Exploring
Abstraction
in
Art
EMOTIONS
Northwest
Art
Collection
Curriculum
Guide
–
Exhibit
3,
1
of
2
1
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
How
to Use
the
Ex ploring
Abstraction
in
Art
Curr iculum
Gu ide
To
the
Teacher :
The
Ex ploring
Abstrac tion
in
Art
Curricu lu m
Guide
augments
and
supports
the
Junior
League
of
Seattle’s
(JLS)
Northwest
Art
Collection‐In‐The‐Schools
Program.
It
provides
teachers
with
two
sub‐units
for
teaching
the
students
how
to
look
at
and
talk
about
abstract
art:
• Abstraction
in
Art
–
Emotions
• Abstraction
in
Art
–
Memories
and
Emotions
This
Curriculum
Guide
has
the
following
supporting
materials:
Images
of
Artworks
from th e
JLS
Nor thwest
Art
Co llection:
This
Guide
includes
images
of
7
artworks
especially
chosen
from
the
JLS’s
NW
Art
Collection
to
teach
students
about
abstract
art
as
well
as
how
to
decode
an
artwork’s
message
and
meaning.
The
teaching
materials
for
each
artwork
are
color
coded
for
ease
of
use.
Discussion
Po ints :
Questions
are
written
as
a
guide
for
the
teacher.
Teachers
are
encouraged
to
read
through
the
questions
and
to
pull
out
ones
that
apply
to
their
students.
These
questions
promote
careful
looking
followed
by
analysis.
Teachers
are
encouraged
to
use
these
as
points
of
departure
for
an
interactive
discussion
about
art.
Art
terms
are
in
bold
and
defined
next
to
the
artwork
and
throughout
the
text.
Explore–More
Activities :
Each
artwork
is
accompanied
by
one
or
more
classroom‐ready
exercises
that
encourage
further
exploration
of
key
concepts.
Activities
include
sketching,
role‐
playing,
creative
writing
and
other
participatory
exercises.
Classroom
Lessons :
An
outline
for
a
classroom‐ready
art
lesson
accompanies
each
artwork.
Several
artworks
also
offer
interdisciplinary
activities
and
lessons
that
extend
the
theme
of
the
artwork
into
Social
Studies,
Language
Arts
or
Character
Development
curriculum.
Washington
State
Academic
Learning
Requirements
and
the
Essential
Academic
Learning
Requirements
are
listed
for
each
of
the
art
lessons.
About
the
Ar tis t
and
Artwork:
Information
about
the
artist
and
artwork
are
provided
for
each
artwork.
Handouts:
Several
activities
and
lessons
have
additional
handouts
for
student
use.
These
are
located
after
the
activity
or
lesson.
2
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Exploring
Abstraction
EMOTIONS
Pictorial
Outline
S e a t e d F i g u r e s , 1 9 6 1 b y W i l l i a m C u m m i n g . F e l t p e n o n p a p e r •
•
•
•
Discussion
Points
Explore–More
Activity
(1‐Drama)
Classroom
Lessons
(1‐Language
Arts;
1‐Art)
Information
about
the
Artist
and
Artwork
U n t i t l e d ( F i g u r e ) , 1 9 6 5 b y M a r k T o b e y . L i t h o g r a p h •
•
•
•
Discussion
Points
Explore–More
Activity
(1‐Poetry)
Classroom
Lessons
(1‐Language
Arts;
1
–
Art)
Information
about
the
Artist
and
Artwork
A n g u i s h e d F i g u r e : T h e P r a y e r , c . 1 9 6 5 b y R a y J e n s e n . B r o n z e •
•
•
•
Discussion
Points
Explore–More
Activity
(2‐Drama
&
Poetry)
Classroom
Lessons
(1‐Language
Arts;
1
–
Art)
Information
about
the
Artist
and
Artwork
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
Media
•
•
•
•
Discussion
Points
Explore–More
Activity
(1‐Poetry)
Classroom
Lessons
(1
–
Art)
Information
about
the
Artist
and
Artwork
3
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Seated
Figures,
1961
by
William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
POINTS
OF
DEPARTURE
EXPLORE–MORE
ACTIVITY
Strike
a
Pose
–
Students
act
out
the
scene
in
the
drawing
and
reveal
the
characters
and
the
story.
CLASSROOM
LESSONS
Language
Arts
Lesson:
Small
Moment
–
About
a
Time
and
a
Place
–
Students
choose
a
character
in
the
drawing
and
describe
thoughts,
ideas
and
feelings
at
this
moment
in
time.
Art
Activity:
Sketch
Journals
–
Students
keep
a
sketch
journal
over
a
period
of
time
(TBD
by
teacher)
that
records
gesture
drawings
of
people
involved
in
various
activities.
ABOUT
THE
ARTIST
AND
ARTWORK
Supplemental
information
for
the
teacher
about
the
artist
and
the
artwork
4
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS for
Se ated
Figures,
1961
by
William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
E x p l o r i n g T H E S U B J E C T Take
a
minute
to
look
at
this
drawing.
How
many
figures
can
you
see?
Do
you
see
the
figure
on
the
far
right
as
a
shadow?
Why
or
why
not?
What
do
the
figures
appear
to
be
sitting
upon?
Look
closely
at
how
the
shadows
of
the
figures
mark
the
ground.
Describe
what
you
see.
Where
is
the
light
source?
Do
you
think
the
people
are
outside
or
inside?
Why?
E x p l o r i n g T E C H N I Q U E Look
closely
at
the
felt
pen
marks
(strokes).
A
LINE
is
a
mark
that
is
longer
than
it
Use
your
finger
to
trace
in
the
air
the
different
types
of
directional
is
wide.
It
is
path
of
a
moving
point.
DIRECTIONAL
LINES
point
or
appear
lines
the
artist
used
to
define
the
figures.
to
move
in
a
direction,
i.e.
What
are
the
main
types
of
lines
that
you
see?
horizontal,
vertical,
diagonal,
circular,
zigzag,
etc.
The
figures
appear
three‐dimensional.
What
are
some
other
ways
that
the
artist
William
Cumming
made
the
figures
appear
to
have
volume?
THREE‐DIMENSIONAL:
an
object
within
a
Can
you
find
areas
on
the
figures
that
vary
in
darkness?
drawing
or
painting
that
Where
did
he
press
down
the
hardest
and
lightest?
appears
to
have
thickness
and
depth
is
How
many
different
colors
are
there?
three‐dimensional
(3‐D).
Point
to
places
where
the
white
of
the
paper
shows
through
to
define
a
form
or
shape.
IMPLIED
TEXTURE:
the
How
do
the
felt
pen
marks
create
an
implied
texture?
surface
of
the
artwork
If
you
could
touch
the
clothing
what
would
it
feel
like?
that
is
perceived
as
What
types
of
clothes
are
these
people
wearing?
tactile
but
is
actually
What
does
the
clothing
suggest
to
you
about
the
environment?
smooth.
5
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS for
Se ated
Figures,
1961
by
William
Cumming, continued
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
E x p l o r i n g M E A N I N G The
artist
William
Cumming
was
an
avid
people‐watcher
and
took
his
sketchbook
with
him
wherever
he
went
so
that
he
could
observe
and
draw
people
at
rest
or
in
motion.
He
would
take
his
sketchbook
back
into
his
studio
and
expand
his
sketches
into
larger
drawings
or
paintings.
What
words
would
you
use
to
describe
the
mood
of
this
artwork?
Would
you
describe
this
as
a
calm
or
tense
scene?
Why?
List
at
least
three
different
ways
that
the
artwork
communicates
a
mood.
Describe
the
postures
of
each
of
the
figures.
What
does
their
body
language
suggest
to
you?
Based
on
what
you
see,
what
appears
to
be
the
relationship
between
the
figures?
Could
the
saying
“Three’s
a
Crowd”
apply
to
this
situation?
Why
or
why
not?
What
do
you
think
could
have
just
happened?
Pretend
this
is
a
frame
describing
a
scene.
What
would
the
next
two
frames
look
like?
How
would
the
impact
of
this
piece
change
if
you
were
able
to
see
their
faces?
Would
you
like
to
be
able
to
see
their
faces?
Why
or
why
not?
