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Title<br />
Grade 4 – Inferring <strong>character</strong> <strong>traits</strong> in a work of fiction (Can be easily modified for use with all<br />
grade levels)<br />
Student Target<br />
Timeline:<br />
Essential Idea: Elements of Story<br />
Strand: Reading Process<br />
Standard: Literary Analysis<br />
Reading Benchmark: LA.4.2.1.2 The student will identify and explain the elements of plot structure,<br />
including exposition, setting, <strong>character</strong> development, problem /resolution, and theme in a variety of<br />
fiction.<br />
Visual Art Benchmark: VA.4.C.3.3 Use the art-making process, analysis, and discussion to identify the<br />
connections between art and other disciplines; VA.4.H.2. Explore works of art, created over time, to<br />
identify the use of the structural elements of art in an historical event or art style.<br />
Reading Student Target: I can identify the <strong>traits</strong> of a <strong>character</strong> using clues in the story.<br />
Visual Art Student Target: I can explain the <strong>traits</strong> of a <strong>character</strong> by creating a cubist portrait.<br />
Marzano Strategies: Having students represent their learning nonlinguistically; presenting new<br />
information in small chunks; asking questions that require students to elaborate on information; having<br />
students reflect on their learning<br />
Fountas & Pinnell’s Continuum of Literacy Learning Goal: Demonstrate understanding of <strong>character</strong>s,<br />
using evidence from text to support statements. (Guided Reading Level N, Thinking Beyond the Text,<br />
Inferring)<br />
Background Information: Understanding the <strong>character</strong>s in a text is central to comprehending the story.<br />
But a thorough <strong>character</strong> analysis requires students to infer abstract <strong>traits</strong> from the literal information<br />
provided in the text, a task requiring critical thinking skills. Students make inferences based on what a<br />
<strong>character</strong> says, does, and by what other <strong>character</strong>s say and do in response to that <strong>character</strong>. They also<br />
see if the <strong>character</strong> changes throughout the story. In this lesson students use inferencing skills to analyze<br />
a <strong>character</strong>’s <strong>traits</strong> in a work of fiction, chart their findings, and then apply their knowledge by creating a<br />
visual representation of the <strong>traits</strong> using a cubist-style portrait. In cubist artworks objects are broken up,<br />
analyzed, and re-assembled in an abstracted form. Rather than depicting objects from one viewpoint,<br />
the cubist artist depicts the subject from a multitude of viewpoints to represent the subject in a greater<br />
context—an appropriate approach for students to use when trying to determine specific <strong>character</strong><br />
<strong>traits</strong>.<br />
Materials<br />
Teachers:<br />
Character Traits & Cubism PowerPoint (attached)<br />
chart paper to record shapes and their meanings, and another for colors and their meanings<br />
Students:<br />
Character Study student page (attached)<br />
1 sheet of notebook paper per student, on which they write a description of their portrait<br />
art supplies for cubist portrait (8.5 x 11 paper as background, old magazines, construction<br />
paper, markers, crayons, paint, glue, scissors, etc.)<br />
Note: This lesson will require at least three class periods of 60 to 90 minutes. The three lesson parts<br />
are noted in the following lesson plan.
