is to go with his uncle to South America. While waiting for his uncle to come for him, Samuel goes to work as an apprentice in Rembrandt’s studio. Through his work in the studio, Samuel discovers that he has a very special talent as a printer. When Saskia, Rembrandt’s wife, dies in childbirth, Rembrandt becomes bitter, and refuses to have anything to do with the baby. As he watches Rembrandt ignore his newborn son, Samuel comes to appreciate his own father’s love and concern for him. Finally, Samuel confronts Rembrandt to get him to take care of the baby, and to return to his art. The boy’s struggle to break free of his family’s rigid expectations lead the painter to wrestle with his own complacency, ending in his deﬁance of artistic convention with the daring composition of his masterpiece “The Night Watch,” and a lifelong pursuit of his own vision.

Life and times of Rembrandt Harmenszoon van Rijn Rembrandt’s fame rests largely on his portraits and biblical works. Many myths surrounded Rembrandt, because so little was written about him at the time. Yet in the more than 90 selfportraits Rembrandt painted during his career, he created a complete autobiography in art. Indeed, no other great artist is known to have represented himself so frequently. Rembrandt was also a profoundly Christian artist who depicted more than 800 biblical scenes, portraying some of the most tender, human representations of Christ ever painted. He was multi-talented, often considered the greatest etcher in the history of art.

Continued on page 62

Continued from page 61

Rembrandt’s birth in Leiden, 25 miles south of Amsterdam on July 15, 1606, coincided closely with the birth of the Dutch nation. For generations, the Netherlands, Belgium and Luxembourg had been ruled by Catholic Spain. In 1609, Holland achieved freedom. In the early years of this independence, there was little in the way of artistic patronage from the Church or nobility. For the ﬁrst time in history, the private collector became the artist’s chief source of support, establishing the precarious position that artists today still occupy. Fortunately for Rembrandt and his fellow artists, the general public developed an insatiable appetite for art and bought canvasses in large quantities. As a result, 17th century Holland saw an outpouring of artistic talent. Rembrandt alone produced more than 2300 works. Though his parents were working class, Rembrandt’s family was fairly well off. From ages 7-14, Rembrandt was sent to the Latin school in Leiden. After two months in University, he turned to art. For six months, Rembrandt studied under Pieter Lastman, who had been to Italy to study the work of Caravaggio. One of Caravaggio’s great innovations was a powerful new use of chiaroscuro, the contrasting of light and shadow, enabling him to create highly dramatic, naturalistic effects. Rembrandt quickly seized the device and began using it with a skill no artist has ever surpassed. In 1632, Rembrandt moved to Amsterdam, where as a young artist in search of fame and fortune, he concentrated on portraiture. In 1634, Rembrandt married Saskia van Uylenburgh, who not only provided a large dowry but also introduced Rembrandt to Amsterdam high society. In 1639, Rembrandt purchased a handsome townhome in the Jewish quarter of Amsterdam. By 1640, at the age of 34, Rembrandt was wealthy, much admired and kept company with men of authority and power. He took delight in all that money could buy, including rich fabrics, costumes, and jewels. He was a passionate collector and amassed an impressive collection of paintings, prints, curiosities and other objects of art. In the last two decades of his life, Rembrandt was beset by several personal disasters; the loss of two infant children, his mother, and his favorite sister-in-law. Finally in 1642, his beloved wife died, shortly after the birth of their son Titus. It was in this year that Rembrandt painted his masterpiece, “The Night Watch.” It was by far the most revolutionary painting Rembrandt had yet made, transforming the traditional Dutch portrait into a dazzling blaze of light, color and motion. Rembrandt lifted his art into the realm of the soul. His personal tragedies only served to deepen his awareness of man’s suffering and human condition, which as he matured, he conveyed with overwhelming depth and tenderness. Rembrandt lived extravagantly and this, together with a decline in commissions, forced him to sell his house and move to simple dwelling in 1658.

Priming the Canvas

Scenario Finding the Facts as you watch In this ﬁlm you will meet Rembrandt painting with his apprentices at a time when he is tired of painting his commissioned works. You will also meet Daniel, a boy about to have his bar mitzvah (coming of age in Jewish faith). They help each other to understand the importance of families and the relationship between Fathers and Sons.

Before you watch the ﬁlm, talk about the following Parental Expectations • Discuss the kinds of jobs the students would like to have when they grow up. • Do their dreams for themselves match their parents expectations? How would they resolve the problem? Would they give in or would they defy their parents? Art of Rembrandt • Show the students two paintings, one very traditional group portrait, and The Night Watch by Rembrandt. Ask them to discuss the difference between the two. • Explain that as they watch the ﬁlm, they will learn how these changes came to be.

What to watch for during the ﬁlm • • • •

The causes of conflict between Samuel and his father. The jobs that the apprentices do in Rembrandt’s studio. The paintings of Rembrandt that we see in the film. The elements of the Jewish culture and religion that are shown in the film.

Framing the Action

Learning Outcomes After viewing the ﬁlm and completing the suggested activities, students will • Be familiar with Rembrandt, his life, his work, and the times in which he lived. • Reﬂect on the duty of children to parents and parents to children. • Critically analyze some of the art of Rembrandt and his contemporaries. • Experiment with creating art in the style of Rembrandt.

Fine Brushstrokes: Remembering details from the film Answer these questions about the story, setting and characters. Primary Level • What is Rembrandt doing while looking in the mirror? • How does he know Samuel? • What are Samuel and his father fighting about? • Why does Rembrandt let Samuel come to live and work with him? • What jobs does Samuel do for Rembrandt? • What happened to Saskia, Rembrandt’s wife, after she has the baby? • Does Samuel go to South America with his uncle? Intermediate Level • What is Rembrandt’s feeling about his art at the time shown in the film? • What would he rather be doing? • What does Samuel’s father want Samuel to become when he grows up? • What does Samuel want to do instead? • What jobs do the studio apprentices perform for Rembrandt? • How does Rembrandt support himself as an artist? • How does Rembrandt get the Captain to go along with Rembrandt’s unusual style for the group portrait? • Why does Rembrandt neglect his infant son after his wife dies? • Who makes Rembrandt understand his duty as a father? • How does Samuel come to understand that his father really cares about his welfare?

Framing the Action

Vocabulary

Additional Vocabulary Exercise on Student Activity Page 74

Primary Level Have students put the following words in alphabetical order, and show the meaning by using each word in its own sentence. Treasure Determined Apprentice Stubborn Vivid

Intermediate Level Have students put the following words in alphabetical order, give the part of speech and write a deďŹ nition for each. Rabbi Stow-away Scholar Torah Dutiful Palette Determined

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Viewing the Landscape

Life in 1600s Amsterdam Fine Brushstrokes: Details we learn from the film The Life of the Artist and the Apprentice • What is the role of artists at this time? How do they make a living? • How do we know that the people of Amsterdam were very interested in art, especially in having their own portraits painted. Recall some scenes from the film that demonstrate this interest in art. • Who decided what an artist would create? What happened if they didn’t paint what the client wanted? • Successful artists had one or more apprentices working for them. List the jobs that we see the apprentice doing in Rembrandt’s studio. The Life of Children and Adolescents • What is the duty of children towards their parents? • Who is the head of the house? • Are children free to choose their own careers? Are they expected to follow in the footsteps of the father? • Are children expected to work or do they just study and play? Give evidence from the film. The Life of Jews • How do we know that Rembrandt lives in the Jewish section of Amsterdam? • A Rabbi is a Jewish teacher, who studies Jewish laws and traditions and teaches them to others. What was expected of the son of a rabbi? • What Jewish Festival are the children celebrating when they are dressed up and chasing Samuel through the streets. What event in Jewish history does this Festival commemorate? • Samuel is supposed to be preparing for his Bar Mitzvah. What is the meaning of this ceremony for a young Jewish boy?