The
artist
William
Cumming
titled
this
drawing
Seated
Figures.
What
title
would
you
give
it?
Explain.
6
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
EXPLORE‐MORE
ACTIV ITY
for
Seated
Figures,
1961
by William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
S t r i k e a P o s e Description:
Students
act
out
the
scene
in
front
of
the
rest
of
the
class.
Learning
Focus:
Drama,
Character
Development
Grade
Level:
K
–
2nd
Grade
Estimated
Time:
5
minutes
Act
out
the
characters’
postures.
The
figures
in
this
drawing
communicate
emotion
and
character
in
a
subtle
way
through
the
position
of
their
bodies.
Instructions:
1. After
you
have
explored
the
drawing,
ask
a
group
of
three
students
to
re‐enact
Seated
Figures
up
in
front
of
the
class.
Have
these
students
communicate
the
emotions
of
the
characters
through
body
language.
2. Ask
the
audience
to
make
subtle
adjustments
to
the
placement
of
the
actors
and/
or
the
position
of
their
bodies
if
needed.
3. Next,
have
the
students
move
and
freeze
into
a
pose
that
shows
what
they
think
the
figures
will
do
next.
4. Compare
and
contrast
the
different
poses
that
people
choose
to
make.
Think
About
It:
Why
do
we
see
different
things
in
art?
7
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
LANGUAG E
ARTS
LESSON
for Seated
Figur es,
1961
by
William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
S m a l l M o m e n t – A b o u t a T i m e a n d P l a c e Description:
Students
choose
a
character
in
the
drawing
and
describe
his
or
her
thoughts
and
feelings
at
this
moment
in
time.
Learning
Focus:
Language
Arts
Grade
Level:
2nd
Grade
and
Up
Time
Estimate:
15
‐
20
minutes
Think
about
what
you
see
in
Seated
Figures.
Describe
in
detail
the
following
before
you
write:
‐ The
figures
‐ The
setting
‐ The
mood
Answer
these
questions
before
you
write:
‐ If
you
were
inside
this
drawing
what
would
you
hear?
See?
Touch?
Smell?
Feel?
‐ How
would
you
describe
each
person
in
this
scene?
‐ What
do
you
imagine
that
each
person
could
be
thinking
or
saying?
Writing
a
Small
Moment
After
you
have
thought
deeply
about
the
image,
write
a
Small
Moment,
a
short
5‐6‐sentence
paragraph
that
stretches
out
a
simple
idea.
Include
the
following:
‐ Describe
the
place
and
the
people
that
you
see.
‐ Add
details
by
describing
the
five
senses.
‐ Choose
a
character
to
focus
upon.
Describe
what
that
character
is
thinking,
feeling
and,
or
saying.
‐ Include
some
other
descriptive
language
that
describes
the
character’s
mood
and
emotions.
Share
your
Small
Moment
with
a
classmate.
How
do
your
stories
compare?
Think
About
It:
If
this
were
a
still
in
a
movie,
what
would
be
the
next
scene?
8
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ART
ACT IVITY
for Se ated
Figures,
1961
b y
William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
S k e t c h J o u r n a l s – P e o p l e W a t c h i n g m a l l M o m e n t – A b o u t a T i m e a n d P l a c e Description:
Students
keep
a
sketch
journal
over
a
period
of
time
(TBD
by
teacher)
that
records
gesture
drawings
of
people
involved
in
various
activities.
Learning
Focus:
Visual
Art
Grade
Level:
3rd
Grade
and
Up
Estimated
Time:
TBD
Materials:
Sketchbook,
pencil,
colored
pencils
or
markers
The
artist
William
Cumming
devoted
his
life
to
drawing
and
painting
subtle
and
not‐so‐subtle
movements
of
people.
“People‐watching”
was
a
captivating
pastime
for
this
prolific
artist
who
never
seemed
to
be
without
a
sketchbook.
As
a
teenager,
he
would
bring
his
sketchbook
with
him
to
high
school
sporting
events
in
order
to
draw
athletes
in
motion.
He
was
inspired
by
this
quote
from
19th
Century
French‐Romantic
artist
Eugene
Delacroix:
“If
you
can’t
draw
a
man
falling
from
a
fifth‐story
window
before
he
hits
the
pavement,
you’ll
never
be
an
artist.”
This
challenged
Cumming
to
learn,
literally,
to
draw
bodies
in
motion.
Cumming
often
looked
back
through
his
sketchbook
for
ideas
for
his
paintings
and
larger
drawings.
Now
you
try
it!
Keep
a
sketch
journal
of
gesture
drawings
in
a
sketchbook
over
the
course
of
a
quarter,
season
or
the
entire
school
year.
‐ Take
the
sketchbook
with
you
when
you
go
to
a
public
place
like
a
park,
a
library,
or
sports
event.
Sketch
people
in
motion
whether
they
are
lounging
in
a
chair
reading
a
book,
or
swinging
a
bat
on
the
baseball
diamond.
‐ Sketch
people
quickly,
skipping
details
but
capturing
their
movements.
This
type
of
drawing
is
called
“gesture
drawing”.
It
is
a
kind
of
scribble
aimed
not
so
much
at
what
your
subject
is
but
at
what
it
is
doing.
Take
no
more
than
a
minute
for
each
drawing
and
keep
your
pencil
moving
the
entire
time.
‐ Look
back
over
your
cumulative
drawings.
How
did
your
sketches
evolve
or
change
over
time?
Choose
one
or
more
to
be
an
inspiration
for
a
painting.
Think
About
It:
Is
it
easier
to
draw
a
person
in
motion
or
standing
still?
Why?
What
is
more
interesting
to
you?
9
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ABOUT
THE
ART IST
AND ART WORK: Se ate d
F igures,
1961
by
William
Cumming
Seated
Figures,
1961
by
William
Cumming.
Felt
pen
on
paper.
23.5
x
30
“
In
the
Artist’s
Own
Words:
“Nothing
is
more
central
to
my
painting
than
my
time
as
a
teacher
…
Without
teaching
I
would
shrivel
up
as
a
painter,
and
not
painting
would
end
the
energies
of
my
life.”
About
the
Artist
William
Cumming
(1917
‐
2010):
As
a
youth,
William
Cumming
was
inspired
by
this
quote
from
Delacroix:
“If
you
can’t
draw
a
man
falling
from
a
fifth‐story
window
before
he
hits
the
pavement,
you’ll
never
be
an
artist.”
This
challenged
Cumming
to
learn,
literally,
to
draw
bodies
in
motion.
He
has
engaged
his
audience,
both
regional
and
national,
with
his
sketches
and
drawings
ever
since.
William
“Bill”
Cumming
was
born
in
1917
in
Kalispell,
Montana
and
grew
up
in
Tukwila,
Washington.
In
his
teens,
he
began
mowing
the
lawn
of
a
neighborhood
couple
in
exchange
for
rides
into
Seattle
where
he
would
spend
time
studying
art
history
books
at
the
Seattle
Public
Library
each
week.
He
began
painting
seriously
after
a
series
of
correspondence
in
the
early
1930s.
After
graduating
from
high
school
during
the
depression,
William
Cumming
won
a
scholarship
to
the
Northwest
Academy
of
Art.
He
spent
just
one
year
there,
leaving
with
the
feeling
that
he
was
better
at
figure
drawing
than
his
teachers.
Cumming
began
his
career
as
a
painter
working
on
the
WPA
Federal
Art
Project
in
Seattle
from
1938
to
1940.
He
soon
developed
a
signature
style
of
painting
depicting
people
and
animals
in
motion,
employing
loose
brush
strokes
and
bold
colors.
William
Cumming’s
work
has
been
featured
in
major
one‐man
exhibitions
at
the
Frye
Art
Museum
and
Seattle
Art
Museum.
Public
works
are
on
display
at
The
Port
of
Seattle
and
the
Seattle
Repertory
Theater.
William
Cumming
was
the
youngest
member
of
the
Northwest
School
of
artists,
which
also
included
Morris
Graves,
Mark
Tobey,
Kenneth
Callahan,
and
Guy
Anderson.