Part 1<br />
Warm-Up<br />
Project the first slide of the PowerPoint (the Big, Bad Wolf), and explain to students that this is a <strong>character</strong><br />
from a story they all know. Can you guess who this represents? (the Big, Bad Wolf” from Little Red<br />
Riding Hood).<br />
How did you identify this <strong>character</strong>?(i.e. the sharp teeth, pointy ears, long snout, and because they<br />
know the story well). Can the colors help you identify any <strong>character</strong> <strong>traits</strong>, and if so how? (i.e. red<br />
might represent danger, the dark colors might represent evil, etc.). Are there any shapes that help you<br />
identify <strong>character</strong> <strong>traits</strong>? (the pointed shapes with sharp angles might represent something unpleasant<br />
or hurtful, etc.)<br />
This artwork represents the <strong>character</strong> <strong>traits</strong>, or personality, of the Big, Bad Wolf. It’s not a<br />
realistic portrait of the Big, Bad Wolf, but a way of showing all of his <strong>character</strong> <strong>traits</strong> at the same<br />
time. This style of art is called “Cubism.” In this style the artist breaks the subject apart into<br />
pieces, takes out parts that aren’t important, and puts the rest of the pieces back together in<br />
interesting ways. The idea is to show the subject, like the Big, Bad Wolf, in many ways at the same<br />
time so we can really understand that subject.<br />
Why is it important to understand the <strong>character</strong> <strong>traits</strong> of the Big, Bad Wolf when reading Little Red<br />
Riding Hood? (i.e. it helps us understand the story better, allows us to make good predictions, gives us<br />
an idea of the author’s purpose, helps us compare/contrast this <strong>character</strong> with another <strong>character</strong>, etc.).<br />
Is there another <strong>character</strong> in the story with very similar or very different <strong>character</strong> <strong>traits</strong>? (Little<br />
Red Riding Hood is the exact opposite of the Wolf!) Why do you the author used <strong>character</strong>s with very<br />
opposite <strong>traits</strong> in this story? (By making Little Red Riding Hood such a good <strong>character</strong>, it makes the<br />
Wolf look even worse).<br />
Lesson/Activity<br />
Today we will practice identifying <strong>character</strong> <strong>traits</strong>. Listen as I read two lines from a Brothers<br />
Grimm fairy tale called “Faithful John,” and try to identify the <strong>traits</strong> of the <strong>character</strong> named<br />
Faithful John:<br />
Once upon a time there was an old king who was ill. His very favorite servant was called Faithful<br />
John, and he was called that name because for his whole life he had been very true to his king.<br />
Can you determine Faithful John’s <strong>character</strong> <strong>traits</strong> just from these two lines? (i.e. he was faithful,<br />
trustworthy, etc.). How did you decide upon those responses? (the story told us--even his name tells<br />
us his main trait).<br />
In the example above the author told us exactly what the <strong>character</strong> <strong>traits</strong> were for Faithful John.<br />
But it’s not always that easy! Sometimes we have to look for other clues in a story in order to<br />
understand a <strong>character</strong>, like what they say or do, or even what other <strong>character</strong>s say about them or<br />
how they treat them. We can also look at how a <strong>character</strong> changes over time—that can tell us a lot<br />
about their <strong>traits</strong> too.
Now listen as I read a few lines from the Brothers Grimm story called “The Golden Goose,” and try<br />
to identify the <strong>character</strong> <strong>traits</strong> of the son:<br />
The oldest son went into the forest to cut wood, and met an old grey-haired man who asked if he<br />
could spare something to eat. The son figured that if he shared his bread he might not have<br />
enough for himself, so he told the old man to get out of his way. The old man looked sad and<br />
somewhat angry, and slowly walked away.<br />
Turn and talk to a partner to see if you can you determine the son’s <strong>character</strong> <strong>traits</strong>. After a minute<br />
ask students to share with the whole group. (i.e. the son was stingy, rude, self-centered, disrespectful,<br />
etc.). How did you identify these <strong>traits</strong> since the author doesn’t use any adjectives to describe the<br />
son? (i.e. based on his thoughts and how he treated the old man). This is an example of how you can<br />
use other clues to determine <strong>character</strong> <strong>traits</strong>.<br />
Chart Activity<br />
Pass out the “Character Study” student page and project an image of it using the document camera. One<br />