Broad Brush Strokes: Looking beyond the ﬁlm • Do some research to ﬁnd out about the role of the artist’s apprentice. Why would young men take such a job? Which class did these young men come from? • Discuss the attitude of parents to children during this time. Were children free to choose their own careers? Did their parents decide for them? • Find out how important it was for a Rabbi to have a son follow in his footsteps. What would happen to a Rabbi if is son did not live up to the community’s expectations?

Painting a Portrait of Rembrandt

Rembrandt Harmenszoon van Rijn the Man Fine brushstrokes: what we learn from the story

Student Activity Page 75

Have students answer these questions to paint a picture of Rembrandt • How does Rembrandt treat his wife? • What is he like as a boss to the apprentices? • How does he befriend Samuel? • How does he try to help both Samuel and his father make peace with each other? • Rembrandt says that he was hiding from his wife’s illness by staying in his studio? What does this tell us about the way he handles his problems? • What is he like as a father after his wife dies? How does Samuel help him to become a better father?

A Man of Many Hats In the ﬁlm we see Rembrandt trying on many hats, before he chooses one for a self-portrait. “Wearing many hats” is also an expression that means someone who plays many different roles. Have the students sum up what they have learned about Rembrandt, by listing the different aspects of his personality on the various hats. (E.g., the father, the master, the friend, the art collector etc. Please see page 75).

Rembrandt Harmenszoon van Rijn The Artist Have the students answer these questions to summarize what they have learned about Rembrandt as an artist. • How does he feel about the classical style of portraiture that he is expected to practise? • What group portrait is Rembrandt working on during the ﬁlm? How is he trying to make it different from other group portraits? • Rembrandt is the subject of many of his paintings and drawings. Why do you think he did so many self-portraits? What was he trying to capture by making faces in the mirror? • Besides painting in his studio, what other kinds of art do we see Rembrandt doing in the ﬁlm (sketching, etching, printing). • Rembrandt tells his apprentice that his painting is technically excellent, but he has missed the soul of the painting. What do you think he means by that?

Artist Styles Rembrandt explains how artists often paint in each other’s styles. Why did they do this? Find some examples to share with the class. Copy Cats Choose a portrait by Rembrandt or another portrait painter. Notice the pose of the subject and the other items that make up the composition. (E.g. clothing, hats, props etc.) In pairs or trio’s take Rembrandt turns modelling for each other, recreating the composition of the Self-portrait famous painting. Take a Polaroid or digital picture of your models. Make a sketch from the photo. Compare your sketch to the original.

Peter Paul Rubens Self-portrait

Off the Canvas: Bringing the Lessons of the Film to Life

Conﬂict Between Father and Son Painting the details: What we learn from the ﬁlm

Student Activity Page 76

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A Family Album ��

• Discuss with students, the reasons for the conflict between Samuel and his Father, and how the problem keeps getting worse, as the two refuse to refuse to listen to each other. Have the children fill in the photo album, with events in the film, which show how the conflict kept getting worse. (Please see page 76).

Debate • Ask the students to give their opinions about who is right and who is wrong, in the conﬂict between Samuel and his father. • Divide into two groups: Have one group take Samuel’s side, and the other the father’s side. Each group will prepare arguments that each of the characters might use, to win the other over. • Have each group present their arguments. Then take the vote once again. Find out if any one has changed their opinion, as a result of listening to each other. ��

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Broad Brush Strokes: Looking beyond the film Fulfilling Whose Dream • Make a list of the occupations of the parents in the class. • Take a survey to find the following information: Who would like to have the same profession as their Mother? Who would like to have the same profession as their Father? Who would like to have a completely different profession from their parents? Display this information as a graph. • Discuss the idea of parental expectation. Do the children know what expectations their parents have for them? Are the expectations realistic? How important is it to them to meet their parents’ expectations? • What will happen if they don’t live up to their parents’ dreams for them?

Off the Canvas: Bringing the Lessons of the Film to Life

Conﬂict Resolution: Listening and Speaking with Respect

Student Activity Pages 77 & 78

• Discuss how the conflict between Samuel and his father grows, because neither is ready to listen to the other’s point of view. • Introduce the concept of Conflict Resolution, in which the people in conflict try to solve their problems by listening to each other, speaking with respect, and finding a solution that suits both of them. • Teach the children the formula for the “I” statement, in which the people in conflict state what they are thinking and feeling, without blaming, criticizing, or bossing the other person. • Have the children look at one of the scenes between Samuel and his father and notice any blaming, criticizing, or bossing statements. • Then have them replay the scene, having the character make an “I” statement instead. See how it changes the scene. (Please see page 77). Example The “you” Statement

The “I” Statement

When you yell,

When I hear yelling

You make me make me anxious.

I feel anxious

I want you to stop yelling or I am going to leave the room.

I want to leave the room I would prefer that we discuss the problem in a way that is respectful to both of us

Stowaways Talk about the fact that both Rembrandt and Samuel like to run away when they are faced with a problem. • Give evidence for this from the ﬁlm (Samuel leaves home, plans to go to Brazil; Rembrandt works in his studio, while Saskia is ill; He ignores his son, who reminds him of Saskia).

Challenge the students to try one or more of these higher level-thinking activities • Ask the students to think of other ways that Rembrandt and Samuel are alike, and in what ways they are different. • The main characters in the film, Rembrandt, Samuel and the Rabbi all learn valuable lessons from each other. Have the students fill in the character change chart on the about one of the three main characters in Rembrandt: Fathers and Sons (Please see page 78). • What lessons do Rembrandt and Samuel learn from each other about relationship, about forgiveness, and facing problems? What events in the film lead to this new understanding?

Mixed Media: Activities Across the Curriculum

Extend the students’ knowledge and understanding of the themes of the film by completing some the following cross-curricular activities. Language Arts • In the film, Samuel’s father writes him a letter to say he is sorry for what has happened between them. Pretend that you are Samuel and write a reply to the letter, admitting your part in the conflict. • As Daniel, pretend that you did go to Brazil with your uncle. Write a letter back from Brazil, telling about your voyage on the boat and your life in Brazil.

History/Drama • Find out about the Festival of Purim, shown at the beginning of the ﬁlm. Learn the story that it is based on and the customs around it. (Costumes, special foods, etc.) Make presentation to the class. • Compare the feast of Purim to holidays in other cultures where children dress up, act out stories and eat special foods etc.

Cultural Studies • Samuel is supposed to be preparing for his Bar Mitzvah. Research the meaning of this special occasion. What is the meaning of this ceremony? Why is it important in the life of a Jewish boy? Is there a similar occasion for young girls? • Talk about ceremonies in other cultures and religions that are like a bar mitzvah. Compare and contrast the ceremonies from different cultures, in chart form.

