packet - Museum of Fine Arts - Florida State University

packet - Museum of Fine Arts - Florida State University


Artist Biographies

Daumier, Honoré (1808-1879)

Après l'eau, le feu, lithograph, 258 mm x 207mm.


Honoré Daumier was born on the 26th of February 1808, in Marseilles.

He moved to Paris at the age of eight, where he would reside for much of his

life. After working as an errand boy, he began work at Delaunay's bookstore in

the commercial center of Paris. In 1822, he decided he wanted to become a

painter. His parents consulted their friend, the artist Lenoir, who would become

Daumier's teacher. Under Lenoir, Daumier studied the art of Rubens,

Tintoretto, and Rembrandt at the Louvre. His formal training began with the

copying of famous works. He later received instruction from other teachers

and was influenced by other studios. As a student he learned the art of lithography.

Lithography became an important medium for printing in France during

Daumier's lifetime. Daumier worked as an artist in a time of political and social

revolution. Lithography provided the medium of choice for many artists. Daumier

used this medium to comment on current political issues. Daumier became

part of the artists' circle surrounding The Caricature, a radical magazine

featuring lithographs. Daumier used this forum to develop his cartoons.

Daumier served prison time for his political depiction of King Louis-

Philippe in the print Gargantua. He was one among many artists and intellectuals

persecuted for their criticism of the government. In the span of his life he

worked continuously. He produced 4,000 lithographs in forty-two years. He

also made woodcuts, paintings, and sculpture.


Hokusai (1760-1849)

Complete Story of Sankatsu and Hanshichi: A Dream of Nanka, Vol.

5, 1808.


Hokusai began work as a delivery boy to a bookshop. It was

here that he would be exposed to the popular illustration of the literate

Edo middle and upper class. At the age of about 14 he became

an apprentice to a woodblock carver. He learned the medium

of ukiyo-e, and mastered its many steps. He produced prints,

paintings, illustrated books and teaching manuals. He developed

his own unique style of painting. However, he is best known for his

prints, his most famous, The Great Wave. His career spans a period

of seventy years. He began drawing at age six, but his career as an

artist began at age nineteen. Hokusai changed his artist's name

and signature several times during different periods in his artistic



Drawing Show Biographies

Robin Ward

Ice Pack, mixed media on paper, 22 x 22”, 2006.


Robin Ward's drawings use the bodies of creatures to provide humor and

visual metaphors. Drawing is combined with ethics and politics to make an informed

comment. The artist’s figures and their positions evolve out of in-depth

research on a range of topics including global warming, weather catastrophes,

and identity politics. The artist investigates the effects of making an image

within a contemporary, globalized America.

Robin Ward maintains a studio in Albuquerque, New Mexico.


Chris Scarborough

The Cuddler, graphite on paper, 42 x 29.5”, 2005.


Chris Scarborough began working as a painter and draftsman. He later

took up photography, creating digital portraits. He is a Nashville native who received

his BFA from the Savannah School of Art and Design in Georgia in

2000. His drawings explore notions of reality. By pushing the boundaries of

what people consider ideal to the human species, Chris Scarborough creates

portraits with impossible characteristics. He explores the concept of humandefined

beauty through his depiction of people, often with references to

“Anime” cartoons. Exhibiting regionally since 2000, Scarborough has received

reviews and been included in such surveys as ArtPapers (2005) and New

American Paintings 2004 and 2001 (book #46, #34). He has exhibited in Jacksonville,

FL, among other regional areas, and been represented at art fairs in

Los Angeles and New York.


Joseph Lupo

“05.30. ‘02,” graphite on paper, 25 x 10”.


The drawings of Joseph Lupo explore the interaction of consumption and

communication. He creates reproductions of his receipts through drawings.

By drawing his personal purchases he presents a consumer self-portrait to the


Joseph Lupo received his BFA in art in 1999 from Bradley University, a

small university located in Peoria, Illinois. His undergraduate training was

mainly in printmaking, intaglio, and relief. Joseph earned his MFA in 2002 and

then moved back to Chicago, where he taught classes at Robert Morris College

and Moraine Valley Community College. Lupo joined the faculty at West Virginia

University in 2004. In the fall of 2006, Joseph was also an artist-inresidence

at Artists’ Image Resource. Since joining the faculty in 2004, his

work has been on view in 20 different juried and curated exhibitions all over

the U.S.


