Junior Docent School Program - Milwaukee Art Museum

Junior Docent School Program 

Multiple-visit Elementary School Program 

for 3 rd Through 5 th Grade Students 

Docent Resource Packet 

Prepared by Jane Nicholson, School and Teacher Programs Manager 

and a committee of Milwaukee Art Museum Docents 

September 2004 

Updated by Jane Fee and Heidi Fallone, 

Junior Docent School Program Coordinators 

May 2009 

September 2010: Updated Selection & Sketch Tour (CK) 

Summer 2011: Revised by Laci Coppins, Coordinator of School Programs, 

Claudia Shea and Heidi Fallone, 

Junior Docent School Program Coordinators

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© 2011 Milwaukee Art Museum 700 N. Art Museum Dr. Milwaukee, WI 53202 

JDSP – Docent Packet

Table of Contents 

What is the Junior Docent School Program? 5 

What Does a Docent Liaison Do? 7 

Tour Descriptions and Information 

Year 1 (grade 3) Understanding Art 13 

Experiencing Art Through the Senses 14 

Background 

Objectives 

Tour Implementation Ideas 

Elements of Art 1 19 

Background 

Objectives 


Elements of Art 2 24 

Background 

Objectives 


Year 2 (grade 4) People, Culture, and History 26 

Portraiture 27 

Background 

Objectives 


Wisconsin History 33 

Background 

Objectives 


World Communities 45 

Background 

Objectives 


Year 3 (grade 5) Art History and American History 47 

Antiquities to Abstract Expressionism & Exploration 48 

Background 

Objectives 


Artwork Exploration Guide 58 

American History Through Art & Selection Tour 59 

Background 

Objectives 


Artwork Selection Guide 65 

Study and Sketching of Artwork 66 

Study and Sketching Guide 67 

Graduation 71 


JDSP – Docent Packet 

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What is the 

Junior Docent School Program? 

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What is the Junior Docent School Program? 

PROGRAM OVERVIEW 

The Milwaukee Art Museum‟s Junior Docent 

School Program (JDSP) teaches students the 

vocabulary, history, and interpretation of the 

visual arts. The instruction provided assists in the 

development, awareness, and understanding of 

visual arts in relation to history and cultures. 

Further, students explore and develop various 

verbal, visual, and critical thinking skills and 

methods and are able to apply visual arts 

knowledge and communication skills to a 

selected work of art. Students in participating 

schools visit the Museum three times each year, 

over a three-year period, building on concepts 

and skills while using the Milwaukee Art Museum‟s Collection. 

Student interactions are created to enhance classroom lessons and support the information and 

concepts presented during each visit/tour. Each student visit is led by a trained docent educator 

who actively and creatively engages students in the specific theme of the tour. Tours may 

include various questioning and critical thinking strategies, along with limited hands-on activities. 

During the third year of the multiple-visit program, each student chooses and becomes proficient 

around an individual work of art from the Museum‟s permanent Collection. The work of art is 

studied then presented with an aesthetic response to a group of peer and family members 

during the graduation. Students are encouraged to creatively present and discuss their chosen 

work of art through poetry, drama, dance and/or the visual arts. 

PROGRAM GOALS, OBJECTIVES, AND DESCRIPTION 

Program Summary 

The JDSP primary learning objectives for students include: 

Understand the basic elements and principles of visual art 

Develop a vocabulary for looking at and discussing visual arts 

Explore and develop various verbal, visual, kinesthetic and critical thinking skills and 

strategies that promote the understanding and aesthetic evaluation of visual arts 

Develop awareness and understanding of visual arts in relation to history and cultures 

Research, read, write, organize, discuss and creatively present information about and 

personal responses to a specific work of art in the Museum‟s permanent Collection 

The primary learning goals include: 

To develop communication and aesthetic evaluation skills 

To make connections between visual arts and other disciplines 

To help teachers use visual arts and art history within their existing classroom curricula 

as an instructional tool for core competencies, as related to the Wisconsin state 

standards of education 

To involve and expose students and their families to the Museum‟s Collection 



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The curriculum for each grade is as follows: 

Third Grade, Year 1: Understanding Art 

The program begins with an introduction for students, as they investigate art. 

Experiencing Art Through the Senses: Students discover works of art using the five 

senses 

Elements of Art 1: Students investigate line, shape and color in works of art. 

Elements of Art 2: Students investigate space and texture in works of art. 

Fourth Grade, Year 2: People, Culture and History 

The tours for year 2 guide the students as they connect with the community around them. 

Portraiture: Analysis of multiple portrait types, using the elements of art, depicted 

imagery and historical and cultural context. 

Wisconsin History: Investigate Wisconsin history through works of art. 

World Communities: Students investigate Western (European and American) and non- 

Western (Haitian, Asian, and African) art depicting and/or representing everyday life. 

Fifth Grade, Year 3: Art History and American History 

During the final set of tours the students extend his/her learning; leading to a personal 

association. 

Antiquities to Abstract Expressionism: Students explore a variety of art forms and 

movements throughout history from ancient to modern times. 

American History through Art: Students investigate American history through art. 

Study and Sketching of Artwork: Each student selects a work of art from the Museum‟s 

permanent collection for future study and research 

Graduation: Students act as docents and present their chosen work of art with an oral 

report, reproduction and aesthetic response to a group of people made up of family 

members, adults, and peers. 

Every school participating in the JDSP receives the services of one of our trained docents 

(volunteer educators) while enrolled in the program. The JDSP relies on the Docent Liaisons 

to assist with planning the school‟s visits to the Museum and various other tasks as 

students‟ progress through the program. The Docent Liaison is the school‟s personal 

connection to the Museum. 

PROGRAM CONTACT 

Laci Coppins 

Coordinator of School Programs 

Milwaukee Art Museum 

700 N. Art Museum Drive 

Milwaukee, WI 53202 

phone: 414-224-3818 

fax: 414-271-7588 

e-mail: laci.coppins@mam.org 

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What Does a Docent Liaison Do? 



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JUNIOR DOCENT SCHOOL PROGRAM 

DOCENT LIAISON JOB DESCRIPTION 

Job Summary: The docent liaison represents the Milwaukee Art Museum to Junior Docent 

School staff, students, and parents/guardians. The docent liaison works closely with the school 

contact in facilitating the scheduled tours and in achieving the program objectives. Feedback is 

provided to the Museum‟s docent liaison coordinator and the school and teacher programs 

manager as requested. 

Job Requirements: 

Enjoys working with students in grades 3-5 

Familiarity with the Junior Docent School Program tours 

Excellent communication skills 

Ability to plan and coordinate a Junior Docent School Program graduation 

Job Responsibilities: 

I. Knowledge of the Junior Docent School Program 

Attend training sessions/meetings as requested 

Oversee assigned school‟s tours and give tours when possible 

Organize and maintain a notebook or folder for your school(s) that contains pertinent 

information regarding school communications, scheduled tours, evaluations, 

graduations, etc. 

II. Communications 

A. School 

Make contact with school contact person at start of school year 

Encourage school to sign up for all JDSP tours by deadline date (two tours in 

the fall, one tour in the winter, graduation completed by the first full week 

of May) 

Confirm with the school contact person the details of each tour before it occurs 

(date and time, name of tour, number of students, number of chaperones, 

number of docents, special needs) 

Obtain list of names of students who will be graduating (used in the creation 

graduation certificates) 

Obtain the listing of student selected art works (TOUR 2) 

B. Museum 

 

 

 

Obtain a list of assigned school‟s scheduled tours from the MAM Tour Scheduler 

The week before a scheduled tour, call the docents on the tour verify the 

following: date and time of tour, name of tour, number of students, number of 

chaperones, number of docents, special needs 

Note: Docent liaison (not #1 docent) calls the school contact person before 

each JDSP tour. 

Inform the Coordinator of School Programs with concerns regarding school 

and/or tours 

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III. Planning and Coordinating 

A. Antiquities to Abstract Expressionism and Exploration Tour 

B. American History Through Art and Selection Tour 

C. Study & Sketching Tour 

SPECIAL NOTES: 

Works selected should come from the permanent collection 

Avoid works of art going out on loan 

Avoid works on paper (prints, drawings, photographs) 

Restrict selection from The Infinity Room, Film and Rooms of Wonder 

It is recommended selected art works be limited to one student piece 

Prior to Tour: 

Encourage the school to use the MAM Study and Sketching Guide. If they prefer 

to use their own form, please share the revised form with the school as a point of 

reference. In addition, if using their own form, request that contact person bring 

copies for each student. 

Remind contact person that students will need pencils. We do have a limited 

number of clipboards, but it is recommended that they bring their and clipboards 

or writing surface. 

This tour is one and one-half hours in length. You must call all docents regarding 

the tour length. 

Day of Study and Sketching Tour: 

The liaison should attend the Study and Sketching tour to organize, provide 

support, and oversee tour. Liaisons should not lead a group on the tour. 

Students should be grouped in accordance with their selections (Tour 2), please 

communicate to the school liaison the order of the coordinated groups prior to the 

student‟s arrival 

Distribute to docents copies of Study and Selection Guide to be given to students 

in each group. A copy of the assigned group, ensure docents understand how 

students are to complete the guide. 

Docents, teachers, and chaperones should assist with monitoring student 

participants and with the completion of the Study and Sketching guide as 

needed. 

Request that all docents on the tour check the Study and Selection Guides for 

accuracy and initial the front page of each guide. 

If needed, collect the Study and Selection Guides at the completion of the tour. 

Make a copy of the front page of each guide for yourself. Give original forms to 

the Coordinator of School Programs to mail the originals to the school contact 

person. You will use the information on the front page of each guide to finalize 

plans for graduation. Note: Some schools may keep the guides and send you 

a copy or a list of the artworks selected by each student. 



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D. Graduation 

The graduation represents three years of work for the Junior Docents. It should be 

implemented with enthusiasm and be fun and exciting for the students and their families. 

Three Weeks Before Graduation: 

Using the front page of the presentation guides, confirm with the school liaison 

the spelling of each student‟s name and the artwork each student has selected. 

Remind the school liaison of each aspect of the graduation: The Report- which 

should be 4-5 minutes, The Reproduction- which should be accurate and 

manageable (able to be carried by the student), The Aesthetic Responsecreative 

response in song, drama, etc. and Audience Engagement- allowing the 

audience to ask a question or asking them directly 

Ask the school liaison about special requests/ needs for graduation (power point 

presentations, chairs, instruments, etc.) Contact the Coordinator of School 

Programs with any special requests for set-up in Lubar Auditorium or in the 

galleries. Special set-up requests must be submitted at least two weeks in 

advance. 

Prior to creating your graduation presentation order, ensure that each selected 

artwork is available and on view! If not available, make arrangements for an 

alternative image of the artwork to be used. Contact the Coordinator of School 

Programs to request a reproduction to be used solely for the graduation. Inform 

the school liaison (and please share with the student) prior to the graduation 

date, if a selected work is not on display and what the alternate plans are. 

Note: If an artwork is not on display, a catalog picture, photograph, or 

reproduction may be used. The student is encouraged to present in the gallery of 

the artwork location. 

Using a grid, divide the students and their chosen artworks into groups so that 

the number of groups equals the number of docents for the graduation. Assign 

each group a number. 

- Plan the tour sequence to avoid congestion in the galleries. 

- Try to have each group visit only two floors of the Museum. 

- Try to make the tours interesting for the guests with a mix of artworks. 

- Make sure that siblings are in same group. 

- If two students have chosen the same work or artist, put them in different 

groups. Please do not have two students presenting the same piece 

or artist one behind the other! 

Prepare a schedule for each group using the Group Presentation Assignments 

form. (Include the group number, docent name, student name, selected artwork, 

and gallery number) Provide copies to the JDSP Coordinator and to the 

Coordinator of School Programs 

Provide copies of Group Presentation Assignment forms to school contact. The 

school contact person should inform the students‟ parents/guardians of their 

child‟s group number. Bring extra copies on graduation day. 

Go over program for graduation with the school contact person. 

- Gather in the Lubar Auditorium for welcoming remarks from the MAM 

staff and school contact person, optional short musical performance by 

school group, explanation of program logistics by MAM staff (10-15 

minutes total). 

- Presentations by students in galleries (approximately 4-5 minutes per 

student, 30-45 minutes total). 

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- Gather in Lubar Auditorium for closing remarks by school contact person, 

school docent liaison (if desired) MAM staff, and presentation of 

certificates (10-15 minutes). 

One Week Before Graduation: 

Prepare nametags (with group number on each), certificates, and pins for the 

students. Nametags, certificates, and pins are available in the docent room. 

Prepare information for each docent (Group Presentation Assignments form and 

pins). 

Inform all docents that they are to arrive 30 minutes before the graduation is 

scheduled to begin and to stay until the gallery portion is complete. They can 

elect to remain for the distribution of certificates. Graduations are scheduled for 

one and a half hours in length. 

Walk through galleries to ensure that all selected works of art are still on display. 

Confirm special requests with the Coordinator of School Programs. 

Day of Graduation: 

Arrive 30-45 minutes early. 

Organize students‟ nametags on the table in the West Galleria. Students will 

collect their nametags before they enter Lubar Auditorium through the south 

entrance. 

Give Group Presentation Assignments form and pins to each docent. 

Go over any final details with JDSP Coordinator and Coordinator of School 

programs. 

Give certificates and Group Presentation Assignments to teacher when school 

arrives. 

Help students locate their nametags. Let students know that they are to sit in first 

rows in auditorium. 

Additional docents may assist in distribution of Junior Docent School Program 

admission stickers to parents and guests as they enter the auditorium. The 

stickers are available from the Coordinator of School Programs. All partially used 

and empty sheets should be returned to the Coordinator of School Programs for 

attendance tracking purposes. 

Make sure the docents sit on the east side of the auditorium. After the 

introductory program, groups will be called in order, one at a time and will exit 

with their docent from the door to the East Galleria closest to the stage. Docents 

should hold up the group number so it is visible to the student participants, 

teachers, and guests. Families will accompany the tour that includes their child. 

Docents should immediately proceed to their first stop to avoid congestion 

in the East Galleria. 

During the presentations, the liaison, the JDSP Coordinator, and the Coordinator 

of School Programs will circulate through the galleries listening to the 

presentations and helping with traffic flow. 

At each stop, after the student has completed their presentation, the docent gives 

the student their Junior Docent pin, and verbally recognizes their effort in 

preparing and giving their presentation. NOTE: Some docents choose to ask 

the student if someone is present they would like to pin them, such as a 

parent or teacher. 

After the last student presentation, the docents proceed with their groups to 

Lubar Auditorium. (Please do not take them on an additional tour) Have the 



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students place their artworks on the floor stage along the edge of the Lubar 

stage. 

Once all the students have gathered in Lubar, the Liaison or JDSP Coordinator 

can dismiss the docents on the tour. 

The liaison should assist the teacher and Coordinator of School Programs with 

the presentation of the certificates. 

The liaison should assist the teacher in organizing the students for their 

departure from the museum. 

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Year 1 (3 rd grade): Understanding Art 

Theme: Investigate 



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Year 1 (3 rd grade): Understanding Art 

Theme: Investigate 

Three tours: 

 

Experiencing Art Through the Senses 

o Students discover works of art through the senses. 

Elements of Art 1 

o Students investigate line, shape, and color in works of art. 

Elements of Art 2 

o Students investigate texture and space in works of art. 

Tour: Experiencing Art Through the Senses 

Background 

Our senses are the means by which we know what is happening in our environment. 

The five senses – hearing, sight, smell, taste, and touch provide information to the brain 

allowing one to experience that sense. Visually, the senses can be stimulated allowing 

the viewer to experience a work of art. A painting of a fish may evoke the sense of smell 

or taste. Likewise, a portrait of a person crying may evoke the emotion of sadness in the 

viewer. Senses may also include a sense of humor, sense of balance, and sense of 

motion. 