He
won
the
Purchase
Prize
in
Seattle
Art
Museum’s
Northwest
Annual
Exhibition
in
1960
and
remained
an
active
artist
while
also
teaching
at
local
art
schools
until
his
death
in
2010.
An
extensive
interview
was
conducted
by
Deloris
Tarzan
Ament
in
Iridescent
Light:
The
Emergence
of
Northwest
Art
(Seattle:
University
of
Washington
Press,
2002).
That
article
and
interview
can
be
found
at:
http://www.historylink.org/williamcumming
10
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
POINTS
OF
DEPARTURE
EXPLORE–MORE
ACTIVITY
Who?
What?
Where?
When?
Why?
Poems
–
Students
write
poems
that
probe
deeper
into
the
meaning
of
the
artwork.
CLASSROOM
LESSONS
Language
Arts
Lesson:
Creative
Writing
–
Students
write
a
short
story
using
Untitled
(Figure)
by
Mark
Tobey
as
a
point
of
departure
or
as
a
part
of
a
scene
in
a
story.
Art
Lesson:
Painting
Emotion
–
Students
paint
a
figure
in
a
pose
that
expresses
a
strong
emotion.
They
will
purposefully
choose
colors
and
brushstrokes
to
enhance
that
emotion.
ABOUT
THE
ARTIST
AND
ARTWORK
Supplemental
information
for
the
teacher
about
the
artist
and
the
artwork
11
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
L o o k Q U I C K L Y What
is
your
first
impression
of
this
artwork?
Take
a
minute
to
think
privately
about
what
you
see.
Set
your
first
impression
aside
and
now
look
closely.
L o o k C L O S E L Y How
would
you
describe
the
environment
or
the
surroundings?
ELEMENTS
OF
ART
are
the
basic
visual
What
role
does
the
yellow
color
play?
It’s
all‐over
quality
could
suggest
an
building
blocks
used
environment
or
setting.
to
create
an
What
is
the
effect
of
the
overlapping
of
yellow
on
top
of
black
and
white?
artwork.
The
are
color,
line,
shape
Now
imagine
that
you
are
the
figure
in
this
artwork.
and
form,
texture
If
you
were
surrounded
by
yellow
what
would
you
experience?
and
space
What
would
being
in
this
environment
feel
like?
What
would
you
see?
Smell?
Hear?
Feel?
What
elements
of
art
stimulate
your
sense
of
sight?
Smell?
Hearing?
Touch?
If
you
were
the
figure
in
this
artwork
what
would
you
be
thinking?
Feeling?
What
if
the
warm
yellow
changed
to
a
cool
color
like
blue?
How
would
that
change
the
experience?
How
would
you
describe
the
figure’s
pose?
Strike
the
pose.
Stand
up
and
mimic
it.
What
would
happen
next?
If
the
figure
were
to
move
how
would
its
pose
change?
E x p l o r i n g M E A N I N G Do
you
think
that
this
picture
is
a
portrait
of
someone
in
particular,
or
is
it
something
else?
Is
it
about
a
person,
an
experience
or
an
idea?
What
makes
you
say
that?
Was
it
made
with
a
viewer
in
mind
or
was
it
made
for
the
artist
himself?
Explain.
12
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
E x p l o r i n g M E A N I N G , c o n t i n u e d Think
back
to
your
first
impression
of
the
artwork.
Now
that
you
have
had
time
to
think
about
it
and
to
hear
other
ideas,
has
your
impression
of
it
changed
or
stayed
the
same?
If
so,
how?
Thin k
– Pair
– Share
Next,
talk
more
about
Untitled
(Figure)
by
Mark
Tobey
with
a
classmate.
Turn
to
a
classmate
and
discuss
least
three
emotions
you
would
attach
to
this
picture.
List
at
least
three
adjectives
that
describe
each
emotion.
Decide
upon
at
least
three
different
ways
that
this
artwork
conveys
an
idea
or
an
emotion.
Together,
create
and
write
a
three‐word
descriptive
title.
Share
your
words
and
titles
with
the
rest
of
the
class.
How
do
the
descriptive
words
and
titles
compare
to
your
classmates?
13
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
EXPLORE‐MORE
ACTIVITY
for
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
Who ?
What?
Wh en?
Wher e?
Why?
Poems
Description:
Students
write
poems
that
probe
deeper
into
the
meaning
of
the
artwork.
Learning
Focus:
Language
Arts
Grade
Level:
All
(K‐2nd
grade
students
may
write
class
poems)
Estimated
Time:
5
‐
10
minutes
Writing
a
poem
about
visual
art
allows
you
to
express
ideas
that
are
abstract
and
hard
to
describe
otherwise.
Use
the
following
format
to
write
a
poem
inspired
by
Untitled
(Figure)
by
Mark
Tobey.
Answer
the
following
writing
prompts
and
questions
using
a
string
of
words
or
a
phrase.
Each
line
is
a
separate
line
in
a
poem.
Line
1.
Who
is
the
subject?
Line
2.
What
is
happening?
Line
3.
Where
did
it
happen?
Line
4.
When
did
it
happen?
Line
5.
Why
did
it
happen?
Read
the
poems
aloud
in
front
of
the
artwork.
Discuss:
How
is
each
poem
unique?
What
qualities
of
the
artwork
do
the
poems
bring
out?
Lonely
man
Lost
in
a
storm
In
the
wild
As
night
falls
Abandoned
hopes
‐5th
grade
student
Think
About
It:
What
makes
poetry
and
visual
art
similar?
14
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Who?
What?
When?
Where?
Why?
Poems
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
Name:
Date:
Use
the
following
format
to
write
a
poem
inspired
by
Untitled
(Figure)
by
Mark
Tobey.
Answer
the
following
questions
and
writing
prompts.
Each
line
is
a
separate
line
in
a
poem.
Line
1. Who
is
the
subject?
_________________________________________________________________
Line
2. What
is
happening?
_________________________________________________________________
Line
3. Where
did
it
happen?
_________________________________________________________________
Line
4. When
did
it
happen?
_________________________________________________________________
Line
5. Why
did
it
happen?
_________________________________________________________________
15
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
LANGUAGE
ARTS
LESSON
for
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
C r e a t i v e W r i t i n g Description:
Students
write
a
short
story
using
Untitled
(Figure)
by
Mark
Tobey
as
a
point
of
departure
or
as
a
part
of
a
scene
in
a
story.
Learning
Focus:
Language
Arts
Grade
Level:
5th
Grade
and
Up
Time
Estimate:
30
minutes
(TBD)
Choose
one
of
the
following
writing
prompts
and
write
a
short
story
using
Untitled
(Figure)
by
Mark
Tobey
as
a
point
of
departure,
as
an
embedded
concept,
or
scene
in
your
narrative.
Writing
Prompts
‐ Assume
this
is
a
scene
that
was
part
of
a
vivid
dream
that
you
had
last
night.
Explain
how
this
image
was
a
part
of
your
dream.
‐ Assume
this
artwork
describes
how
you
felt
after
a
particular
experience
that
you
had.
Describe
that
experience
and
how
it
relates
to
this
piece.
‐ Assume
this
is
a
character
in
a
story
that
you
have
read.
Describe
how
this
scene
fits
into
the
plot
of
the
story.
‐ Assume
this
is
a
moment
frozen
in
time.
Describe
what
just
happened
and
what
will
happen
next.
‐ Decide
whether
this
is
a
portrait
of
someone,
or
if
it
is
something
else.
?
Is
it
about
a
person,
an
experience
or
an
idea?
Write
about
what
this
image
means
to
you
or
what
it
is
a
reflection
of.
16
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ART
LESSON
for
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
P a i n t i n g E m o t i o n Description:
Learning
Focus:
Grade
Level:
Estimated
Time:
Materials:
Students
paint
a
figure
in
a
pose
that
expresses
a
strong
emotion.
They
will
purposefully
choose
colors
and
brushstrokes
to
enhance
that
emotion.
Visual
Art
All
1
hour
Colored
pencils,
practice
sheets
of
paper,
tempera
paint,
brushes,
palettes,
multi‐purpose
art
paper
Think
about
what
the
artist
Mark
Tobey
once
said
about
art
making:
An
artist
must
find
his
expression
closely
linked
to
his
individual
experience
or
else
follow
in
the
old
grooves
resulting
in
lifeless
forms.”
