ARTventures at the KIA: Resources for Educators
Pr
gY
our Students: Mak
er!
Preeparin
aring
Your
Makee their KIA visit the best ev
ever!
A successful tour starts well before the students board the bus.
Advanced planning greatly increases what students will get out of
a museum learning experience. Follow-up activities reinforce and
put the students’ museum learning experiences into perspective.
Get the most out of yyour
our tour with:
• A Pre-visit Checklist to keep you organized
• Helpful hints for a successful museum visit
• Pre-and post-visit activities
• Art vocabulary and curriculum connections
• Important instructions for your chaperones
Why visit an ar
useum?
artt m
museum?
Observing, discussing and interpreting works of art instructs our
understanding of our culture, our present and our past.
Looking at art increases visual literacy and ability to articulate
meaning.
MI Curriculum Standar
ds ffor
or Ar
ts Educa
tion met bby
ya
Standards
Arts
Education
m TTour:
om the Stor
ed fr
ar
Sp
our:
Storm
from
ared
Spar
Standard 2: All students will apply skills and knowledge to create
in the arts.
Standard 3: All students will analyze, describe and evaluate works
of art.
Standard 4: All students will understand, analyze and describe the
arts in their historical, social cultural contexts.
ARTist Tours sponsored by:
KIA Tour Program sponsored by:
KALAMAZOO INSTITUTE OF ARTS • 314 S. Park St. • Kalamazoo, MI 49007 • 269/349-7775 • www.kiarts.org
Spared from the Storm Educator Guide: Contents
What’s Inside?
Table of Contents
Page
Museum Visit 101: Important Information to Prepare for Your KIA Visit...................................................3
Museum Manners and How to be a Great Chaperone...................................................................................4
Spared from the Storm: A History of the Exhibition..........................................................................................5
The Establishment of New Orleans: A Timeline...............................................................................................6
Spared from the Storm: BIG IDEAS and THEMES..............................................................................................7
Cross-Curricular Activities....................................................................................................................................8
Information on Claude Lefebvre’s Portrait of Louis XIV.....................................................................................9
Information on Georgia O’Keeffe’s My Backyard............................................................................................10
Resources.................................................................................................................................................................11
Art Vocabulary.........................................................................................................................................................12
Image: Claude Lebefvre’s Portrait of Louis XIV to project or print........................................................................13
Image: Georgia O’Keeffe’s My Backyard to project or print........................................................................14
Handout: Disaster Math......................................................................................................................................15
Handout: Hurricane Name Game...............................................................................................................................16
Handout: Crossword...........................................................................................................................................17
Handout: Crossword Answers....................................................................................................................................18
Handout: Word Search........................................................................................................................................19
Handout: Word Search Answers.........................................................................................................................20
FYI: Important Information-Please Read Carefully!
Museum Visit 101: A Checklist
Bef
or
our visit (2-3 w
eek
s):
Befor
oree yyour
week
eeks):
Recruit chaperones! One adult is required for every 15 students (2nd-12th grade) and every
10 students (preK-1st grade). Please share the enclosed How to be a Great Chaperone handout with
your adult volunteers so they know what will be expected of them.
Transportation! Groups must arrange their own transportation. Ask us about busing stipends.
Name Tags! It is so helpful when docents and museum staff can call each student by name.
Use large, bold printed letters.
Pre-visit student preparation!
•Try to visit the KIA a few weeks before to familiarize yourself with the museum’s layout, including
restrooms, classrooms, etc. Note where the exhibitions you might be viewing are located.
A personal visit is crucial if you have any concerns about exhibition or tour content. Please
call 349-7775, x 3162 for an appointment with KIA staff.
• Read through the pre-visit/post-visit activities listed in this packet and decide which are best
suited for your students.
• Work with students on completing assignments before visit. Review Museum Manners.
• Please inform the KIA Museum Education staff if your group has an assignment or will need extra
time in the galleries following their tour.
• Familiarize chaperones with any assignment so they can assist as needed.
• Please bring the proper materials for students to complete their project: pencils only and paper
with something hard to write on. Students may sit on the floor or stools can be made available with
advanced notice.