Objectives: 

 

 

 

 

Student will experience art using their senses (basic five, plus sense of humor, 

sense of balance, sense of motion, etc.) 

Students will develop vocabulary for looking at and discussing visual art 

Students will have experiences to create connections to their personal lives, to 

“see beyond the picture frame” 

Incorporate activities involving touching real objects, physical movement, music, 

and poetry 

PRIMARY POINT: Exploring art can take place through our five senses. When 

discussing a specific sense, docents will refer to the five senses and guide the students 

in making personal connections with their senses and the work of art. 

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The following works of art are examples that can be used with this tour. Please know 

this tour is not limited to the pieces listed below! 

The following teaching aides may be useful with this tour and are located in the 

Education Resource Room cabinets: 

viewfinders 

texture boards, fabric swatches, texture bags or cards 

What Can You Hear? 

Castiglione, Giovanni Benedetto, Noah and the Animals 

Demonstrate to the students how to narrow their field of vision by creating a cylinder to 

look through using their fingers and thumb or use viewfinders. Tell them to look in this 

manner at as many animals in the painting as they like, choose one, and think about 

what sound that animal makes. At the count of three, have everyone make their animal‟s 

sound, all at the same time. “What a noisy picture!” 

Schreyer, Adolph, Wallachian Post-Carrier 

Have the students imitate the sound of running horses by clapping their hands 

rhythmically against their thighs and whinnying. 

Knaus, Ludwig, Dance Under Linden Tree 

“This artwork contains music, dancing feet, conversations, children playing, and 

laughter. What sort of music is being played? Is anyone singing? What might the men be 

talking about? What might the women be talking about?” Here is an opportunity for 

students to take roles and act them out. 

Johnson, Jonathan Eastman, The Old Stagecoach 

“Identify as many sources of sound as you can in this work of art. What would the 

children imitating horses sound like? What is the driver calling to the horses? What is the 

boy on top of the stagecoach shouting? What are the passengers talking about? Would 

there be birds singing?” Have the students create all the sounds at the same time. “What 

a noisy picture!” 

Dufy, Raoul, The Red Orchestra 

Talk about what is associated with red: fire/anger/love/ (think Valentine‟s Day) 

excitement/passion, etc. “What would „red music‟ sound like? Would it be like a lullaby or 

like a march?” Have one of the students conduct red music. “Use your imagination…now 

this painting is going to change into a Blue Orchestra. What do you associate with blue? 

What would „blue music‟ sound like? Would it be like a lullaby or like a march?” Have 

one of the children conduct blue music. 

Things You’d Like to Touch 

Bastein-LePage, Jules, The Woodgatherer 

Make use of texture cards, fabric swatches, or texture bags for the students to 

experience the various textures seen in this painting. 

Calatrava, Windhover Hall 

Invite the students to touch the marble. Then, in passing the Bust of Frederick Layton or 

The Last of the Spartans, ask them to recall what the marble feels like. 

Andre, Carl, 144 Pieces of Zinc 

Here is a work of art that the students can not only touch, but can walk and/or sit on. 

They are always surprised that there is something in the museum that it is okay to touch, 

and don‟t expect to find the metal so cool. 

Butterfield, Deborah, Horse #3 



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“This type of sculpture is called an assemblage. What did this artist assemble to create 

this figure?” Talk about how each one would feel. “Would the artist have been working 

with the clay when it was wet or dry? What difference would that make in how it would 

feel? How tall might this horse be if it could stand up?” 

Hansen, Duane, The Janitor 

Make use of texture boards, fabric swatches, or texture bags for the students to 

experience various textures seen in this figure. 

Parker, Cornelia, Edge of England 

Chalk in the classroom is something that students can relate to. Have pieces of chalk for 

them to feel. “Is it heavy? Is it light? Imagine cliffs higher than this room, along a wide 

channel of water – what would it be like to see such a cliff fall down?” 

Chihuly, Dale, Lavendar Pink Macchia Set 

“Where did this artist get his ideas for making this piece?” (sea/water/ocean/beach) 

Have some seashells available for the students to touch. “Do you think that the real and 

the glass shell will feel the same or different?” 

How Would it Smell? 

Cusati, Gaetano, Still Life with Fish 

“Who has been fishing? Who has been to the beach? What do things that live in the 

water smell like after they are taken out of the water? Ooooooh – could this be a very 

smelly painting?” 

Van Os, Jan, Flowers in a Terra-cotta Vase 

“Do all flowers smell the same? If you‟re not sure, start smelling flowers whenever you 

can – you will find that they may smell sweet/spicy/musty/ bad and some may not smell 

at all! Try it. Insects and birds love flowers. Why is this so? What insects/animals can 

you find in this painting?” (Don‟t forget the snail!) 

Fragonard, Honore, The Shepherdess 

“How do flowers/sheep/grass smell on a warm, summer day? How do they feel?” Make 

use of texture boards and/or fabric swatches for the students to experience various 

textures. 

How Would it Taste? 

Thiebaud, Wayne, Refrigerator Pies 

“What kind of pie do you like? How does it taste? These pies are in a refrigerator – what 

does that tell you about them? How would they feel in your mouth? Would it make a 

difference in the overall effect if the artist had shown us only one piece of pie rather than 

repeating the design?” 

Zorach, William, Child Drinking 

“Hmm – wouldn‟t you like to feel this sculpture? We can‟t do that, but you can remember 

what the marble in the Calatrava building addition felt like – sleek and smooth and cool. 

This marble would feel the same way. What is the baby drinking? How would it taste?” 

English/Chinese, Tea Pot Collection 

“Do all these teapots look the same? No, they don‟t, and all teas don‟t taste the same, 

either. Have you ever tasted tea? Some people drink tea with cream and sugar in it. How 

would it taste then? Some people like it with lemon in it. Would that change the taste? 

Some teas are made with herbs – they can have a very fruity taste. Is teas always 

served hot? How else can you have it?” 

American Silver, Porringer Collection 

“What could you eat from this sort of container? (soup, dessert, cereal, etc.) That‟s right 

– but this type of dish is called a porringer. Remember the story of the “The Three 

Bears”? What did Goldilocks eat out of Baby Bear‟s bowl? Porridge! That‟s where the 

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object got its name – it is what children ate their porridge from long ago (and still do in 

some places). Porridge is another name for oatmeal. How does oatmeal taste? Do you 

add anything to it? (cinnamon, brown sugar, maple syrup, raisins, nuts?) These are the 

same things children long ago might have added to their porridge.” 

Warhol, Andy, Campbell’s Soup 

“What comes from a can such as this? Do you have a favorite soup? Are these the 

colors you would see on a can of Campbell‟s soup in a store? What are the colors on 

those cans? (red, white, black, and gold) Why do you suppose this artist used the colors 

he did? What kind of soup do you think would come in cans these colors? What would 

they taste like?” 

Feelings (emotions. mood/self-esteem) 

Perlstein, Philip, Portrait of Artist’s Daughter 

“What is going on in this painting? How do you think this little girl is feeling about having 

her portrait painted? Would she have to sit still for a very long time or a short time? Do 

you think she liked that? I can tell you something about this little girl – she was the 

artist‟s daughter. Once, after she was grown up, she visited the Museum and told us she 

didn‟t want to sit still and have her portrait painted – so her father, the artist, paid her to 

do it!” 

Meidner, Ludwig, Portrait of a Young Man 

“How do you think this man is feeling? Look at the expression on his face, and what is 

he doing with his hands? What do you think might have happened to cause him to look 

like this? Would it have made a difference if the artist had painted his clothes a different 

color?” 

Lichtenstein, Roy, Crying Girl 

“Why is this girl crying? Are they tears of joy or sadness? What do you think made her 

feel this way?” 

Jawlensky, Alexei, The Gardener 

“Why is this man‟s face red? How is someone feeling when they are „red in the face‟?” 

Ourlser, Tony, MMPI (Self Portrait in Yellow) 

“This is a self-portrait. What is the artist telling us about how he is feeling? How do you 

think it would feel to be trapped under that chair? How does the man‟s voice sound? 

Describe the man‟s facial expression.” 

Utz, Thornton, Portrait of Mrs. Harry Lynde Bradley 

“Where did Mrs. Bradley choose to have the artist paint her? What does this tell you 

about her? From the expression on her face, how do you think she is feeling? If she 

were to stand up and step down out of the painting frame to join us, would she be happy 

to see us and welcome us?” 

Sight (perception/optical illusion/ What‟s missing/What is this?) 

Cole, Willie, Domestic Dancers 

“What do you notice first when you look at this piece of artwork? Is it the dancing 

figures? Look some more, and see what the artist has used to create this work? Is it a 

painting? What is it then? How did he do it? Did he add some pieces?” 

Agam, Yaacov, Union II 

“View this artwork from the left, from the right, and straight on. How is it different from 

each angle?” 

Greek/Roman, The Oil Pourer 

Have the students imagine the body parts that are missing and then assume the position 

of the figure with their own body. 

Johns, Jasper, Untitled 



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Have the students find the faces of the young/old women hidden in the rectangle on the 

lower right of the painting. 

Leger, Fernand, Study for Three Portraits 

Have the students find the three faces and then have them search for the dog (on the 

lower left of the painting). 

Picasso, Pablo, Cock of the Liberation 

“Sometimes artists use symbols in their work. We see something that represents 

something else. What bird is the symbol of America? (eagle) In France, the national bird 

is the cockerel or cock. When does a cock crow? (morning – start of a new day – see the 

sun rising in the background ) What does a dove symbolize? (peace) The date on this 

painting means something, too. (the day Paris was liberated in WWII) Putting all these 

symbols together, what is the artist saying? Sometimes we have to figure out what a 

painter is telling us through symbols he or she uses in his/her work.” 

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Tour: Elements of Art 1 

Background 

The elements of art are the basic visual factors or vocabulary common to all that we see 

– sensory properties. They are the ingredients that artists use to create a work of art. 

This tour will examine line, shape (and form), and color (and value) in works of art. 

Objectives: 

 

 

 

Students will be able to recognize and discuss the elements of line, shape and 

color in two-dimensional and three-dimensional works of art 

Students will develop their vocabulary for looking at and discussing visual art 

Docents will incorporate activities involving touching real objects, physical 

movement, music, and poetry when possible 

Line 

The two basic characteristics of line are its direction or movement and its 

quality of weight. The direction of a line may be vertical, horizontal, 

diagonal, or curved. Lines can be thick or thin, continuous or interrupted. A 

line is a visual element of length. It is created by setting a point in motion, 

and it moves from the point in any one of a number of directions. Lines are 

also formed when two objects meet or overlap, such as the line made by 

the meeting of your upper and lower lips. A line is a point in motion, a path 

of action, an enclosure of shape, and/or an edge of mass. 

Artists often rely on line characteristics or “personality” to convey a 

specific mood or feeling. 

Shape 

Similar to a silhouette or an outline, a shape is two-dimensional. It has 

height and width, but no depth. Shapes fit into two basic categories: 

geometric and abstract. Geometric shapes are precise and sharply 

defined (circles, squares, and triangles). Abstract shapes (organic, lyrical, 

or suggestive) are often curved or rounded and appear in a variety of 

informal and irregular shapes. 

While shape is two-dimensional, form is three-dimensional. Form refers to 

a mass that takes up space, such as a sculpture, and exists in a physical 

sense. Implied form refers to images on flat surfaces, such as paintings, 

that appear to have volume. 

Color 

Colors appear in a “color spectrum.” Three primary, or pure colors – red, 

blue, and yellow – combine to create all other secondary (orange, purple, 

green) and complementary (two colors that are opposite each other on the 

color wheel – for examples, violet and yellow, as are red-orange and bluegreen) 

colors in the spectrum. 



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Strictly speaking, white is not a color; it results from a surface on which 

there is no pigment for light to reflect off of. Black results from a surface 

absorbing all the colors in the spectrum. 

All color has value. Value refers to the range of light and dark color values 

that artists use to express and evoke various emotional responses in 

artwork. 

PRIMARY POINT: The principles of art are the ways in which artists combine the 

elements of art to communicate their message. The seven principles of art are balance, 

rhythm (repetition), pattern, contrast (variety), emphasis (focal point), movement (visual 

path), and unity. When discussing an element of art, docents will refer to the principles 

of art, such as a balance of color, a repetition of lines, a contrast of shapes, etc. 






line cards or yarn/rope to make lines 

felt board and felt pieces, including: 

o color wheel 

o three same-colored shapes in diminishing sizes 

o yarn 

o warm and cool color shapes 

colored foam geometric forms and a sheet of paper 

four circles of yellow and four different shades of the same color fadeless paper 

backgrounds 

black-grey-white value scale 

pairs of various one-color objects and various colored fadeless paper 

Line 

 

 

 

 

Using separate cards with one type of horizontal, vertical, or diagonal line in various 

widths and directional configurations drawn on each of them, show the children the line 

and ask them how it makes them feel (i.e. calm, tense, excited). “How do you think the 

lines create a different feel to a work of art?” 

Using a bag of various materials for making lines (rope, lace, belt, etc.) or use the felt 

board and a length of yarn talk about lines with the students and have them make the 

line you are talking about from the materials. Consider having the children sing/make a 

sound for each line based on how the line makes them feel (ex. horizontal line = 

aaaaaaahhhhhh). 

Choose a line in a work of art. Slowly drawing the line in the air with arm motions, ask 

the children to find the line in which you are describing. Discuss the type and/or quality 

of line in the work of art. 

Take a walk with a line. Instruct the students to follow and mimic you in a single- file line 

as you create zig-zag, diagonal, straight, and curved lines walking through the galleries. 

20 



Ask students to look around and name examples of lines that they observe in the 

environment and help them classify the examples as horizontal, vertical, or diagonal; 

curved or straight. 

Hesse, Eva, Right After and Morris, Robert, Untitled (felt piece) 

Compare the two sculptures. “What kind of line does Right After show? What type of line 

did the artist start with in Untitled? What kind of line do you see now?” 

Shape 

Using a painting, have the students reduce it to one color and shape. Have the students 

look at the finished painting and help them notice how the artist painted with implied 

shapes. “What shapes do you see in this work of art? Do these shapes create calmness 

or tension? How do you think the shape of the main subject in the work of art contributes 

to the purpose or feeling of the work of art?” 

Have the students form a large circle. Taking turns, as you call out a shape that the 

students have identified in a work of art, 2-3 students collaborate to form the shape 

using their bodies. Use both organic and geometric shapes. “There are many ways to 

make every shape. Can you think of another way to make a circle?” 

Using a work of art, have the students search for examples of each shape and form and 

describe what it is in the work of art (for examples, a circle is a clock or apple and a 

rectangle is a door or book). 

Munter, Gabrielle, Boating 

Ask the students what shapes they see in the work of art. 

Judd, Donald, Untitled (either) and Noland, Kenneth, Sunrise 

“What shape(s) do you see here? Are they geometric or organic? What type of lines 

created these shapes? One of these works is two-dimensional and the other is threedimensional, 

giving us a form. Which has form? What form(s) do you see?” Use the line 

cards/yarn to create and discuss lines. 

Smith, David, Cubi IV 

“What form do you see in this sculpture?” “What is the basic shape? If this sculpture was 

a person, what shape or form would the person‟s head be? Why? What type of lines do 

you see? Can you put your body in a similar shape or form?” 

Color 

 

Share the following poem with the students from Hailstones and Halibut Bones by Mary 

O‟Neill, Doubleday & Co., N.Y., 1961. 

Color 

The colors live 

between black and white 

in a land that we 

know best by sight. 