Drama/Visual Art • Role-play a scene of conflict from the film. Use what you have learned about Conflict Resolution, to replay the scene in a way that helps to resolve the conflict. Think about things like, listening, body language, blaming language, etc. • Rembrandt tried to capture emotions in his paintings by practising facial expressions in the mirror. In pairs, try out different facial expressions. Have your partner guess the emotion that you are trying to portray. Create and perform a skit in which only facial expressions and body language are used to have a conversation. Show it to an audience. See how much they understood from just your facial expressions. Try sketching some of the facial expressions by paying attention to the position of the eyes, mouth, eyebrows, etc.

Guidance/Health • Cut out pictures from newspaper and magazines, which show different emotions through facial expressions. Display them with captions on a bulletin board. • Younger students. Prepare a chart with emotion words on one side and facial expressions on the other. Ask the students to draw lines from emotion to matching word. Then have them act out the emotion for the class.

Happy Sad Shy

Art History • Research other portrait painters. Find examples of their work. Compare the style, material and composition of each painting. 70

The Gallery Tour

Appreciating the Art of Rembrandt Themes Rembrandt’s portraits capture not only a sitter’s likeness, but also tell us about the subject’s personality. This is particularly true of the artist’s self-portraits • Rembrandt’s self-portraits act as a visual diary. • Over a period of forty years, these intimate portraits record the artist’s greatest successes, joys and sorrows. • As shown in the ﬁlm, Rembrandt experimented with a variety of ways of presenting himself by changing his facial expressions and attire to suit his mood.

Techniques Self Portrait (1629) was painted when Rembrandt was Self Portrait just twenty-three years old. It is an excellent example of 1629 Rembrandt’s ability to simultaneously capture his appearance, Oil on canvas emotions and personal values • Based on other portraits, this image appears to provide a reliable likeness of the artist. • Half of the face is bathed in light. On this side of the image, Rembrandt seems to be presenting himself as he would appear to the public: conﬁdent and happy. • The other half of the painting is dark. This side seems to reﬂect Rembrandt’s inner world. He seems self-conscious and somewhat tentative. • This dualism is best appreciated by covering one side of the face, then the other, and observing each in isolation. • Although Rembrandt presents himself wearing a piece of armor, he had no connection to the military. This costuming choice takes on symbolic value.

Points for Discussion 1. Although Rembrandt was not in the military, why do you think he chose to paint himself wearing armor? (This could be symbolic of his pride in both newly formed Dutch nationhood and his own youthful sense of personal strength). 2. How does Rembrandt convey both his subject’s appearance and personality? (In addition to skillfully observing the subject’s physical features, the artist tries to capture mood by carefully selecting costumes, props, facial expressions and atmospheric lighting). 3. Do Rembrandt’s self-portraits document the artist’s life? (Over a period of forty years, Rembrandt completed hundreds of self-portraits. Although some brim with pride and joy, they never seem to serve to ﬂatter. Instead, they tell an intimate story of the artist’s inner life and document the effects of time on the body and spirit). 4. Would you like Rembrandt to paint a portrait of you? Why or why not? (How would it feel to have an artist try to capture your feelings and values?) © 2005 Devine Entertainment Corporation

In the Studio

Fun Projects for you to do Seeing with the Mind’s Eye Materials you will need • Sketchbooks • Pencils • Eraser • Colored pencils • Oil pastel • Charcoal • Cartridge paper pad (18x24”) Process This study can be completed in one session or over a much longer period. It is a rather intimate self portrait exercise. • To maintain a sense of intimacy, ask students to work individually in their sketchbooks. • There will probably be nervous laughter, but this comes with doing drawings of a personal nature. • Referring to Rembrandt’s self portraits, ask students to do a drawing of themselves without looking in the mirror or at a photograph. • Encourage everyone to stylize their image according to their own personal values. For example, if they are most fond of their long hair, they may exaggerate its length. Or if they cherish their athletic abilities, why not draw themselves leaping over tall buildings. • Encourage artists to draw as much or as little of themselves as they like • Don’t forget the surrounding context. • Also suggest the use of props to communicate personal attributes. • Once the studies are complete, students may then render a completed image in their medium of choice on cartridge paper.

In the Studio

Duality Self Portrait Materials you will need • Pencils • Eraser • Charcoal • Cartridge paper pad (18x24”) • Small mirrors (one per student) • Masking tape • China marker/grease pencil Process • This study can be completed in a single session or developed over a much longer period. • After discussing Rembrandt’s 1629 self portrait (presented above) students draw a self portrait from direct observation. • Each student sets-up a work area with a sheet of cartridge paper, drawing tools and an easily visible mirror. • Using a china marker or grease pencil, draw a line down the center of each mirror. • If these tools are not available, masking tape will sufﬁce. • Again referring to Rembrandt’s self portrait, instruct students to render half of their image as others see them and the other as they see themselves.

Framing the Action | Student Activity Page

Fill in the Blanks Primary Treasures

Determined

Apprentice

Vivid

Stubborn

1. Daniel was ________________ to go Brazil to be with his uncle. 2. Daniel’s ________________ imagination made him believe that life would be exciting in Brazil. 3. Daniel and his father didn’t get along because they were both ________________. 4. Daniel became an ________________ to Rembrandt, after he run away from home. 5. Daniel loved the ________________ that Rembrandt found at art sales.

Intermediate Dutiful

Stow-Away

Scholar

Torah

Rabbi

Determined

1. Daniel’s father wanted him to become a ________________ like himself. 2. He also wanted Daniel to be a good ________________ and study hard. 3. Daniel was trying to be a ________________ son, but did not want to be a Rabbi. 4. He was preparing for his Bar Mitzvah by learning prayers from the holy book called the ________________. 5. He was ________________ to ________________ on a boat to Brazil

Painting a Portrait of Rembrandt | Student Activity Page

A Man of Many Hats In the ﬁlm we see Rembrandt trying on many hats, before he chooses one for a self-portrait. “Wearing many hats” is also an expression that means someone who plays many different roles. Sum up what you have learned about Rembrandt, by listing the different aspects of his personality on the various hats. (E.g., the father, the master, the friend, the art collector etc.)

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

A Family Album In the photos below, draw or write events in the story that show the growing conďŹ&#x201A;ict between Samuel and his father.

ÂŠ 2005 Devine Entertainment Corporation

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

Conflict Resolution: Listening and Speaking with Respect • Conflict Resolution is when people in conflict try to solve their problems by listening to each other, speaking with respect, and finding a solution that suits both of them. • Look at one of the scenes between Samuel and his father, and notice any blaming, criticizing, or bossing statements. • Then replay the scene, having the character make an “I” statement instead. See how it changes the scene.

The “you” Statement When you

You make me

I want you to

The “I” Statement When

I feel

I want to

I would prefer

Off the Canvas: Bringing the Lessons of the Film to Life | Student Activity Page

A Change of Heart The main characters in the ďŹ lm, Rembrandt, Samuel and the Rabbi, all learn valuable lessons from each other. Fill in the character change chart with ideas about one of the three main characters in Rembrandt: Fathers and Sons.

Character Change Name of Character 1.

Step 1. Tell what the character was like at the beginning of the story.