(Paraphrase
this
statement
for
younger
students.)
What
do
you
think
he
meant
by
this
statement?
Make
a
painting
that
is
“closely
linked”
to
an
emotional
experience.
Follow
these
steps
before
you
paint:
Planning
1. Pick
a
strong
emotion
(love,
happiness,
peace,
joy,
anger,
fear,
etc.).
Write
this
word
down.
2. Close
your
eyes
and
allow
yourself
to
feel
that
strong
emotion.
You
may
need
to
think
of
a
particular
experience
or
story
where
you
felt
that
emotion.
3. Colors
mean
different
things
to
different
people.
Some
people
find
black
to
be
menacing
while
others
find
it
peaceful.
Imagine
that
a
pool
of
color
surrounds
you
as
you
feel
this
emotion.
Ask
yourself
these
questions:
‐ What
color
do
you
see
in
your
minds
eye?
‐ What
color
best
describes
the
emotion
that
you
are
feeling?
4. Next,
imagine
that
your
emotion
is
series
of
marks
or
expressive
lines
repeated
over
and
over.
Ask
yourself:
‐ What
types
of
marks
describe
that
emotion
for
you?
‐ What
color
describes
that
emotion?
Using
one
color
sketch
these
marks
quickly
on
a
practice
piece
of
paper.
Set
these
sketches
aside
for
later.
5. When
we
feel
strong
emotions
it
may
feel
like
your
whole
body
experiences
it.
‐ What
sort
of
posture
or
pose
best
describes
the
emotion?
6. Turn
to
a
classmate
and
show
them
a
posture.
‐ Can
your
classmate
guess
what
you
are
feeling
based
on
how
your
shape
your
body?
7. Create
a
quick
sketch
of
the
posture
that
omits
details
and
only
focuses
on
the
pose.
Set
this
sketch
aside.
17
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ART
LESSON
for
Untitled
(Figure),
1965
by
Mark
Tobey,
continued
M a k i n g A r t Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
1. Take
a
tray
of
primary
colors.
Mix
paints
together
to
create
a
unique
cool
or
warm
color
COLOR
is
light
that
you
will
use
to
paint
a
figure.
reflected
off
an
object
or
2. Using
this
one
color,
paint
the
overall
shape
of
a
figure
in
a
pose
that
expresses
the
emotion
(refer
to
your
practice
sketches).
Leave
out
details
and
have
the
figure
stretch
surface.
across
the
page.
Set
this
painting
aside
to
dry.
3. Next,
mix
colors
together
to
create
a
unique
color
that
best
expresses
a
strong
emotion.
Choose
a
color
that
is
in
contrast
to
the
color
of
the
figure.
This
will
be
the
color
that
you
add
on
top
of
your
figure.
If
you
made
the
figure
in
a
cool
color
then
choose
a
warm
color.
4. While
the
paint
is
drying,
experiment
with
making
marks
all
over
a
sheet
of
practice
paper
that
best
represent
the
emotion
to
you.
Develop
a
consistent
mark
or
stroke
that
represents
the
emotion
and
is
repeated
throughout
the
composition.
Allow
the
white
of
the
paper
to
show
through
in
some
areas.
5. Once
the
paint
on
the
figure
is
dry
to
the
touch,
mark
the
surface
of
the
paper
with
expressive
strokes
of
color
that
represent
the
emotion
to
you.
Like
Tobey,
allow
the
marks
to
extend
all
over
the
picture
plane.
6. Paint
over
the
figure
but
allow
for
parts
of
it
to
show
through
this
top
layer
of
paint
for
a
layered
effect.
7. Give
your
artwork
a
title
that
either
gives
away
the
meaning
or
suggests
the
idea
behind
the
artwork.
WA
State
Standards
–
Visual
Arts:
EALRs
and
AELs
EALR
1
‐
Understands
and
applies
arts
knowledge
and
skills
in
visual
arts
AEL
1.1
Concepts:
warm
and
cool
colors,
expressive
line
and
marks
AEL
1.2
Skills
and
techniques:
painting,
mark
making
AEL
1.1
Principles
of
Design:
repetition
AEL
1.4
Audience
Conventions:
explores
original
art
EALR
2
‐
Applies
creative
process
in
visual
arts
AEL
2.1
Creative
Process:
explores,
gathers
and
interprets
information
AEL
2.3
Presentation:
engages,
describes,
analyzes,
interprets
and
evaluates
original
art
EALR
3
‐
Communicates
through
the
arts
AEL
3.1
Presents
ideas
and
feelings:
emotions
EALR
4
‐
Demonstrates
connections
between
the
arts
and
other
disciplines
AEL
4.2
Writes
about
art:
titles
artwork,
writes
with
purpose
AEL
4.3
Visual
arts
impact
personal
choices:
selects
personal
imagery
that
carries
meaning
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
18
ABOUT
THE
ARTIST
AND
ARTWORK:
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
In
the
Artist’s
Own
Words:
“An
artist
must
find
his
expression
closely
linked
to
his
individual
experience
or
else
follow
in
the
old
grooves
resulting
in
lifeless
forms.
Reality
must
be
expressed
by
a
physical
symbol.”
About
the
Artist
Mark
Tobey
(1890‐1976):
Mark
Tobey
showed
a
keen
interest
in
nature
at
an
early
age.
He
started
his
art
training
in
high
school,
continuing
on
to
teach
himself
fashion
illustration
and
portraiture.
His
conversion
to
the
Bahai
faith
in
1918
put
him
in
touch
with
a
religious
universalism.
He
felt
“the
need
for
the
universalizing
of
the
consciousness
.
.
.
unless
we
are
to
sink
into
a
universal
dark
age.”
The
threat
of
fascism
directed
his
thoughts
toward
the
problems
of
humanity,
as
a
whole,
so
that
universal
resonance
overrode
the
topical
illustrations
in
his
work.
Tobey
traveled
extensively
throughout
his
life,
but
he
considered
Seattle
a
special
place
and
loved
the
combination
of
the
natural
tranquility
and
cultural
vitality
the
Northwest
offered.
He
was
very
influential
in
the
development
of
the
art
scene
in
the
Pacific
Northwest
and
had
a
close
relationship
with
Kenneth
Callahan,
Guy
Anderson,
Morris
Graves,
George
Tsutakawa
and
other
artists
of
the
region.
He
frequently
taught
classes
to
students
and
became
a
mentor
to
many
artists
in
the
region.
One
of
his
students
described
his
teaching
manner
in
an
article
that
appeared
in
the
Seattle
Times
in
1951:
"His
idea
of
a
good
art
class
for
beginners
would
be
a
field
trip
in
which
the
pupils
simply
sit
down
and
absorb
sights,
sounds,
smells,
and
textures.
He
teaches
a
couple
of
art
classes
himself
and
makes
no
attempt
to
sift
the
students
for
talent.
Whether
they
ever
paint
a
good
picture
is
unimportant
compared
to
what
they
learn
in
the
way
of
observing
and
aesthetic
feeling.”
Viola
Hansen
Patterson,
one
of
Tobey's
early
students
and
wife
of
painter
Ambrose
Patterson,
also
commented
on
Tobey’s
teaching
methods
she
once
said,
"He
was
full
of
tremendous
energy,
such
energy
he'd
bowl
you
over
—
almost
blow
you
out
of
the
room.
I
did
take
three
lessons
with
him,
and
then
I
caved
in.
It
was
too
much
for
me.
Tobey
was
extremely
interested
in
one
idea:
the
penetration
of
form
free
in
space."
Tobey
is
best
known
for
his
utilization
of
white
lines
called
“white
writing”,
which
consists
of
calligraphic
lines
of
light
paint
across
a
dark
canvas.
He
once
recounted:
“A
painting
should
be
a
textile,
a
texture.
That’s
enough!
Perhaps
I
was
influenced
by
my
mother.
She
used
to
sew
and
sew.
I
can
still
see
that
needle
going.
Maybe
that’s
what
I’d
rather
do
than
anything
with
the
bush‐like
stitching
over
and
over
and
over,
laying
it
in,
going
over,
bringing
it
up.
Bringing
it
up.”
