STILL TO COME!
NOV. 2011
SEPTEMBER/
OCTOBER 2011
Vol. 42 No. 1
ISSN 1060-832X
CARTOONING:
Charles M. Schulz
DEC. 11 / Jan. 12
ABSTRACTION:
Georgia O’Keeffe
FEB. 2012
Form:
Elizabeth Catlett
MAR. 2012
PERSPECTIVE:
Richard Estes
Teacher’s Edition Grades 7-12
APR. / MAY 2012
ARCIMBOLDO: WORKING WITH FANTASY
Welcome back to school! I hope you had a relaxing break. This year, we’ve
added new resources to our Web site, including digital issues, differentiated
articles, and anchor videos. The site is password-protected. Look inside your
magazine bundle for an instruction sheet to help you get registered.
Our first issue is about Giuseppe Arcimboldo, a Renaissance painter whose
fantastical portraits helped inspire the Surrealist movement some 400 years
later. Have your students flip their magazines upside down to see how the
portrait on the cover changes into a still life. We hope you enjoy this issue!
—Tara Welty, Editor
[email protected]
www.scholastic.com/art
Web Extras:
 DIGITAL ISSUE
for use with
your projector
or interactive
whiteboard
 ANCHOR VIDEO
about Arcimboldo’s
 Debate
about using
meat in art
ON THE
POSTER:
IDEAS:
Art Today
National
Content
Standards
for Visual
Arts:
1. Understanding
and applying media
and techniques
2. Using knowledge
(Reverse of
This Guide)
of structures and
functions
Historians
believe Four
Seasons in One
Head, one of
Arcimboldo’s
last known
works, is a
self-portrait
of the artist
as an old man
in the winter
of his career.
Objects of
seasons past—spring flowers, summer wheat
and cherries, and autumn apples, grapes, and a
pinecone—surround the tree trunk face.
3. Evaluating
subjects, symbols,
and ideas
4. Understanding
the visual arts in
relation to history &
cultures
5. Assessing
characteristics of
their work and that of
others
6. Connecting
visual arts to other
disciplines
Expo Writing Resource Center. Writing Resources and Lessons Grades K–12. http://www.scholastic.com/expo
Supplement to Scholastic Art
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BACKGROUND & DISCUSSION Grades 7-12
Pages 2–3
Discussion
Art News + Notes
• How did Arcimboldo’s work differ
from that of other Renaissance
artists? (Most Renaissance artists
emphasized beauty and realism;
Arcimboldo filled his paintings with
visual jokes and illusions.)
• What compositional techniques
did Arcimboldo use to transform
images of fruits, vegetables, and
other objects into portraits? (He
juxtaposed and overlapped them to
form heads, shoulders, facial features,
and clothing.)
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History
Food for Thought Carl
Warner makes detailed sketches of
his compositions. That’s important
because the food rots quickly under
hot lights. • Warner has been called
a “modern-day Arcimboldo.” How
do his works differ from those of
the Renaissance artist? (Warner
photographs landscapes made of real
food; Arcimboldo painted portraits
made of images of food.)
Stitches of Hope The National
9/11 Flag has become a community art
project and a symbol of survival. • Why
was the flag sent to Greensburg,
Kansas, and how did the people of
Greensburg transform it? (The flag
was sent to Greensburg following
a devastating tornado that struck
there. Members of the Greensburg
community used flags salvaged after
the storm to repair the 9/11 flag.)
Big Apple Bear Like Arcimboldo,
Urs Fischer uses food in some of
his art. His installation Bread House
(2004) was a life-size cabin built from
real loaves of sourdough bread. • How
has Fischer played with scale in
Untitled (Lamp/Bear)? (The bear and
the lamp are many times larger than
their real-life counterparts.)
Pages 4-5
FUNNY FACES
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History
Pages 6-7
DRAWN FROM
NATURE
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History
Background
• Water features about 60 species of
fish and other marine animals; Earth
features 33 species
• Most Europeans in Arcimboldo’s
time had never seen or heard of some
of the animals that appear in Earth,
like monkeys, elephants, lions, and
rhinoceroses.
Discussion
• Compare the seal and the sea
horse shown in Water. What is
unrealistic about these images?
(The scale is inaccurate. In real life,
the seal would be much larger than
the sea horse.)
• How did Arcimboldo support
Maximilian II’s view of the
importance of science through his
art? (He created accurate, detailed
images, depicting many species.)
Background
• Arcimboldo began his career
Pages 8-9
designing stained-glass windows and
tapestries and working on frescoes.
• Arcimboldo was the official painter,
as well as the decorator and costume
designer, for Maximilian II’s court.