Anna Torma

Draw Me a Garden, 159 x 134 cm, 2006.


Anna Torma combines traditional needlework, drawing, and often text to

create contemporary textile objects. These objects sometimes contain found

fabrics built up as a base. Her large-scale works are topped with a figurative

and narrative layer, oftentimes worked in collaboration with others who wish to

share this making experience.

Anna Torma is a freelance studio artist who lives and works in Baie

Verte, New Brunswick, Canada. She was awarded the Purchase Award, Department

of Foreign Affairs Fine Art Collection, Ottawa, in 2005 and has participated

in exhibitions in the United States and Canada.



Lithography (see lithography in Techniques)

The process of printing from a flat surface treated so as to repel the ink

except where it is required for printing. Lithography was discovered by Aloys

Senefelder in 1798. He developed the technique while searching for an economical

way to print and publish his plays.


A character in the stories written by François Rabelais. Gargantua is a

giant and has a son Pantagruel, also a giant. Their adventures are written in

five novels. The stories had crude and vulgar elements, written in a satirical

vein. The character of Gargantua became a folk hero in the Lyons area. This

character appears in woodcuts circulated among the lower class French public.

Daumier used this character to represent Louise Philippe.

The Louvre

Located in Paris, France and opened to the public in 1793 as the Museum

Central des Arts. The collection eventually spread over the entire building

which was originally a palace. The museum now houses 35,000 works of

art and has 6 million visitors annually.


The Caricature

A journal which first appeared on November 4, 1830. It featured two

lithographs, one in color with additional text. It appeared once a week on

Thursday. Charles Phillipon founded The Caricature as well as La Silhouette

and Le Charivari. He was the editor, writer, and creator of the modern political


Ukiyo-e (ookeeyòh-eh)

Translated it means “the floating world.” These are prints and books

made from Japanese woodcuts. Ukiyo-e flourished during the Edo period

(1603-1868). This tradition was passed on from Chinese Buddhism. In Japan

the prints depicted the lives of the people, fashion, theater. Later on, the prints

depicted landscapes, such as Hokusai's 36 Views of Mt. Fuji.

These prints share formal qualities such as opaque color and strong outline.

Ukiyo-e prints have a strong unified visual tradition due to the system of apprenticeship

used in Japan. This type of learning encouraged continuity in

style throughout time. The prints always indicate the artist's identity, and often

depict human beings even in landscapes.




Lithography is the technique of using a stone to make a print. The porous

stone accepts both water and grease. The process is based on the repulsion

of oil and water and the affinity of oil for oil. An artist draws on the surface

of the stone with a greasy substance. Water is applied to the surface of

the stone and is soaked in. The areas covered by the grease do not soak up

water. Oil-based ink is applied to the surface and sticks only to the greasy

marks. The stone is then pressed with a piece of paper. This paper is one of

many prints that can be made from the stone.

Lithography provided an inexpensive method for making prints. Artists

could also use this process easily because it was a more natural form of printmaking.

Lithography allowed for the production of handouts, leaflets, newspapers,

journals, and magazines. It made art accessible to the mass public.


First, an original design would be made by the artist in the form of a

drawing on a thin piece of paper. This design would be pasted on a block of

wood. Then, the blank spaces would be carved away, allowing the drawing to

stand in relief. The block would be inked. A piece of handmade paper would be

placed on top of the inked block and forcefully rubbed with a baren-pad.


The paper would be removed from the block. Each print would be made

in the same way. Usually, a different craftsperson would carry out each step,

with only the original drawing produced by the hand of the artist.


Interview with Dr. Patrick Rowe, Art Historian

Q. When did you begin collecting art?

A. I began collecting in 1999. One day I went to work (Pensacola Junior College)

and a colleague in the Visual Arts Department, Warren Thompson, told

me about something new on the internet called e-bay. I started investigating

this site and I thought maybe it would give me access to galleries in major cities

where significant art was for sale at an affordable price. It was one of those

situations in life when you think “I have to do this now, because if I don't, in

the future I will look back and regret it.” To acquire the art was sometimes financially

difficult, but in the long run, it was unquestionably worth it. Being a

teacher, I had the desire to share these works with others, especially my students

who often do not have access to original art created by early masters.