way to organize your thoughts about a <strong>character</strong>’s <strong>traits</strong> is to use a chart. This chart allows you to<br />
think about the clues in a story that help you determine <strong>character</strong> <strong>traits</strong>. Today you will use this<br />
chart to identify the <strong>traits</strong> of a <strong>character</strong> in a story you are reading now. Model how to fill out the<br />
chart using the <strong>character</strong> of the Big, Bad Wolf, then challenge students to complete their own chart based<br />
on a <strong>character</strong> from a story they are reading now. Try to come up with as many <strong>character</strong> <strong>traits</strong> as<br />
possible because you will be creating your own cubist portrait of your <strong>character</strong>, just like the<br />
portrait of the Big, Bad Wolf we saw earlier!<br />
Give students about time to complete their chart. If all students finish, ask a few to share their lists of<br />
<strong>character</strong> <strong>traits</strong>.<br />
Part 2<br />
If students did not complete their Character Study student page, give them time to do so. When all<br />
students have finished, ask several students to share their lists.<br />
PowerPoint & Cubism Portrait Activity<br />
Before you use your chart to create a cubist-style portrait, let’s learn a little about that style of art<br />
by looking at the art of Pablo Picasso. Show the Character Traits & Cubism PowerPoint, starting with<br />
the second slide (title page). Explain that all of these paintings are by Pablo Picasso. For slide 9, explain<br />
that students will be focusing on two particular elements of art for this project, shape and color. Write the<br />
words “geometric” and “organic” on the board.<br />
Shapes can be geometric, such as circles, squares, triangles. Or shapes can be organic, which<br />
means freeform and curved, like the clouds and flowers. Think carefully about which shapes you<br />
choose for your portrait, since geometric and organic shapes can represent very different kinds of<br />
<strong>character</strong> <strong>traits</strong>. Turn to your partner and discuss what <strong>character</strong> <strong>traits</strong> a triangle and a cloud<br />
shape might represent. Have a few students share their answers, i.e. a very pointy triangle might<br />
represent a smart (“sharp”) <strong>character</strong>; a cloud shape could represent that a <strong>character</strong> is a “softie.” Record<br />
these on a wall chart that can remain in the room as a resource for students as they create their por<strong>traits</strong>.<br />
For slide 10, write the words “hue,” “intensity,” and “value” on the board.<br />
Color has three properties:<br />
hue: the name of the color, such as red or violet<br />
intensity: the brightness of a color; a pure yellow is bright, but adding a little violet would make<br />
the yellow less bright and more dull<br />
value: the darkness or lightness of a color, such as dark blue vs. light blue
Think carefully about which colors you choose for your portrait, since the hue, intensity, and<br />
values of colors can represent very different kinds of <strong>character</strong> <strong>traits</strong>. Turn to your partner and<br />
discuss what <strong>character</strong> <strong>traits</strong> dark blue and light blue might represent. Have a few students share<br />
their answers, i.e. dark blue could represent evil; light blue could represent a youthful male. Record these<br />
on a wall chart that can remain in the room as a resource for students as they create their por<strong>traits</strong>.<br />
For slides 11 – 13, ask students to look closely at Picasso’s art and identify how he used shapes and<br />
colors to reveal <strong>character</strong> <strong>traits</strong> about the subjects; encourage them to use the terms geometric, organic,<br />
hue, intensity, and value (i.e. for slide 11, Three Musicians, the colors have intensity/brightness which<br />
might represent cheerful people; for slide 12, Dora Maar au Chat, the almost geometric, sharp shapes of<br />
her fingernails might represent a hint of evil; for slide13, Weeping Woman with handkerchief, the organic,<br />
teardrop shaped eyes might represent grief and sadness).<br />
Slides 14-17 are student examples of cubist por<strong>traits</strong>, as well as another artist’s work. Students can<br />
analyze the shapes and colors of the cubist-style por<strong>traits</strong> to determine <strong>character</strong> <strong>traits</strong>.<br />
For slide 18, review the rubric for this project.<br />
Now, using the <strong>character</strong> <strong>traits</strong> you recorded on your chart, you will create your own cubist-style<br />
portrait for that <strong>character</strong>! You will have many materials to choose from, including different types<br />
of paper, magazines, paint, colored pencils, and markers. Remember to carefully choose the<br />