Da
y of V
isit Check
list
Day
Visit
Checklist
Name Tags! Do you have them? Are your students divided into the proper number of groups as
specified on the tour confirmation?
Chaperones! Make copies of How to be a Great Chaperone for volunteers.
Camera? You may take photos of your students outside or in the KIA Lobby. Photography is not
allowed in the galleries.
Gallery Shop! Remind students that the KIA Gallery Shop is not included as part of the visit.
Museum Manners! Please review Museum Manners one more time.
Coats, backpacks, umbrellas and roller shoes! These items are not permitted in the
galleries. Please leave them on the bus, weather permitting or in bins located in the lobby.
Let’s be early birds! Please arrive at the South Street entrance at least 5 minutes before the
tour begins and have students organized into the proper number of tour groups as specified in the
tour confirmation. A docent or KIA staff member will greet your group, review Museum Manners
and then each small group will be assigned a docent and dismissed into the galleries.
Oops! We’re late! Please call the KIA receptionist at 269/349-7775 if you will be late. As
groups may be scheduled back to back, a late arrival could shorten your visit. Docents will wait no
more than 20 minutes. After that time we reserve the right to cancel or shorten your tour.
After the T
our
Tour
Discuss the tour with your students. Round out the experience with some post-visit activities.
Evaluate! Fill out the Tour Evaluation form and return in the envelope provided. Let us know what
did or did not go well.
How to be a Great Chaperone • Museum Manners
To be a great chaperone, you don’t need any special knowledge–just common sense and
a willingness to jump in and get involved. Here are a few tips to help make this visit
successful:
• Introduce yourself to your group and your museum docent (tour guide).
• Stay with your group during the tour and assist the teachers and docent.
• Follow and help remind students of the KIA’s Museum Manners.
Classes tour the museum in small groups of 10-15 students Each group is led by a
museum docent, a specially trained volunteer tour guide. Docents use questions and
discussion to encourage students to look at and think about selected artworks during
the tour. As tours move through the museum, chaperones help keep the group together.
They remind students of their Museum Manners if needed and are good role models
during the tour. Chaperones are ready to help the docent if asked.
Thanks for being part of your group’s guided tour. Your participation will help make your
school’s visit to the Kalamazoo Institute of Arts fun and educational. We invite you and
your family to visit the KIA again!
KIA Museum Manners
1. Do not touch any of the art because it is fragile and the oils on your fingers (even if
your hands look clean) will make the work of art dirty. If everyone touched, the art
would be ruined, and no one would be able to enjoy it. We want it to last as long as
possible.
2. Please walk in the museum. We do not want you or the art to get hurt.
3. Use quiet voices during your tour; other people are trying to enjoy their visit too.
4. Stay with your group. Be ready to look carefully and think about what you see. Your
docent will ask you to share your ideas about the works of art.
5. Gum, food and drinks are not allowed in the galleries because spills could damage the
works of art.
6. Please do not lean on walls/cases as you might lean into a work of art or mark the
walls.
Museum Manners • How to be a Great Chaperone
How to be a Great Chaperone
Spared from the Storm: A History of the Exhibition
Spared from the Storm: Masterworks from the New Orleans Museum of Art features 89 European and
American paintings, drawings, and sculpture, spanning more than 300 years of art (1620-1960). With
an emphasis on French art that recognizes New Orleans long relationship with France, the exhibition
also celebrates the cultural resilience of one of the world’s great cities, following the Hurricane
Katrina tragedy.
As a cornerstone of France’s vast North American colony, New Orleans was a beacon for entrepreneurs since its founding in 1718. Artists followed, seeking patronage. However, it was not until 1910
that an art museum was established, a result of the generosity of Isaac Delgado, one of the founders of
the Louisana Sugar Exchange. A neoclassical structure was built on high ground at the entrance to
City Park, on the site of the famous Dueling Oaks, where early 19th century New Orleanians settled
scores.
The Isaac Delgado Museum of Art, now the New Orleans Museum of Art, was established as a place
for artists to exhibit their works and as a place for everyone to study works of art from past centuries. The museum has exceptional collections of art from all parts of the world and in all media, but its
collection of European Old Masters was undistinguished until the 1930s. As this exhibition demonstrates, the museum now possesses excellent examples of pre-20th century paintings and sculpture
with particular strengths in Italian and French paintings. In recent years, the museum has expanded its
traditional European and American collections to include photography, decorative arts, and large-scale
outdoor sculpture. A sculpture garden established in 2004 sustained severe damage from Hurricane
Katrina.