But knowing best 

isn‟t everything, 

for colors dance and colors sing, 

and colors laugh 

and colors cry – 

turn off the light 

and colors die, 

and they make you feel 

every feeling there is 



21

22 

 

 

 

 

 

 

 

 

 

from the grumpiest grump 

to the fizziest fizz. 

And you and you and I 

know well 

each has a taste 

and each has a smell 

and each has a wonderful story to tell… 

Using felt pieces and a felt board, make a color wheel as you discuss color in a work of 

art. The primary colors are cut into three triangles; the secondary colors are cut into 

three circles. 

Make and show the students a picture out of felt pieces with warm colors using blue or 

purple for the background, brown for a table top, and three warm color shapes placed on 

the table – red, orange, yellow. 

Then make and show the children a picture out of felt pieces with cool colors using red 

or orange for the background, brown for the table top, and three cool color shapes 

placed on the table – blue, purple, green. 

Compare both pictures. “Which picture is more effective in showing perspective?” (The 

yellow, red, and orange shapes should visually stand out more effectively because warm 

colors advance while cool colors recede.) “How do you think color is used to create 

special effects?” 

Have the students stand in a large circle. Ask them to close their eyes and imagine that 

they are in a large, empty room. The room is all one color, very intense and bright red. 

“How do you feel standing in this room? How would you like being in this room all day?” 

Repeat with various colors. 

Invite students to look at works of art and identify red objects. “Does red look the same 

each time?” 

Using pairs of various one-color objects and various colored fadeless paper, choose a 

pair of objects and lay each of them on a different-colored background. “What 

combinations of color have the best contrast? (For example, orange object on an orange 

or blue background.) What combinations of color appear to vibrate?” 

Discuss how each color has certain feelings associated with it. 

Yellow = cheerful. Red = angry. Blue = sad. 

Invite the students to find the colors in a work of art and describe how the color 

makes them feel. “Are there other elements of art that support that feeling?” 

Kelly, Ellsworth, Red, Yellow, Blue II 

Use a felt board with felt pieces of triangles to discuss primary colors. Ask, “What 

happens when you mix red and blue colors together?” Add the corresponding circle 

to the point of the primary colors triangle. Continue with the remaining primary colors. 

Agam, Yaacov, Union II 

“What color do you see from this direction? What colors do you see from the other 

direction? Which are the warm colors? Which are the cool colors?” Using the felt board, 

place the colors in warm or cool color groups. Help the children remember the difference 

by offering the following explanations: red = fire, yellow = sun, orange = afterglow of fire, 

blue = ice, green = grass, purple = when you have been outside too long in winter. 

Hoffman, Hans, Dew and Dusk 

Use a felt board and create a warm color picture, then a cool color picture. Discuss with 

the students how an artist uses shape placement to create mood and balance action 

while thinking of color choices too. Compare and contrast the two pictures next to each 

other using identical shapes in each. Ask, “What color do you notice when you first look 

at the picture? Which color is in front and which color is in back?” Have the students look 

at a painting and discuss what happens when a warm color is placed next to a cool 

color. 



Using four circles of the same color – preferably yellow – place the yellow circle on top of 

four different shades of a color. Help the children notice how the yellow circle looks 

either darker of lighter depending on the background, but in reality we started with the 

same color circle. 

Close, Chuck, Nancy 

Using a black-grey-white value scale, ask the children to find the darkest and lightest 

value in the work of art. “Where is the darkest/black value? Where is the light/white 

value? Are there any grey values? What are they?” 

Albers, Joseph, Homage to the Square 

Have the students look at the painting without blinking. Ask the students if the yellow 

square is forward or back in the painting. (It may be either, but if you look at it long enough, it 

will reverse.) 



23

Tour: Elements of Art 2 

Background 

The elements of art are the basic visual factors or vocabulary common to all that we see 

– sensory properties. They are the ingredients that artists use to create a work of art. 

This tour will examine texture and space in works of art. 

Objectives: 

 

 

 

Students will be able to recognize and discuss the elements of texture and space 

in two-dimensional and three-dimensional works of art 

Students will develop their vocabulary for looking at and discussing visual art 

Docents will incorporate activities involving touching real objects, physical 

movement, music, and poetry whenever possible 

Texture 

Space 

Texture is the surface quality of objects that appeals to the tactile and 

visual senses; it can be both real and implied. It is the physical surface 

structure of a material. Real textures are those that actually can be 

touched. Implied textures are those that are simulated, or invented – a 

visual matter; the appearance of a surface character. 

Space defines shapes and masses and is in turn shaped by it. In art, 

space refers to the three-dimensionality of sculpture and architecture. It 

also refers to the sense of depth in a two-dimensional artwork. Space is 

the interval between pre-established points in two-dimensional and threedimensional 

works of art. 

In a two-dimensional work of art, an artist uses various devices to achieve 

the illusion of space on the flat surface. Another convention is to pay 

attention to scale (linear perspective) – making a house larger than an 

apple on the same plane, for example. The interactions of colors – darks 

tending to recede from the viewer, lights to move toward them – are also 

useful in creating the illusion of logical space (atmospheric perspective). 

Every work of art – whether it is a painting, sculpture, building or 

photograph – is made of positive and negative spaces (actual or implied). 

Positive spaces are the tangible, actual aspects in and of a work of art. 

Negative spaces are the areas that either surround the positive spaces or 

exist between them – the “empty” areas. 

PRIMARY POINT: The principles of art are the ways in which artists combine the 

elements of art to communicate their message. The seven principles of art are balance, 

rhythm (repetition), pattern, contrast (variety), emphasis (focal point), movement (visual 

path), and unity. When discussing an element of art, docents should refer to the 

principles of art, such as an emphasis through the use of texture, or movement through 

the use of space. 

24 








The following teaching aides may be useful with this tour: 

texture bags; four objects – rock, spoon, fabric swatch, wood (twig) 

 

 

colored foam geometric forms and a sheet of paper 

four circles of yellow and four different shades of the same color fadeless paper 

backgrounds 

Texture 

Using the texture board, fabric swatches or four objects [i.e. a rock, something metal like 

a spoon, fabric (suede, wool, silk, fur), wood like a tree twig], give these to the students 

and ask them, “How does the object feel?” Ask the students to find something in a work 

of art that may feel like their object. 

Holmberg, August Johann, The Latest Acquisition 

Distribute texture bags (one texture example per bag) and have the students feel the 

texture in the bag without looking at the object. Ask the students to describe the physical 

texture without using the object‟s name, then have them locate visual textures in the 

work of art that correspond to the texture in the bag. Discuss similarities and differences 

between the physical and visual texture. At the end, students can look in the bag. “Has 

your impression of the texture changed?” 

Space 

Using three same-colored shapes of diminishing size, arrange the shapes on a piece of 

paper or felt board using overlapping and size to create the illusion that the shape is 

coming toward the viewer. Discuss the techniques used to create the illusion; the 

smallest shape should be farthest away and in back, the next smallest shape will overlap 

a small part of the previous shape. 

Caillebotte, Gustave, Boating on the Yerres 

Discuss how the boats‟ oars and the lines in the water show motion, discuss negative 

and positive space in the painting. 

Pavlik, Michael, Circle and Square Composition 

Discuss positive and negative space. “What is positive space here? And what is 

negative space? Can you find both in this artwork?” 

Smith, David, Cubi IV 

Discuss positive and negative space. “What is the positive space in this work of art? 

What is the negative space in this piece?” 

Munter, Gabrielle, Girl with Doll 

“We talked about space with three-dimensional art, where is the space in this twodimensional 

painting?” Ask the students what is the positive space. “What is the 

negative space? Is there any textures in this painting?” 



25


Year 2 (4 th grade): People, Culture, and 

History 

Theme: Connect 

26 



Year 2 (4 th grade): People, Culture, and History 

Theme: Connect 

Three tours: 

Portraiture 

o Students explore types of portraiture and learn how to analyze a portrait 

using the elements of art, depicted imagery, and historical and cultural 

context. 

Wisconsin History 

o Students investigate Wisconsin history through works of art. 

World Communities 

o Students investigate western (European and American) and non-western 

(Haitian, Asian, and African) art depicting and/or representing everyday 

life. 

Tour: Portraiture 

Background 

The definition of a portrait for this tour is a work of art that represents or symbolizes a 

specific person, a group of people, or an animal. Portraits can be executed in any 

medium and in either a two-dimensional or three-dimensional format. Portraits usually 

show what a person or animal looks like as well as revealing something about the 

subject‟s personality. A portrait often tells us about what was important to society at the 

time it was made; much of what we know about people who lived before the 1850s is 

available to us only through portraits. 

Portraits can include only the head of the subject, or they can depict the shoulders and 

head, the upper torso, or an entire figure shown either seated or standing. Portraits can 

show individuals either self-consciously posing in ways that convey a sense of 

timelessness or captured in the midst of work or daily activity. During some historical 

periods, portraits were severe and emphasized authority, and during other periods 

artists worked to communicate spontaneity and the sensation of life. 

Objectives 

 

 

 

 

Students will be able to identify portraits and discuss the different ways in which 

a person, a group of people, or an animal can be portrayed in two-dimensional 

and three-dimensional formats. 

Students will discuss cultural influences and historical elements that a portrait 

reveals. 

Students will identify the elements of art used by an artist in creating a portrait. 

Students will be able to list at least two functions of a portrait throughout art 

history: 

- to document physical resemblance of the subject 

- to convey status and/or acknowledge power and wealth 



27

28 

- as a remembrance of the deceased 

- to depict the subject‟s inner self. 

PRIMARY POINT: While studying a portrait, a student should understand not only what 

the work looks like, but also why it was created and decode important visual clues. A 

portrait can closely resemble the subject‟s appearance; however, portraits are not 

limited to simple recreating external appearances and situations of an individual or 

group. Artists utilize parts of their portraits – backgrounds, props, or settings for the 

sitter – to provide information about the subject‟s character or place in society. 

With this information in mind, please choose your portraits for this tour for discussion 

and comparison of what clues we see and what elements of art were used. Remember 

that the elements of art (line, shape, space, color, and texture) aid in our discovery. 

Here is a key to some traditional Western culture‟s (European and American) symbols 

and colors used in portraits and the common meaning or representation: 

Symbol: 

Symbol Meaning or Representation: 

long coats 

men 

dresses 

women 

birds 

children, omens, embodiment of human and cosmic spirit; 

caged bird – human mind 

clothing with many buttons, wealth 

necklaces, long wigs, furs, 

velvet or silk or highly 

patterned fabric 

one glove off 

friendly, status of superiority, no intended threat, pledge of 

action 

holding a flower 

beauty, feminine, innocence, gentleness, youth, spring, 

nature‟s life cycles 

subject shown with a book smart, intelligent and literate, wisdom, scholarship 

quill pen 

intelligent and able to write 

wigs 

fashionable, wealth, power 

rose 

love, heart, rebirth, sacred 

sword 

military, power, authority, justice, protection 

subject on horseback 

power, authority, military, nobility 

dog 

faithful, protective, vigilance 

cat 

cleverness, stealth, agility, female malice, sensual beauty 

subject not wearing shoes standing on holy ground 

candle 

spiritual illumination, vital life and breath 

unicorn 

maidens, purity, virtue, power 

skull 

mortality, intelligence, energy 

red color 

anger, love, life, fire, war, energy, aggression, festivity, 

impulse, health, strength, youth, vitality, political revolution 

yellow color 

happiness, warmth, coward, death, humility 

orange color 

energy, fertility, splendor, luxury, purity, fire, love 

blue color 

sadness, calmness, infinity, truth, devotion, faith, peace, 

intellectual life 

green color 

renewal, growth, youth 

purple color 

royalty, nobility, dignity 

white color 

purity, light, truth, innocence, sacred or divine, cowardice, 

surrender, pallor of death 

black color 

sadness, death, evil, sorrow, despair 



When looking at portraits, discuss and discover the colors used, how the subject is 

dressed, objects used with the subject and the background, where the subject is, time of 

year, and age of the subject. With this information in mind, please choose your portraits 

for this tour for discussion and comparison of what clues we see and what elements of 

art were used. Remember that the elements of art (line, shape, space, color, and 

texture) aid in our discovery. 






A bag full of props – necklaces, other jewelry, hats, handkerchief tied as a bunny, book, 

quill pen, collars – found in the portraits. 

The compare and contrast method of asking questions is recommended with this tour 

since there are so many portraits in close proximity in several gallery areas. In this way 

the objectives will be met for this tour. 

Consider asking some of the following questions under the different headings and 

having the students explain their reasoning for their answers. (Try to incorporate the 

elements of art terms in your discussion.) 

Subject 

How would you describe the subject (person, people, or animal) in the portrait? 

Who is the subject in the portrait? 

Can you tell when the subject lived? What clues are in the portrait? 

Does anything the person is wearing give you any clues about the subject? 

Besides the subject, are there any other objects in the portrait that give you any clues? 

(objects the subject is holding, objects in the background, props such as chairs, tables, 

etc.) 

Does the way the subject is standing or sitting or posing tell you anything about 

him/her/it? 

When, Where and Why 

What does the portrait tell you about the time that the subject lived? 

Can you guess what country it was created in? 

Can you guess whom it was created for? 

Why was the portrait created? (What is the function of the portrait?) Was the portrait 

commissioned? Who commissioned the portrait? 

Feelings and Emotions 

How does the subject feel? Or what is the subject‟s mood? Look at the facial expression 

and the colors used. How can you tell? 

Can you predict if a male or female artist created this portrait? How can you tell? 

How do you think the artist felt about the subject s/he made a portrait of? 

Do you think the subject was pleased with the finished portrait? 



29

Set Up 

Do you think the subject posed for this portrait? 

Is the subject pointing or looking in any specific direction? 

If there is more than one subject in the portrait, are they touching? What could this 

mean? 

What does the background of the portrait tell us? 

How much space has the artist left around the subject and how is it used? 

What view of the subject is depicted? (3/4 view, full frontal, profile, full body, etc.) 

What size is the portrait: life-size, bigger, or smaller? How does this affect your 

impression of the subject? 

Style 

Is the portrait realistic (looks absolutely real) or is it abstract (the artist was looking at or 

thinking about something real, but altered the visual reality of the subject in some way)? 

How does the style of the artwork affect how the viewer perceives the subject‟s identity? 

Sample Tour Introduction 

When you were just a baby, your picture was taken in the hospital before you went home. This 

was your first picture-portrait. When was the last time your picture was taken? What were you 

doing? Why was it taken? 

A photograph is a type of portrait. A portrait is a work of art (painting, sculpture, print, etc.) that 

shows what a specific person, a group of people, or an animal (a subject) looks like as well as 

revealing something about the subject‟s personality and what was important to society at the 

time it was made. 

Today, we are going on a hunt in the galleries to see portraits and to look for clues to find out 

something about the person, animal, or group of people in the portraits. 

 

 

Anguissola, Sofonisba, Portrait of Artist’s Sister Minerva 

This is a portrait of the artist‟s sister. What can you tell me about this person? Let‟s look– 

o Jewelry – coral from the sea [lived by water]; necklace on dress – [this is the 

symbol of Minerva, the goddess of wisdom] What does that mean? 

o Enhancer on necklace – full of potpourri [covered odors because they did not 

bathe often during the time this portrait was made] 

o Lace on clothing – the more lace used, the wealthier the person 

o Fasteners on sleeve – removable [could put another one on for a new outfit] 

o Muff – fur to signify wealth 

o No background. How did the artist carry our eye from one spot to another in this 

work of art? [The red jewelry and the red in the hair piece] 

o What is the first thing you notice when you look at this portrait? Why? How does 

the artist use repetition in this portrait? 