shapes and colors to represent the <strong>character</strong> <strong>traits</strong>.<br />
When you finish your portrait, you must write an explanation of your portrait. Your explanation<br />
must include the title of the book you are reading, the <strong>character</strong> you represented, and an<br />
explanation of your choices of shapes and colors, and how these represent your <strong>character</strong>’s<br />
<strong>traits</strong>.<br />
You will present your portrait to the class, describing the <strong>traits</strong> and the ways you represented<br />
them.<br />
Allow students adequate time to complete their cubist por<strong>traits</strong>. If all students finish, ask each student to<br />
share their portrait and written description.<br />
Part 3<br />
If students did not complete their cubist por<strong>traits</strong> and written explanations, allow them time to do so now.<br />
Also allow time for each student to share their portrait and writing with the class.<br />
Wrap-Up<br />
After students complete their por<strong>traits</strong> and written explanations and presented them to the class, ask<br />
reflection questions like the following:<br />
About their por<strong>traits</strong>:<br />
• Was there a <strong>character</strong> trait that more than one student chose to use in a portrait?<br />
• If so, what was this <strong>character</strong> trait, and was it represented the same way by different<br />
students? Why or why not?<br />
• Why do you think some <strong>character</strong> <strong>traits</strong> were shown by more than one student?<br />
• Were there any <strong>traits</strong> that were difficult to represent with your cubist portrait? Explain.<br />
• Did making a cubist portrait help you to understand <strong>character</strong> <strong>traits</strong> better? Why or why<br />
not?
About the visual art objectives:<br />
• Were the cubist por<strong>traits</strong> easy or difficult to create? Explain.<br />
• Were the cubist por<strong>traits</strong> your classmates created easy or difficult to understand in terms<br />
of <strong>character</strong> <strong>traits</strong>? Explain.<br />
• Is Cubism a good way to show <strong>character</strong> <strong>traits</strong>? Why or why not?<br />
• How would you explain Cubism to someone who knew nothing about it?<br />
About the language arts objects:<br />
• Why is it important to understand the <strong>traits</strong> of the <strong>character</strong>s in the stories you read?<br />
• Was it easy or difficult to identify your <strong>character</strong>’s <strong>traits</strong> using the chart? Explain.<br />
• How are <strong>character</strong>s created by an artist and <strong>character</strong>s created by an author similar or<br />
different?<br />
• Next time you read a book, what types of clues will you use to help you better understand<br />
a <strong>character</strong>’s <strong>traits</strong>?<br />
.<br />
Daily Assessment<br />
Have student review their portrait using the project rubric that you project onto the screen (last slide of the<br />
PowerPoint).<br />
Teacher Reflection<br />
How did this lesson work—what went well and what did not?<br />
What would you do differently next time?<br />
Based on the student outcomes from this lesson, what would be your next steps?<br />
Attachments<br />
PowerPoint<br />
Character Study student page<br />
Date Created: 11-9-11<br />
Originator: Jeff Fessler (based on a lesson by Kari Ratka)<br />
Owner:<br />
Last Modified:<br />
Last Modified By:
Character Study<br />
My book: ______________________________________________________________________________________<br />
My <strong>character</strong>: __________________________________________________________________________________<br />
What does the <strong>character</strong> SAY that gives a clue to <strong>character</strong> <strong>traits</strong>?<br />
Looking at what you’ve<br />
written in the boxes to the<br />
left, list the <strong>traits</strong> of your<br />
<strong>character</strong>:<br />
1.<br />
What does the <strong>character</strong> DO that gives a clue to <strong>character</strong> <strong>traits</strong>?<br />
2.<br />
Does the <strong>character</strong> make GOOD or BAD choices?<br />
3.<br />
How does the <strong>character</strong> affect other <strong>character</strong>s in the story?<br />
4.<br />
What are the words used over and over to describe the <strong>character</strong>?<br />
5.<br />
What items associated with the <strong>character</strong> say something about his/her<br />
<strong>character</strong> <strong>traits</strong>?<br />
6.<br />
How does the <strong>character</strong> change in the story?<br />
7.
PowerPoint<br />
Slide 1<br />
Jeff Fessler, American.<br />
Stora, Stygga Vargen, 2011<br />
This is the cubist version of the Big, Bad Wolf from Little Red Riding Hood.