Q. Do you collect a particular genre?

A. I have always been interested in printmaking. I primarily collect art produced

during the 19th and early 20th centuries. These are works by famous

artists that were affordable for anyone during the time of the artist's working

life. This was art created for the masses and, in an historical sense, the work

should be viewed in the context of the industrial revolution. During its time, it

was available in the form of prints (e.g., woodblock prints, lithographs, wood

engravings). I now have around 500 prints by Daumier,


around 100 by Mucha, 30-40 by Beardsley, and 200 books of prints by Hokusai.

I also have around 60 original prints by the American artist Bill


Q. How did you become interested in art? In particular, prints by

Hokusai and Daumier?

A. I have a PhD. in art history and I teach general survey courses in art at

Pensacola Junior College and more specialized courses in ancient classical art

at the University of West Florida. I am also an archeologist. During my summers,

I worked for Florida State University excavating in Italy for around

twenty-seven years.

Because of my education, I had an interest in art already, but I was also

interested in owning art. I began my collection by making contacts in Paris

and London, and then buying original prints by Alphonse Mucha, then Honoré

Daumier and Aubrey Beardsley. Initially, I wanted to have a small show and

therefore I began doing research on the prints I owned and began communicating

with the internet friends who were selling me the art. I then began collecting

Japanese books from the Edo period that included ukiyo-e woodblock

prints by Katsushika Hokusai. I was able to purchase these books for a very

good price right from Japan. This was partially due to the fact that most people

at the time were interested in Hokusai's single sheet prints rather than his

book prints. I am currently interested in collecting the work of Bill Mauldin.


The work of all these artists, Mucha, Daumier, Beardsley, Hokusai, and

Mauldin, has always fascinated me.

Q. Tell me about your collection of Hokusai and Daumier prints in this exhibition.

A. The prints by Daumier are mostly lithographs and wood engravings.

Some of the later prints were created using the zincograph technique. Most of

the prints I purchased were published in newspapers and journals, with just

one exception - a print on heavy white paper known as a sur blanc. Sur blanc

means "on the white." These were high quality prints on thick wove paper (a

type of paper made from a mold) and were made specifically for collectors. I

thought it would be interesting to own one of these prints so it could be compared

to the other prints published on the inexpensive paper used for the

newspapers. About 75 percent of the Daumier prints I own were published in

the Parisian newspaper called Charivari.

The Hokusai prints are all woodblock prints in books. I do not separate

the prints from the book, so the books remain bound in the manner they were

intended to be viewed.

Q. Can you describe the process of loaning your collection to museums for exhibitions?

A. I have had a couple of really small shows in the gallery where I work. Overall,

it has been a learning experience on how to install an exhibition,


from writing the text for the show to the arrangement of the objects. I am currently

working on an exhibition that will be in the Japan Center at the University

of West Florida. There will be about 32 objects in the show. In the

fall of 2008, I will be having two exhibitions (Daumier and Hokusai) at Florida

State University. Preparation has been a lot of work, but each museum or gallery

is a different case. The process varies and depends on the director and the


Q. How do you research the art works that you collect?

A. The first thing I do to research anything is to go to the library.

I develop a bibliography, then read books and catalogues. Most of my research

happens in the library. Then I communicate with my contacts on the

internet. I work by corresponding with others and getting to know people

through e-mail. More and more I seem to be doing work on-line.

Q. What kind of care is needed for the preservation of art works in your collection?

A. The Daumier prints are sent to a local shop for archival preservation. All

the framing materials are acid-free and only glass or plexiglas that protects the

art from UV light is used to cover the work. A vapor barrier is included in the

frame package to prevent damage from humidity.

As mentioned, the Hokusai books will never be taken apart. The artist

conceived each book as a single object and therefore I believe it would be


unethical to take a book apart. Much like a symphony, the prints in a Japanese

book are arranged to achieve a climactic moment and taking them apart,

in my opinion, destroys the composition. There is a drawback with this policy.

Since the books remain bound, only two prints can be shown at one time, one

on each page. To protect a book, a custom-made plexiglas box is used to cover

it during an exhibition.

Q. What qualities do you look for in a work of art?

A. I look for original art, in other words, prints both approved by the artist and

made during the lifetime of the artist. This is true for all the work in my collection

except for the prints by Hokusai. The tradition of printing in Japan allows

for woodblocks to be used for a long period of time, even after the death of the

artist. However, 90 percent of the works by Hokusai in my collection are prints

made during his lifetime. Those made after he died are made from the original

woodblocks. All the Hokusai books date from the nineteenth century. I choose

objects that may educate the audience, not always the work that is the most

visually attractive.