With a reduced population base, a dimished convention and tourism industry, and ongoing capital
repairs resulting from days without temperature and humidity controls, and other hurricane-related
problems, the New Orleans Museum of Art is a long way from full operation. This has provided an
occasion for sharing portions of the collection, which will benefit its Katrina Recovery Fund. A traveling celebration of the city and its artistic treasures, Spared from the Storm, is testimony not only to the
cooperative spirit among American museums, but also to the important of New Orlenas in our national cultural consciousness.
Before Katrina....
After Katrina...
The Establishment of New Orleans: A Timeline
1682 Explorer Rene Robert Cavelier de La Salle claimed the area around the Mississippi River for
France and named it Louisiana in honor of King Louis XIV, also known an as the Sun King.
1685 Louis XIV revoked the Edict of Nantes (Issued by Henri IV in 1598, the Edict of Nantes gave
religious and political freedom to French Protestants, called Huguenots). With their exile by
Louis XIV, many came to Louisiana as well as Canada to settle, bringing with them French
culture. Therefore, Louis XIV unwittingly contributed to the future cultural development of
both of these areas.
1718 Jean Baptiste Le Moyne de Bienville founded New Orleans, named for the Duke of Orleans
who ruled France as regent until the young Louis XV was old enough to assume the throne.
New Orleans quickly became a bustling port city.
1722 New Orleans became the seat of the French Colonial government.
1763 France ceded New Orleans and the Louisiana Territory west of the Mississippi to Spain at the
end of the Seven Years’ War. New Orleans became a melting pot of French, French Canadian
(Acadian or Cajun) and Spanish culture. This distinctive Franco-Spanish culture was called
“Creole”. Napoleon later forced Spain to give back Louisiana according to the 2nd Treaty of
San Ildefonso of 1800. When Napoleon’s plans for the Carribbean when bad, he sold Louisana
to America to keep the British from controlling the New World.
1803 Louisiana Territory is purchased by the United States. The purchase ended New Orleans’
political ties with France but cultural exchanges continued through the 19th century.
1812 Louisiana becomes a state.
1814 Battle of New Orleans between the Americans and the British.
1845 James Robb, promiment New Orleans businessman purchased French artworks from the
Joseph Bonaparte’s (Napoleon 1’s older brother) estate in New Jersey. These works eventually
became part of the New Orleans Museum of Art collection.
1872 Edgar Degas visits New Orleans and lived with family there. His mother was a Creole named
Marie-Celestine Musson. This is the only instance when a French Impressionist painter visited
the United States.
1910 Isaac Delgado provided funding for construction of an art museum which opened in 1911. It
was called the Delgado Museum of Art.
1971 After a large expansion, the museum was officially renamed the New Orleans Museum of Art.
2005 Hurricane Katrina hit New Orleans. The Museum, its grounds and some of its collection
sustained damage.
2008 Kalamazoo Institute of Arts hosts Spared from the Storm: Masterworks from the New Orleans
Museum of Art which is touring to raise funds for the museum’s Katrina recovery efforts.
Spared from the Storm: BIG IDEAS and THEMES
The exhibition, Spared from the Storm: Masterworks from the New Orleans Museum of Art includes
European and American art from 1620-1960. That is a lot of art! So we tried to simplify the exhibition into a few BIG IDEAS with questions and activities to help prepare your students for their visit.
These activities also work as a follow-up to a guided tour.
Style: What is artistic style? Lots of different factors affect an artist’s style. Think about it as a
mathematical equation where a variation in any additive affects the final outcome.
Artistic style= Artist + Media + Purpose
Artist-An individual who creates art. An artist’s technique is affected by personal beliefs and attitudes, social and political events, as well as materials and technology available.
Example: Claude Monet’s work was affected by the fact that paint in a tube had been invented. He could work outside without having to bring materials to grind and mix his own
colors.
Media-The materials from which an artwork is made.