Slide 2<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Jacqueline Rocque, 1957<br />
Cubism<br />
From Wikipedia, the free encyclopedia<br />
Jacqueline Roque (February 24, 1927 – October 15, 1986) was the second wife of Pablo Picasso<br />
and his frequent model. Picasso spent the last 20 years of his life with Roque, during which time<br />
he created more than 400 por<strong>traits</strong> of her. [1] They had no children.<br />
Life<br />
Before meeting Picasso, she was a saleswoman at Madoura Pottery in Vallauris, where Picasso's<br />
ceramic works were created. After Pablo Picasso separated from Françoise Gilot, they began<br />
their relationship. They married in Vallauris on 2 March 1961. Roque's image began to appear in<br />
Picasso's paintings in May 1954. These por<strong>traits</strong> are <strong>character</strong>ized by an exaggerated neck and<br />
feline face, distortions of Roque's features. Eventually her dark eyes and eyebrows, high<br />
cheekbones, and classical profile would become familiar symbols in his late paintings.
Slide 3<br />
Cubism<br />
Invented in early<br />
1900s<br />
by<br />
Pablo Picasso &<br />
Georges Braque<br />
Pablo Picasso:<br />
• Born in Spain<br />
• showed artistic talent at a very early age<br />
• first words said to have been spoken were to ask for a pencil<br />
• father was an art teacher; by age 15 was accepted at art academy<br />
• produced more art in more different media than any other artist<br />
• together with Georges Braque began Cubism style of art<br />
• influenced by African tribal art.<br />
• Went through different periods in his art styles: early, Blue and Rose, Classical, Cubism,<br />
"Guernica", and por<strong>traits</strong>.
Slide 4<br />
How Picasso<br />
painted first…<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Portrait of Gertrude Stein,<br />
1906<br />
From the Metropolitan Museum of Art:<br />
"For me, it is I, and it is the only reproduction of me which is always I, for me." Thus<br />
wrote Gertrude Stein (1874-1946) in 1938. For Stein, this painting was proof of her<br />
irrevocable link to Picasso, whom she would come to regard as the greatest artist of her<br />
time. She saw the painting as a collaboration between two emerging giants: a twentyfour-year-old<br />
Spanish painter and a thirty-two-year-old American writer, two expatriates<br />
in Paris, each as yet unrecognized but both destined for greatness.<br />
They met after Stein had acquired several of his pictures. Although Picasso usually<br />
worked quickly, there were many sittings throughout the winter of 1905-6. The figure<br />
remained the same, but the head was repainted at least three times, evolving from a full<br />
profile to the nearly frontal view of the final state.
Slide 5<br />
and just a few<br />
years later….<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Portrait of Daniel-Henry<br />
Kahnweilier, 1910<br />
Daniel-Henry Kahnweiler (25 June 1884 - 11 January 1979), born in Germany, was an art<br />
historian, an art collector and one of the premier French art dealers of the 20th century. He<br />
became prominent as an art gallery owner in Paris beginning in 1907 and he was among the<br />
first champions of Pablo Picasso, Georges Braque and Cubism. [<br />
-from Wikipedia
Slide 6<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Polichinelle with Guitar<br />
Before the Stage Curtain,<br />
1919
Slide 7<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Marie-Therese Walter, 1937<br />
Marie-Thérèse Walter (July 13, 1909 – October 20, 1977) was a French love interest and model<br />
of Pablo Picasso from 1927 to about 1935, and the mother of his daughter, Maya Widmaier-<br />
Picasso. In Picasso's paintings, Walter appears as blonde, sunny and bright, in contrast to his<br />
darker portrayal of Dora Maar, whom Picasso painted as the tortured "weeping woman".<br />
Picasso supported Marie and daughter Maya financially, but he never married Marie.<br />
On 20 October 1977, four years after Picasso's death, Marie-Thérèse committed suicide.<br />
In 2004, Maya's son and Marie-Thérèse's grandson, Olivier Widmaier Picasso, published a<br />