When you turn over the Daumier prints in my collection, the newsprint

text is on the back. When viewed from the front, often this text shows through

the paper and faintly appears in the Daumier print. Therefore, to some collectors

these prints would not be attractive. But to me work like this is fascinating

because it is, in fact, the precise image, with all its “imperfections,” a com

mon Parisian would have seen during the nineteenth century. It is “art for the

masses.” The same is true with the books


illustrated by Hokusai. These are the works of art the common Edoite would

have seen.

Q. Do you have any plans for the collection in the future?

A. When I retire I would like to do more research and publish more on these

artists and their prints. I have written one book on Hokusai and I am currently

working on publications that deal with the prints of Daumier and Mucha. A

big part of the project is to get students involved in the research, exhibitions,

and publications. I would like to see students develop ideas and conduct their

research on these prints. I would like to give more lectures that accompany the

exhibitions, especially lectures that will encourage student involvement. Eventually,

I will probably donate my collections to museums so they can remain

intact and be enjoyed by future generations of art lovers.


Revolutionary Art: A Lesson Plan About Art as Social and

Political Commentary

Description: Students will reference history books and newspapers in preparation

for making their own political cartoons. The lithography process will be

understood in relation to Daumier's prints. Students will draw their cartoons

with the option to make these drawings into prints.

Sunshine State Standards:

(see attachment)

Grade Levels: 5-12. Options for both art and history classes.

Time Needed: Drawing: 1 week. Print: 3 weeks


1. Students will become familiar with current political and social


2. Students will have a basic understanding of printmaking


3. Students will understand the relationship between art and

contemporary history by studying Daumier's lithographs.


To Make a Print Using Lithographic Process:

1. Take a piece of paper lined with contact paper and paint a simple image on it

with linseed oil (or common vegetable oil).

2. Now moisten the rest of the paper by misting it with water.

3. Put some oil paint on a cotton ball and dab it onto the paper.

* The parts of the paper moistened with water will not pick up any of the paint

(oil and water repel).

* The parts of the paper coated with linseed oil will pick up the paint. This

sheet is now "inked."

4. If you now press another piece of paper onto the inked sheet, the painted

portions will transfer to the new sheet of paper and create a print.





*Ink trays (vegetable trays)

*Contact paper

*Oil based printing ink (available at art supply stores)

*Vegetable oil or linseed oil


*Water spray bottle

*these items are used for the print option


Vocabulary: Lithography


1. Prior to lesson students will be introduced to the prints of Daumier.

2. Students will be given a description of the lithography process.

3. Students will be given the assignment of drawing their own political cartoons.

4. Before beginning their preliminary sketches, students must search for relevant

social and/or political issues in newspapers, online news sources or their

history text.

5. The teacher will approve subject matter before students begin sketches.

Each student will keep his/her source for the final project presentation.

6. The student will base three thumbnail sketches on the depiction of one issue.

7. The teacher will help the student choose the best composition, layout, and

design from the sketches for the completion of the larger drawing.

8. The student will use the thumbnail sketch to make a drawing on paper.

9. Students will then trace their designs in ink, or make prints based on the


10. Students will provide their sources of information with their final

drawings/prints for a comparison and discussion.


Evaluation: This activity is evaluated through teacher observation, interaction,

and critique. The teacher will evaluate the student's process by approving

the drawing's subject matter and the thumbnail sketches. The students will be

evaluated on their final products by submitting their original sources of inspiration

with their final artworks.

Extension: Students can make evaluations in the form of written critiques by

evaluating anonymous projects. The teacher can “publish” these final

drawings/prints as a journal.


Receipt Reproduction: Creating a Consumer Self-Portrait

Description: Based on the work of Joseph Lupo, students will create consumer

self-portraits by copying and/or making collages of images of the things

they consume.

Sunshine State Standards:

(see attachment)

Grade Level: All (see option for levels K-5)

Time Needed: one class period - one week


1. Students will look at the ways that consumerism affects their

personal lives.