Italian, Bust of a Nobleman 

This is a sculpture. How is sculpture different from a painting? What can you tell me 

about this person? Let‟s look – 

o Head – the cropped beard and hair show us a thinking man - one of power, 

intelligence, and honor 

o His eyes tell us he is very confident 

o Clothing - What clues do we have? Fur – warmth, wealth; metal – important 

o Large man – What elements were used? Line, curved – movement, gentleness. 

o What elements of art did the artists use to portray the subject? 

30 



Flinck, Govaert, Portrait of a Man and Portrait of a Woman & 

Victors, Jan, Portrait of a Man and Portrait of a Woman 

Compare and contrast Flinck‟s portraits to Victors‟ portraits. 

Men – 

Background: Victors - no background, more mobile; Flink – in a room by a table 

– Why is the tablecloth red? – sign of love, kindness 

Pose: Victors – looking right at us – very direct, holding a glove – sign of 

friendliness; Flink – open hand – more welcoming 

 

 

Women – 

 

Clothing: Victors – lace – very wealthy 

Use of line: Victors – diagonal lines used for movement; repeating color used for 

rhythm; Flink – diagonal lines for movement 

Victors – more lace, plucked hair to show intelligence, book to show she reads, 

gold for wealth, very rigid pose. How did our eye move through the portrait? 

Color and line. 

Flinck – background, less lace, holding a fan, softer look on face, kinder. How do 

our eyes move through the portrait? 

Which would you like to get to know? Why? 

Cotes, Francis, Miss Frances Lee 

o What do we know about this girl? She is about six, wealthy [a lot of lace]. 

Dressed in pink – someone loves her [red] family, background is green [sign of 

youth]. Many nails in the chair [the more the nails, the wealthier the 

person/family]. 

o 

o 

o 

Why isn‟t she smiling? 

What is she holding? Have someone hold a handkerchief folded like a bunny. 

Why is she holding this? 

How does your eye move through the artwork? Why? What elements of art did 

the artist use? If the background or the dress was a different color, how would 

the portrait change in feeling or meaning? 

Meidner, Ludwig, Portrait of a Young Man 

o What is the mood of this person? How is it different from the other portraits we 

have seen so far? [The style of painting and technique – does this help us to 

understand the person?] 

o Do you think this man had a suit this color? 

o How does your eye move through the painting? – use of color, line, and shape. 

Why is there green in the forehead? 

o Would you like your portrait painted this way or like the little girl? Why? 

Henri, Robert, The Art Student & The Rum & Dutch Boy 

Compare the three portraits. Discuss subject, technique, color, movement, and 

personality. What clues are there in each portrait? 

Various Artists, Portraits in American Galleries 

o Some homes have a portrait wall – all the family pictures. We have many 

portraits here. What do these portraits have in common? [All these portraits were 

painted by American artists.] 

o Compare the portraits. What do you see? What clues are present to tell us 

something about the subject? The society in which they lived? 

o How is this group of portraits different from the portraits you saw earlier/upstairs? 

Johnson, Jonathon Eastman, Portrait of Frederick Layton 

Let‟s play a game. You tell me what you can about the man depicted in this portrait, and 

then I will tell you who he is and why he is important to the Museum. Have someone 

stand in the same pose as Mr. Layton. Why is he posed this way? Have the children look 

for clues in the portrait that tell them about who this person may be. 



31

Chair Park in American Galleries 

o Divide the students in teams of two, three or four, or divide them into two groups. 

Have a bag of props (jewelry, gloves, hats, etc.). Have each student pick a chair, 

choose a prop, and pose for a portrait. Have the partner describe whom s/he is 

portraying. 

o Have a large picture of a group portrait. Play „I spy”. Have one person describe 

someone in the picture while others guess who is being described. 

32 



Tour: Wisconsin History 

Background 

History is a record of past events relating to a particular people, country, and time 

period. History includes events, social and political philosophy, religious beliefs, art, 

literature, and music. 

Wisconsin history offers an unusually good vantage point for a long view of much of our 

national history. It was an important crossroads for the fur trade and therefore important 

in diplomacy and Indian policy well into the 19 th century. Wisconsin Territory‟s Organic 

Act of 1836 represented a landmark in the interpretation of the Northwest Ordinance of 

1787. 

State Bird – robin 

State Flower – wood violet 

State Mineral – galena 

State Mammal – badger 

State Insect – honey bee 

State Dance – polka 

State Song – “On, Wisconsin” 

State Tree – sugar maple 

State Rock – red granite 

State Wildlife Animal – white-tailed deer 

State Domestic Animal – cow 

State Fish – muskellunge 

State Motto – “Forward” 

Objectives 

Students will gain an understanding of the many kinds of people who lived in 

 

 

 

Wisconsin originally and those who immigrated to Wisconsin over the years. 

Students will increase their appreciation of the geography of the state and how 

the terrain and climate have affected the historical development of the state. 

Students will develop an awareness of the changes the state has undergone 

since explorers and traders first arrived, its rural component, and its city life. 

Students will gain an understanding of and appreciation for the way art depicts a 

state‟s history and culture and Wisconsin‟s relationship to the rest of the U.S. and 

the world. 

PRIMARY POINT: The settlement of the territory is reflected in the images of the 

artwork. Several examples will include a variety of frontiers: fur trading, mining, 

agriculture, lumbering, and urban. 








33

Chronological Organization 

Settlement to Statehood (1634 to 1847) 

1634 French explorer Jean Nicolet, the first European in WI, crossed Lake Michigan and 

reached the site of present-day Green Bay and met the Winnebagos (Ho-Chunk). 

1673 Father Jacques Marquette and Louis Joliet travelled the St. Lawrence River, through the 

Great Lakes, and down the Mississippi River. 

1718 French settlers built a fort at Green Bay. 

1763 British defeated French: WI became part of British territory under the Treaty of Paris. 

1825 Opening of Erie Canal increased settler migration to WI. 

1846 Solomon Juneau was elected the first mayor of Milwaukee. 

Comments and Questions 

Who were the first people in Wisconsin? The Indian tribes who lived here prospered as 

hunters, gatherers, and trappers. What Indian names do you know? 

o Milwaukee comes from a Chippewa word meaning “gathering of waters”. 

o Other Indian names of towns and cities are Waukesha, Oconomowoc, 

Pewaukee, Okauchee, Shawano, Tomahawk, Winnebago, Kickapoo, 

Manitowish, and Poynette. 

o What were the names of the Indian tribes who lived here? In the early 1600s – 

Winnebago, Dakota, and Menominee. Others came later – Chippewa, Sauk, Fox, 

Ottawa, Kickapoo, Huron, and Potawatomi. 

What was the land like? The geography? We need to recognize the importance of Lake 

Michigan and Lake Superior, of the other inland lakes and rivers such as the Mississippi 

on the west, because these waterways provided the key transportation networks for 

Indians, French trappers and traders, missionaries, and later immigrants. 

Who was the first European to come to Wisconsin? The first European was probably 

Jean Nicolet, a Frenchman who in 1634 was seeking a northwest passage to China. 

When he stopped in Green Bay, he dressed in mandarin robes before he went to meet 

people he hoped were Chinese. Wisconsin was a frontier province of New France for 

100 years. What French names do you know? Marquette, Fond du Lac, La Farge, Lac 

du Flambeau, La Crosse, and others. 

What did the first Europeans want to do in Wisconsin? Some Catholic Jesuits came as 

missionaries and others came in order to obtain furs and wealth. Both England and 

France wanted to control the fur trade. A British victory in 1763 gave the British control. 

Artist Title Location 

Allston, Washington Scene in an Eating House Lower Level 

Audubon, John James Trapped Canada Otter Lower Level 

Bierstadt, Albert 

Wind River Mts. Nebraska Territory Lower Level 

Eastman, Seth Indian Scalp Dance Lower Level 

Goodwin, Richard LaBarre Hunting Cabin Door Lower Level 

Tait, Arthur F. The Pursuit Lower Level 

American Sculpture of Indian Folk 

Phillips, Ammi Portrait of a Woman Folk 

34 



Johnson, Sally Needlework Sampler Folk 

American Flower & Urn Quilt Folk 

Statehood, Forestry, Mining, and Agriculture (1848 to 1860) 

1848 President James K. Polk signed a bill making Wisconsin the 30th state in the 

Union on May 29 th . Nelson Dewey was inaugurated first governor on June 7 th . 

1851 Wisconsin‟s first railroad opened between Milwaukee and Waukesha. 

1856 The first kindergarten in the U.S. was opened by Margarethe Schurz in 

Watertown. 

1859 Abraham Lincoln spoke at the state fair in Milwaukee. 


Wisconsin became the nation‟s thirtieth state; its people hoping that statehood would 

solve problems. As a territory, Wisconsin was dependent on the national government for 

funds, but the area received very little for road building and/or the creation of harbors 

and railroads. Statehood brought in more funds, but also brought new problems, graft 

and corruption among them. 

Who has seen a one-room school house? The state constitution provided for public 

funding for education and a state university, but teachers were scarce and schoolhouses 

were overcrowded with students. One-third of the state‟s children did not attend schools. 

In 1856 Wisconsin opened the nation‟s first kindergarten in Watertown. 

What peoples began to migrate to Wisconsin? Lutherans seeking religious freedom 

came from northern Germany and Catholic craftsmen came from southern Germany -- 

cabinet makers, leather-workers, textile makers, bakers, brewers, and carpenters. Some 

expected the state to become a “German” state in which the German language would 

flourish. Have you heard of the Turners? The American Turnverein Society promoted a 

program of gymnastics and political reform; many of them settling in Milwaukee, then a 

town of 20,000. 

In the 1850s Wisconsin was a rural state and agriculture was its main economic activity. 

What crops were first grown? Wheat was the chief crop. What has to be done to get 

wheat to market? Mills must grind wheat; ships and railroad must move wheat to 

markets. 

In the East, lumbering began, the farmers felling trees in the winter. What industries 

follow lumbering? Sawmills grew up, paper mills, furniture factories. 

Mining also became important when machinery was developed to bring out the ore and 

pump water from the mines. Lead mined in Mineral Point was used for making paint and 

shot for guns and was sent to eastern markets. 

The Panic of 1857 brought much economic development to a halt. Drought brought 

depression. Some leaders began to argue for a stronger central (Washington) 

government to unite the nation economically and to cope with problems such as road 

building. When roads were in place, Wisconsin‟s lakes and rivers and forests became 

known as vacation areas. 


Chase, William Merritt Gathering Wild Flowers Lower Level 

Frackelton, Susan Pottery Pieces Lower Level 



35

Vianden, Henry View of the Fox River, Wisconsin Lower Level 

Braith, Anton Heifers at Play von Schleinitz 

Voltz, Friedrich Cow Herd at Lake Starnberg von Schleinitz 

Crawford, Ralston Grain Elevator – Minneapolis Main Level 

Curry, John Stuart Landscape with Grouse Main Level 

Luks, George Bleecher and Carmine Streets Main Level 

Rauschenberg, Robert Goat Chow, Mink Chow, Hog Chow Main Level 

American 

Weather Vanes (cow, rooster, etc.) Folk 

American Found Objects Rocking Chair Folk 

Grandma Moses Untitled Folk 

Soutine, Chaim Children and Geese Bradley 

Vlaminck, Maurice Wheat Fields Bradley 

Civil War, Urbanization, and Industrialization (1860 to 1900) 

1861 Start of the Civil War. 

1865 96,000 Wisconsin soldiers served in the Civil War, many trained at Camp Randall. 

12,216 lives were lost. 

1867 Author Laura Ingalls Wilder was born in Wisconsin. 

The first practical typewriter was designed by Milwaukee inventors. 

1871 The Peshtigo fire burned in six counties, on the same day as the Chicago 

Fire. 1,200 lives were lost in Peshtigo. 

1884 Ringling Brothers created “Big Top” excitement at Baraboo, when they started their first 

circus. 

1885 Karl Benz of Racine built a gas-powered car. 

1888 Milwaukee‟s Frederick Layton began the Layton Art Gallery that was the basis for the 

Milwaukee Art Museum. 

1890 Gottfried Schloemer of Milwaukee designed and built a gas-powered car. 


The Civil War brought prosperity to Wisconsin; however, Wisconsin became increasingly 

dependent upon the national government because money was needed to build more 

roads and railroads to get crops to market. Why weren‟t roads just a Wisconsin project? 

With help from the national government, transportation improved and banking allowed 

for development of industry. 

At this time the question of slavery gained great importance in the nation. Since slavery 

never existed in Wisconsin, at first Wisconsin residents took little interest in the slavery 

issue although abolitionists presented their case in strong terms, and most people were 

opposed to any further extension of slavery. However, when presidential candidate 

Martin Van Buren promoted anti-slavery along with free homesteads, low revenue tariff, 

and federal aid to state internal developments -- “Free Speech, free soil, free labor and 

free men” -- Wisconsin listened. In 1854, the Republican Party was born in Ripon, and 

wishing to abolish slavery, the party took a strong stand against the Kansas-Nebraska 

bill that proposed leaving the choice of slavery to be determined by the vote of the 

36 



population of a territory. A number of Wisconsin people helped run-away slaves reach 

Canada. 

The Civil War broke out in April 1861 and created a demand for Wisconsin‟s products. 

The Republican governor, Alexander W. Randall (1858-1862), was eager to pledge the 

state‟s resources to the war effort. What were the two main issues leading to the Civil 

War? Slavery and preserving the Union. Wisconsin volunteers were many, some 

devoted to abolishing slavery and some to preserving the Union. Wisconsin‟s soldiers 

fought in every major battle of the Civil War. 

The Iron Brigade suffered heavy casualties at Gettysburg. 

The 8 th Wisconsin became the Eagle Regiment because of Old Abe, a pet bald eagle 

that was carried into battle on a perch flying the American flag. 

When Union gunboats were stranded in the Red River of Louisiana, several thousand 

lumberjacks from Wisconsin regiments dammed and deepened the river using 

techniques learned in the lumber camps. 

In the war, nearly 12,000 men died from wounds and disease. Many thousands were 

wounded. 

During these years, however, other important things happened in Wisconsin: 

Industries such as meat packing and tanning grew. 

Breweries supplied beer that was welcomed because there was a high tax on strong 

liquor, but not on beer. The two leading breweries, Schlitz and Pabst, produced a million 

barrels of beer between 1873 and 1893 and this beer was sold all over the world. In fact, 

Admiral Peary found a Pabst bottle as he approached the North Pole, and 3,600 bottles 

of Schlitz beer went to the tropics for Admiral Dewey‟s men after the capture of Manila. 

Agriculture remained a basic activity. 

Flour mills grew and J.I. Case Company in Racine produced threshing machines. 

How many of you know the book, The Little House on the Prairie? Author Laura Ingalls 

Wilder was born in Wisconsin in 1867. 


Johnson, Eastman Portrait of Frederick Layton Lower Level 

Albano, Salvatore Bust of Frederick Layton Main Level 

Beal, Gifford Circus Girl Main Level 

Bonheur, Jules Bulls (meat packing) Main Level 

Bonheur, Rosa Two Goats Main Level 

Colescott, Warrington Hardhats Main Level 

Wesselmann, Tom Still Life #51 (Pabst beer can) Main Level 

McCarthy, Justin Acrobats Folk 

Schimmel, William Eagle Folk 

Industrialization, Urbanization, World War I, and World War II (1900 to 1950) 

1900 Statesman Robert LaFollette was elected governor of Wisconsin. 

1903 The first Harley-Davidson motorcycles were made. 

1921 Legislature banned legal discrimination against women in Wisconsin. 



37

1929 Stock market crash. 

1939 Architect Frank Lloyd Wright of Spring Green designed and built Taliesin. 


After the Civil War, a larger percentage of the population congregated in cities where 

industries were growing and flourishing. What did the immigrants now do as well as 

continuing to work on farms? They built the railroads, constructed buildings, and turned 

the lumber of Wisconsin into valuable products, especially factories and homes for the 

growing cities. 

