Maximalist Painting - Museum of Fine Arts - Florida State University

Maximalist Painting:
“More is More”
The Florida State University
Museum of Fine Arts
February 16, 2007 - March 25, 2007

Table of Contents
Letter to the Educators 1
Sunshine State Standards 2
Essays 3
What is Maximalist Painting? 3-4
A Reaction to Reductive Art. 5-6
Artist Biographies 7
Lilian Garcia Roig 7
Dan Sutherland 8
Peter Saul 9
Masami Teraoka 10
Interview with Lilian Garcia Roig 11-12
Definitions of Terms 13
Lesson Plans 14
Maximalist Painting versus Minimalism 14-15
Create a Maximalist Masterpiece 16
Identifying Maximalist Characteristics 17- 19
Extra Lesson Plans and Activities 20-21
Image Index 22
Bibliography 23
Evaluation Sheet 24
CD of Images (attached to back cover)
Authored by: Rachel Thornton
Edited By: Rachel Thornton and Viki D. Thompson Wylder
Graphic Design by: Rachel Thornton and Loren Story
Contributions by: Kristi Malone (“Identifying Maximalist Characteristics” and “Extra Lesson Plans and Activities”)
For exhibition tours please contact Viki D. Wylder Thompson at 644-1299
Cover: Julie Heffernan, Self-portrait As a Gorgeous Tumor 2.
*Images for educational use only.

Leon county Educators,
Letter to the Educators
In Spring 2007 the Museum of Fine Arts at the Florida State
University will be holding an exhibition on Maximalist painting. The
exhibition will present paintings that exemplify the latest in twenty-first
century art. The artists of these works demonstrate a common style
of painting that is fresh, visual and imaginative. This style refers to the
visual overload that is Maximalist painting. Tours and activities are
being offered with the exhibition.
This packet is sent to the educators of Leon County to promote
the Maximalist painting exhibition. The packet includes an
explanation of what Maximalist painting is and how it fits into art
history. This packet also includes lesson plans that can be done at
the exhibition or in the classroom. The lesson plans are in
accordance with the Florida Sunshine State Standards and
incorporate art education, art history, art production, and aesthetics.
Rachel Thornton
Museum Education Program
Florida State University Museum of Fine Arts
1

Sunshine State Standards:
Sunshine State Standards
The Sunshine State Standards are effective for all grade levels.
The Arts
Skills and Techniques:
Standard 1: The student understands and applies media,
techniques, and processes.
Creation and Communication:
Standard 1: The student creates and communicates a range of
subject matter, symbols, and ideas using knowledge or structures
and functions of visual arts.
Cultural and Historical Connections:
Standard 1: The student understands the visual arts in relation to
history and culture.
Aesthetic and Critical Analysis:
Standard 1: The student asses, evaluates, and responds to the
characteristics of works of art.
Language Arts
Listening, Viewing, and Speaking:
Standard 1: The student uses listening strategies effectively.
Standard 2: The student uses viewing strategies effectively.
Standard 3: The student uses speaking strategies effectively.
Writing:
Standard 1: The student uses writing processes effectively.
Standard 2: The student writes to communicate ideas and
information.
2

What is Maximalist Painting?
Essays
Maximalist painting is an experimental painting style practiced
by a number of today’s artists. This style has been an area of
exploration since about the year 2000. It
is not possible to describe Maximalist
painting as a distinct movement. Instead,
it should only be considered as a general
style. Within the general Maximalist
painting style are two sub-styles: vertical
layering and horizontal layering.
The goal of Maximalist painting is
to create a complex experience. The
subjects of Maximalist painting are also
important, often referencing social ideals.
Maximalist painting requires the viewer to be actively involved in the
viewing of the art.
Maximalist painting is hard to define. However, it can best be
discussed in two ways. First, Maximalist painting is visually dense in
composition. The canvas appears to be packed with multiple
narratives or stories. This can be referred to as horizontal layering.
Thus horizontal layering is seen as the expression of multiple
narratives in a piece of art. The artist, Julie Heffernan, uses horizontal
layering in her painting. In her work, Self Portrait as Several Tiny
Gods, the artist, at first glance, appears to present a still life, a vase
of flowers. However, when the viewer
takes a closer look, a million details,
scenes and people, appear in the petals
of the flowers.
Secondly, Maximalist painting may
emphasize technique. Technique refers
to the type of brush stroke used, the
style chosen, and the type of paint used
in rendering the image. The technique is
often layered, skilled and imaginative.
The heavy, technical layering in a piece
Julie Heffernan, Self Portrait as
Several Tiny Gods.
Dan Sutherland, Plastic Martyrdumb
Head On with a Career Teeth
Propagator
is referred to as vertical layering. This
emphasis on technique instead of
narrative usually makes the work more
conceptual. Dan Sutherland is an example of a Maximalist painter
3