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History
POSTAL INFORMATION
Scholastic Art® (ISSN 1060-832X; in Canada, 2–c no. 9360) is published
six times during the school year, Sept./Oct., Nov., Dec./Jan., Feb., Mar.,
Apr./May, by Scholastic Inc., 557 Broadway, New York, NY 10012-3999.
Second-class postage paid at Jefferson City, MO 65101 and at additional
offices. Postmasters: Send notice of address changes to Scholastic Art,
2931 East McCarty St. P.O. Box 3710 Jefferson City, MO, 65102-3710.
2
TRICKING THE EYE
Background
• When Arcimboldo’s “reversible”
paintings were displayed last year
at the National Gallery of Art in
Washington, D.C., they were
mounted on mirror-topped pedestals.
This enabled viewers to see each work
as both a still life and a portrait.
• Vertumnus is considered by
many to be Arcimboldo’s crowning
achievement. During his time, people
even composed poems to honor it.
Discussion
• In The Cook, how does the
placement of the hands help in
each view? (The hands are light
value points that frame the focal point
in each view.)
• Compare Vertumnus with
Arcimboldo’s other portraits.
How are they alike? How are they
different? (They are all composite
portraits. In Vertumnus, the subject
is facing forward; the other portraits
are in profile. Vertumnus draws the
viewer in and connects him or her to
the subject.)
Page 11
FREAKY FEATURES
Standards: 2. Structures/functions;
3. Symbols/ideas
Discussion
• How is Elizabeth Albert’s work
similar to Arcimboldo’s? (Her work
also features composite portraits.)
How is their work different?
(Arcimboldo painted; Albert makes
collages.)
Page 12
DEBATE: IS THIS
ART TOO RAW?
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History/cultures
Discussion
• Is it ethical to use meat in
creating art? Why or why not?
(Answers will vary.)
• Do you think the “meat art” shown
PUBLISHING INFORMATION
U.S. prices: $8.99 each per school year, for 10 or more subscriptions to the same address. 1-9 subscriptions, each: $19.95 student, $29.95 Teacher’s Edition, per school year. Single copy: $5.50 student;
$6.50 Teacher’s. (For Canadian pricing, write our Canadian office, address below.) Communications relating to subscriptions should be addressed to Scholastic Art, Scholastic Inc., 2931 East McCarty
Street, P.O. Box 3710, Jefferson City, MO 65102-3710 or call our toll free number 1-800-387-1437 ext 99. Communications relating to editorial matter should be addressed to Margaret Howlett, Scholastic
Art, 557 Broadway, New York, NY 10012-3999. Canadian address: Scholastic-Canada Ltd., 175 Hillmount Rd., Markham, Ontario L6C 1Z7. Available on microfilm through Xerox University Microfilms, Inc. 300
N. Zeeb Rd., Ann Arbor, MI 48106. Also available on microfiche through Bell & Howell Micro Photo Division, Old Mansfield Rd., Wooster, OH 44691. Printed in U.S.A. Copyright © 2011 by Scholastic Inc. All
Rights Reserved. Material in this issue may not be reproduced in whole or in part in any form or format without special permission from the publisher.
teacher’s edition • SEPTEMBER/OCTOBER 2011
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on page 12 is meant to be visually
appealing or disgusting?
(Answers will vary.)
Page 13
COLORFUL
COLLAGES
Standards: 2. Structures/functions;
3. Symbols/ideas
Discussion
• How has Cody Abbott used
negative space in his collages? (The
white negative space actually forms
the faces that stand out against the
positive collage background.)
• What elements did Abbott use
to capture the characters and
interests of his portrait subjects?
(Along with painted areas based on
one color, he includes words and
images gathered from magazines.)
Page 16
CAREERS: THIS JOB
IS A REAL SCORE!
Standards: 2. Structures/functions
Discussion
• What knowledge and skills
are important for someone
who produces sports video
games? (Video game producers
must have keen organizational
and communications skills and
a knowledge of 3-D animation
technology. It is also important to
have deep knowledge of the sport
simulated in the game.)
• Why is it necessary for a game
producer to have played a lot of
video games? (He or she needs to
know what kinds of game experiences
are most enjoyable and which
ones are most user-friendly and
challenging.)
comprehension
quiz Answer Key
1. b; 2. d; 3. b; 4. c; 5. c; 6. a; 7. a; 8. c;
9. c; 10. b
Hands-On project: COLLAGE
Standards: 1. Applying media/
techniques; 5. Assessing their work
and others’
OBJECTIVE: Students will assemble
a collage, emphasizing creativity and
unconventional materials.