2. Students will look at and discuss the work of Joseph Lupo.

3. Students will create consumer self-portraits by drawing copies of

receipts or packaging of goods they bought or consumed (see option for






Colored medium (pens, markers, pencils)

*Receipts and/or packaging (for students who do not bring their own)

*Gel Medium or glue (for collage)


*materials needed for option (levels K-5)





1. Discuss the work of Joseph Lupo (see handout). Assign the students the

project of creating consumer self-portraits. Students will bring in receipts or

packages from something they consumed. Ask them to choose something that

tells the viewer about their personalities. Students will copy receipts or packages

as representations of themselves as consumers.

2. Encourage the students to create compositions from the receipts or packages

by enlarging the originals, selecting interesting sections or words, or copying

them in their entirety.

3. Students will then draw their consumer self-portraits.

Option: teacher provides materials and students create self-portrait collages

from the papers and packages provided.

Evaluation: Students will be evaluated by the teacher for following the


directions of the assigned drawing, for sharing their ideas and for working

creatively with the assignment.


One Subject, Many Views: Observing Natural Forms

Description: Based on Hokusai's 36 views of Mount Fuji, students will create a

class set of views from drawings. Students will create their artworks by observing

a natural form on their campus.

Sunshine State Standards: (see attachment)

Grade Level: All

Time Needed: One class period - one week


1. Students will learn about Hokusai's 36 views of Mount Fuji.

2. Students will make artworks based on a natural form on their


3. Students will appreciate the many perspectives of a single form.





Ukiyo-e (see attached list of terms)



1. Students will look at Hokusai's 36 views of Mount Fuji.

2. Students will go outside with their materials and sit in different places

around a predetermined site.

3. Students will sketch from their positions.

4. In the classroom students will base drawings on the sketches.

5. Students will bind their works together in a book form.

Evaluation: Students' work will be evaluated based on their involvement with

the subject they observe outdoors, as well as the final drawings they make in

the classroom.


The Art of Collecting: Becoming an Art Collector


Students will be given a mock budget and will work in groups,

working to purchase three works of art. They can visit galleries and/or attend

an auction put on by the teacher. Groups will be assigned a certain genre they

must collect.

Sunshine State Standards: (see attachment)

Grade Level: All

Time Needed: one week


1. Students will be introduced to the profession of collecting art.

2. Students will have an understanding of the process behind art


3. Students will cooperate with one another to complete the activity.

4. Students will communicate with each other about the formal and

conceptual qualities of artwork.


Photographs or printed images of artwork from different genres

Pencils and paper

Internet access (for grades 9-12)



Auction - A public sale in which goods are sold to the highest bidder.


1. Students will work in small groups.

2. Each group will be given a mock budget and a genre.

3. Each group will research their genre to identify major themes, artists, and

styles. This can be done online, at the library, or with books/magazines supplied

by the teacher.

4. The students must work together to select three works of art from a mock

gallery and an auction held in class.

5. The mock gallery will provide printouts of art works from all genres. The

students will ask questions of the gallery owner (the teacher) to find out about

the artwork.

6. Students will take notes. Through discussion within their groups they will

decide whether or not to buy works from the mock gallery.

7. Students can purchase art works from an auction held in class. Students

will place bids on the artworks, creating friendly competition among groups.

8. Students will present their purchases to the class, explaining their genre

and their decisions about why they chose the works.

Evaluation: Students will be evaluated by the teacher based on their completion

of the assignment and participation in group activities and discussions.

Each group is responsible for research and presentation.


Sunshine State Standards for Lesson Plans:

Revolutionary Art: A Lesson Plan About Art as Social and Political Commentary

Cultural and Historical Connections

Standard 1: PreK-2

The student understands the visual arts in relation to history and culture. (VA.C.1.1)

1. knows that specific works of art belong to particular cultures, times, and places.

2. understands how artists generate and express ideas according to their individual, cultural, and historical


Standard 1: Grades 3-5

The student understands the visual arts in relation to history and culture. (VA.C.1.2)

1. understands the similarities and differences in works of art from a variety of sources.

2. understands how artists have used visual languages and symbol systems through time and across cultures.

Standard 1: Grades 6-8

The student understands the visual arts in relation to history and culture. (VA.C.1.3)

1. understands and uses information from historical and cultural themes, trends, styles, periods of art,

and artists.

2. understands the role of the artist and the function of art in different periods of time and in different


Standard 1: Grades 9-12

The student understands the visual arts in relation to history and culture. (VA.C.1.4)

1. understands how social, cultural, ecological, economic, religious, and political conditions influence the

function, meaning, and execution of works of art.