Step 2. List the events that caused the character to change. Step 3. Tell what the character I like at the end of the story.

ÂŠ 2005 Devine Entertainment Corporation

Goya: Awakened in a Dream The story opens with young Rosarita (Jaclyn Blumas) helping to ﬁnd a new home where her mother, Leocadia (Shannon Lawson), can work as a housekeeper. A run-in with Francisco de Goya (Cedric Smith) at the local Church turns out to be a blessing. Enchanted by Rosarita’s artistic talent, Goya agrees to hire Leocadia. A visit to the royal palace to gather Goya’s belongings turns disastrous when he is questioned about his art by the king’s Inquisitor Garcini (Jan Filips). Goya’s haughty son, Javier (Robert Bockstael) manages to cover for his father. Finally, Goya and his new companions set out for his humble new home in the country. When Goya turns gravely ill, it is Rosarita who has the most faith. Just when it seems that the great artist no longer has the strength to continue, she convinces him to keep ﬁghting. Recovered and with newfound inspiration, Goya begins an ambitious work directly on the walls of his dining room, The Black Paintings.

Life and times of Francisco de Goya (1746 – 1828) Francisco de Goya was the greatest painter of 18th century Spain. Born and raised in a poor, isolated village in Aragon, he avoided priesthood when his older brother followed the calling. Goya went to work for a local artist and at the age of 17 left for Madrid, the centre of Spanish culture and society. He soon began to work in the studio of Francisco Bayeu. Bayeu was wealthy and famous and it was a small triumph for Goya to become his apprentice. After failing to receive any recognition from a competition sponsored by the Academy of San Fernando, Goya went to Italy. After a year, he still did not feel at home in the milieu and was unsure of his decision to pursue art, so he returned home to Saragossa. Upon his return he was offered a contract to paint the cathedral, and with the success of this work, other offers followed. By the end of his 20s, he was well known and successful by Aragon standards. Conﬁdent now in his artistic abilities, he set out for Madrid to seek out the challenges and the clientele he wanted to pursue. On a visit in 1773, he asked for the hand of Josefa Bayeu, the sister of his former master Francisco Bayeu who now held the post of Painter to the Court of Spain. Rumors implied that Goya married his wife simply to further his career. Josefa gave birth to 12 children, and sadly, only one survived. Goya was slow to make his name, becoming a royal painter at the age of 43. He immediately added the “de” in front of his name to suggest aristocratic kinship. From then on, his future was assured, and he quickly rose to even higher eminence. He was an eclectic artist, using a wide Continued on page 80

Continued from page 79

range of media and styles. He was a painter, a cartoonist, a satirist and portraitist. His Caprices were the ﬁrst social, political, moral and religious satires ever committed to paper, curiously at the same time as Goya was also creating the most conventional of portraits, including religious works for Churches. What Goya enjoyed the most was the study of people, showing them in their best and worst moments. He had a need to make sense of life as it unfolded and thus he always had a crayon and notebook within reach. Goya seemed to have an endless capacity for joy. Even during the bleakest periods of his life, he continued to capture the color of life and never lost his sense of humour. In his productive stretches, he worked with incredible speed, capturing ideas and visions. Without Leocadia his housekeeper, he might have even forgotten to eat. Goya became somewhat of a rebel in his old age as our ﬁlm shows. Though the Catholic Church in the late 18th and early 19th century worked hard to ensure that liberalizing forces from the outside world (France, England and the United States) were stopped at Spain’s borders. Spain was a century behind the times politically and socially, slowly creeping toward Enlightenment. Spain’s people still lived as they had 200 years earlier, abused and neglected by the wealthy and always living in terror of the Inquisition.

Priming the Canvas

Scenario Finding the Facts as you watch In this film you will meet Goya in the later part of his life when he is suffering from a bad heart. He’s also under suspicion from the King’s Inquisitor. In the meantime he hires a housekeeper who brings her daughter Rosarita to live in his villa. Everyone, even his Son Javier have given up on Goya, and prepare for his death. But Rosarita convinces Goya to keep fighting for life and inspires him to finish his work.

Before you watch the ﬁlm, talk about the following • What do the students know about the Inquisition? Explain what happened to science, art and philosophy during this period in history. • Do they know of any heroes who stood up for their beliefs in spite of personal risk? • What would they do if they were asked to stop following their heart in order to avoid harm? • Ask the students if they have ever seen a political cartoon or caricature. Show them examples and ask them to list the features.

What to watch for during the ﬁlm • • • • •

The paintings of Goya shown in the ﬁlm and how and where he worked. Evidence that Goya is an independent thinker and artist. What Goya tells Rosarita about life and art. The different media in which Goya worked. How the ﬁlmmaker builds suspense through music and editing in the scenes with the King and the Inquisitor.

“You need on ly tw

er... hat you see.” t n i a o things to be a p aw w dr open your eyes and

Framing the Action

Learning Outcomes After viewing the ﬁlm and completing the suggested activities, students will • Know facts about the life and times of Goya and become familiar with his work. • Appreciate the uniqueness of Goya’s work through the caprices, cartoon, and especially the Black paintings, which portray his inner thoughts and feelings. • Understand the importance in life and art of seeing things the way they are. • Create art in the style of Goya.

Fine Brushstrokes: Remembering details from the ﬁlm Answer these questions about the story, setting and characters. Primary Level • How does Rosarita ﬁrst meet Goya? • Why does he hire her mother as housekeeper? • Why does Mariano think he is better than Rosarita? • What special material does Goya give Rosarita to draw on? • How does Rosarita save Goya’s life? Intermediate Level • After seeing Rosarita’s drawings, Goya decides to hire her mother as housekeeper. Why do you think he made that decision? • Why did the King want to see Goya? What did King and Garcini, the Inquisitor, think about his comical drawings? • With what did Garcini threaten Goya if he did not paint only what he was told? • Why was Goya’s son so afraid that his father would have to go before the Inquisition? • Was Goya completely deaf or was he pretending? How does he explain that he knows what people are saying because he can see? • How does Rosarita get Goya to take his medicine, when every one else gives up on him? • Why does Garcini back down and not force Goya to go before the Inquisition?

Framing the Action

Examining the Landscape What was the Spanish Inquisition? The Spanish Inquisition was a court run by both the Catholic Church and the civil authorities, which made sure that all citizens were following the laws of the Church. At first it was used against non-believers, after the Crusades, as a way to unite the country of Spain. Later it was also used to control anyone who disagreed with the Church or the King. Accused heretics were identified by the general population and brought before the tribunal. They were given a chance to confess their heresy against the Catholic Church and were also encouraged to indict other heretics. If they admitted their wrongs and turned in other transgressors against the Church they were either released or sentenced to a prison penalty. If they would not admit their heresy or indict others, the accused were publicly introduced in a large ceremony before they were publicly killed or sentenced to a life in prison. The Spanish Inquisition’s reign of terror was finally suppressed in 1834.

Being an artist during the Spanish Inquisition Even the artists of the time had to be sure that their paintings did not offend the Church or its defenders. Art was supposed to reﬂect the teachings of the Church. Proper subjects were portraits of the nobility, the clergy or the saints, and depictions of bible stories or lives of the saints. Artists who deﬁed these directives were brought before the Inquisition and accused of being heretics.