What do you know about lumbering and how it is done? Logging crews using horses in 

the wintertime vied to haul the largest load of white pine from the forest. The Wisconsin 

lumber boom reached its peak with over 3.4 million board feet cut in one year in 1899. 

The rivers were used to transport lumber to mills. Sawmills grew up, paper mills and 

furniture factories appeared in many places. Four billion feet of lumber was cut in 1892. 

Where are Wisconsin‟s paper mills today? In Neenah, Wisconsin Rapids, DePere. In the 

1890s, DePere had the largest paper mill in the West. Due in part to the paper mills, 

railroads became big business. 

In agriculture, when wheat farming had depleted the land, farmers turned to dairy 

farming. What dairy products is Wisconsin famous for? In 1872, only 45 or 55 cheese 

factories existed, but when cheese could be sent by railroad to the east, more dairy men 

produced cheeses. In1890, 1,000 cheese factories produced 53,708,595 pounds of 

cheese worth four million dollars. Scandinavians, Irish, and Polish immigrants became 

successful dairy farmers. 

What do you know about tanning? By 1900, Pfister and Vogel, a tanning company, 

owned five tanneries and supplied Europe and Great Britain as well as Boston and New 

York. 

Wisconsin is also known for its heavy industry. What names of big companies do you 

know? By 1885, the Bay View Iron Works owned mills worth 5 million dollars and a 

company started by Edward F. Allis specialized in making machinery for flour mills. Later 

pump manufacture became lucrative. Allis-Chalmers became the largest manufacturer of 

heavy equipment and business exceeded 10 million dollars. 

Population boomed from 71,440 to 373,857 in Milwaukee, many of the people being 

recent immigrants. Prominent families were the Frederick Pabst family, the Joseph 

Schlitz family, and the Christian Wahl family. Milwaukee was also developing as a 

cultural center. The Public Library grew and theatre and musical performances were 

popular. Public and private schools were built, but only about one-half the school-aged 

residents were attending schools in 1910. Gradually, Wisconsin became a leader in 

public education. 

Inventors such as William Horlick of Racine, who invented malted milk, and Stephen 

Babcock of the University, who invented a butterfat tester, brought fame to Wisconsin. 

Christopher Sholes of Milwaukee invented the typewriter that became the Remington 

typewriter made in New York. In academic circles, Frederich Jackson Turner, University 

of Wisconsin Historian, became famous for his work on the significance of the frontier in 

38 



American history, America‟s expansion, its new opportunities, and its need to adapt to 

changes. 

Wisconsin became known as a progressive state, and soon a Progressive political party 

emerged calling for honest government, economic reform, public morality, and 

democracy. Most of all, the party opposed bossism and the corrupt alliance between big 

business and government. Robert LaFollette, Sr. became the leader of this movement 

that grew out of agrarian protest. LaFollette went to Washington, D.C. in 1885 as a 

congressman where he continued to fight for laws providing better working conditions for 

common people, efficient government, and the use of specialized experts in running the 

state. “Fightin‟ Bob” carried on a war against the special privilege system so inherent in 

political parties. He was elected governor of Wisconsin in 1900, and was a U.S. senator 

from 1906-1925. 

World War I (1914-1918), which LaFollette opposed, was not opposed by most 

Wisconsin residents. Wisconsin National Guardsmen in the Thirty-second or Red Arrow 

Division gained a reputation for fearless fighting. This division was called “Les Terribles” 

by the French because they fought so well. What were the dates of World War I? Were 

your grandparents or great grandparents involved? 

In society, changes involved two big movements, one was called prohibition and the 

other was called woman suffrage. What do these two terms mean? Both involved 

amendments to the Constitution. Which one was passed and then repealed? 

The Great Depression brought hard times to Wisconsin. The stock market crashed in 

1929 and millions lost their savings. What does it mean to be out of work? In Milwaukee 

one in five people needed some kind of help or relief given by the county government. 

Pressure was put on the national government for further relief and the government under 

President Franklin Roosevelt responded by establishing public works projects that gave 

us many of our city parks as well as new roads, schools, and even sewer systems. 

Artists also were helped with a special program, the Federal Art Project, which was part 

of the W.P.A. (Works Project Administration). Through this government program, their 

art works were permanently displayed in many public buildings. The W.P.A. provided 

funds for manual laborers as well as scholars. Wisconsin under Governor Philip 

LaFollette was the first state to pass an unemployment insurance act, one later copied 

by other states and the federal government. 

In 1939 World War II began in Europe. When did the United States enter World War II? 

After Pearl Harbor was bombed on December 7, 1941. Defense contracts for all the 

goods needed to fight a war brought jobs and prosperity to Wisconsin. What Wisconsin 

cities became ship builders? Manitowoc, Sturgeon Bay, and Superior. The Wisconsin 

National Guard became part of the U.S. military and was named the new Red Arrow or 

32 nd Division. It distinguished itself in defeating the Japanese in the South Pacific. 

Outstanding leaders from Wisconsin were General Douglas MacArthur, Fleet Admiral 

William D. Leahy, and flying ace Richard Bong who downed forty enemy planes. What 

place was named after Bong? 


Bokelmann, Christian L. The Broken Bank Main Level 

Brown, Roger At Red Bay Waiting for the City of Miami Main Level 

Guglielmi, Louis The Christening Main Level 



39

Kiefer, Anselm Midgard (WW II) Main Level 

Lewandowski, Edmund Wisconsin Ore Freighter Main Level 

Niedecken, George furniture Main Level 

Parker, Cornelia Edge of England (WW II) Main Level 

Wright, Frank Lloyd furniture Main Level 

American The World of Work Construction Folk 

American Fighting Cats Whirligig Folk 

American Aerial Ferry Duluth to Minnesota Point Folk 

Pierce, Elijah 

Pearl Harbor and the African Queen Folk 

Leger, Fernand The Wounded Bradley 

Lippold, Richard Homage to Milwaukee Bradley 

Milwaukee Art Museum in the Modern World (1950 to present) 

1954 Home run legend Hank Aaron began his major league career with the Milwaukee 

Braves baseball team. 

1959 Opening the St. Lawrence Seaway stimulated economic growth in WI ports. 

1967 Civil rights demonstrators marched for an open-housing ordinance in Milwaukee. 

1969 Golda Meir, raised in Milwaukee, became Israel‟s first female Prime 

Minister at the age of 70. 

1976 U.S. District Court ordered the integration of Milwaukee schools. 

1998 Wisconsin celebrated its 150 th anniversary. 

2001 The Calatrava addition to the Milwaukee Art Museum opened. 

2003 Motorcyclists zoomed to Veterans Park in Milwaukee for the 100 th Harley-Davidson 

celebration. 

2011 The Calatrava addition to the Milwaukee Art Museum celebrates 10 years 

2013 The Milwaukee Art Museum celebrates its 125 th year (Ms. Barbara Brown-Lee 

celebrates 50 years at the Milwaukee Art Museum) 

Comments 

So much has happened in the last sixty years: art movements; political movements, 

such as the Civil Rights movement; wars, such as the Korean (1950-1953), Vietnam 

(1957-1975), Iraq (1991 and 2003). 

For this part of history, it might be best to use a few pieces done by Wisconsin artists. 

Our Museum can illustrate different art movements well, but does not have the material 

to comment on many current national events, or their relevance to Wisconsin. 


Calatrava, Santiago 2001 Museum addition 

Kohler, David 

1975 Museum addition 

Saarinen, Eero 

Milwaukee Art Center 

Littleton, Harvey Lemon/Red Crown Main Level 

Stevens, Brooks decorative arts Main Level 

Wilde, John Wildeworld Main Level 

O‟Keeffe, Georgia Poppies Bradley 

40 



Blackmon, Prophet Three Dimensions Folk 

Sparrow, Simon Untitled Folk 

Thematic Organization 

Agriculture and Rural Wisconsin Life 


Wisconsin is often classified as an agricultural state. In 1850, growing wheat was the 

main crop, but farmers often did lumbering in the wintertime. By 1860 corn and oats 

were grown and sheep raising and dairy farming began. Cows were raised for meat, and 

meatpacking plants grew up. Tanning became a lucrative industry. Important names 

were Pfister and Vogel. By 1876, dairy farming replaced wheat as the main type of 

farming, and farmers also raised hogs for the meat packers. By 1872, cheese making 

was promoted, and in 1890, 1,000 cheese factories produced 53,708,595 pounds of 

cheese worth four million dollars. 

Rural farm life is often presented as beautiful, but what demands did it make on the 

owners and farm workers? They had long hours, physical labor, no vacations, manure, 

and vagaries of nature. 

Despite long hours and hard work, Wisconsin rural people found time for art. Why? 

Everyone wants some kind of decoration, some kind of artistic expression in life. How is 

folk art in some ways similar to contemporary art? 

Why are there fewer farms now than in the past? 

Towns always grow up in farm areas. Why? 



Bonheur, Jules Bulls Main Level 

Bonheur, Rosa Goats Main Level 

Crawford, Ralston Grain Elevator, Minneapolis Main Level 


Rauschenberg, Robert Goat Chow, Mink Chow, etc Main Level 

Braith, Anton Heifers at Play von Schleinitz 

Voltz, Friedrich Cow Herd at Lake Starnberg von Schleinitz 

Von Drefregger, Franz The Prize Horse von Schleinitz 

American Found Object Rocking Chair Folk 

American Weathervanes (cow, rooster, etc.) Folk 

American Folk Art Animals Folk 

American Flowers and Urn Quilt Folk 

Grandma Moses Untitled Folk 

Johnson, Sally Needlework Sampler Folk 

Villon, Jacques Apple Trees at Canny Bradley 

Villon, Jacques Large Mower with Horses Bradley 

Vlaminck, Maurice The Wheat Field Bradley 



41

Commerce in Wisconsin: Fur Trading to Forestry to Factory 


Wisconsin resources have always been valuable in providing a means of living for 

residents. In the early days of fur trading, fortunes were made and wars fought between 

French and English over who would control the furs Indians brought to sell. Beaver fur 

was especially wanted for hat making. Even the missionaries devoted to bringing 

Christianity to the Indians became involved in the fur trade and accompanied the traders 

as they explored and contacted Indian tribes and made treaties with them. 

The pine forests of Wisconsin also provided fortunes for those who controlled the 

production of timber. As cities grew, the demand for wood and paper was enormous. 

Factories, homes, and buildings of all sorts demanded the use of lumber. In the 1870s, 

DePere had the largest paper mill in the West. Paper companies and furniture factories 

grew, and the production of paper remains an important Wisconsin industry to this day. 

Mining in Wisconsin was one of the first business enterprises, attracting settlers to the 

southeastern part of the state (Platteville) where population boomed from 200 people in 

1825 to 4,000 in 1826. Lead was used in making paint and in making shot, ammunition 

for guns. In the northern part of the state, copper mines and iron ore mines attracted 

many hundreds of Finnish people as well as other Scandinavians and Irishmen. Lake 

Superior provided a traffic lane for ore boats carrying ore to the East. 

Wisconsin was recognized for the variety of industries it contained and for the “blue 

collar” workers who provided labor for all of them. Cities arose because industries were 

established to fill the need for machinery for agriculture, such as tractors, plows, and 

threshers, for ships for transportation, and for motors, pumps, and many other items. 

Wisconsin became a major supplier of heavy industrial equipment. What is the first step 

in making a piece of machinery? Every one of these items had to be designed and that 

meant a designer or an inventor, who was, indeed, an artist. Wisconsin produced a 

number of famous inventors. 


Audubon, John James Trapped Canada Otter Lower Level 

Goodwin, Richard LaBarre Hunting Cabin Door Lower Level 

Bohrod, Aaron Southwestern Antique Shop Main Level 

Colescott, Warrington Hardhats Main Level 

Holtz, Carl Ship Main Level 

Lewandowski, Edmund Wisconsin Ore Freighter Main Level 

Stevens, Brooks decorative arts Main Level 

Wessellman,Tom Still Life #51(Pabst Beer can) Main Level 

American Sculpture of Indian Folk 

American The World of Work Folk 

American The Fighting Cats Folk 

American Aerial Ferry Duluth to Minnesota Point Folk 

Fasanella, Ralph City Scene Folk 

Lippold, Richard Homage to Milwaukee Bradley 

42 



Entertainment and Recreation: Wisconsin as Vacation Land 


Because of its many beautiful lakes, rivers, and forests, Wisconsin has provided 

recreation for its residents and those of other states. It is known as a vacation land. 

What state parks do you know? Interstate Park, Wisconsin‟s first state park opened in 

1900. City and county parks provide recreation for citizens, and many businesses in 

resort areas in Wisconsin involve use of land and water. Wisconsin Dells is one very 

famous area. 

As the state grew in population, sports became a significant past time, either 

participatory or passive. What are the names of baseball and football teams that you 

know? The Brewers (from the beer industries), and the Packers (meat packing) of Green 

Bay became nationally known. 

Festivals are held all over Wisconsin, and antique stores testify to residents‟ interest in 

and fondness for the past. What festivals have you attended? 



Vianden, Henry View of Fox River, Wisconsin Lower Level 

Beal, Gifford Circus Girl Main Level 

Caillebotte, Gustave Boating on the Yerres Main Level 

Calder, Alexander Just a Summac to You, Dear Main Level 

Lawson, Ernest Boat Club in Winter Main Level 

Lawson, Ernest Winter Scene Main Level 

Lichtenstein, Roy Lily Pads Main Level 

Pendergast, Maurice Holiday in the Park Main Level 

Sloan, John Autumn Dunes Main Level 

American The Sport World Folk 

McCarthy, Justin Acrobats Folk 

Dufy, Raoul Boardwalk Bradley 

Wisconsin Artists and Architects: The Milwaukee Art Museum 


Art is an important component of life, no matter the time period or place, no matter the 

artist‟s training or complete lack thereof. People want and appreciate art in homes, 

schools, and public places, not just in an art museum. 

Native American Indians, the State‟s first residents, used feathers for decoration and 

made necklaces and head dresses out of animals‟ teeth and fur. The first fur traders 

gave the Indians beads and mirrors as gifts. 

Whether folk art or fine art, all peoples seem to have a need for decoration. Art 

flourishes even in the poorest communities. The wealthy nourish it with gifts to museums 

and schools. 



43

In the last century Wisconsin has produced nationally famous artists, and our Museum is 

a place devoted to collecting and showing their works as well as the works of other 

artists. 

The Milwaukee Art Center designed by Eero Saarinen opened on the lakefront location 

in 1957, the same year that construction began at the Milwaukee Zoo. The Kohler 

addition opened in 1975 and the Calatrava addition in 2001. 

What names of artists do you know? What other museums do you know? 


Calatrava, Santiago 2001 Museum addition 

Kohler, David 

1975 Museum addition 

Saarinen, Eero 

Milwaukee Art Center 

Chase, William Merritt Portrait of Grace Beatrice Dickerman Lower Level 

Johnson, Eastman Portrait of Fredrick Layton Lower Level 

Vianden, Henry View of Fox River, Wisconsin Lower Level 

Albano, Salvatore Bust of Fredrick Layton Main Level 


Littleton, Harvey Lemon/Red Crown Main Level 

Niedecken, George furniture Main Level 

Wright, Frank Lloyd furniture Main Level 

Wilde, John Wildeworld Main Level 

O‟Keeffe, Georgia Poppies Bradley 

Utz, Thornton 

Portrait of Mrs. Harry Lynn Bradley Bradley 

Blackmon, Prophet Three Dimensions Folk 

Sparrow, Simon Untitled Folk 

Wisconsin and the Nation 

Comments 

Listing artworks in this section would involve a great deal of repetition of artworks 

already given. 