2. understands how recognized artists recorded, affected, or influenced change in a historical, cultural, or

religious context.

Receipt Reproduction: Creating a Consumer Self-Portrait

Aesthetic and Critical Analysis

Standard 1: PreK-2

The student assesses, evaluates, and responds to the characteristics of works of art.(VA.D.1.1)


1. uses age-appropriate vocabulary to describe, analyze, interpret, and make judgments about works of


2. understands that works of art can be rendered realistically, symbolically, or abstractly.

3. knows the difference between an original work of art and a reproduction.

Standard 1: Grades 3-5

The student assesses, evaluates, and responds to the characteristics of works of art. (VA.D.1.2)

1. develops and justifies criteria for the evaluation of visual works of art using appropriate vocabulary.

2. uses different approaches to respond to and to judge various works of art.

3. understands perceived similarities and differences among different genres of art.

Standard 1: Grades 6-8

The student assesses, evaluates, and responds to the characteristics of works of art. (VA.D.1.3)

1. understands how a work of art can be judged by more than one standard.

2. uses research and contextual information to identify responses to works of art.

3. understands how an artist’s intent plays a crucial role in the aesthetic value of an object.

Standard 1: Grades 9-12

The student assesses, evaluates, and responds to the characteristics of works of art. (VA.D.1.4)

1. understands and determines the differences between the artist’s intent and public interpretation

through valuative criteria and judgment.

2. understands critical and aesthetic statements in terms of historical reference while researching works

of art.

3. knows the difference between the intentions of artists in the creation of original works and the intentions

of those who appropriate and parody those works.

One Subject, Many Views: Observing Natural Forms

Skills and Techniques

Standard 1: PreK-2

The student understands and applies media, techniques, and processes. (VA.A.1.1)

1. uses two-dimensional and three-dimensional media, techniques, tools, and processes to depict works

of art from personal experiences, observations, or imagination.

2. uses art materials and tools to develop basic processes and motor skills, in a safe and responsible



3. distinguishes the differences within and among art materials, techniques, processes, and organizational

structures such as elements and principles of design.

4. uses good craftsmanship when producing works of art.

Standard 1: grades 3-5

The student understands and applies media, techniques, and processes. (VA.A.1.2)

1. uses and organizes two-dimensional and three-dimensional media, techniques, tools, and processes

to produce works of art from personal experience, observation, or imagination.

2. uses control in handling tools and materials in a safe and responsible manner.

3. knows the effects and functions of using various organizational elements and principles of design

when creating works of art.

4. uses good craftsmanship in a variety of two-dimensional and three-dimensional media.

Standard 1: Grades 6-8

The student understands and applies media, techniques, and processes. (VA.A.1.3)

1. uses two-dimensional and three-dimensional media, techniques, tools, and processes to

solve specific visual arts problems with refinement and control.

2. uses refinement and control in handling tools and materials in a sage and responsible manner.

3. understands what makes various organizational elements and principles of design effective and ineffective

in the communication of ideas.

4. creates two-dimensional and three-dimensional works of art that reflect competency and craftsmanship.

Standard 1: Grades 9-12

The student understands and applies media, techniques, and processes. (VA.A.1.4)

1. uses two-dimensional and three-dimensional media, techniques, tools, and processes to communicate

an idea or concept based on research, environment, personal experience, observation, or imagination.

2. uses tools, media, processes, and techniques proficiently, knowledgably, and in a safe and

responsible manner.

3. knows how the elements of art and the principles of design can be used to solve specific art problems.

4. uses effective control of media, techniques, and tools when communicating an idea in both twodimensional

and three-dimensional works of art.


The Art of Collecting: Becoming an Art Collector

Applications to Life

Standard 1: PreK-2

The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.1)

1. understands that people create art for various reasons and that everyday objects are designed by artists.

2. knows various careers that are available to artists.

3. understands and uses appropriate behavior in a cultural experience.

Standard 1: Grades 3-5

The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.2)

1. understands the influence of art on the quality of everyday life.

2. knows the types of tasks performed by various artists and some of the required training.

3. understands the similarities and differences and the various contributions of galleries, studios, and


Standard 1: Grades 6-8

The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.3)

1. understands how knowledge, skills, and attitudes gained from the visual arts can enhance and deepen

understanding of life.

2. understands the skills artists use in various careers and how they can be developed in art school or

college or through internships.

3. understands the various roles of museums, cultural centers, and exhibition spaces.