Goya and the Inquisition • • • • •

What paintings of Goya were disturbing to King Ferdinand and the General Inquisitor? What was he trying to say through these paintings known as “the caprices”? Why did neither the King nor the Inquisition frighten him? At the end of the ﬁlm, he paints his vision on his walls. Why were they considered as heresy? Did he give in to the pressure of the Inquisition? How did he resist?

Framing the Action

Vocabulary

Additional Vocabulary exercises on Student Activity Page 91

Primary Level Have students put the following words in alphabetical order, then use them in a sentence that shows the meaning. Honest Disgrace Miniature Peasant Ivory

Intermediate Level Have students put the words in alphabetical order, write a deﬁnition, and tell the part of speech. Inquisition Inﬂuence Rustic Heresy Lascivious Aristocrat Mystic Prevail Inspiring

Painting a Portrait of Francisco de Goya

Francisco de Goya the Man

Student Activity Page 92

Fine brushstrokes: what we learn from the story Answer these questions to paint a picture of Goya the man. 1. What kind of painting did Goya create for the King of Spain? 2. What is Goya’s attitude towards the people at court? 3. Why does he want to retire to the country? 4. Why does he take such an interest in Rosarita? 5. What does he mean when he says that although he is deaf, he knows what people are saying? 6. Goya tells Rosarita that “an artist must learn to see, before they can draw”. What does he mean by that? 7. How does he show his soft side to Rosarita and her mother? 8. Is Goya afraid of the Inquisition? Why or why not? 9. Why does he ﬁnally draw the “Black Paintings” on the walls of the dining room? 10. What is the difference between his attitude towards authority and that of his son, Javier?

Francisco de Goya the Artist Answer these questions to paint of portrait of Goya, the artist. 1. What kind of paintings was Goya first known for? 2. What media do we see him using in the film? 3. What were the “caprices” that Garnini objects to? What was the purpose of these kinds of pictures? 4. Why does he say that he has been painting all of his life, but nothing he would put on his own wall? 5. What kind of paintings does he finally put on his walls? 6. What does he mean when he tells Rosarita to “paint backwards” and bring the image out of the darkness? What is this kind of painting called?

Wanted Dead or Alive

��

Wanted Dead or Alive ��

Using what you have learned about Goya, create a “wanted poster” that would tell people why he was suspected by the Inquisition. You could use Goya’s technique of caricature or caprice to create your poster. (Please see page 92).

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Not a Still Life: Connecting the Lesson of the Film to the Real World

Broad strokes

Student Activity Page 93

Using higher level thinking skills to see the bigger picture

Talking about the ﬁlm • Goya doesn’t seem worried about the Inquisition, but his son, Javier is very concerned. Discuss the difference in their attitudes. Goya is an old man, who has nothing to lose. Javier, on the other hand, is trying to keep his job and raise his own son, Mariano. Who do you think it right? • Rosarita’s mother tells her that she should not dream of becoming an artist because she is a girl and a peasant. Research and make a list of the jobs that would open to boys or girls in Rosarita’s social position. (Please see page 93). • Does Goya agree with this conclusion? How does he encourage Rosarita to pursue her dreams? • How does Rosarita fulﬁll her dream of becoming an artist?

��

Words to Live By Talk about the two quotes below. Then have the students choose one of these quotes from Goya and write a short essay explaining what he means. Encourage them to include some examples from real life in their essays .

“You don’t need to hear words to understand what people are saying. You need to learn to see.”

“Life has many colors, and some of them are dark.”

Mixed Media: Cross Curricular Activities

You can extend your knowledge and understanding of the ideas presented in the ﬁlm by completing the following activities in other subject areas. Student Activity Page 94 Language Arts • As Rosarita, Leocinda, or Mariano write a diary account of your trip to the King’s court. Be sure tell how you felt and well as what happened. (Excited, scared etc.) • Write a speech that Goya might have made if he had been called before the Inquisition. What would he have said to defend his paintings?

Social Studies/Visual Arts • Rosarita and her mother have no home at the beginning of the movie. Find out what was happening in Spain that caused this problem. What did happen to other peasants who were not as lucky as Rosarita and her mother? • Find out more about the Spanish Inquisition. Present a report on its effect on art, literature, music etc. • Collect and display some political cartoons. Discuss their meaning. Think of something that is going on in your school or community and see if you can make a cartoon about it. • Choose a famous person and make a caricature. Exaggerate their most famous attributes. Example: Einstein was known for his brain and his wild hair, so a caricature might have a large head, with lots of crazy hair. (Please see page 94).

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Dramatic Arts • Plan a trial for Goya. Decide who will be Goya, the Inquisitor, witnesses for an against, and the jury. Each character will prepare their questions or answers. Conduct the trial and have the jury vote on whether Goya is guilty or not guilty. • In small groups, role-play one of the suspenseful scenes in the movie (at the King’s Court, or when the inquisitor comes to the country house). Perform it a couple of times and change the ending, to see what else might have happened.

The Gallery Tour

Appreciating the Art of Francisco de Goya: The Black Paintings Series

The Black Paintings Series oil on plaster mounted on canvas 1819-1820 variable dimensions

Background and Themes As shown in the ﬁlm, Goya did in fact paint a series of images directly on the walls of La Quinta del Sordo, (House of the Deaf Man). This series, now called the Black Paintings, were done during a one-year period from 1819-1820. Seventy years after their completion, the wall plaster and paint were carefully removed from the building and mounted on canvas. The Black Paintings demonstrate several key themes in Goya’s work • A personal, expressionistic response to humanity’s capacity for cruelty which Goya witnessed during Spain’s recent history of civil unrest. • An awareness of the dark forces of fear, terror and panic. • The artist’s personal response to his ill-health (at the time of the Black Paintings, Goya was recovering from his second near-fatal illness), deafness and social isolation. • A commitment to representing emotionally unpleasant subject-matter in a way that evokes a sympathetic response from the viewer. • An interest in mythological and Biblical story-telling. 88

The Gallery Tour

Techniques While Goya’s subject matter strongly expressed his concerns about humanity and personal suffering, his way of painting, or technique, was equally expressive • Use of aggressive brushwork. • Use of high-contrast lighting creates drama and sense of danger. • Extreme anatomical distortions communicate the way the subjects are feeling, more than a realistic description of their physical bodies.

Points for Discussion 1. Why do you think that Goya explored mythological and Biblical narratives at this time in his life? (From both a political and personal perspective, mythological and Biblical stories may serve to convey Goya’s expression of grief and desire for redemption). 2. Could these paintings be described as beautiful? Why would such a talented artist choose to use such raw brushwork and anatomical distortions? (Goya responded to ugly subject matter with repulsive techniques to encourage the viewer’s sympathy).