biography of his famous grandfather titled Picasso: The Real Family Story.<br />
-from Wikipedia
Slide 8<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Femme a La Fesille, 1938
Slide 9<br />
Elements of art<br />
to look for:<br />
shape<br />
geometric<br />
organic
Slide 10<br />
Elements of art<br />
to look for:<br />
color<br />
hue intensity value<br />
bright<br />
yellow<br />
dull<br />
color name brightness light or dark
Slide 11<br />
Pablo Picasso,<br />
1881-1973,<br />
Spanish.<br />
Three<br />
Musicians,<br />
1921<br />
Three Musicians is the title of two similar collage and oil paintings by Spanish artist Pablo<br />
Picasso. They were both completed in 1921 in Fontainebleau near Paris, France, and exemplify<br />
the Synthetic Cubist style.<br />
Each painting features a Harlequin, a Pierrot, and a monk, who are generally believed to<br />
represent Picasso, Guillaume Apollinaire, and Max Jacob, respectively. Apollinaire and Jacob,<br />
both poets, had been close friends of Picasso during the 1910s. However, Apollinaire died of the<br />
Spanish flu in 1918, while Jacob decided to enter a monastery in 1921<br />
-from Wikipedia
Slide 12<br />
Pablo Picasso, 1881-1973,<br />
Spanish.<br />
Dora Maar au Chat, 1941<br />
Dora Maar au Chat (Dora Maar with Cat) is a 1941 painting by Pablo Picasso. It depicts Dora<br />
Maar, the painter's love interest, seated on a chair with a small cat perched on her shoulders.<br />
This work is one of the world's most expensive paintings.<br />
History<br />
The canvas (50 ½ by 37 ½ inches / 128.3 cm by 95.3 cm) was one of many por<strong>traits</strong> of Dora<br />
Maar painted by Pablo Picasso over their nearly decade-long relationship. Picasso fell in love<br />
with the 29-year old Maar at the age of 55 and soon began living with her. This painting was<br />
done during the year 1941, when the Nazis were occupying France. In the 1940s, the painting<br />
was obtained by Chicago collectors Leigh and Mary Block. They sold the painting in 1963 . After<br />
that, the painting was never shown until the 21st century.<br />
During 2005 and 2006, Dora Maar au Chat, then owned by the Gidwitz family of Chicago, was<br />
shown worldwide as part of Sotheby's exhibitions in London, Hong Kong and New York. It came<br />
up for sale in an auction of Impressionist/Modern works held at Sotheby's on May 3, 2006 in
New York and making it the second-highest price ever paid for a painting at auction. An<br />
anonymous Russian [1] bidder present at the New York auction won the work with a final bid of<br />
US$95,216,000, well exceeding the pre-auction US$50 million estimates.<br />
Descriptions of painting<br />
Dora Maar au Chat presents the artist's most mysterious and challenging love interest regally<br />
posed three-quarter length in a large wooden chair with a small black cat perched behind her in<br />
both an amusing and menacing attitude. The faceted planes of her body and richly layered<br />
surface of brushstrokes impart a monumental and sculptural quality to this portrait.<br />
The painting is also remarkable for its brilliance of color and the complex and dense patterning<br />
of the model's dress. The powerful figure is set in a dramatic, yet simple setting composed of a<br />
vertiginously inclined plane of wooden floorboards and shallow interior space that is arranged<br />
in a manner reminiscent of Picasso’s earliest manipulations of space in a cubist manner.<br />
The luminous Dora Maar au Chat was painted in 1941, at the beginning of the Second World<br />
War in France , and is one of Picasso’s most valued depictions of his love interest and artistic<br />
companion. Their partnership had been one of intellectual exchange and intense passion—Dora<br />
was an artist, spoke Picasso’s native Spanish, and shared his political concerns. She was an<br />
intellectual force – a <strong>character</strong>istic that both stimulated and challenged Picasso and her<br />
influence on him resulted in some of his most powerful and daring por<strong>traits</strong> of his 75-year<br />
career.<br />
Maar was one of the most influential figures in Picasso’s life during their relationship and she<br />