In selecting artworks, however, consider how Wisconsin products have benefitted the 

Nation: dairy products and meat products; lumber and paper industries; lead, copper, 

and iron ore mines; manufacturers of motors and heavy; tool and dye companies; 

production of cars and automobile parts, and of course, motorcycles. 

Wisconsin has provided notable service during several wars. Well-known Wisconsin 

heroes of World War II are Douglas MacArthur, Richard Bong, and Fleet Admiral William 

Leahy. Wisconsin soldiers fought in Korea, Vietnam, and Iraq. 

Wisconsin politically has produced great leaders, and the influence of the Progressive 

Party on national legislation is still being felt. LaFollette is still a revered name. 

44 



Tour: World Communities 

Background 

All people of the world share common activities like eating, sleeping, working and 

celebrating significant events in their lives. Where people live however, may affect what 

they eat and how they work and celebrate. This tour will look at western cultures 

(European and American) and non-western cultures (Asian, African, and Haitian) using 

works of art from the Museum‟s collection. 

Objectives 

 

 

 

Students will investigate western (European and American) and non-western 

(Haitian, Asian, and African) art depicting and/or representing everyday life. 

Students will understand that the people of the world are more alike than 

different. 

Students will discuss: 

o How people around the world share the activities of work, leisure/play, 

celebrations, and the making of useful objects. 

o How people are affected by varying environments (climate, resources, 

etc.). 

o How people live in many communities – family, school, village, city, state, 

country, continent, the world. 

PRIMARY POINT: Cultures of different people throughout the world can be discovered 

through observation of objects, paintings, and sculpture. Through this tour, students will 

look at objects and paintings that depict people in communities around the world – how 

they live, work, play, celebrate together, and make use of useful objects. 






Inflatable world globe or maps of the following, including continent on one side and 

geography/climate on the other side: Asia, Africa, Haiti, Europe, U.S. 

image of a specific useful object (bowl, spoon) from each world community for 

comparison 

objects from Africa, including a traditional Kente cloth and wrap 

People Playing/Leisure Time 

Obin, Philome, Outdoor Dance & Enguerand-Gorgue, Jacques, Dance 

“What is going on in each of these paintings?” The setting is Haiti and it is 

outdoors. Discuss dance celebrations, music, and dress. Relate to family 

reunions. Compare and contrast rural to urban; country to city; type of music 

and instruments. 

Knaus, Ludwig, Dance Under the Linden Tree 



45

Look at this painting and talk about it the same way as the Haitian dancing 

scenes. Compare and contrast. 

People Working 

Valcin, Gerard, Communal Fieldwork 

“What do you find interesting about this painting?” “Do you think it would be interesting to 

work together in a group?” “What are the advantages?” “What are the disadvantages?” 

“How do you work in your classroom?” “What can you tell about the climate from looking 

at this painting?” Note the clothing, colors, plant life, etc. Try this activity – Have half of 

the group clap a rhythm and the other half make a hoeing motion to the beat or rhythm. 

Family Life/Celebrations 

Chinese Barnyard 

“Who has been on a farm?” “What did you see while on the farm?” “How does this 

compare to what you would see now?” “What was this made from?” Look at the text 

panel and discover how long ago this was made. “How did we come to have something 

that is this old?” Discuss field of archaeology. 

Useful Objects 

Flemish, Brabant-Brussels Tapestry 

“Would you think of this as a useful object?” “Why?” Discuss working activities, 

storytelling, etc. “Why do you think the man is dressed this way?” 

46 




Year 3 (5 th grade): Art History and 

American History 

Theme: Extend 



47

Year 3 (5 th grade): Art History and American History 

Theme: Extend 

Three tours and graduation: Each tour is 1 ½ hours long. 

Antiquities to Abstract Expressionism and Exploration 

o Students explore a variety of art forms and movements throughout history 

from ancient to modern times. 

 

 

 

American History and Selection 

o Students investigate American History through works of art. Each student 

selects a work of art from the Museum‟s permanent collection to study and 

research. 

Study and Sketching of Artwork 

o Each student has previously selected a work of art from the Museum‟s 

permanent collection to study and research BEFORE the tour. Using the 

selected piece from Tour 2, students complete the Study and Sketching 

guide to assist in their study and research 

Graduation 

o Students act as docents and present their chosen artwork with an 

aesthetic response, oral report, and reproduction to a group of people 

made up of family members, adults, and peers. 

Tour: Antiquities to Abstract Expressionism 

Background 

This is the culminating art history tour of the Junior Docent School Program. It is 

designed to provide the students with an overview of art history from ancient to modern 

times. (Think of it as a highlights tour of art history using the Museum‟s collection.) The 

Antiquities to Abstract Expressionism and Exploration tour is one and one-half 

hours in length. 

Asian Art 

6000 BCE – 589 CE China 

4500 BCE – 500 CE Japan 

4000 BCE – 510 CE Indian subcontinent 

Asian art includes art from the entire continent of Asia, but ancient Asian art usually 

refers to the art from China, Japan, India, Korea, and the Southeast Asian nations, such 

as Thailand, Cambodia, and Indonesia. 

Religion or philosophical beliefs play an important role in the arts of ancient Asia. 

Different parts of Asia have different religious beliefs. Very few generalizations carry 

across the great distances and vastly different peoples of Asia. Among them are that art 

often has a religious function, symbolizing key aspects of the life of Buddha, for 

example, or depicting the gods of the Hindus. Asian art also tells stories about life of the 

peoples, sometimes, whole histories. 

48 



Egyptian Art (3100 BCE - 332 BCE) 

Egyptian art is from the Northeastern African land that has been called Egypt for more 

than five thousand years. It usually refers to objects, paintings, and architecture made 

between 3100 and 332 BCE. 

The lengthy history of Ancient Egypt is divided into 8 or 9 periods, sometimes called 

kingdoms. The Ancient Egyptians themselves seem to have developed the notion of 

ruling dynasties, a succession of rulers from the same family or line throughout their 

history. 

The importance of religion and the respect for death ruled their art. They built mostly 

temples, tombs, and pyramids. Most of our knowledge of Egyptian civilization comes 

from these surviving structures and their contents since they were built to endure 

forever. The pyramids and tombs contained everything the deceased might want or 

need in the afterlife (weapons, food, furniture, jewelry, etc.). 

Egyptian sculptures and paintings depicted scenes of daily life, hunting, war, and 

ceremonies and followed a rigid formula for representing the human figure. The human 

figure was depicted with head, arms, pelvis, legs, and feet in profile and eyes and 

shoulders facing front. Egyptian artists made few attempts to create a sense of space in 

the scenes they depicted and used clear outline to communicate shapes. 

Ancient Egyptian culture is considered crucial to the development of art in Europe and 

the Western Hemisphere, and its influence on early Greek art is visible. 

Greek Art (800 BCE - 320 BCE) 

Art historians refer to art created on the peninsula now called Greece and many nearby 

islands in the Aegean Sea, including Crete, from between 800 BCE and 323 BCE as 

Greek Art. Much of Western European art has a strong link to ancient Greece. To most 

historians and philosophers of the Western world, this period was a high point in cultural 

achievement, setting standards of beauty, humanism, and other ideals honored to this 

day. 

Greek artists used narratives, or stories, and made many portraits and other 

representational subjects. Much of the art – even poetry and music – was based on 

systems and perfect proportions. For example, Greek architecture depended on the 

“column” to support the weight of the peaked roofs supported by triangular pediments. 

Greek artists were the first to render the human figure in a natural, relaxed style and 

more active poses. Until the Greeks, sculptors had modeled figures to look stiff and 

formal. Many Greek sculptures depicted gods and goddesses and portrayed lifelike, 

though idealized, human subjects. 

Roman Art (510 BCE - 337 CE) 

The Romans adopted much from the Greek architecture, but they created their own 

styles as well. The Romans created new types of structures, such as public baths and 

amphitheaters. Romans also developed two things that let them build larger structures 



49

than the Greeks had: the arch and the aqueduct. The arch eliminated the need for 

columns to support heavy roofs. Using arches, the Romans could build huge buildings 

(such as the Pantheon), long bridges, and long aqueducts that carried water to Roman 

cities. The Romans also invented concrete, a strong and inexpensive building material 

for their arches, walls, and vaults. 

Roman painting and sculpture also borrowed from the Greeks. Greek art portrayed 

lifelike, though idealized, human subjects. Roman art reflected the subject‟s individual 

physical traits and personality. Roman artists also illustrated important events by 

carving scenes on large monuments, tall columns, and other public spaces. The art of 

portraiture, including heroes, was very popular during this time. 

The art of Greece and Rome is referred to as Classical art and for centuries has been 

considered the standard of artistic perfection. The Ancient period ended with the fall of 

the Roman Empire in 476 CE. The fall of the Roman Empire coincided with the rise of 

Christianity and the following one thousand years are referred to as The Middle Ages. 

Middle Ages (500 CE - 1500 CE) 

At the onset of the Middle Ages, the Catholic church came to embody both the 

government and the patron. This meant that most works of art were of a religious 

nature. The nude figure was not looked upon as 'suitable subject matter' for the walls, 

ceilings, and altars of the cathedrals. Depictions of mythology were also discouraged for 

fear it would be confused with pagan worship. If the human figure was depicted at all in 

art of this period, the figure was often shown as either frolicking in Heaven or contorted 

in pain in Hell. Most paintings were in the form of illustrated manuscripts. This remained 

the chief form of painting for years. Most were produced in monasteries, which at the 

time were the centers of learning art. 

Much Classical art was destroyed or buried during this time, reflecting the decline of the 

great Classical civilizations. The Middle Ages set the scene for the “rebirth” of classical 

ideals in the Renaissance. 

Renaissance/Baroque Art (1400 - 1800 CE) 

The Renaissance was a great rebirth of classicism and a revival in cultural 

achievements for their own sake and the development of humanism. The Renaissance 

began in Italy and then spread throughout northern Europe. Greek and Roman art, 

science, and literature all were rediscovered and these grew tremendously during the 

Renaissance. 

Aided by technical innovations, creative discoveries, and new knowledge like the study 

of anatomy, artists achieved new heights in portraiture, landscapes, and mythological 

and religious paintings. The major breakthroughs were the change from tempera paint 

on wood panels and fresco on plaster walls to oil paint on stretched canvas and the use 

of perspective, giving weight and depth to form; the use of light and shadow, as 

opposed to simply drawing lines; and pyramidal composition in paintings. 

European Baroque artists filled their paintings with action, drama, and emotion. Many 

artists sought to render human figures in very dramatic ways; human figures were 

50 



seldom depicted still. Instead they stretch, move, and gesture. Whether it is a religious 

subject, mythological theme, battle, hunting scene, or portrait, Baroque artists gave 

drama to the ordinary scenes they depicted in their artwork. 

Realism and Naturalism (1830s - 1870 CE) 

In the 1800s, the Industrial Revolution caused many social and economic problems. 

Jobs were hard to find and working conditions were poor for those people lucky enough 

to find employment. There was growing concern on the part of artists and writers about 

the plight of ordinary persons at home and at work. The concern was reflected in this 

style of art that became popular in the mid-nineteenth century. Realism/Naturalism 

implied a desire to depict things accurately and objectively. Although these artists did 

paint in a realistic style, the realism they were interested in was a matter of subject 

rather than style. Artists limited themselves to facts of the modern world as they 

personally experienced them; only what they could see or touch was considered real. 

They painted real life: everyday problems, work, and everyone‟s joys and tragedies. 

These artists used new ways of handling brushes and paint so that their paintings had 

more textures and visual interest. The invention of the camera gave them the possibility 

of working from a photograph, an entirely new concept during this time. Realists also 

were interested in painting landscapes from a realistic point-of-view, and they were 

especially interested in how the land looked during different weather and different times 

of the day. Realists‟ desire to paint in the open air and interest in how light affected 

one‟s perception of a scene paved the way for Impressionism. 

Impressionism (1860s - early 1900s CE) 

The European Impressionists began in the tradition of Realism. They favored subjects 

that appeared informal and spontaneous. They depicted ordinary people picnicking, 

dancing, boating, or on outings in the landscape of northern France. However, it is the 

way they painted, and not the subject matter, that is important to Impressionism. 

The Impressionists adapted some of the science of optics researched in the nineteenth 

century. They understood that when we look at something we see not the object itself, 

but light reflected from the object. Our eyes perceive the object as many small spots of 

color of varying shades and tones, not as a solid-color shape. To capture this optical 

sensation, Impressionists worked on small canvases set up outdoors, painting with 

small brushstrokes. They worked quickly, before the sun shifted to a great degree. In 

doing so, they were able to produce a feeling of spontaneity rather than of posed studio 

effects. They created bright paintings with brilliant colors that almost shimmer in their 

intensity and which paved the way for abstract art. 

Abstraction (late 1900s - 1940s CE) 

Abstraction applies to art that looks as if it contains no recognizable forms from the 

physical world. All the artist gives us to focus on are colors, lines, shapes, values, 

forms, textures, spaces, and materials. Abstractionists carefully painted and arranged 

colors and cleanly outlined geometric shapes. These artists explored new ways to 

combine the elements of art (line, shape, color, form, texture, value, and space) in nonobjective 

paintings and sculptures to express feelings and distorted shapes and 

rearranged parts, reconstructing the subject so it became something totally new and 



51

different. Visual experimentation has remained central to art ever since this art 

movement. 

Abstract Expressionism (early 1940s - 1960s CE) 

With Europe and its artistic centers in ruin following World War II, the center of the 

Western art world moved to the United States, primarily to New York City. This postwar 

art grew out of European art movements in the prewar years, much of it taught by 

European artists who fled their occupied homelands. The first postwar movement to 

emerge was Abstract Expressionism. Abstract Expressionism is a style of abstract art 

that particularly emphasizes the expressions of feelings, encompassing as “art” not just 

the product of artistic creation but also the active process of creating it. The artist begins 

painting without any preconceived notion, and the act of painting is the experience in 

itself. 

Also called “action painting” and the New York School, Abstract Expressionism stressed 

energy, action, kineticism, and freneticism. Abstract Expressionists liberated themselves 

from geometric abstraction and the need to suggest recognizable images. Giving free 

rein to impulse and chance, the impassioned act of painting became an absolute value 

in itself. No longer was art required to imitate appearance; the energy and emotion of 

Abstract Expressionism smashed conventions, and laid the groundwork for much of 

what was to follow. 

Objectives 

 

 

 

Students will receive a brief overview of art history from antiquity to modern 

times: Asian, Egyptian, Greek, Roman, Middle Ages, Renaissance, 

Realism/Naturalism, Impressionism, Abstraction, Abstract Expressionism. 

Students will gain an appreciation of how historical events and/or technological 

advances changed art. 

Students will gain an awareness of: 

o The acceleration of artistic styles, as compared to the world itself. 

o New artistic styles as a reaction to the style that preceded it, or return to a 

previous style. 

o The communication of ideas and feelings through art. 

o Learning from each other in a manner to better understand our rich 

cultural heritage 

o Art as a reflection of the time in which it was created and its changes over 

time 

o Human‟s view of him/herself in relationship to the world reflected in world 

change 






Antiquities to Abstract Expressionism Timeline fold-out and cards 

Inflatable world globe 

52 



Ideally, this tour is best when presented chronologically. This can be accomplished if 

some docents begin in the Asian gallery while others start in Egyptian/Greek/Roman. 

Keep in mind that this is the culminating art history tour of the Junior Docent School 

Program and the students will, in all likelihood, already be familiar with at least some of 

the works of art you choose to include in your tour. 

In your introduction, make use of the foldout visual available for this tour and go through 

it so the students have an understanding of the vast amount of time being covered - 

thousands of years. (And, these are just the highlights on the timeline - there are many 

periods that come in between the ones we will focus on that are not included, i.e., 

Baroque, Rococo, Modernism, etc.) 