Essays
who explores technique. In his painting, Plastic Martyrdumb Head on
with a Career Teeth Propagator, Sutherland offers both figurative and
abstract forms, overwhelming the canvas in a flat and perspectivless
style.
The typical subject of a Maximalist painting addresses social
conditions in today’s world. The subject is usually a direct response to
the relationship between nature and culture. The viewer can observe
the tie between the human condition, social aspirations, and society’s
effect on the world. An example of this is Kehinde Wiley’s painting
Passing/Posing Assumption. Wiley is a young “up and coming” artist.
His paintings are masterful in technique and his subject is always a
young black male. He finds his models on the street, shows them his
work, and asks them to pick paintings from
a book of old master work. He then
appropriates the image, but changes the
subjects to address issues in hip/hop
culture.
Maximalist painting is not always an
overload of stuff on the canvas but it should
always create a sense of complexity.
Whether narrative or conceptual in design,
Maximalist painting should involve a
complex image to create a complex
experience that results in a complex
response to the painting. This means that
the picture plane of the painting itself is
complex but doesn’t necessarily need a
Kehinde Wiley, Pasing/Posing
(Assumption)
complex analysis to explain it. According to painter Lilian Garcia Roig,
a painting that is considered Maximalist should speak a thousand
words instead of needing a thousand word explanation.
Though Maximalist painting is hard to explain, it is easily
recognized when it is seen, a primary goal of the style. Maximalist
painting has many layers, verging on visual overload in the form of
narrative or technique as seen in the examples of the work of Julie
Heffernan, Dan Sutherland, or Kehinde Wiley. Maximalist painting
is consistent in its subject matter, which deals with the human
condition and often links human life to nature. Finally Maximalist
painting creates an environment in which the viewer may lose him
or herself. Maximalist painting is a unique style that analyzes itself
without the help of critical scrutiny.
4

A Reaction to Reductive Art
Essays
Throughout the twentieth century, many artists focused on the
reduction of form to reach a sense of purity through medium.
Examples of this reduction were seen in the Minimalist movement as
well as work produced by the German Bauhaus aesthetic. Both
philosophies, Minimalist and Bauhaus, used a “less is more”
approach. Maximalist painting doesn’t disagree with what these two
movements tried to achieve. It just asks the adverse question, “Why
can’t more be more (Garcia Roig)?” Maximalist painting offers work
in diametric opposition to these previous movements that produced
austere art forms.
However, to understand the
origins of Maximalist painting, one
must first understand its
predecessors. The history of art is a
history of evolution or change over
time. During the twentieth century,
a strand of thinking fostered the
simplification of art. The best
example of this was the
aforementioned Minimalism, a genre
that tended to focus on sculpture and primary geometric shapes. For
example, Tony Smith’s Die was literally a large black cube.
Minimalism, as a style, “lack[ed] identifiable subjects, colors, surface
textures, and narrative elements.” (Gardner, 1082). The goal of
Minimalism was to “prevent viewers from
drawing on assumptions or preconceptions”
while viewing art (1083). Minimalism’s
reductive qualities made it meditative and
relaxing. The viewer wasn’t “bamboozled”
by an array of images through which to sort.
Minimalism, like the Bauhaus, created a
metamorphic straight line to connect point A
to point B instead of offering a long
confusing maze.
Josef Albers, Homage to the
Square
Tony Smith, Die
An important goal for the German
Bauhaus, a school of art in the early
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Essays
twentieth century, was to link art with craft. Thus Bauhaus workshops
created everything: furniture, architecture, paintings and sculpture. As
with Minimalism, the Bauhaus espoused a “less is more” philosophy.
The art that came out of the Bauhaus felt solid, making use of straight
lines and patternless materials. For example the painting by Josef
Albers, Homage to the Square, was indicative of Bauhaus work. This
painting used a streamlined composition and restricted color. The
entire work was painted in red and orange. Albers’ painting was
minimal and bare. It fit into the Bauhaus “less is more” philosophy.
Now with the inception of the twenty-first century, artists often
expect “more” in the work they produce. Many returned to narrative
and a more painterly style with visual effects. An example of this can
be seen in Trenton Doyle Hancock’s painting, Painter and Loid
Struggle. This image features a narrative with mythological creatures
the artist incorporates in all of his
paintings. The story he tries to
convey is enticing.
Maximalist painting, a twentyfirst
century style, is a reaction to
reductive art. The Maximalist
philosophy is “more is more.” Works
from both Minimalist and the
Bauhaus schools of thinking were
simplistic and visually unstimulating.
Maximalist painting instead seeks to
become a source of visual
stimulation, an explosion for the
senses. Maximalism is
Trenton Doyle Hancock, Painter and Loid
Struggle
confrontational and direct. It is not meant to be meditative, but an
exciting, experience. Maximalist painting does not discount the
philosophy of the artistic style that preceded it but states that “less is
more” is not the only philosophy of art. Thus the twenty-first century
brings a new concept. Maximalist painting overwhelms the viewer
with an overload of images instead of taking everything visual out of
the art.