In the Studio

Sitting at the Easel: Fun Projects for you to do Exploring Mythological Themes Process

Materials you will need • Pencils • Charcoal (vine or willow) • Conte (soft, black drawing pencil) • Eraser • Newsprint paper • Good-quality drawing paper (cartridge) (18”x24” pad) • Sketchbook

Lesson1: Mythology in Art • After reviewing several art history books, select a few good examples of Biblical and mythological-based paintings. (European Renaissance imagery is highly influenced by Christian iconography and Greek and Roman myths). • Consult an appropriate dictionary, or art history book, to decode the particulars of the paintings’ symbolism. • After presenting several images to the class and providing background for each, open a discussion about the ways in which this imagery may be relevant today. (Example, who are our heroes? Who are the villains?; How do we express our feelings of anger, sadness, revenge etc.?) • Write the students’ ideas on a large chart titled “Idea Record”. Lesson 2: Making it your own • Present “Idea Record” from previous lesson. • Choosing from the myths/Bible stories collectively discussed, have each student select and explore one narrative through a series of studies, using pencil on newsprint or in a sketchbook. • To help focus this exploration, students may interpret their selected subject according to a) A reinterpretation of the story based on current social issue (How is the “Judgment of Solomon” by Giovanni Battista Tiepolo relevant to our understanding of Conflict Resolution?) b) A reinterpretation of the story based on a relevant personal issue or telling a story about some part of their life (Could Venus express one’s feelings about love?) Lesson 3: Let there be Light • Once students have completed their studies, ask them to select one image that they will develop into a final work. • Using soft vine or willow charcoal, ask students to cover an entire sheet of cartridge paper. • The final surface should be a soft, uniform grey and may require being rubbed with a soft tissue to remove marks. • After drawing their image on the charcoal-coated paper with willow charcoal, students then use their erasers to remove charcoal and reveal the light of the paper below. • This technique is similar to the ink on ivory technique used by the young girl in the Goya film. • Once all the light areas are revealed, students then use charcoal and conte to build-up shadows. • Throughout the drawing, encourage the students to use their erasers as a drawing tool, not just to eliminate mistakes. • Display the students’ drawings along with a summary of the myth or bible story, and an explanation of the students reinterpretation. 90

Framing the Action | Student Activity Page

Matching Phrases Draw a line from the phrase on the right that best completes the sentence.

Primary Goya said he wanted to move to the country....

that his father would disgrace him.

Javier was afraid...

ivory from elephants tusks.

The small paintings that Goya and Rosarita made ...

who were not of Noble birth.

Peasants were people...

because he preferred the company of honest men.

Goya painted miniatures on...

were called miniatures.

Intermediate

A person who questioned the beliefs of the Catholic Church ...

a rustic life in the country.

The court that tried heretics....

called caprices.

Goya wanted to live...

when he painted his inner visions.

Goya was called a mystic....

was called the Inquisition.

Goya painted funny pictures....

was known as a heretic.

ÂŠ 2005 Devine Entertainment Corporation

Painting a Portrait of Francisco de Goya | Student Activity Page

Wanted Dead or Alive Using what you have learned about Goya, create a “wanted poster” that would tell people why he was suspected by the Inquisition. You could use Goya’s technique of caricature or caprice to create your poster.

Wanted

Francisco de Goya

For and

Not a Still Life: Connecting the Lesson of the Film to the Real World | Student Activity Page

Rosarita’s mother tells her that she should not dream of becoming an artist because she is a girl and a peasant. Research and make a list of the jobs that would open to boys or girls in Rosarita’s social position.

Jobs for Peasant Girls

Jobs for Peasant Boys

Mixed Media: Cross Curricular Activities | Student Activity Page

Choose a famous person and make a caricature. Exaggerate their most famous attributes. Example: Einstein was known for his brain and his wild hair, so a caricature might have a large head, with lots of crazy hair.

ÂŠ 2005 Devine Entertainment Corporation

Winslow Homer: An American Original Winslow Homer, one of the most famous painters of his day, has become disillusioned after the Civil War. After capturing the reality of soldiers’ life in his illustrations for Harper’s Weekly, he abandons his post to seek solace in the countryside. His attempts to paint in peace and escape the ghosts of the war are constantly interrupted. A boy, who is infatuated with combat, and a mysterious girl who tells fortunes, talk their way into his life. Like him, the children have been touched by the war and are trapped by the suffering in their own families. Through the time they share as models for Homer’s paintings, they are able to face their fears and move forward into a world that holds great promise. Interspersed with lively period music and the poetry of Walt Whitman, the last episode of The Artists’ Specials is an unforgettable family drama. The year is 1874. Winslow Homer, an illustrator for Harper’s Weekly, has finally given up his post after giving the world countless poignant studies of the Civil War. Homer has arrived at Houghton Farm for some peace and quiet and to bury the ghosts that haunt him. As he heads out through a field to find a spot for his easel, the field suddenly transforms itself into a war zone. Voices yelling and guns blasting echo in his head. Smoke and fire replace the calm morning. Homer closes his eyes for a moment and opens them. Finally, the scene is gone. It seems the he ghosts will not be easily shaken off. The first day in the countryside turns out to be anything but peaceful. First he is hit riverside by Gabe, a slingshot-toting delinquent, and tumbles into the water. Then his ear is talked off by a girl, Fee, who claims to read fortunes and asks too many questions. Luckily there is a bit of respite at the lodge where he has laid out his art. The next day Homer has set up his easel near the schoolhouse and runs into Gabe again. As Gabe attempts to hit a squirrel with his slingshot, Homer protests, “Not a defenceless animal, sharpshooter.” Gabe starts on excitedly about the war but Homer cuts him off sharply and walks away. Homer arrives home thinking he’s found some quiet but finds both Gabe and Fee on the doorstep. They are curious about his paintings and quickly sneak in. Fee finds a painting of herself and is tickled. Homer decides that if he can’t get rid of them, they might as well make themselves useful and he offers to pay them to be his models.

Continued on page 96

Continued from page 95

Chatting as they pose, Gabe and Fee become friends. Fee goes on about her family and rosecolored cottage while Gabe talks non-stop about his brother, the sharpshooter. He can hardly wait to join the army himself. Homer interrupts with his experience about the numbing effects of war and its lack of heroics. But Gabe persists, and ﬁnally admits that his brother was killed. The joy of the day ends soberly as the children run off. Fee tries to walk home alone but Gabe follows her. He sees that she lives in a rundown shack with her disabled father. Mortiﬁed that her cover is blown, she tells him she never wants to see him again. The rift between the children means that Homer is at a loss to complete the paintings he’s started. He encourages Gabe to make a move, but when rebuffed he seeks out Fee himself. The two new friends eventually come face to face. Both of them have been lying. Gabe’s brother was never a sharpshooter, just an ordinary soldier. Fee doesn’t live in a rose-colored cottage because her father was seriously injured in the war and never got over it. Homer suggests they that they say goodbye to all the ghosts, just as he has vowed to do. Taking the suggestion in hand, Gabe goes home to see his mother turn her back on him as usual. This time he doesn’t walk away. He confronts her, “Look at me... You still have a son.” He gives her the drawing he’s done of his brother. His father comes in and looks at the drawing too, amazed at his son’s talent. His mother walks over and hugs him. The healing now begins for everyone.