Make use of an inflatable globe to let the children find the countries they will be talking 

about. 

Asian, Egyptian, Roman 

Compare and contrast the burial practices exemplified by the following pieces: 

Barnyard, Chinese, Han Dynasty 

o “Can you tell just by looking where this piece was made?” (Clue: the style of the 

buildings) 

o “What material was used?” (terracotta clay - unpainted, no decoration added) 

o “How can we learn when it was made?” (Read the text label. Have them do 

mental math to determine age) 

o 

o 

“Do we know its purpose? How do we know that?” (text label) 

“What does this tell us about their beliefs about life after death?” (Tombs filled 

with representations of food, furniture, clothing, companions, animals and 

servants so that all necessities and pleasures would accompany them in the 

afterlife.) 

o “How was it preserved?” (underground, in a tomb) 

o Tell me all the animals that are included: sow and five piglets, a goal, dog, 

rooster. 

o “Do you see any people? What is that person doing?” 

o “Have you visited a farm? Were there some of the same things there that you 

see here?” 

Mummy Case of Pedusiri, Egyptian 

o “Can you tell just by looking where this piece was made?” 

o “What material was used?” (wood - highly decorated with paint and gilt) 

o How can we learn when it was made? (text label - do mental math to determine 

age) 

o “What was its purpose?” 

o “How was it preserved?” (in a tomb) 

o “Tell me about the figures you see.” (animals and human forms) 

o “What did the Egyptians believe about an afterlife?” 

o “Do the people look real?” (stylized, not realistic) 

Fayum Portrait of a Woman, Egyptian (Roman Period) 

o “Can we tell just by looking when this was made and what it was used for? How 

can we learn these things?” (text label) 

o “How long after the mummy case was this created?” (math problem) 



53

o 

o 

o 

o 

“What happened during that time is that the Greeks and then the Romans 

invaded Egypt and many remained there and married Egyptians. This piece 

represents the blending of these cultures -Greek/Roman portraiture and Egyptian 

burial practices.” (Use the visual showing a complete mummy with the portion 

where the face would be covered by a portrait). 

“How was the portrait made?” (painted on wood) 

“What material was used?” (encaustic - pigment mixed with beeswax) 

“Does this woman look real?” 

Similarities: all representations of burial practices; all preserved underground; emphasis on 

preparing for afterlife 

Differences: materials used; method of decoration; people represented differently 

Renaissance 

“We just jumped forward in time almost a thousand years! Many things have changed. 

There has been a shift is human‟s view of him/herself in the world. While the afterlife is 

still important, life on earth is important, too. This was a time of great exploration and 

discovery. Think about Christopher Columbus and all the other explorers. There was 

great interest in discovering how things work, from the planets in the skies to how to 

keep time.” (Look at all the clocks in the Renaissance Treasury.) (Talk about how 

painters and sculptors were again presenting the human form - going back to the 

Classical period.) 

 

 

 

Madonna and Child, di Cione 

Madonna of the Candelabra, after Rossillino 

Compare these two paintings as examples of how human‟s view had changed. In the 

first, the Madonna is portrayed as the Queen of Heaven. In the second, she is portrayed 

as an earthly mother. 

Christ & the Two Pilgrims on Way to Emmaus, van Amstel 

Use this painting to show how artists learned about perspective. 

Realism/Naturalism 

Two Bulls, Isidore Bonheur 

Two Goats, Rosa Bonheur 

These two works of art were done by a brother and sister. Their views on the art of 

portraying animals were strongly influenced by the prevailing trends in natural history. 

o “When were these pieces made?” (check text label - do mental math to see how 

long ago his was) 

o “Where did they live?” (France) 

o “What do you think they did to make the animals look so real?” (studied them; 

visited animal fairs and slaughter houses to make sketches of them in all 

possible ways; Rosa would obtain animal parts and dissect them to understand 

bone and muscle structure. She said, “One must know what is under their skin - 

otherwise your animals will look like a mat rather than a tiger.”) 

o “Look at the many details she has included in her painting of the goats. Can you 

see the pattern of how the hair grows? Do their noses look wet or dry?” 

o “Look at the texture of the horns - how would they feel?” 

o “What other textures did she include in her painting?” (clouds, mist, rock, velvety 

hair, hard horns) 

54 

Isidore, too, watched and studied animals, making countless sketches and models 

before having his pieces cast. He would study an animal, draw it in the position it took, 



and when it changed to another position would draw that, too. Every detail was included 

to make his animals as realistic as possible. 

Both Rosa and Isidore spent hours, even days, and perhaps months, to produce a piece 

of art, first making sketches outside and then completing their work in their studios. 

Impressionism 

“In the same country, at about the same time, different artists were discovering a new 

way to paint. Several technological events occurred that helped to make this possible. A 

portable easel and metal paint tubes were invented that allowed the artists to paint out 

of doors rather than sketching first and painting in their studios later. The camera had 

been invented, and these artists said if people wanted a realistic representation they 

could take a photograph, so they then could make a quick impression of what they were 

looking at, catching the way the light was at a given moment. Another invention was the 

train. Most of the artists lived in Paris but could now quickly go on a train and be out in 

the countryside in a very short time.” 

Choose any of the impressionist paintings. Have the students look at the way the paint 

is applied. 

“Can you see the brush strokes?” 

“Do you see many, clear details?” 

“Did the artists use a little paint or a generous amount?” 

In the Impressionist Gallery, compare the academic, realist style of the Bonheurs work 

to that of the Impressionists. 

Abstraction 

Tondo #5, Glarner 

Construction, Diller 

o “What do you first notice when you look at these pieces?” (color, line, shape) 

o “What is missing from these pieces?” (no figures - everything else we have 

looked at has included recognizable figures. What we see here is called 

geometric abstraction.) 

o “Is anything from nature included in these pieces?” 

Yellow Still Life, Munter 

Yellow Guitar and Blue Vase, Leger 

o “Can we tell what the objects are that are included in these paintings?” 

o “Are they portrayed realistically, like the work of the Bonheur‟s?” (We can tell 

what they are, but there aren‟t very many details. The forms have been greatly 

simplified and appear flat rather than two-dimensional.) 

o “What about how the paint is applied? Can you see the brush strokes?” 

Abstract painters did not present realist representations of objects. They were reacting 

against the realism and impressionism that preceded them. 

Abstract Expressionism 

“In this type of art, again artists were reacting to what had come before - this time, 

abstraction. Their aim was to express inner life (feelings, emotions) through art because 



55

they thought abstraction was too cold and devoid of feeling. They used color, 

movement, and action to achieve this result. The process of making the art was as 

important, or even more important, that the end result.” 

East is the Place, Resnick 

o “What is the first thing you notice about this painting?” (color) 

o “Is this a quiet, restful painting, or is another effect achieved? What?” 

o “Would you say this is a static or a dynamic painting?” (Lots of movement, action) 

o What about the way the paint is applied? Can you see the brush strokes? Do you 

think the paint was applied slowly or quickly?” 

Voyage to Crete, Nakian 

o “Of what is this sculpture made? What else have we seen that was made of this 

material?” 

o “Can you see the result of the sculptor‟s hands?” 

o “Is this a quiet piece, or would you use another word to describe it?” 

o “With your finger, imagine drawing the lines that would make an outline of this 

piece? Would you say that there is a lot of movement or very little?” 

o “Walk all around this sculpture. What changes are there when you look at it from 

different directions?” 

Conclusion 

If individual visuals of the various periods are available, give them to the students and 

have them arrange themselves in chronological order so they can see the progression 

from Antiquity to Abstract Expressionism. 

If you have the fold-out visual, review it and summarize the high points of each. 

Exploration 

The objective in the extension of this tour is to help each student further finalize a 

selected piece of art work for study. 

As the docent liaison, ensure the docent tour guide understands this is an opportunity to 

visit areas and galleries which are typically overlooked due to a lack of time.Use 

chaperones to assist with monitoring this process. 

56 



Tour: American History Through Art and Selection Tour 

Background 

The United States of America is a very young nation compared to Europe or Asia. Early 

history of North America is lost. Many American Indian tribes lived in North America. In 

1607, the first permanent English settlement was established at Jamestown, Virginia. 

The American History tour explores four time periods and highlights significant people 

and events using the Museum‟s collection. The American History and Selection tour 

is one and one-half hours in length. 

Explorers, Colonies, and the Birth of a Nation (1492 – 1815) 

Kingdoms in Europe wanted to expand and sent explorers in search of new land, trade, 

and treasures. The North American continent was founded by explorers seeking a new 

route to the Orient. The English were the first to attempt permanent colonies. In the 

1600s, Europeans were living along the Atlantic coast, and soon this area would 

become the United States. 

Disagreements with the British government and the colonies in America grew serious in 

the 1760s. The colonies wanted their independence that led to the Revolutionary War in 

1775. 

The new nation then formed a lasting federal government and drafted a constitution in 

1787. Expansion soon followed. 

1492 Christopher Columbus discovers the Americas 

1565 The Spanish establish a settlement in St. Augustine, Florida 

1607 Jamestown, Virginia is founded by the English 

1609 Henry Hudson sails up the Hudson River for the Dutch East India Company 

1619 The first blacks arrive in America as slaves 

1620 The Pilgrims – seeking religious freedom – arrive at Plymouth, Massachusetts 

1628-30 The Puritans – seeking religious freedom – establish the Massachusetts Bay Colony 

1636 Harvard College is founded 

1673 Father Jacques Marquette and Louis Joliet travel the St. Lawrence River, through the 

Great Lakes, and down the Mississippi 

1754-63 The French and Indian War – a war over territory claimed by Britain and France 

1773 The Boston Tea Party 

1775-83 The American Revolution 

1776 The Declaration of Independence is signed in Philadelphia 

1787 The Northwest Territory is created and eventually will be divided into the states of Ohio, 

Indiana, Illinois, Michigan, and Wisconsin 

1788 The Constitution of the United States becomes law 

1789 George Washington is elected the first President of the U.S. 

1791 The Bill of Rights is made law and becomes the first ten amendments to the Constitution 

The Bank of the U.S. first chartered to run until 1811 

1793 Eli Whitney invents the cotton gin 

1801 John Marshall becomes Chief Justice of the Supreme Court 

1803 President Thomas Jefferson buys the Louisiana Territory from France, doubling the size 

of the nation 



57

1804-06 Meriwether Lewis and William Clark explore the Louisiana Territory and more – traveling 

all the way to the Pacific Ocean 

1807 Robert Fulton develops the first successful steamboat for use on rivers, lakes, and 

coastal waterways 

1812-14 The War of 1812 – continued British interference with American shipping and frontier 

settlements results in war 

Expansion and the Civil War (1816 – 1870) 

Significant growth occurred during the period from 1815 to 1880. Immigrants arrived 

from Ireland, Germany, and many other countries and settled in cities and the new 

territories. Roads, railroads, canals, and telegraph wires continued to connect the 

Nation. At the same time, the country suffered a difficult war. The Civil War was fought 

over black slavery and many other political and economic issues between the North and 

the South. The North won, but it took a long time for the wounds to heal. 

1816 The Second Bank of the U.S. is chartered 

1816-17 The American Colonization Society is founded to transport free slaves back to a newly 

founded country in Africa called Liberia 

1818 The Oregon Territory is jointly occupied by the U.S. and Britain 

1821 Stephen Austin establishes an American colony in Texas, a part of Mexico 

1825 Erie Canal creates a faster route from the Hudson River to the Great Lakes 

1828 Andrew Jackson is elected the 7 th President 

1830 Peter Cooper develops the steam locomotive “Tom Thumb” 

1837 John Deere introduces the steel plow 

The Panic of 1837 begins 

1838 Cherokee Trail of Tears 

1844 Samuel F.B. Morse puts the telegraph into operation between Washington, D.C. and 

Baltimore, Maryland 

1846-48 The Mexican War – a war for land in the west and southwest 

1847 Elias Howe patents the sewing machine 

1848 Seneca Falls Convention – equal rights for women, including the right to vote 

1849 California gold rush 

1851 Congress adopts the first reservation policy for Indians – setting aside lands for them 

1852 Elisha Otis develops the electric elevator which makes skyscrapers possible 

1860 Abraham Lincoln is elected President 

Pony Express delivered mail between St. Joseph, Missouri and Sacramento, California 

through 1861 

1861-65 The Civil War 

1862 President Lincoln‟s Gettysburg Address 

Homestead Act – this law gave land to any settler who farmed it for 5 years 

1865 President Lincoln assassinated 

1865 Slavery abolished with the passing of the 13 th Amendment 

1867 U.S. buys Alaska from Russia 

1867 Christopher Sholes develops the typewriter 

1869 The first transcontinental railroad is complete, linking railroads in the East with the 

Central and Pacific railroads 

The Knights of Labor is formed to bring workers together in a union 

1870 The 15 th Amendment is passed giving black males the right to vote 

John D. Rockefeller founds Standard Oil Company 

58 



Growth and Change in the Nation (1871 – 1955) 

The United States changed from a pioneer nation to a world power between 1890 and 

1920. Industry produced coal, steel, and oil. Inventors produced electricity, the 

telephone, phonograph, automobile, and airplane. Serious growing pains were felt in the 

nation. Labor unions were organized and protested low wages and working conditions. 

Farmers protested low prices. The U.S. was drawn into world politics. 

Prosperity grew between 1920 and 1954. In the 1920s, people focused on the home 

front and fun entertainment. The radio and movies were popular, as well as jazz. But a 

sudden change occurred with the Great Depression of the 1930s. The economy 

suffered greatly and many people saw their jobs disappear. Recovery was slow and the 

country was in another war before the recovery was complete. World affairs and politics 

became increasingly important. 

1871 The Chicago fire – one third of the city is destroyed 

1872 Yellowstone is named the first national park 

1873 Oscar Levi Strauss sells his first pair of blue jeans 

1876 Alexander Graham Bell applies for the patent for the telephone 

1879 Thomas Edison develops the incandescent light bulb. He patents the phonograph in 

1877. 

1880 The Brooklyn Bridge is completed – longest suspension bridge in the world 

1881 Clara Barton, a civil war nurse, founds the American Red Cross 

1886 The American Federation of Labor is founded and replaces the Knights of Labor 

1888 George Eastman invents an inexpensive camera for popular use 

1889 Jane Addams opens Hull House in Chicago – to provide services for the slum dwellers in 

the growing city 

1893 The Panic of 1893 causes business failures and unemployment 

1898 Hawaii is annexed by the United States 

The Spanish-American War – Spain and America battle over land in the Caribbean and 

the Pacific 

1901 Theodore Roosevelt becomes President 

1903 Orville and Wilbur Wright successfully fly the first airplane 

1904-14 The Panama Canal is built to link the Atlantic and Pacific oceans 

1909 The National Association for the Advancement of Colored People (NAACP) is organized 

1914 World War I breaks out in Europe 

1915 The Ku Klux Klan is organized in Georgia 

1917 Communists overthrow the Russian government 

1917-18 U.S. in World War I 

1920 The 19 th Amendment is passed giving women the right to vote 

1921-29 Congress begins passing laws to restrict immigration 

1924 Indians are granted American citizenship 

1927 The first talking motion picture is released, The Jazz Singer, starring Al Jolson 

1927 Charles Lindbergh flies his plane alone, The Spirit of St. Louis across the Atlantic Ocean 

from New York to Paris. It takes 33 hours. 

1929 The stock market crashes leading to the Great Depression 

1932 Franklin Delano Roosevelt becomes President 

Congress passes Social Security Act 

1933-38 The New Deal begins as Congress passes programs, including the Emergency Banking 

Relief Act, Agricultural Adjustment Act, Tennessee Valley Act, National Industrial 

Recovery Act, Social Security Act, Fair Labor Standards Act. 