Lilian Garcia Roig
Artist Biographies
Lilian Garcia Roig is a painter of dense landscapes. Her
compositions can be overwhelming. Garcia Roig’s landscapes are
plein-air based, which means she paints them outdoors in the
environments in which the original scenes exist.
According to Garcia Roig, she is trying to “capture the character
of seemingly ordinary, dense landscapes in a way that reflects a
passionate engagement with the scene and with the painting
process.” With that being said, Garcia
Roig is trying to show the viewer the
passion the artist feels while painting.
She tries to capture the emotion in the
painting. Painting in the environment
better allows her to do so.
Garcia Roig’s goal is to make
the viewer feel as though they are in
the midst of the landscape. An
example of this can be seen in her
painting Lone Alderwood. This
Lilian Garcia Roig, Lone Alderwood
Lilian Garcia Roig, Lone Alderwood
painting depicts the dense and
tangled woods of North Florida. She
feels the painting should mentally and
physically take over viewers in a way
that puts them, or surrounds them, in
the location.
Garcia Roig paints trees, leaves,
and branches that seem to strive to break out of the picture plane of
the canvas. The heavy amount of paint Garcia Roig uses adds to this
effect. Her paintings have valleys and mountains of paint giving them
a three-dimensional quality. Garcia Roig will sometimes squeeze
paint directly from the tube onto the canvas. By doing this, the paint
itself is invading the viewer’s space just as the leaves of a tree might
if one were to walk through a forest.
Garcia Roig is currently a professor of painting at the Florida
State University.
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Dan Sutherland:
Artist Biographies
Dan Sutherland began his painting career by composing picture
planes full of unfamiliar, unrecognizable, and abstract objects.
Though the objects in his paintings appeared to be mere images of
the unknown, he was really depicting elaborate objects such as
jewelry, furniture and lavish costumes. These items were important
subjects of Sutherland’s paintings because he wanted to represent
the everyday
decadence to which
society has become
accustomed.
In more recent
paintings, Sutherland
has begun painting
flower arrangements in
an abstract manner. In
his still lifes, Sutherland
hopes to confront
viewers with beautiful
pictorial objects, a
means to urging the
audience to take a
closer look. The color
palette of Sutherland’s
Dan Sutherland, Pank Scabrous
paintings consists of warm reds, yellows and oranges that are
attractive to the viewer. The viewer should see then “a conflict
between human control/consciences and natural chaos.” Sutherland
feels the flower arrangements achieve this goal because they are
beautiful but naturally complex.
An example of this is Sutherland’s Pank Scabrous. This
painting shows an abstract floral arrangement surrounded by
geometric shapes. The painting is asymmetrical to say the least. The
balance appears to be askew. However, warm colors of the painting
blend together to create an inviting environment.
Sutherland is currently a professor of painting at the University
of Texas at Austin.