19
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ABOUT
THE
ARTIST
AND
ARTWORK:
Untitled
(Figure),
1965
by
Mark
Tobey
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
Tobey’s
technique
suggests
a
synthesis
of
Eastern
thought
and
Western
forms.
His
paintings
seethe
with
a
delicate
energy
of
fluid
rhythms
that
are
not
bound
by
a
fixed
edge,
taking
the
viewer
beyond
everyday
perceptions
to
give
visual
form
to
the
music
of
the
universe
that
Tobey
heard.
Tobey
was
an
artist
of
considerable
stature
and
influence.
He
was
one
of
the
first
Northwest
painters
to
gain
an
international
reputation.
Many
feel
that
he
probably
broke
ground
for
the
abstract
expressionists
such
as
Jackson
Pollock
and
Wilhelm
de
Kooning.
The
reknowned
abstract
expressionist
painter
Jackson
Pollock
once
described
Tobey
as
“an
‘exception’
to
the
rule
that
New
York
was
‘the
only
real
place
in
America
where
painting
(in
the
real
sense)
can
come
(through)”.
Tobey
spent
the
last
years
of
his
life
in
Basel,
Switzerland
to
escape
fame,
to
live
incognito
and
to
be
able
to
paint
quietly.
Information
and
quotes
excerpted
from
http://www.historylink.org/marktobey
20
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Anguis he d
Fi gure: The Pr ayer,
c.
1965
by Ray Jense n
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
POINTS
OF
DEPARTURE
EXPLORE–MORE
ACTIVITY
Rubber
Boy
or
Girl
–
Role
Playing
–
Students
take
turns
role‐playing
and
their
classmates
help
“reconstruct”
the
sculpture.
Poetry
about
Art
‐
Students
write
poems
that
probe
deeper
into
the
meaning
of
the
artwork.
CLASSROOM
LESSONS
Language
Arts
Lesson:
In
Comparison
–
Students
make
Venn
Diagrams
and
write
a
descriptive
essay
that
compares
and
contrasts
Mark
Tobey’s
Untitled
(Figure)
1965
with
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Art
Lesson:
Expressive
Sculptures
–
Students
make
a
wire
sculpture
wrapped
in
foil
of
a
figure
that
expresses
a
strong
emotion.
ABOUT
THE
ARTIST
AND
ARTWORK
Supplemental
information
for
the
teacher
about
the
artist
and
the
artwork
21
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
L o o k C L O S E L Y Turn
the
pedestal
slowly
so
that
it
can
be
viewed
from
all
angles.
LOST
WAX
BRONZE
CASTING
was
developed
about
2500
BCE
Examine
the
surface
of
the
sculpture.
by
the
Sumerians.
It
involves
What
tools
were
used
to
manipulate
and
mark
the
surface?
(This
making
a
mold
of
an
object
out
sculpture
was
made
in
the
Lost
Wax
Bronze
Casting
Technique.)
of
wax
and
carving
into
the
wax
If
you
could
run
your
fingers
over
the
surface
how
would
it
feel?
to
create
designs
and,
or
Find
some
details
that
have
been
left
on
the
surface
of
this
texture.
Clay
is
then
adhered
to
sculpture.
Describe
them.
the
outside
(and
inside)
of
the
wax
form.
Once
the
clay
has
How
are
the
physical
features
exaggerated?
hardened
the
form
is
heated
Which
features
seem
most
pronounced?
and
the
wax
is
poured
out.
Are
there
any
features
that
are
made
to
look
less
significant?
Molten
bronze
is
then
poured
Misshapen?
into
the
clay
mold.
Once
it
cools
then
the
clay
is
be
broken
How
would
you
describe
the
figure’s
pose
to
someone
that
has
not
off
to
reveal
the
bronze
cast.
seen
it?
A c t i v i t y ‐ R u b b e r B o y o r G i r l ( S e e n e x t p a g e ) E x p l o r i n g M E A N I N G What
do
the
reaching
arms
and
hands
communicate
to
you?
What
does
his
or
her
stance
communicate?
Where
does
he
or
she
appear
to
be
looking?
What
does
the
figure
appear
to
be
experiencing?
Anguish?
Frustration?
Something
else?
Why?
List
at
least
5
different
ways
that
these
feelings
are
conveyed
to
you.
22
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
A c t i v i t y ‐ I f I C o u l d S p e a k I W o u l d T e l l Y o u One
student
assumes
the
identity
of
the
figure
and
the
other
students
in
the
class
ask
him
or
her
questions.
E x p l o r i n g C O N N E C T I O N S Is
this
a
portrait
of
a
particular
person?
Why
or
why
not?
Do
you
think
it
is
about
the
artist’s
life
and
experience?
Why
or
why
not?
Do
you
think
this
was
made
with
the
viewer
in
mind
or
for
the
artist
himself?
What
meaning
do
you
take
away
from
this?
What
does
it
make
you
think
about?
23
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
EXPLORE‐MORE
ACTIVITY
for Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
Rubb er
Boy or
G irl
–
Ro le
Playing
Description:
Students
take
turns
role‐playing
and
their
classmates
help
“reconstruct”
the
sculpture.
Learning
Focus:
Drama
Grade
Level:
K
–
2nd
Grade
Time
Estimate:
5
–
10
minutes
Rubber
Boy
or
Girl
is
an
activity
where
students
can
act
out
what
they
are
seeing.
You
can
do
this
activity
with
the
whole
class
participating
or
choose
one
student
to
act
out
this
role
in
front
of
the
rest
of
the
class.
Either
way,
it
gets
students
up
and
moving
and
engages
them
in
an
activity
that
allows
them
to
understand
the
concept
of
emotion
through
pose
or
posture.
Discuss:
What
would
it
feel
like
to
be
a
person
made
out
of
rubber?
How
would
it
feel
to
be
made
out
of
bronze?
1. Choose
a
student
to
be
Rubber
Boy
or
Girl
and
to
stand
in
front
of
the
group
‐
loose
not
rigid.
2. Ask
other
students
to
volunteer
to
make
one
(gentle)
adjustment
at
a
time
to
Rubber
Boy
or
Girl’s
body
to
make
their
pose
resemble
the
sculpture.
3. Ask
for
more
volunteers
until
Rubber
Boy
or
Girl
replicates
the
sculpture.
4. Ask
Rubber
Boy
or
Girl
to
hold
the
posture.
Ask:
What
would
you
do
next?
Have
him
or
her
assume
a
different
pose.
5. What
does
the
rest
of
the
class
think
about
this
new
posture?
Think
About
It:
What
are
the
all
the
ways
that
we
communicate
our
emotions?
Which
is
the
easiest
to
interpret?
24
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
EXPLORE‐MORE
ACTIVITY
for Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
Poetry
about
Art
Description:
Students
write
poems
that
probe
deeper
into
the
meaning
of
the
artwork.
Learning
Focus:
Language
Arts
Grade
Level:
All
(K‐2nd
grade
students
may
write
class
poems)
Estimated
Time:
10
minutes
Writing
a
poem
about
visual
art
allows
you
to
express
ideas
that
are
abstract
and
hard
to
describe
otherwise.
After
you
have
discussed
the
artwork
with
the
whole
group,
lead
a
poetry
writing
exercise
that
allows
the
group
to
respond
to
this
artwork.
This
type
of
poem
is
called
a
Cinquain:
Line
1.
Create
a
new
title
for
the
artwork.
Line
2.
Choose
two
adjectives
that
describe
it.
Line
3.
Select
three
verbs
that
describe
the
title.
Line
4.
Write
a
short
phrase
or
question
for
the
artwork.
Line
5.
Repeat
the
title
from
the
first
line
or
write
a
few
words
that
are
a
twist
on
Line
1..
Ask
students
to
share
their
poems
with
a
classmate
and
compare
the
poems.
Discuss:
‐ How
does
each
poem
bring
out
different
qualities
of
the
artwork?
‐ How
are
the
different
ways
of
interpreting
this
artwork
alike
and
unique?
Think
About
It:
When
you
hear
another
student’s
poem
how
does
it
make
you
see
the
artwork?
Have
your
ideas
changed
in
any
way?
25
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Poetry
about
Art:
CINQUAIN
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
Name:
Date:
Think
about
the
artwork.