1939 World War II begins in Europe 



59

1941-45 U.S. in World War II 

1945 The United Nations is founded 

1946 Televisions are available for home use. Colored televisions become available in 1953 

1947 The Taft-Hartley Act is passed – seeking control over labor unions in response to the 

many labor strikes since the end of the war 

1949 NATO (North Atlantic Treaty Organization) is founded to thwart communist moves 

against Western nations 

1950-53 War in Korea – North against South Korea; U.S. economic aid to Southeast Asia begins 

1953 Dwight D. Eisenhower becomes President 

1955 Rosa Parks refuses to give up her seat on a public bus in Montgomery, Alabama 

1956 Martin Luther King Jr. rises as a leader of the nonviolent civil rights movement 

1956 Federal Highway Act – beginning of the interstate highway system 

Modern America (1956 – Present) 

The United States remains a world power and represents liberty and democracy. The 

country is a multi-ethnic, immigrant nation, and a nation with many natural resources. 

The information revolution followed the industrial revolution. Television, computers, and 

the Internet bring instant news and information. 

World affairs, free markets, rogue nations, and domestic issues continue to present 

challenges. 

1958 The National Defense Education Act passed – giving federal aid to schools to strengthen 

their math and science programs 

1961 The Peace Corp is started by President Kennedy 

1963 President John F. Kennedy assassinated 

1964-65 The “Great Society” legislation is passed as President Johnson declares a “war on 

poverty” – included is: the Economic Opportunity Act (provides for job training); VISTA (a 

domestic Peace Corp); Head Start (program for children); Elementary and Secondary 

Education Act (provides school grants); Medicare Act (provides federal health benefits) 

1964-68 The Civil Rights Act of 1964 is passed to outlaw racial discrimination in employment and 

public accommodations 

1964-75 War in Vietnam – North against South Vietnam 

1966 National Organization for Women (NOW) is founded 

1968 Martin Luther King Jr. assassinated 

Richard Nixon elected President 

1969 First manned landing on the moon – Apollo spaceship 

1970 Environmental Protection Agency founded to set standards for clean air, water, and land 

1972 President Nixon visits China and relations with China improve 

The World Trade Center opens 

1976 James Carter elected President 

1980 Ronald Reagan elected President 

1981 Sandra Day O‟Connor becomes the first woman named to the Supreme Court 

1984 The Macintosh computer is built 

1987 The commercial Internet is introduced 

1991 The U.S. becomes involved in the Persian Gulf War 

1993 www.com addresses are introduced 

1988 George H. Bush elected President 

1992 William Clinton elected President 

1994 Congress votes for Global Trade Alliance 

1995 Federal office building in Oklahoma City, OK is target of terrorists attack 

2000 George W. Bush elected President 

60 



2001 Opening of the Calatrava addition to the Milwaukee Art Museum 

World Trade Towers in New York City are target of terrorists 

2002 Homeland Security Act passed 

2003 War in Iraq 

2008 Barack Obama elected President – first African-American President 

Objectives 

 

 

 

Enhance students‟ knowledge of American history as it relates to the Museum‟s 

art collection. 

Students will be able to recognize works of art within the following periods of 

American history: 

Explorers, Colonies and the Birth of a Nation 

Expansion and Civil War 

Growth and Change in the Nation 

Modern America 

The students will be able to discuss some of the following themes while looking 

at works of art: immigration, economics, natural resources, democracy, diversity, 

geography, freedom, equal rights, and labor. 






A map of the United States and map overlays showing the colonies; territories; and 50 

states 

Matching Game worksheet – List of significant people in American history and a picture 

of a work of art from the Museum‟s collection that corresponds or represents that person 

(i.e. Thomas Edison and Tiffany Lamp or Alexander Bell and the telephone). 

Explorers, Colonies, and the Birth of a Nation (1492 – 1815) 

Use the map of the U.S. and the colonies overlay 

Benton, Thomas Hart, Marquette for the Painting “Cotton Weighing” 

“What customs and traditions can you observe? How are they alike or different?” 

Copley, John Singleton, Portrait of Thomas Boylston 

Ask the students to make comparisons to then and now. For example, how does their 

clothing differ from ours? 

Expansion and Civil War (1816 – 1870) 

Use the map of the U.S. to show the colonies and territories 

Chair Park 

Use the chair display and the newspaper that goes with the Chair Park. Compare and 

contrast to the Windsor Chairs. 

Landscape Paintings in the American Galleries 

Use role playing to discuss the exploration of the new territories, for example Lewis and 

Clark. What did they find? How did they record their adventure? What did they eat? 

Where did they sleep? How did they survive? 



61

Growth and Change in a Nation (1871 – 1955) 

Use the map of the U.S. to show the states 

Architecture and Furniture in American & Decorative Arts Area 

Frank Lloyd Wright---Prairie School and George Niedeken can be contrasted with the 

Queen Ann style of furniture. Almost all of the furniture in the Dec. Arts area is American. 

Bokelman, Christian Ludwig, The Broken Bank 

Discuss with the students what happened during the stock market crash? Economic 

issues could be explored. Manufacturing could be compared and contrasted with the 

Windsor Chairs in Decorative Arts. 

Blakelock, Ralph, Old New York: Shanties at 55 th ST. & 7 th Ave. 

Discuss the growth of cities, immigrants, and social needs. 

20 th Century Design Gallery 

Have the students look for inventions that were made in the U.S. 

Modern America (1956 – Present) 

Audubon, John James, Entrapped Otter 

Ask the students how they feel about or are reacting to the situation they are observing 

in the painting. How are our natural resources being used and protected today? 

Selection Guide 

The objective in the extension of this tour is to help each student further finalize a 

selected piece of art work for study. 

As the docent liaison, ensure the docent tour guide understands this form and the 

selection time to be completed as a part of the tour. Please note this is not another 

formal tour, but a chance for students to select the one piece they have decided to 

further study and present. 

At this point, the student should be familiar with the specific piece and can give you a 

description to assist with the location if needed. Review one floor at a time and use 

chaperones to assist with monitoring this process. 

While at the museum, each student should: 

Complete (as thoroughly as possible) the Selection Guide 

Each student selects a work of art from the Museum‟s permanent collection to 

study and research, based on the three choices selected during the Exploration 

Tour 

The Selection Guide is collected and used by the docents to create the Study 

and Sketching of Artwork tour groups. This is basic organization by floor, not 

flow. It is important that the student complete their selection during this tour. 

The lower portion of the Artwork Selection Guide is detached and returns 

to school for reference. 

Classroom activities have been shared in the Teacher Packet of Junior 

Docent School Programs Guide. Please encourage the teacher to try these! 

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Artwork Selection Guide 

(Tour 2) 

Please print neatly. 

My first name: _________________ My last name: _______________ 

My teacher‟s name: ____________________________________ 

My school‟s name: _____________________________________ 

Please show this 

completed form 

to your docent. 

Your docent 

today will review 

it and initial here: 

______ 

1. Use the text label (next to the work of art) to answer the questions below. 

Artist‟s Name: _______________________________________________ 

Title of Artwork: ______________________________________________ 

Year Artwork was made: _______________________________________ 

2. In what gallery is the work of art? 

Gallery Name/Number: __________________ 

Optional Space: ________________________ 

3. What level is the work of art on? (Circle) 

Upper Level Main Level Lower Level 

-----------------------------------------------Detach----Here------------------------------------------------- 

Return to School 

My first name: _____________________ My last name: ___________________ 

Use the text label (next to the work of art) to answer the questions below. 






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Tour: Study and Sketching of Artwork 

Background 

This tour allows students to further explore and study the personally selected artwork 

from tour two. The students will each study the work of art and the artist, create a 

reproduction of the work of art, develop an aesthetic response to the work of art, and 

present their work to parents, relatives, and peers in conjunction with the oral 

presentation during the graduation visit. The Study and Sketching tour is one and 

one-half hours in length. 

Objectives 

The objective of this tour is to help each student further study their selected work of art. 

While at the museum, each student should: 

Complete (as thoroughly as possible) the Study and Sketching Guide 

Create a preliminary sketch of the work of art 

This tour will assist each student in preparation to: 

Write a report about the work of art, the artist, and possible connections with 

major historical events 

Complete a reproduction of the work of art (please note, the size of the artwork 

should be student manageable to carry throughout the gallery spaces) 

Create an aesthetic response to the work of art in another format (i.e.: poem, 

song, dance, etc.) 

In helping students select their work of art, please note: 

Works selected should come from the permanent collection 

Avoid works of art going out on loan 

Avoid works on paper (prints, drawings, photographs) 

Restrict selection of The Infinity Room and from The Rooms of Wonder 

It is recommended selected art works be limited to one student a piece 

Suggested Pre-visit Activities to share with your school contact: 

 

 

 

 

 

 

Review how to „read‟ a text label and text panel with the students 

Practice completing the Artwork Study and Sketching Guide 

Review where information can be found in the galleries 

1. Obtain general information about the artwork 

2. Obtain artist information from text labels and text panels 

3. Use the elements of art to describe the artwork 

4. Determine what you like, don‟t like about the piece, and what it means to you 

Discuss how students can approach sketching the work of art 

Review the need for supervision by the teachers and chaperones 

Inform the docents that the Artwork Study and Sketching Guide will be checked for 

accuracy when collected and initialed by the docent for their tour group. 

NOTE: The Artwork Study and Sketching Guide will be collected by the docent 

liaison at the end of the tour. If needed, the form is copied 

and returned to the school for distribution to each student. 

64 



Please show this 

completed form to 

your docent. Your 

docent today will 

review it and initial 

here: __________ 

Please print neatly. 


Artwork Study & Sketching Guide 

(Tour 3) 

My first name: ________________ My last name: ________________________ 

My teacher‟s name: ________________________________________________ 

My school‟s name: _________________________________________________ 

1. Use the text label (next to the work of art) to answer the questions below. 


Country of Artist: _____________________________________________ 

Birth and Death Dates of Artist: __________________________________ 



Medium (What materials did the artist use to make this?): 

___________________________________________________________ 

2. In what gallery is the work of art? Gallery Name/Number: ______________ 

3. What level is the work of art on? (Circle) 

Upper Level Main Level Lower Level 

4. What kind of artwork is it? (Check one.) 

painting sculpture furniture architecture decorative object 

other (explain): _____________________________________________ 

5. This artwork is an example of? (Check one.) 

realistic art (It represents the familiar or typical in real life, shown in sculpture, painting, etc.) 

abstract art (A painting or sculpture that does not depict a person, place or thing naturally) 

 

6. Why did you choose this work of art? 



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7. Answer the questions below using the Elements of Art to help you. 

LINE: Describe the different types of lines that you see in this work of art. (angular, 

bold, broken, curved, diagonal, horizontal, jagged, overlapping, thick, vertical, wavy, zig-zag) 

SHAPE and FORM: Describe the different types of shapes (2D) and forms (3D) 

that you see in this work of art. 

(circle, cube, cylinder, geometric, organic, oval, pyramid, rectangle, sphere, square, triangle ) 

COLOR: Describe the colors you see in this work of art. 

(bright, cool, dark, dull, light, neutral, pale, secondary, shiny, primary, warm) 

SPACE: Describe the space that you see in this work of art. 

(illusion of space, sense of space, size of objects, negative space, positive space) 

TEXTURE: 

Describe the textures you see in this work of art. 

(bumpy, dull, furry, fuzzy, hard, rough, smooth, shiny, sharp, soft) 

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Artists use the Elements of Art to communicate their feelings and ideas to us. 

Look at the Elements in this work of art to answer the questions below. 

8. Does this work of art express an emotion? If so, describe this emotion (anger, 

concern, delight, excited, grief, happy, love, sad, sorrow, thankful, tickled, worried) 

9. Does this work of art tell a story? If so, what is the story it tells? If not, can you 

make one up? 

10. How do you think the artist was feeling when he or she made this work of art?, 

Why? 

11. If you could talk to the artist, what questions would you ask him or her about 

this work of art? What questions would you ask about their life? 



67

12. Use the space below to sketch the work of art you have chosen. 

(The more detail you record the easier it will be to create your final reproduction!) 

68 



Graduation 

The Junior Docent School Program graduation and program closing in Lubar Auditorium 

represents three years of work for the Junior Docents. It should be implemented with 

enthusiasm and be fun and exciting for the students and parents/guardians. 

Graduations are one and one-half to two hours in length, depending on the size of the 

school and the length of the presentations. You must stay for the duration of the 

graduation, including the presentation of certificates in Lubar Auditorium. 

All docents meet in the West Galleria 30 minutes before the scheduled graduation start 

time to assist with the following logistics: 

Receive any instructions about your assigned group and presentations. The 

school‟s Docent Liaison will have tour group lists with students‟ names and 

selected artwork, along with pins for each student. 

Distribute admission stickers to guests. Parents/guardians and guests will need a 

Junior Docent School Program admission sticker as they enter the auditorium. 

The stickers are available from the Coordinator of School Programs. 

Assist the students with finding their name tags (laid out on the table in the West 

Galleria) and seating students in the first two or three rows of the auditorium. 

Assist students who need to pick up their artwork or aesthetic responses from the 

teachers. 

Docents should be seated at the start of the graduation on the east side of the 

auditorium near the front door. After the introductory program, groups will be called one 

at a time and will exit with their assigned docent from the door to the East Galleria 

closest to the stage. Each docent guide will hold a number corresponding to their group. 

The number should be held visible so both the students and their guest can see it 

clearly. The docent should immediately gather their group and proceed out of the 

auditorium to their first presentation stop to avoid congestion in the East Galleria. 

Note: It is very important that each docent follow the order of presentations 

as shown on the list given to them. 

At the first presentation stop, introduce yourself and briefly explain the presentation 

process. Each student will present his/her report, reproduction, and aesthetic response 

for a selected work of art to the group (audience) and receive a recognition pin. After 

everyone has presented, you will take the group to Lubar Auditorium to receive 

certificates and for additional photographs. Videotaping and photography are allowed in 

the galleries without the use of flash or additional lighting. 

At each presentation stop, introduce the student and then allow him/her to present on 

their selected work of art. The docent should hold the student‟s artwork for viewing 

during the presentation, unless the school has provided assistants (usually 4 th graders 

who will be graduating the following year or partners within the group). After the student 

has completed his/her presentation, the docent briefly verbally recognizes the student‟s 

efforts in preparing and giving their presentation and then gives the student their Junior 

Docent pin. 



69

Note: The graduation is a time for the students to be the docents. Please 

remind the docent guides to limit comments to recognizing the students’ 

efforts and refrain from offering additional information about the work of art. 

After the last presentation is completed, the docent proceeds with their group to Lubar 

Auditorium/Windhover Hall. In Lubar Auditorium/Windhover Hall, the Docent Liaison will 

coordinate with the teacher the distribution of certificates and photography. While 

waiting for the groups to gather in Lubar, have the students place their artwork along the 

edge of the stage. Encourage the students to talk about their experience in the program 

with their parents/guardians while waiting for other groups to return. 

Once all of the students are gathered in Lubar Auditorium/Windhover Hall, the 

certificates will be distributed to the students. Each student will cross the stage from the 

west end to the east end of the stage. As they proceed across, they will shake your 

hand (if you would like to be on stage), the Coordinator of School Programs hand, and 

the teacher(s) hand. Photographs may be taken using flash photography. The students 

will then depart the museum. Thank everyone for coming and encourage them to come 

back again with their families. 

Note: All groups will not finish at the same time, so docents should stay with 

their group until all groups arrive in Lubar Auditorium. Docents should 

confirm no other things are needed with the liaison before leaving. 

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Junior Docent School Program - Milwaukee Art Museum

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