Life and Times of Winslow Homer “Genius,” Baudelaire wrote, “is childhood recovered at will.” Winslow Homer was blessed with that magic ability. The most famous American painter of his day, Winslow Homer was an artist with a distinctive eye who was able to capture the mood of rural and seaside America in a career which spanned the horrors of the Civil War and stretched into the 20th century. After the turmoil of the war, he painted as if the trauma was best forgotten. He constructed in his art an ideal but real subject matter as far from death and suffering as possible, representing a picture of hope for a better future. Doubt, brooding and the harsh realities of life are cleared away by the wind off the ocean and the bleaching sunlight of farm ﬁelds. His paintings appeal to a particular brand Continued on page 97

Continued from page 96

of American optimism that is not unlike the jaunting and soaring rhythms of the Aaron Copland composition, Appalachian Spring. With the clear, light, fluidity and broad sweeps of the brush characteristic of Homer’s watercolor technique, his paintings are visual music. And the music they play is the music of childhood. In the typical New England village of Gloucester, he painted the life of American children in their natural, free-spirited state. His barefoot ruffians tear down the steps of the little red school house , shouting and tumbling over one another on the way home or playing a game of “Crack the Whip”. The children in Homer’s pictures are potential America, the stock from which renewal will spring in the aftermath of War. Young, strong, quickwitted, practical and without pretence, they are akin to the beloved characters created in the pages of classic books of the same era - Louisa May Alcott’s, Little Women and Mark Twain’s, Tom Sawyer. Winslow Homer was the boy who never really grew up. He was still playing with slingshots and scribbling on the walls in his 50’s . He preferred to keep to himself and he was not one to mince words. “Mind your own business,” was his favorite expression. On his painting excursions to the woods or the beach he always brought along a board that he would stick on the path that led to the spot he was painting. Meant to keep away unwanted intruders, it read, “Beware. Snakes, more snakes and mice.” The qualities Homer valued included guts, craft, self-reliance and hard work. It’s not surprising that Ernest Hemingway became one of his greatest admirers. Both of them worked at their craft like soldiers, subscribing to the belief that skill was the result of hard work, not luck or divine intervention and that talent was something to be constantly tested and exercised. “Talent,” Homer once scoffed to an admirer. “What they call talent is nothing but the capacity for doing continuous hard work in the right way.” When he began his career, Winslow Homer couldn’t sell a painting to save his life. His brother secretly bought his first efforts and hid them away so that Winslow wouldn’t give up. Certainly, there is more demand for his work now. In 1998, Microsoft’s Bill Gates paid over 30 million dollars for the painting, Lost On The Grand Banks, making it the most expensive American painting yet sold. The sale drew a typically skeptical comment from one of Homer’s surviving relatives, “Not worth it!” she said, proving that the family penchant for frank speech still thrives.

Priming the Canvas

Scenario The Story In this ﬁlm, you will meet Winslow Homer as he arrives in the country looking for peace and quiet after spending time documenting the American Civil War through his drawings. Two children who are curious about him and his work interrupt his plan for quiet reﬂection. Each of the children has a secret that they are trying to hide. Through their friendship with Homer and with each other they learn to trust and to be honest with themselves and others.

Before you watch the ﬁlm, talk about the following • War and its effects on people’s lives. • Do the children know anyone who has been in a war? What is that person’s attitude about the war? Do they tell stories of glory, of horror etc? • Why do some young people often think that war is exciting and fun?

What to watch for during the ﬁlm • • • •

The way that Homer depicts war in his paintings. The way that Gabe glorifies war. The secret that each of the children is hiding. The way the filmmaker uses Winslow Homer’s painting throughout the film.

“Talent is no thin e right way.” h r g but t o f n i y the capacit work d r doing a continuous h

Framing the Action

Learning Outcomes

Student Activity Page 106

After viewing the ﬁlm and completing the suggested activities, students will • Know facts about the life and times of Winslow Homer. • Understand the effects of war on people’s lives. • Understand that trust and honesty are the bases for healthy relationships. • Experiment with creating art in the style of Winslow Homer.

Fine Brushstrokes: Remembering details from the film Answer these questions about the story, setting and characters. Primary Level • Why does Winslow Homer stop Gabe from shooting the animal with a slingshot? • What name does Fiona want to be called? • Why doesn’t Fiona want Gabe to walk her home? • What kind of a house does Fiona say she lives in? What kind of a house does she really live in? • What is Fiona’s reaction when Gabe follows her home? Intermediate Level • What was the caretaker’s opinion of Winslow Homer? How do you know? • Winslow Homer repeatedly states that he wants to be alone. What clues does the filmmaker give you that Homer is going to be interrupted? • Why are Gabe’s parents disappointed with Gabe’s behavior? • When do you first see the relationship beginning between Fiona and Gabe? • What evidence is there that Fiona is an optimist? • Gabe says his brother was a sharpshooter during the war. Is this the truth? Why does he want to believe it is true? Dramatic Irony • The filmmaker contrasts the action on the screen with the voiceover. For example, when Winslow Homer is by the river the voiceover is saying how quiet, calm and peaceful everything is. In contrast, the audience sees Gabe disturbing Homer and knocking over his paints and easel. • List some other examples of the contrast between what the audience sees and what the audience hears. Music and Mood • How does the music set the mood for the different scenes? Comic Relief • Comic relief: what is the purpose of comic relief in the film? Give some examples (at the end of the film Winslow Homer uses the sling shot but accidentally hits one of the sheep). Create a cartoon, showing one of the funny scenes in the film. In each frame, draw part of the story. (Please see page 106). © 2005 Devine Entertainment Corporation

Framing the Action

Vocabulary

Additional vocabulary exercises on Student Activity Pages 107 & 108

Primary Level Have students put the following words in alphabetical order, then use them in a sentence that shows the meaning. Peace Battle General War Tutor Balance Coward Hero

Intermediate Level Have students put the following words in alphabetical order, name the parts of speech, and write a deďŹ nition for each word. Peace Estate Malarkey Disposition Profanity General Battle War Uppity Tutor Balance Symmetry Coward Hero

100

ÂŠ 2005 Devine Entertainment Corporation

Framing the Action

Painting a Portrait of Winslow Homer

Student Activity Page 109

Fine brushstrokes: what we learn from the story Answer these questions to paint a picture of Winslow Homer 1. 2. 3. 4. 5.

How does Winslow Homer feel when he looks at his paintings? What does Winslow Homer see in the ﬁeld that is not really there? What was Winslow Homer’s job during the civil war? Why does Winslow Homer say that the “sight of a dead body was common place”? Winslow Homer says, “if you walk away from something important now, you’ll have regrets for the rest of your life.” What does he mean when he says that he walked away from himself? 6. Why did Winslow Homer come to the country? 7. Why was Winslow Homer happy to receive the book of poems, and why did he lend the book to Gabe? Use what you have learned to create your own Cinquain Poem about Winslow Homer or another character or idea from the story (e.g. War, Peace, Countryside). (Please see page 109). Line #1 tells us the subject of the poem. Line #2 gives us two describing words. Line #3 gives an action related to Line #1 Line #4 sums up our thoughts about Line #1 Line #5 is a ﬁnal word, often a synonym for the Line #1.

Homer Sad thoughtful Painting in the countryside A man of peace Painter

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Not a Still Life: Connecting the Lesson of the Film to the Real World

Broad strokes

Student Activity Page 110

Using higher level thinking skills to see the bigger picture.