Answer
the
following
writing
prompts
to
create
a
five‐line
stanza.
Line
1.
Create
a
new
title
for
the
artwork.
Line
2.
Choose
two
adjectives
that
describe
it.
Line
3.
Select
three
verbs
that
describe
the
title.
Line
4.
Write
a
short
phrase
or
question
for
the
artwork.
Line
5.
Repeat
the
title
from
the
first
line
or
write
a
few
words
that
are
a
twist
on
Line
1.
26
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
L A N G U A G E A R T S L E S S O N for
Anguished
Figure:
T he
Prayer,
c.
1965
by Ray
Jen sen
Untitled(Figure),
1965
by
Mark
Tobey
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
Untitled
(Figure),
1965
by
Mark
Tobey.
Lithograph
40/50.
16.5
x
13.25
x
3.75”
I n C o m p a r i s o n Description:
Students
write
a
descriptive
essay
that
compares
and
contrasts
Mark
Tobey’s
Untitled
(Figure)
1965
with
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Learning
Focus:
Language
Arts
Grade
Level:
5th
Grade
and
Up
Time
Estimate:
Varies
P l a n n i n g a n d W r i t i n g 1. Use
the
Venn
Diagram
on
page
39
to compare and contrast Anguished Figure: The Prayer by Ray Jensen
and Untitled (Figure) by Mark Tobey.
2. In
Section
A,
place
the
qualities
and
descriptions
unique
to
the
Mark
Tobey’s
artwork.
.
3. In
Section
C,
write
down
the
qualities
and
descriptions
unique
to
Ray
Jensen’s
sculpture.
4. In
Section
B,
list
all
the
descriptions
and
attributes
BOTH
artworks
share,
or
have
in
common.
5. Tips:
Look
beyond
the
obvious
differences
and
similarities.
Choose
descriptive
words
to
highlight
the
emotional
qualities
that
are
unique
and
that
they
share.
6. Read
the
following
quotes
by
the
artists
for
more
ideas.
In
Mark
Tobey’s
Own
Words:
‐ “Reality
must
be
expressed
by
a
physical
symbol.”
‐ “The
dimension
that
counts
for
the
creative
person
is
the
space
he
creates
within
himself.”
In
Ray
Jensen’s
Own
Words:
‐ “React
to
the
needs
of
the
moment;
do
that
which
you
feel
is
you.”
‐ “We
all
have
a
creative
force.
In
order
to
be
healthy
and
happy
we
must
use
it.”
7. Write
an
essay
that
compares
and
contrast
the
two
artworks.
Incorporate
these
quotes
into
your
essay.
Think
About
It:
Which
artistic
medium
do
you
feel
is
best
at
expressing
human
emotions?
Why?
27
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
A R T L E S S O N for
Anguished
F igure :
The
Prayer,
c. 1965
by
Ray Jensen
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
E x p r e s s i v e Sculptures
Description:
Students
will
make
a
wire
sculpture
wrapped
in
foil
of
a
figure
that
expresses
a
strong
emotion.
Learning
Focus:
Visual
Art
Grade
Level:
3rd
Grade
and
Up
Estimated
Time:
1
hour
Materials:
Sculpture
wire
(12
gauge).
Each
student
will
need
the
following
pieces:
3‐foot
piece
for
the
body
and
legs,
1‐foot
piece
of
wire
for
the
head,
2‐foot
piece
for
the
arms,
rectangular
piece
of
Styrofoam
for
the
base,
household
aluminum
foil,
paper
towels,
a
water‐based
hardener
like
Paverpol
or
Mod‐Podge,
small
containers
for
hardener,
paint
brushes,
black
and/or
bronze
acrylic
paint
The
artist
Ray
Jenson
is
most
interested
in
portraying
the
human
figures
movements,
emotions
and
expression.
He
has
developed
a
unique
and
expressive
sculptural
style.
Now
you
try
it!
P l a n n i n g With
a
partner
or
in
a
small
group
brainstorm
a
list
of
at
least
six
strong
emotions.
Take
turns
assuming
the
pose
of
each
emotion.
Have
others
in
your
group
guess
the
pose
that
each
person
is
acting
out.
Tip:
Take
advice
from
your
peers
on
how
to
help
communicate
your
emotion
through
posture,
gesture
and
expression
more
effectively.
Allow
your
partner
to
adjust
your
pose
and
posture
to
make
it
even
more
expressive.
M a k i n g A r t Select
an
emotion
that
you
would
like
to
express.
Decide
on
what
posture
or
pose
best
communicates
that
emotion
and
create
a
structure
of
a
figure
using
sculpture
wire.
Follow
the
instructions
on
the
following
page
to
make
a
sculpture
expressive
of
emotion
and
inspired
by
the
style
of
Ray
Jensen’s
artwork.
28
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
A R T L E S S O N for
Anguished
F igure :
The
Prayer,
c. 1965
by
Ray Jensen,
cont inued
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
M a k i n g A r t , c o n t i n u e d 1. First,
take
a
piece
of
wire
that
is
3
feet
long.
Fold
it
in
half.
Twist
it
together
to
make
a
waist
leaving
the
bottom
2/3rds
for
the
two
legs.
Fold
the
wire
over
to
make
feet
and
to
make
it
balanced.
2. Use
another
piece
of
wire
that
is
1
foot
in
length
to
make
a
head.
Do
so
by
creating
a
loop
with
the
wire
and
then
attach
it
to
the
top
of
the
torso
by
twisting
it
on
and
compressing
its
size.
3. Make
arms
by
attaching
a
2‐foot
piece
of
wire
to
the
top
of
the
torso.
Wind
it
around
so
that
the
wire
is
secure
and
that
both
sides
(arms)
are
equal
in
length.
Fold
over
the
ends
to
make
hands.
4. Adjust
and
manipulate
the
arms
and
legs
of
the
figure
for
a
desired
effect
and
BALANCE
is
the
equal
to
achieve
balance.
Turn
the
sculpture
around
and
examine
it
from
all
sides
to
distribution
of
objects
make
sure
the
figure
expresses
emotion
from
all
sides.
&
elements
of
art
that
make
the
design
feel
5. Once
you
are
content
with
the
posture
of
your
figure,
take
strips
of
household
stable.
aluminum
foil
and
wrap
them
around
the
pieces
of
wire.
Form
a
head
and
the
body
by
molding
small
sheets
around
the
wire.
6. Squeeze
some
non‐toxic
water‐based
hardener
into
a
small
container.
Brush
both
sides
of
short
strips
of
a
paper
towel
with
the
hardener.
7. Affix
the
damp
paper
towel
strips
to
the
sculpture
by
molding
them
to
the
surface
with
your
hands.
Allow
the
sculpture
to
harden
and
WA
State
Standards
–
Visual
Arts:
EALRs
and
AELs
dry.
EALR
1
‐
Understands
and
applies
arts
knowledge
and
skills
in
visual
arts
AEL
1.1
Concepts:
shape,
3‐d
form,
posture,
gesture
AEL
1.2
Skills
and
techniques:
3‐d
sculpture,
wire
and
foil
8. Paint
the
sculpture
with
black
AEL
1.1
Principles
of
Design:
balance
and/or
bronze
acrylic
paint.
AEL
1.4
Audience
Conventions:
explores
original
art
EALR
2
‐
Applies
creative
process
in
visual
arts
9. Think
of
a
descriptive
title
for
your
AEL
2.1
Creative
Process:
explores,
gathers
and
interprets
information
AEL
2.3
Presentation:
engages,
describes,
analyzes,
interprets
and
evaluates
original
art
artwork
and
present
the
finished
EALR
3
‐
Communicates
through
the
arts
product
to
the
class.
AEL
3.1
Presents
ideas
and
feelings:
emotions
EALR
4
‐
Demonstrates
connections
between
the
arts
and
other
disciplines
AEL
4.2
Writes
about
art:
titles,
writes
purposefully
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
29
ABOUT
THE
ART IST
AND ART WORK: Anguished
F igure:
The Praye r,
c.
1965
by Ray
Je nsen
Anguished
Figure:
The
Prayer,
c.
1965
by
Ray
Jensen.