Peter Saul:
Artist Biographies
Peter Saul is known as a non-conformist artist. He does not
always paint subjects that people want or expect to see. Saul’s
paintings are intertwined with beauty, savagery, romance and
ugliness.
The beauty of Saul’s paintings comes from the unrefined
drapery of the lucid figures, which creates a flow the viewer can
follow throughout the painting. The ugliness of Saul’s paintings is
formed by the confrontational nature they possess. The paintings
don’t hold back.
An example of this
is Saul’s Art Critic’s
Suicide. This painting is
violent and bloody in an
antiseptic, pop art way.
As the two figures
commit suicide they look
at the viewer directly in
the eyes.
The romance and
savagery of Saul’s work
combine to reveal ideas
Peter Saul, Art Critics' Suicide
about the harshness of
death, social criticism,
self-absorption, or about having a lack of respect for others. All of this
is expressed through Saul’s use of a bold and brash color palette.
Saul combines abrasive colors, bold greens, blues, reds and yellows,
with his views on the moral decadence in pop culture to represent the
violence and vulgarity he sees in the world. All of the formal elements
of Saul’s paintings are meant to “disarm the viewer” creating a way to
make members of the audience sense their own vulnerability and to
make them examine their own morals. Saul’s work is meant to be
unapologetic.
Peter Saul currently lives and works in Florida.
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Masami Teraoka
Artist Biographies
Masami Teraoka is a narrative painter. A narrative painting
follows a story line. Although Teraoka’s paintings should be viewed
as realistic, they should not be viewed as reality, meaning that any
given work may be inspired by a particular event but not necessarily
show a naturalistic depiction of that event. Conversely the work may
be painted in a visually realistic way but not emanate from reality. The
subjects of Teraoka’s paintings confront political issues such as gay
marriage, Catholic priest scandals, and international affairs.
As Teraoka is a Japanese artist living and working in the United
States, he often
paints in a
manner that
depicts his
heritage and its
involvement with
Western
expansion. An
example of this is
his painting
McDonalds’
Hamburgers
Invading Japan.
This painting Masami Teraoka, McDonald's Hamburgers Invading Japan
illustrates two
women in traditional Japanese costume, jewelry, and up-do, which
signify them as Geishas. The wall behind the two women is
decorated with calligraphy, which is a popular motif in Japanese art.
The irony of the painting is that these very traditional Japanese
women are eating McDonalds’ hamburgers.
The goal of Teraoka’s paintings is to create a complex and
controversial pictorial plane. He paints with oil paints to depict scenes
he hopes will confront the viewer.

Interview with Lilian Garcia Roig
Lilian Garcia Roig, Supporting Branches
Artist Interview
Lilian Garcia Roig is a professor of painting at Florida State
University. Her paintings incorporate scenery from the north Florida
landscape.
Rachel Thornton: Which painters seem to exemplify Maximalism
more than others? Can you explain your choices?
Lilian Garcia Roig: Julie Heffernan is a good example because her
paintings are very dense. They have a Rococo, Post Modern and
Baroque style that make them interesting. Dan Sutherland is another
good example because he explores various techniques. Kehinde
Wiley’s painting also exemplifies Maximalist painting because they
are narrative, grossly realistic and they are very visually stimulating.
RT: What is the philosophy of Maximalist painting?
LGR: Maximalist painting tries to create a sense of more in art. In the
past art was reduced in the “less is more” theory until an explanation
was needed for understanding by the viewer. Maximalist painting
doesn’t disagree with the “less is more” concept, but asks why more
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Artist Interview
can’t be more. Maximalist painting is hard to define. Sometimes it’s
easier to say what it’s not as opposed to what it is. Maximalist
painting is not reductive. Maximalist painting should have multiple
readings that are subversive. The onion analogy is a good way to
describe it. One should be able to peel back layers of the painting: its
balance, the compositional details, and the technique used to execute
the painting.
RT: From what did Maximalist painting root?
LGR: Maximalist painting is a style that grew from, or reacted
against, movements in the twentieth century that involved a “less is
more” philosophy. The specific movements to which Maximalist
painting relates are Minimalism and the Bauhaus. Other movements
or time periods important to Maximalist painting are the Baroque and
Surrealism. These relate to what Maximalist painting is trying to do as
a style.
RT: What role, if any, does Minimalism play in Maximalist painting?
LGR: Maximalist painting is visual versus the conceptual of
Minimalism or the Bauhaus. Maximalist painting is a visual overload
that should be done in a very skilled and imaginative way.
RT: What inspires you within the idea of Maximalist painting? What
draws you to it?
LGR: In my paintings I try to tie in my Cuban heritage. My mother
plays a significant role in my painting. She could never understand
why I might want a nice simple black linen dress as opposed to a
colorful ruffled dress if they cost the same amount. Why wouldn’t you
choose the dress with more? I apply this to my painting. I like to
create paintings with a visual overload because if you can, then why
wouldn’t you?
*LGR: Lilian Garcia Roig. These comments are not to be taken literally but are drawn from notes
taken during an interview.