Talking about the film Many characters in the film are dealing with loss, in very different ways. • How does each member of Gabe’s family deal with the death of the older brother. (The mother is very quiet and ignore’s Gabe. The father wants Gabe to be like his older brother. Gabe makes his brother a hero). • How does Fiona deal with the loss of her home and her father’s injuries? Why do you think she tells stories about her beautiful house and rich family? • How does the friendship between the two children, and with Homer, help them to face the truth about war, loss and relationships. War does not only affect the soldiers who are fighting. Many people feel the effects of war long after the war has ended. Fill in the following chart to illustrate the effects of war on Winslow Homer, Gabe, and Fiona. (Please see page 110).

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Images of War ��

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Answer the following questions to find out about the war that serves as the background for this film. • What war was being fought at the time that Homer was painting? • Who was fighting in the war and what were they fighting about? • What was the job of the “sharp shooter”? • Homer says “Most of war is standing around waiting.” Why does he tell Gabe this? What does he mean by this? Who would be standing around and what were they waiting for? • Make a list of times that the soldiers would be waiting and state what they would be waiting for. (Waiting for orders, waiting for attack, waiting for the battle to be over).

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Mixed Media: Activities Across the Curriculum

Extend the students’ knowledge and understanding of the themes of the ﬁlm by completing some the following cross-curricular activities. Language Arts The Cry of the Children • Research the effects of war on children. Create and give a presentation using visual aids (could include technology). Poetry/Visual Arts • Homer’s friend sends him a book of Walt Whitman’s poems. What were the poems about? Find a book of Whitman’s poems and discuss the themes in the poems. • Choose one of the poems to read to the class. • Have students draw a painting of what they imagined as they listened to the poem. • Have the students write a poem expressing feelings about war. Dear Mama • In role, as a soldier, write a letter home – emphasizing waiting – i.e., what their day was like. Find actual letters from soldiers, in books or on the internet, and share them with the class.

History Uprising: Research the civil war. Contrast the north and the south, name the main battles, name the main players, name the main causes, name the outcome. Heroes: Find ﬁrst hand accounts of soldiers in war. Make a presentation to the class in-role, as the soldier. Most of war is standing around waiting: Research what soldiers did to pass the time when they weren’t ﬁghting.

Dramatic Arts Comic Relief: Dramatize a funny scene from the ﬁlm or dramatize one of the scenes where the narrator is saying one thing and the action is showing something else. 1. In small groups, choose a scene from the ﬁlm. 2. One person in the group is the narrator while the others perform the action. 3. Choose on person in the group to be the director. 4. Present the scenes to the class.

Music In the mood: Find music that makes you imagine the following: soldiers getting ready for battle, a battle, a peaceful countryside, a very serious talk, and a funny incident. Play the music to the class and have them draw what it makes them think and feel as they are listening.

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The Gallery Tour

Appreciating the Art of Winslow Homer

Prisoners from the Front 1866, oil on canvas 61 x 96.5cm

Snap the Whip 1872, oil on canvas 55.9 x 91.4cm

Themes and Background Homer wanted to create a distinctly American style of painting. • He was opposed to studying modern European painting and instead joined the American Realist School. • He particularly objected to the Impressionist’s way of painting nature as a backdrop for artistic experimentation. • American Realists tried to present their respect for the vitality of nature by using a highly realistic approach. • At the beginning of his career, Homer’s work reflects the American Realist belief that nature should be represented in an extremely detailed fashion. Techniques Prisoners from the Front and Snap the Whip are good examples of the principles of the American Realist approach to painting • At this point in European art history, the Impressionists were using bright colors and interpretive paint handling in their depictions of nature. • In contrast, in Prisoners from the Front, the colors are somber and all elements are represented accurately, without much artistic stylization. • While the colors in Snap the Whip are cheerier, the natural environment is painted accurately in detail. Points for Discussion 1. Prisoners from the Front was painted while Homer was a Civil War artist-correspondent. As shown in the film, Snap the Whip was completed during Homer’s post-war country painting retreat. How do these paintings reflect Homer’s contrasting life experiences? Specifically, compare the paintings’ colors, landscape and human subjects. (While Prisoners from the Front is dark and represents war-ravaged men in a destroyed landscape, Snap the Whip shows happy children in a lush summer meadow). 2. What is the significance of the children in Snap the Whip? (After the American Civil War, imagery of childhood was popular as it symbolized the country’s commitment to rebuild).

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In the Studio

Fun Projects for you to do Environmental Stage-setting Process This lesson can be completed in one session or may be expanded over several classes.

Materials you will need • • • •

Pencils Eraser Oil pastel Good-quality drawing paper (cartridge) (18”x24” pad)

• After comparing Homer’s paintings, Prisoners from the Front and Snap the Whip, open discussion for speculation on the ways in which the paintings would change if they were depicted in different weather conditions. For example, supposing the war image represented the men on a bright sunny day or if in Snap the Whip the children were playing during a raging thunderstorm. • Introduce the notion of PATHETIC FALLACY, or using the natural environment to communicate something about the story being told. • A popular example of Pathetic Fallacy is in spooky movies: you know something bad is coming when the lightning begins to crash! • Using oil pastel on cartridge paper, ask the students to tell a story about something from their own life experience. • Encourage the students the set their story in an atmospheric environment. • This does not mean outdoors, necessarily. They can show time of day and weather through an open window, for example.

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Framing the Action | Student Activity Page

Comic Relief Choose a funny scene from the ďŹ lm. Make it into a storyboard. Draw one part of the scene in each frame.

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ÂŠ 2005 Devine Entertainment Corporation

Framing the Action | Student Activity Page

Vocabulary Word Scramble Primary Level Unscramble each of the clue words from the vocabulary list. Then copy the letters in the numbered cells to the cells at the bottom with the same number.

ACPEE 12

BATTEL 7

GELRAEN 11

WRA 5

TORTU 9

NAACEBL 3

WCRADO 1

ROHE

M 1

I 4

I 6

I 11

ÂŠ 2005 Devine Entertainment Corporation

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Framing the Action | Student Activity Page

Vocabulary Word Scramble

Intermediate Level Unscramble each of the clue words from the vocabulary list. Then copy the letters in the numbered cells to the cells at the bottom with the same number.

CEEPA 17

SATTEE KEYMAALR 4

POITONSIDIS 13

FYTRAINPO 1

TTLABE 5

REGAENL 14

WRA 12

PIUTYP 7

RUTTO 11

CEANALB 3

MEMSYYTR WOCDAR 8

OERH 6

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ÂŠ 2005 Devine Entertainment Corporation

Framing the Action | Student Activity Page

Create your own Cinquain Poem Write about Homer, Fiona, or maybe about an idea related to the film such as war, peace, friendship, etc. A cinquain poem is made of five lines, each with a different number of words Line #1 tells us the subject of the poem. Line #2 two words to describe Line #1 Line #3 verb phrase related to Line #1 Homer Line #4 a complete sentence related to Line #1 Sad thoughtful Line #5 a final word about the subject, often a synonym Painting in the countryside

A man of peace Painter

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Not a Still Life: Connecting the Lesson of the Film to the Real World | Student Activity Page

Images of War War does not only affect the soldiers who are ﬁghting. Many people feel the effects of war long after the war has ended. Fill in the following chart to illustrate the effects of war on Winslow Homer, Gabe, and Fiona. Winslow Homer

Gabe

Fiona

• Has haunting memories

• Misses his brother.

• Has to help her Father

of the battleﬁeld.

who was seriously injured in the war.

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