Standard 1: Grades 9-12

The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.4)

1. knows and participates in community-based art experiences as an artist or observer.

2. understands and identifies the skills that artists use in various careers to promote creativity, fluency,

flexibility, and elaboration within the arts and across life.

3. knows how to communicate with the public, the consumer, and the artistic community about aesthetic

questions, entertainment, resources, and choices in education.



Artist information

Chris Scarborough

Joseph Lupo


Larkin, Oliver W. Daumier: Man of His Time. New York: McGraw-Hill Book

Company, 1966.

Vincent, Howard P. Daumier and His World. Evanston: Northwestern

University Press, 1968.


Bowie, Theodore R. “Hokusai and the Comic Tradition in Japanese Painting.”

College Art Journal, Vol. 19, No. 3 (1960) : 210-225.


(accessed October 19, 2007).

Calza, Gian Carlo. Hokusai. New York: Phaidon Press Limited, 2003.

Lane, Richard. Hokusai: Life and Work. London: Barrie & Jenkins, 1989.


Techniques, Terms, and Processes


Paton, Beverley. Ukiyo-e: Japanese Wood-Block Prints. Johannesburg Art

Gallery, 1991.


Lochnan, Katharine and Brenda Rix. Printmaking in Nineteenth-Century

France. Toronto: The Art Gallery of Ontario, 1988.

The Louvre


Handout: Receipt Reproduction

Joseph Lupo

“02/11/02”, Charcoal on Paper, 25 x 15”.

“04-09-02”, Graphite on Paper, 29x 10”.


“5/26/02”, Graphite on Paper, 27 x 18”.



The drawings of Joseph Lupo explore the interaction of consumption and

communication. He creates reproductions of his receipts through drawings.

By drawing his personal purchases he presents a consumer self-portrait to the


Handout instructions

1. Go to The Warhol Museum’s website at:

2. Click on Education.

3. Go to Resources and Lessons.

4. Choose English.

5. Enter site.

6. Click on One Day Art and Activities.

7. Select Ode to Food.

8. Download the printable version.

9. Compare and contrast the artwork of these two artists in a class discussion

10. Look at additional images from Joseph Lupo by viewing the disk provided

on the last page of this packet.

Possible discussion questions:

1. What is communicated through the style of the artists (reasons for reproducing

the object, medium...)?

2. How is the message of these artists similar and how is the message different?


3. What is each of the artists communicating about himself by choosing these

particular objects?

4. What do you know about Andy Warhol as a person and as an artist from his


What do you know about Joseph Lupo? How are they alike as people and as

artists? How are they different?

Table of Contents

Artist Biographies: 1-4

Daumier: 1-2

Hokusai: 3-4

Drawing Show Biographies: 5-12

Robin Ward: 5-6

Chris Scarborough: 7-8

Joseph Lupo: 9-10

Anna Torma: 11-12

Terms: 13-14

Processes: 15-16

Interview with Dr. Patrick Rowe, Art Historian: 17-22

Lesson Plans: 23-33

Revolutionary Art: 23-26

Receipt Reproduction: 27-29

One Subject, Many Views: 30-31

The Art of Collecting: 32-33

Sunshine State Standards: 34-37

Bibliography: 38-40

Handouts: 41

Receipt Reproduction: 40-45

Image Disk (back of packet)

Florida State University Museum of Fine Arts

Teacher Packet

The Fine Art of Drawing*, MoFA invitational

August 25 - September 28, 2008

Daumier: Art for the Masses*, A Bicentennial Celebration of the

Birth of Honoré Daumier, featuring selected works of Daumier with

selections of Hokusai from the Collection of Patrick M. Rowe

*opening dates subject to change

Authored by: Jacqueline Dougherty

Edited by: Jacqueline Dougherty and Viki D. Thompson Wylder

Graphic Design by: Jacqueline Dougherty

For exhibiton tours please contact Viki D. Thompson Wylder at 644-1299


Top Left: Daumier, Le Ravageur, lithograph from the series Bohémiens de Paris,


Bottom center: Hokusai, sketch from Hokusai gakyo, Spring 1818, print from a

reissue in 1834 in the Rowe Collection.

Background: Sokoloski, To Form in the Mind, graphite on paper, 2005.

Horizontal slices: Sokoloski, A Continuing Development, ink on paper, 2007.

More magazines by this user
Similar magazines