Definitions of Terms
Key Terms
Abstract- In painting and sculpture, emphasizing a derived, essential
character that has only a stylized or symbolic visual reference to
objects in nature.
Calligraphy- Handwriting or penmanship used as a decorative art.
Composition- The way in which an artist organizes forms in an
artwork, either by placing shapes on a flat surface or arranging forms
in space.
Conceptual- An American avant-garde art trend from the 1960s that
asserted the “artfulness” of art lay in the artist’s idea, rather than the
final expression.
German Bauhaus- A school of architecture in Germany in the 1920s
under the aegis of Walter Gropius, who emphasized the unity of art,
architecture and design.
Horizontal Layering- The expression of multiple narratives in a work.
Medium- The substance or agency in which the artist works.
Minimalism- An American predominantly sculptural trend of the
1960s whose works consist of a severe reduction of form to single,
homogeneous units called “primary structures.”
Narrative- Elements in a work of art arranged in such a manner as to
tell a story.
Still Life- A picture depicting an arrangement of objects.
Technique- The process that artists employ to create form, as well
as the distinctive, personal ways they handle their materials and
tools.
Vertical Layering- An emphasis on technique instead of narrative in
a work.
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Maximalist Painting versus Minimalism
Lesson Plans
Session Activity: The students will view several pieces of both Maximalist and
Minimalist art to learn how to distinguish movements in art history, to see their
similarities and differences.
Levels: 6-12
Time Needed: 45 min- 60 min.
Objective: Students will learn how to compare and contrast different types of art
and develop a better understanding for art history. They should learn how
paintings of various categories when studied can sometimes be proven to be
more alike or more different than they at first appear.
Materials:
- Paper and pencil or pen
- A selection of images from both the Minimalist movement and Maximalist
painting
- Pictures of Maximalist paintings and Minimalist art
- One or two slide projectors
Procedure:
Discussion
Explain to students what Maximalist painting and Minimalism is. Have them
identify the following:
• The definition of Maximalist painting and Minimalism.
• The differences in the primary medium of the two styles.
• Important artists who practiced Maximalist painting and Minimalism.
• The effect both styles have on the psyche.
• Technical executions of both styles.
• The purpose of both Maximalist painting and Minimalism.
• The use of color, line and imagery in Maximalist painting and Minimalism.
Activity
If a visit to the Maximalist painting exhibition is possible:
1. Before going to the museum, prepare students by showing them examples of
Maximalist painting and Minimalist art.
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Lesson Plans
2. Once at the museum, pass out the attached worksheet and show students an
example of Maximalist painting and begin a discussion about the work.
3. Once students have viewed the Maximalist painting ask them how it relates to
Minimalism. Show them a picture of a Minimalist work.
4. Lead a discussion in comparing and contrasting a Minimalist work, such as
Tony Smith’s Die, to a Maximalist painting.
If a visit to the Maximalist painting exhibition is not possible:
1. In the classroom, use a projector to project a piece of Maximalist painting such
as Julie Heffernan’s Self-Portrait As Several Tiny Gods. Ask the students to
describe what they see.
2. Project a piece of Minimalist art, such as Frank Stella’s Six Mile Bottom. Ask
the students to describe it.
3. Show both the Maximalist painting and the Minimalist art via the projector and
ask the students to discuss the differences, similarities and importance of both
pieces.
4. Provide the students with the attached worksheet and divide them into groups
of three or four people. Have the students discuss the artwork and fill out the
worksheet.
Evaluation: Students should be able to recognize both Minimalism and
Maximalist painting and how they relate to each other. Through the discussions
and the worksheet observe that students know the following points:
• The definition of Maximalist painting and Minimalism.
• The differences in the primary medium of the two styles.
• Important artists who practiced Maximalist painting and Minimalism.
• The effect both styles have on the psyche.
• Technical executions of both styles.
• The purpose of both Maximalist painting and Minimalism.
• The use of color, line and imagery in Maximalist painting and Minimalism.