Bronze
sculpture
on
wood
base.
13.5
x
8
x
7”
In
the
Artist’s
Own
Words:
“We
all
have
a
creative
force.
In
order
to
be
healthy
and
happy
we
must
use
it.”
About
the
Artist
Ray
Jensen
(1929
‐
):
Ray
Jensen’s
interest
in
art
began
early
on.
He
recalls
a
color
crayon
drawing
he
did
early
in
life.
A
comment
by
his
mom,
“…but
you
can’t
see
underwater”
didn’t
quell
his
artistic
bent.
Shortly
thereafter,
from
ages
6
½
to
8,
he
became
bedridden
with
a
heart
ailment.
He
occupied
himself
by
drawing,
making
model
airplanes
and
small
sculptures,
often
figures
of
athletes
out
of
plasticine
modeling
clay.
In
his
sculpture,
Jensen
applies
the
lost
wax
process,
which
is
a
very
old
way
of
casting
and
dates
back
to
Roman
times.
The
sculptor
shapes
pieces
in
wax,
which
are
easy
to
bend
and
carve.
When
the
finished
the
design
is
ready
to
be
cast,
two
wax
rods
are
added
–
one
to
act
as
a
channel
for
the
liquid
metal
and
the
other
for
it
to
leave.
Plaster
is
put
around
in
the
wax
piece
with
the
wax
rods
protruding.
It
is
then
placed
in
a
very
hot
kiln
(oven),
which
melts
and
vaporizes
the
wax
so
that
the
mold
is
left
with
a
void
or
hollow
space
where
the
wax
image
used
to
be.
Hot,
2000
degree
metal
in
a
liquid
state
(bronze
in
this
case)
is
poured
into
the
channel
left
by
the
wax
rod
until
the
mold
will
hold
no
more.
This
is
left
to
harden
and
becomes
the
exact
image
of
the
original
“lost
wax”.
The
mold
is
broken
off
and
the
metal
channel
is
cut
off,
filed
and
polished.
The
piece
is
then
finished.
Jensen
is
very
concerned
about
human
suffering,
war,
disease,
unnecessary
death,
hurt
feelings,
prejudice,
hunger
and
poverty.
The
artist
often
uses
things
like
newspaper
clippings
or
photos
for
his
figures.
Anguished
Figure:
The
Prayer
was
created
in
the
mid
1960s
in
reaction
to
the
Vietnam
War.
“I
hate
war.
I
don’t
like
it,”
comments
Jensen.
“It
wipes
out
the
future
for
those
killed
and
seriously
bends
it
for
the
rest.”
The
piece
is
painful
and
filled
with
sorrow
as
signified
by
the
hands
pleading
upward.
The
fists
are
clenched
with
anger
and
frustration.
When
asked
what
advice
he
has
to
give
to
children
relating
to
art,
Jensen
encourages
them
to
“react
to
the
needs
of
the
moment;
do
that
which
you
feel
is
you.”
Most
importantly,
he
believes
that
the
use
of
the
creative
force
within
us
all
will
provide
health
and
happiness.
30
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
POINTS
OF
DEPARTURE
EXPLORE–MORE
ACTIVITY
Diamante
Poems
–
Students
talk
about
the
message
and
meaning
of
Jealousy
and
write
a
poem
based
on
their
interpretations.
CLASSROOM
LESSONS
Art
Lesson:
Painted
Clothes
–
Expressive
Objects
–
Students
will
paint
shoes
or
another
clothing
item
with
symbols
of
an
emotion
or
feeling.
ABOUT
THE
ARTIST
AND
ARTWORK
Supplemental
information
for
the
teacher
about
the
artist
and
the
artwork
31
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
L o o k C L O S E L Y Move
your
eye
slowly
across
the
artwork
and
list
the
various
images
that
you
see.
Look
at
the
artwork
as
if
it
were
made
up
of
three
sections.
Describe
and
compare
what
you
see
in
the
white
and
pink
section
on
the
left,
to
the
middle
section
and
to
the
section
on
the
right.
How
would
you
describe
the
colors
in
each
section?
What
is
the
same
and
different
about
each
section?
Look
at
how
the
artwork
was
made.
What
item
of
clothing
did
the
artist
use?
Exploring
MEANING
The
artist,
Liza
vonRosenstiel,
tells
stories
through
art
using
color,
brushwork,
MEDIUM
is
the
composition
and
materials
as
well
as
an
individual
artistic
vision
to
suggest
a
material
or
dramatic
story.
She
freely
chooses
different
mediums
to
suit
the
story
being
told.
technique
that
the
The
artist
expects
the
viewer
to
make
up
most
of
the
story.
artist
works
in.
Now
let’s
think
about
what
story
it
tells
you.
Take
a
step
back
and
think
about
the
artwork
as
a
whole
again.
What
do
the
various
images
suggest
to
you?
Think
deeply.
If
you
were
to
attach
one
emotion
to
the
artwork
what
would
it
be?
How
do
the
images,
symbols,
colors
and
materials
work
together
to
communicate
that
emotion
to
you?
Think
About
It:
What
could
be
the
symbolism
of
the
man’s
jacket?
Why
would
the
artist
choose
to
paint
on
an
item
of
clothing
rather
than
on
a
stretched
canvas?
Can
you
figure
out
a
story
or
a
plot
that
combines
the
images
and
medium?
The
artist
Liza
vonRosenstiel
titled
this
artwork
Jealousy.
In
your
mind
how
does
this
title
fit
this
artwork?
Can
you
name
a
color
that
is
often
associated
with
envy
or
jealousy?
What
other
symbols
of
jealousy
do
you
see?
32
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
DISCUSSION
POINTS
for
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
M a k i n g C O N N E C T I O N S What
do
you
think
is
the
artwork’s
purpose?
Is
this
a
personal
statement?
Was
this
made
with
the
viewer
in
mind
or
was
it
made
for
the
artist
alone?
Explain
your
thoughts.
What
else
does
the
artwork
make
you
think
about?
What
three‐word
title
would
you
give
it?
33
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
EXPLORE‐MORE
ACTIVITY
for
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
D i a m a n t e P o e m s Description:
Students
talk
about
the
message
and
meaning
of
Jealousy
and
write
a
poem
based
on
their
interpretations.
(Younger
students
can
contribute
ideas
to
a
class
poem
transcribed
by
the
teacher).
Learning
Focus:
Language
Arts,
Character
Development
Grade
Level:
All
Time
Estimate:
10‐
15
minutes
Poetry
can
express
abstract
ideas
and
the
myriad
of
meaning(s)
an
artwork
can
convey
.
Write
a
poem
about
Jealousy
using
the
structure
outlined
in
a
Diamante
Format.
In
each
line
write
the
following:
Line
1.
A
noun
that
is
the
subject
of
the
artwork.
(Skip
to
line
7
and
write
the
opposite
of
this
noun.)
Line
2.
Two
adjectives
that
describe
the
noun
in
Line
1.
Line
3.
Three
verbs
that
end
in
–ing,
or
–ed
Line
4.
Four
nouns
related
to
the
subject
in
Line
1.
(The
second
two
nouns
may
have
opposite
meanings
from
the
first
two.)
Line
5.
Three
verbs
indicating
change
or
development
of
the
subject
in
Line
1.
Line
6.
Two
adjectives
carrying
on
the
idea
of
change,
or
development.
Line
7.
One
noun
that
is
the
opposite
of
Line
1.
Overcoat
Stiff,
transformed
Seeing,
growing,
changing
Eyes,
man
–
weeds,
friend
Creeping,
haunting,
knowing
Overgrown,
untamed
Undercoat
‐
12
year
old
student
34
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
Diamante
Poem
Name:
Date:
Write
a
poem
about
it
using
the
structure
outlined
in
a
Diamante
Format.
In
each
line
write
the
following:
Line
1.
A
noun
that
is
the
subject
of
the
artwork.
(Skip
to
line
7
and
write
the
opposite
of
this
noun.)
_____________________________________________________________
Line
2.
Two
adjectives
that
describe
the
noun
in
Line
1.
_____________________________________________________________
Line
3.
Three
verbs
that
end
in
–ing,
or
–ed
_____________________________________________________________
Line
4.