TIME: Up to 13 hours
PROCEDURE
Introduction (1 hour)
Provide an overview of the
assignment; discuss the history
of collage while showing digital or
printed examples of collage with
art historical importance or visual
appeal.
Brainstorm (1 hour)
1. Give students time to come up
with as many ideas as they can.
It may help to make available a
digital or printed slide show of
examples during this time to help
students brainstorm. You may wish
to show the additional examples
of student work from this project
featured at scholastic.com/art
2. Encourage students to record
their ideas as notes rather than
as drawings. Jotting down ideas in
bullet-point format can 1) prevent
students from becoming too fixed
on a single idea; 2) help to map more
targeted (and objective) discussions;
and 3) ultimately, improve verbal
articulation.
3. Encourage creativity and audacity.
Create and Discuss Thumbnail
Sketches (1 hour)
1. Have students create thumbnail
sketches of their favorite ideas.
Encourage them to create multiple
thumbnail sketches for each of their
chosen ideas. In these sketches,
ask them to explore different
compositions, color schemes, and
materials lists.
2. Have students show you their
sketches and explain their ideas.
3. Help students select their most
creative idea (keep time/material
constraints in mind).
Select and Gather Materials
(up to 2 hours, plus homework)
1. Discuss different types of
materials students may use.
It may help to brainstorm a list of
materials together as a class or, to
save time and restrict materials, to
prepare such a list before class.
2. Ask students to come up with
individual lists of materials they
think would work best for their idea.
3. Discuss with students their
material selections (keep budgetary
constraints in mind). Encourage
the use of (safe) unconventional
materials.
Create the Collage (up to 8 hours)
1. Have students scale up their
chosen ideas in light pencil or ink
outlines on their paper or materials
of choice. Note: Using heavy paper
(100 lbs. or greater) will help to
prevent warping from wet media.
Using large sheets of paper may help
students capture more details.
2. When creating representational
collages, it may help to have
students assign numbers to tonal
values in their images (e.g., 1-5) and
then assign specific materials to
each number. In this way, assembling
the collage will be akin to coloring
within the lines in a coloring book.
2. Encourage students to juxtapose
materials of contrasting patterns,
textures, or colors to create more
visual interest.
—Prepared by Wook Choi and Justin
Rhee, Oogie Art, New York City
www.oogieart.com
Find more great resources on our
Web site: www.scholastic.com/art
SEPTEMBER/OCTOBER 2011 • teacher’s edition
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Name: _________________________ Class: ____________
Scholastic ARt: Reading Review
arcimboldo
Working With Fantasy
1. Tinterest
he ______ was/were a time of renewed
in art and science in Europe.
(pages 4-5)
6. Iseal
n Water, the comparative sizes of the
and the sea horse demonstrate
Arcimboldo’s unrealistic use of ______.
(pages 6-7)
A Middle Ages
B Renaissance
C Enlightenment
D Reformation
2. _have
_____’s drawings of grotesque heads may
inspired many of Arcimboldo’s works.
(pages 4-5)
A Michelangelo
B Botticelli
C Caravaggio
D Leonardo Da Vinci
3
. Arcimboldo ______ images of natural
objects so that they formed portraits.
(pages 4-5)
A foreshortened
B juxtaposed and overlapped
C distorted and replaced
D elongated
4. Orepresents
ne series of portraits by Arcimboldo
each of the ______. (pages 4-5)
A four children of the emperor
B four court musicians
C four seasons
D f our favorite philosophers of the
Emperor
5. _(pages
_____ is a main element of fantasy.
6-7)
A Realism
B Juxtaposition
C Incongruity
D Overlapping
7.
A scale
B juxtaposition
C fantasy
D orientation
rcimboldo’s arrangement of the animals in
A
Earth sets up a feeling of ______. (pages 6-7)
A incongruity
B inconsistency
C distortion
D disorientation
8. S______
ome of Arcimboldo’s paintings are called
because they are both still lifes and
portraits. (pages 8-9)
A abstractions
B transformations
C reversibles
D reflections
9. Vall-powerful
ertumnus is intended to represent the
qualities of Emperor ______.
(pages 8-9)
A Maximilian II
B Ludwig II
C Rudolph II
D Heinrich II
10. Iinspired
n the 1920s, Arcimboldo’s works
a group of artists known
as the ______. (pages 8-9)
A Impressionistss
B Surrealists
C Cubists
D Fauvists
Uses: copying machine, opaque projector, or transparency master for overhead projector. Scholastic Inc. grants teacher-subscribers of Scholastic Art permission to reproduce this page for use in their classrooms. Copyright © 2011 by Scholastic Inc. All rights reserved.
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