also became his primary model. During the occupation of Paris by the Nazis, and as tension<br />
mounted in their relationship, the artist would express his frustration by furiously abstracting<br />
her image, often portraying her in tears. Picasso once likened Maar’s allure and temperament to<br />
that of an “Afghan cat”, and the cat in this picture is laden with significance. In the history of art,<br />
the pairing of cats and women was an allusion to feminine wiles.. It is also interesting to<br />
consider that the artist has paid particular attention to the sharp, talon-like nails on the long<br />
fingers of his model. In life Maar’s well-manicured hands were one of her most beautiful and<br />
distinctive features, and here they have taken on another, more violent <strong>character</strong>istic.<br />
In addition to being a rare, three-quarter length portrait of Dora Maar, the present work is also<br />
a generous and painterly composition with an extraordinary attention to detail. The artist used<br />
an extraordinarily vibrant palette in his rendering of the angles of the chair and the patterning<br />
of Maar’s dress. The most embellished and symbolic element of the sitter’s wardrobe in this<br />
picture is her hat, Maar’s most famous accessory and signifier of her involvement in the<br />
Surrealist movement. Ceremoniously placed atop her head like a crown, it is festooned with<br />
colourful plumes and outlined with a band of vibrant red. Larger than life, an impression<br />
enhanced by her vibrant body that cannot be confined by the boundaries of the chair, Maar<br />
looms in this picture like a pagan goddess seated on her throne.<br />
-from Wikipedia
Slide 13<br />
Pablo Picasso,<br />
1881-1973,<br />
Spanish.<br />
Weeping<br />
Woman with<br />
Handkerchief,<br />
1941<br />
This stylized yet deeply moving image of a crying woman is part of a series of works that Pablo<br />
Picasso painted in 1937. Collectively, the series is known as “The Weeping Women.” They were<br />
made during and after the time Picasso painted “Guernica,” his epic mural provoked by the<br />
devastation of the Civil War taking place in Picasso’s native Spain. This woman’s tears are<br />
reminders of the innocent victims of battle. The scarf over her head - called a mantilla -<br />
identifies her as a Spaniard.<br />
To depict the suffering and pain of his figures, Picasso developed various stylistic elements.<br />
Notice how her tears seem attached by strings to eyes shaped like teardrops. The billowy white<br />
shape to the left, almost a caricature, represents a handkerchief pressed to the woman’s face.<br />
Every detail has been manipulated to maximize the impression we have of an emotional<br />
intensity that realism would be incapable of communicating.<br />
-from LACMA
Slide 14<br />
example<br />
of<br />
student<br />
work
Slide 15<br />
example<br />
of<br />
student<br />
work
Slide 16<br />
example<br />
of<br />
student<br />
work
Slide 17<br />
example<br />
of<br />
another artist’s<br />
work<br />
Sandra Silberzweig
Slide 18<br />
Target: I can create a portrait in the cubist style that shows my<br />
understanding of the art elements of color and shape, and that<br />
shows my understanding of <strong>character</strong> <strong>traits</strong>.<br />
KEEP TRYING ALMOST THERE ON TARGET WAY BEYOND<br />
• I don’t recognize<br />
these art<br />
elements, the<br />
style of <strong>cubism</strong>, or<br />
the <strong>traits</strong> of my<br />
<strong>character</strong>.<br />
• I can explain the<br />
art elements and<br />
<strong>cubism</strong>, but I<br />
haven’t used<br />
them to show the<br />
<strong>character</strong> <strong>traits</strong> in<br />
my portrait<br />
•I can define and<br />
identify the art<br />
elements and<br />
<strong>cubism</strong>, and used<br />
them to focus on<br />
the <strong>character</strong><br />
<strong>traits</strong> in my<br />
portrait.<br />
•I used the art<br />
elements and<br />
<strong>cubism</strong> in a<br />
completely new<br />
and innovative<br />
way in my<br />
<strong>character</strong> trait<br />
portrait.<br />
Source: Kari Ratka, Berkshire Elem.