Create a Maximalist Masterpiece
Session Activity: The students will create their own Maximalist paintings.
Levels: 6-12
Time Needed: Make into several class sessions.
Lesson Plans
Objective: Students will develop a better understanding of vertical and horizontal
layering. As they create their Maximalist paintings they should think about
whether they want their paintings to be narrative or technical.
Materials:
- Paint
- Paintbrushes
- Canvas or paper
Procedure:
Discussion
• Explain to the students what Maximalist painting is.
• Help them understand the goals and ideas behind it.
• Explain horizontal and vertical layering in detail.
• Discuss the differences, similarities and importance of both vertical and
horizontal layering.
• Ask students to think about which style they like the best and why.
Activity
1. Ask students to make a painting that is an example of either vertical or
horizontal layering.
2. When finished, students should discuss their paintings with the class. They
should explain their use of vertical or horizontal layering, why they liked one over
the other, how their paintings relate to vertical and horizontal layering, and what
makes their paintings Maximalist paintings.
Evaluation: By viewing and discussing the paintings the students create, they
will demonstrate an understanding of Maximalist painting and what goes into
creating a Maximalist painting. They will display their knowledge of vertical and
horizontal layering.
16

Identifying Maximalist Characteristics
Lesson Plans
Session Activity: The students will examine several art pieces and discuss the
extent of each one’s Maximalist qualities, ultimately identifying those that could be
considered Maximalist works.
Levels: 6-12
Time Needed: 45 min - an hour
Objective: Students will learn the ideas and visual characteristics associated with
the Maximalist style thus enabling them to identify historical or museum art works that
could be considered Maximalist by discussing their Maximalist qualities.
Materials:
-paper and pencil (for the purpose of taking discussion notes)
-access to a selection of various images of well-known paintings from throughout
history or access to a museum exhibit
Procedure:
Discussion
Talk to the students about the fundamental tenets of the Maximalist style.
Discuss its distinctive aspects:
-Being visually dense and conceptually complex
-Exhibiting multiple, converging narratives (horizontal layering)
-Exhibiting definite technical skill in the application of paint and/or
depiction of figures (vertical layering)
-Featuring subject matter that is relatable to viewers and/or addresses
social conditions linking human life to nature
-Producing a complex experience and response for the viewer
Next, present the following image to the students:
Lake Talquin Summer
By Mark Messersmith
Examine this example of modern Maximalist work and discuss its distinctive
features with the students.
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Activity
If a visit to a local museum or art exhibit is possible:
1. Divide the students into several small groups.
Lesson Plans
2. Assign each group approximately three pieces featured in the
exhibit.
3. Have each group analyze each of their piece’s capacity for being
considered Maximalist by evaluating its demonstration of Maximalist
characteristics.
4. Once the students are done, have the class come together, and
have each group lead a class discussion examining the Maximalist
characteristics of the works they consider to exhibit qualities of the
style.
If a museum visit is not possible:
1. Assign each student the task of researching and obtaining an image
of a historical art piece that he or she believes may exhibit Maximalist
features.
2. Have each student present the chosen image to the class and lead a
class discussion on the ways the piece depicts Maximalist tendencies.
3. Discuss in class how specific features of well-known, historical art
works may have influenced the emergence of the modern-day
Maximalist style.
-Examples of appropriate works include:
-Garden of Earthly Delights by Bosch
-Raft of the Medusa by Gericault
-Chartres Cathedral stained glass windows
-Last Judgment by Michelangelo Buonarroti
-Ancient Mexico by Diego Rivera
Evaluation: By observing the students’ identification and presentation of either the
museum pieces or historical images, assess their ability to identify and discuss
features of the Maximalist style. If a museum or gallery is visited, students should be
able to identify works that could be considered Maximalist. If historical art works are
obtained and presented, the students should be able to choose pieces that can either
clearly be defined as Maximalist or show some evidence of possibly providing