Four
nouns
related
to
the
subject
in
Line
1.
(The
second
two
nouns
may
have
opposite
meanings
from
the
first
two.)
_____________________________________________________________
Line
5.
Three
verbs
indicating
change
or
development
of
the
subject
in
Line
1.
_____________________________________________________________
Line
6.
Two
adjectives
carrying
on
the
idea
of
change
or
development.
_____________________________________________________________
Line
7.
One
noun
that
is
the
opposite
of
Line
1.
_____________________________________________________________
35
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ART
LESSON
for
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
P a i n t e d C l o t h e s – E x p r e s s i v e O b j e c t s Description:
Students
will
paint
shoes
with
symbols
of
an
emotion
or
feeling.
Learning
Focus:
Visual
Arts
Grade
Level:
All
Estimated
Time:
1
–
1
½
hours;
Overnight
to
dry
Materials:
A
variety
of
thrift
store
shoes
or
other
accessories
such
as
belts
or
bags
(vinyl,
canvas
or
leather);
Paintstik
Oil
Colors
(non‐toxic);
firm
paint
brushes;
latex
gloves
(optional)
Some
artists
like
Liza
vonRosensteil
use
unconventional
objects
as
a
medium.
She
believes
that
they
can
help
communicate
meaning
and
a
story.
P l a n n i n g Think
about
an
intense
emotion
or
feeling
that
you
would
like
to
express.
You
may
want
to
tell
a
story
about
what
made
you
feel
the
emotion
through
pictures
and
symbols.
Decide
which
color
best
expresses
the
feeling
that
you
would
like
to
communicate.
Colors
mean
different
things
to
each
of
us.
(Some
possible
ideas:
red‐anger;
yellow‐happiness;
blue‐hopeful).
Ask
yourself:
What
sort
of
images
or
symbols
could
symbolize
the
emotion?
Using
colored
pencils
sketch
some
ideas
on
a
piece
of
practice
paper.
Set
your
sketches
aside.
Making
Art
1. Make
an
item
of
clothing
into
an
artwork
that
expresses
a
strong
emotion.
Using
Paintstik
Oil
Stick
Colors,
color
directly
onto
a
shoe
or
accessory.
(See
tips
for
using
Oil
Stick
Colors
on
following
page.)
2. Choose
colors
purposefully
to
convey
the
emotion.
Include
images
that
convey
the
emotion
and
the
story
and
repeat
throughout
the
artwork
for
a
cohesive
effect.
3. Title
your
artwork
with
the
emotion
that
inspired
it.
36
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ART
LESSON
for
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
Tips
for
Using
Oil
Stick
Colors
‐ Color
may
be
applied
to
any
surface
by
drawing
with
it
like
you
would
an
oil
pastel.
‐ You
may
also
spread
the
Oil
Sticks
around
with
a
brush
like
you
would
in
a
painting.
To
do
so,
draw
a
thick
swatch
of
color
on
a
piece
of
paper
and
dip
a
brush
into
the
swatch.
Next,
use
the
brush
to
“paint”
the
color
onto
the
object.
‐ Oil
Sticks
may
be
layered
one
on
top
of
the
other
to
achieve
a
sense
of
depth
and
texture.
‐ Oil
Sticks
may
also
be
blended.
To
do
so
put
on
a
latex
glove
and
use
your
fingers
to
move
the
colors
around
to
create
a
soft
and/or
layered
effect.
‐ Wash
the
brushes
with
soap
and
water
after
use.
‐ The
Oil
Stick
artwork
will
dry
within
24
hours.
WA
State
Standards
–
Visual
Arts:
EALRs
and
AELs
EALR
1
‐
The
student
understands
and
applies
arts
knowledge
and
skills
in
visual
arts
AEL
1.1
Concepts:
color,
shape
AEL
1.2
Skills
and
techniques:
oil
sticks,
found
objects
AEL
1.4
Audience
Conventions:
explores
original
art
EALR
2
‐
Applies
creative
process
in
visual
arts
AEL
2.1
Creative
Process:
explores,
gathers
and
interprets
information
AEL
2.3
Presentation:
engages,
describes,
analyzes,
interprets
and
evaluates
original
art
EALR
3
‐
Communicates
through
the
arts
AEL
3.1
Presents
ideas
and
feelings:
expresses
emotions
and
ideas
in
art
EALR
4
‐
Demonstrates
connections
between
the
arts
and
other
disciplines
AEL
4.2
Writes
about
art:
titles,
writes
purposefully
37
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
ABOUT
THE
ARTWORK
AND
THE
ARTIST:
Jealousy,
1988
by
Liza
vonRosenstiel
Jealousy,
1988
by
Liza
vonRosenstiel.
Mixed
media.
38.75
x
34.25
x
3.75”
In
the
Artist’s
Own
Words:
“My
goal
in
painting
is
to
create
a
seemingly
simple
narrative
painting
where
the
viewer
wonders
which
way
an
action
or
a
momentary
pause
will
go.”
About
the
Artist
Liza
vonRosenstiel
(1954
‐
):
Liza
vonRozenstiel
earned
a
Bachelor
of
Fine
Arts
from
the
Rhode
Island
School
of
Design
in
1978.
Since
then
she
has
been
very
active
in
the
local
arts
scene
participating
in
numerous
public
commissions.
Since
the
early
2000s
she
has
been
the
lead
artist
for
Coyote
Central
where
she
has
worked
with
teams
of
middle
school
students
to
create
public
art
as
a
part
of
the
center’s
Hit‐the‐Street
program.
Art
critic,
curator
and
collector
Matthew
Kangas
wrote
this
about
vonRosenstiel’s
artworks
“How
does
a
painting
tell
a
story?
By
depicting
figures,
animals
and/or
objects
together
in
a
unified
setting,
the
artist
sets
up
a
scenario
based
on
personal
experience,
prior
stories,
such
as
mythology,
or
even
on
current
events.
VonRosenstiel
tells
stories
well,
using
color,
brushwork,
composition
and
individual
artistic
vision
to
imply
a
dramatic
plot
of
sorts.
With
vonRosenstiel,
the
viewer
makes
up
most
of
the
story.
Offering
the
bare
bones
of
a
plot,
vonRosenstiel
draws
in
the
viewer
…
The
more
events
and
characters
vonRosenstiel
adds
to
her
canvas,
the
more
interesting
the
story
becomes.”
—
Seattle
Times
Review,
September
2,
2000.
Although
vonRosensteil
most
often
paints
on
canvas,
she
also
likes
to
paint
on
coats,
suits
and
other
clothing
items.
She
enjoys
painting
on
apparel
for
two
reasons.
First,
it
is
a
break
from
the
monotony
of
square
or
rectangular
format.
Second,
the
suit
and
coat
allow
her
to
identify
with
basic
human
shape.
She
once
said
this
about
her
artwork,
“My
paintings
seem
simple.
In
my
life,
the
simplest
sentences
have
been
the
most
powerful.
Will
you
marry
me?
I'm
leaving.
You
won.
She's
dead?
Simple
sentences
carry
a
huge
subtext
and
instantly
create
new
paths,
wanted
or
unwanted.
My
goal
in
painting
is
to
create
a
seemingly
simple
narrative
painting
where
the
viewer
wonders
which
way
an
action
or
a
momentary
pause
will
go.
I
use
animals,
objects
and
humans
as
stand‐ins
for
the
foibles
of
human
nature.”
Jealousy
was
painted
in
1986.
vonRosenstiel’s
husband
left
her
for
another
woman
and
Jealousy
resulted
from
how
she
felt
about
being
left.
According
to
the
artist,
it
is
about
seeing
something
you
want
and
being
“green”
with
envy
because
you
can’t
have
it.
38
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2
In
Comparison
Essay
–
Venn
Diagram
Look
at
each
artwork
closely
and
describe
what
you
see.
Compare
the
two
artworks.
How
are
they
similar?
How
is
each
different
or
unique?
Untitled
(Figure)
1965
by
Mark
Tobey
Anguished
Figure:
The
Prayer
c.
1965
by
Ray
Jensen
Both
39
EXHIBIT
3
–
Exploring
A bst ra cti o n
in Art ‐ E mot i o ns –
1 of 2