Lesson Plans
influence to the Maximalist style of today. All pieces and presentations should also
be effectively supported by discussion based on the students’ applied knowledge of
the style.
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Extra Lesson Plans and Activities
Lesson Plans
Note: Each plan/activity listed below includes examples of Maximalist painters (and some artwork) a number
of those examples can be found in this packet, but some cannot and must be researched entirely from
scratch. The internet will provide an immediate reference for all these names.
Maximalist Artists and Their Work: Students will complete a research project
on a specific Maximalist artist in order to gain detailed knowledge of the notable
figures of the style and significant works of the movement.
Step 1: Lead a general discussion of Maximalist painting as a style,
making mention of its technical and compositional characteristics,
prominent Maximalist artists, and the current emergence of this style.
Step 2: Assign a Maximalist artist to each student and have each
research information concerning the life of the artist and his/her
role/involvement in Maximalist painting. Research should be assembled
into a project exhibiting this information with the “masterworks” of the artist
and an analysis of his or her distinct technical style and subject matter.
Good examples of Maximalist artists are: Trenton Doyle Hancock, Julie
Heffernan, Edward Monovich, and Cecily Brown.
Baroque + Surrealist = Maximalist painting: Students will examine the
influence of the Baroque and Surrealist movements in the Maximalist painting
style of today.
Step 1: Discuss the vividly ornate and technically detailed nature of the
Baroque style and the fantastic subject matter and figure arrangement
essential to Surrealism. An example of a Baroque painting is El Greco’s
The Burial of Count Orgaz, and an example of a Surrealist painting is
Giorgio De Chirico’s painting Melancholy and Mystery of a Street.
Step 2: Choose several images of Maximalist paintings that you feel
exhibit both Baroque and Surrealist elements.
Step 3: Present these images to the class and discuss the obvious
Baroque and Surrealist visual characteristics displayed in each and how
these two movements are a major influence in Maximalist art.
Involving the Viewer:
Step 1: Discuss the Maximalist objective of involving the viewer in an art
piece and giving the viewer a sense of being surrounded by the dramatic
subject matter. For example, Lilian Garcia Roig’s paintings picture dense
and thick forest landscapes that feel as though they are coming out of the
canvas to surround the viewer.
Step 2: Have the students draw or paint a small piece in which they
create a design exhibiting Maximalist features. Xerox these images into a
repetitive pattern on paper that can be folded into a visor or mechanism
that will cover the viewer’s eyes. When the students wear the pieces, they
will experience the effect of being completely absorbed into the artistic
representation—a key objective in Maximalist art.
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Lesson Plans
Studying characteristics of a Maximalist painter:
Step 1: Many Maximalist artists are known for exhibiting a particular
theme, technical style, or subject matter that is characteristic to him or her.
For example, Lilian Garcia Roig is recognized for her lively wooded
scenes and Kehinde Wiley always features a young black male in his
work. Other artists such as Daniel Dove and James Barsness also
incorporate a certain style in their paintings. Have each student study the
individual style and unique characteristics of a Maximalist artist’s work that
is specific to that artist.
Step 2: In a drawing or painting of his or her own, each student should
attempt to replicate recognizable elements of the artist’s style.
Examining social context in Maximalist pieces:
Step 1: Discuss with students the Maximalist objective of featuring subject
matter that has a social context, is deeply relatable to the viewer, and
addresses relevant conditions concerning human society.
Step 2: Choose and display a few Maximalist images that convey this
social awareness. Discuss the students’ interpretations of each piece as it
relates to society, how the artist feels about the subject presented, and
what social commentary or message the piece is trying to express. A few
examples of artists and work to research are: Masami Teraoka’s painting
McDonald’s Hamburger’s Invading Japan, Dan Sutherland’s painting Pank
Scabrous, Nigel Cook’s painting Sylvia Morosa, or Jin Meyerson’s painting
Friendly Fire.

Image Index
Image Index
*Index of pictures as they appear on the disc. Pictures are for educational use only.
Dan Sutherland, Pank Scabrous
Dan Sutherland, Plastic Martyrdumb Head On with a Career Teeth Propagator
Josef Albers, Homage to the Square
Julie Heffernan, Self-portrait as Several Tiny Gods
Julie Heffernan, Self-Portrait as a Gorgeous Tumor 2
Kehinde Wiley, Passing/Posing (Assumption)
Lilian Garcia Roig, Lone Alderwood
Lilian Garcia Roig, Supporting Branches
Masami Teraoka, McDonald’s Hamburgers Invading Japan
Peter Saul, Art Critic’s Suicide
Tony Smith, Die
Trenton Doyle Hancock, Painter and Loid Struggle
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Bibliography
Batchelor, David. Minimalism. 1 st ed. Vol. 1. Hong Kong: University of
Cambridge, 1997. 1-75
Garcia Roig, Lilian. Person interview.
Lewis, Sarah. “De(i)fying the Masters.” Art in America Apr. 2005: 121-
124.
Gardner, Helen. Art Through The Ages. 11 th ed. Vol. 1. Harcourt
College Publishers, 2001. 1-1137
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