Purpose-Why is an artwork made? Was it made for a commission, like the portrait of a king or
wealthy family? Was it made for a church? The reason a work of art is made affects how it looks.
In the 19th-century, artists worked more for the art market, rather than wealthy individuals or the
church. This change in patronage gave artists more freedom to create what they wanted. Of course,
that didn’t always mean that the public would buy the art.
BIG IDEA #1: People
There are many portraits in this exhibition from very realistic to very abstracted.
Before the tour: Look at the Portrait of Louis XIV included in this guide. Use the questions
to have a discussion about the portrait prior to your tour.
During the tour: Have students pay particular attention to the many portraits in the exhibition. Ask them to choose their favorite one and discuss or write about why they chose
it. Be sure to let the KIA know ahead of time if you would like to focus on portraits during
your tour.
After the tour: Use the suggested portrait activities to have students’ create their own
portraits. Display them around the room and discuss them.
BIG IDEA #2: Places
There are also many landscapes of different places and styles.
Before the tour: Look at My Backyard by Georgia O’Keeffe included in this guide. Use the
questions to have a discussion about Georgia O’Keeffe and her work prior to your tour.
Have the students write about their backyard and make preliminary sketches.
During the Tour: Look for landscapes in the exhibition. Compare different artistic styles, if
it is a city or country view, why did the artist create it, etc. Be sure to let the KIA know
ahead of time if you would like to focus on landscapes during your tour.
After the tour: Have the students draw or paint their own backyard, perhaps at different
times of the year. Display them around the room and discuss them.
Cross-Curricular Activities: Science, Math & More!
Science
• What are hurricanes? Why do they happen? Why do they only happen in certain areas?
How are they different from tornadoes and typhoons?
• The Hurricane Name Game (Grades 3 and up)-See handout included in this guide.
• Visit the National Weather Center website or other hurricane websites.
Geography
• Mark on a US map where various hurricanes have made landfall in the past 10 years.
• Calcuate the miles between New Orleans and other cities where hurricanes have hit and
your city or town.
Math
• Do Disaster Math handout included in this guide.
Social Studies
• Research the history of New Orleans, especially the Louisiana Purchase, and how it
impacted the United States. Have students research and write about different aspects of this
area’s long and interesting history.
Research the impact of Hurricane Katrina on the culture, economics and population of New
Orleans. Or students can pick another hurricane (Andrew, Ike, etc.) to research and discuss.
Language Arts
Have students do the crossword puzzle (5th grade and up) or the word search (1st-4th) to
learn vocabulary. Introduce words included in the glossary as well.
Read or have students read the fiction and non-fiction books listed in the Resource section
of this guide. Younger students can draw pictures and write short paragraphs about the book;
older students can do more in-depth book reports.
Students use creative writing to tell a story about a hurricane, tornado or some other kind
of storm. Younger students can illustrate their story.
Locate an elementary school in New Orleans and see if they would be willing to start a penpal program with students in Kalamazoo.
Helping out in the Community
Students can donate clothes, toys, books, etc. to send to children affected by Hurricane
Katrina.
Or students can find out what they can do here for people affected by flooding in Kalamazoo
in September.
Cooking and Culture
Learn about Mardi Gras and its unique traditions. Make your own bead necklaces and masks.
Look for fun New Orleans recipes to create Creole and Cajun treats for the class and have
your own Mardi Gras celebration!
Claude Lefebvre (1632-1675), Portrait of Louis XIV, 1670
How can art show power? Look at Claude
Lefebvre’s 1670 portrait of King Louis XIV at age 32.
His sumptous armor, jeweled sword and other
opulent accessories reveals his wealth and privilege.
The fleur-de-lis, a symbol of Louis’ royal lineage, is
visible on his right arm. But it is the young king’s
facial expression, cold and hard as his armor, as well
as his confident stance that project his power and
authority. The man who declared, “L’etat c’est moi”
(I am the state) and likened himself to Apollo, the
Greek god of the sun, was most likely quite pleased
with this exquisitely painted ceremonial portrait.
Known as the Sun King, Louis XIV was a generous
supporter of the arts. During his reign, Paris became the artistic center of Europe, where visual
arts, music and architecture flourished. His support
of the arts, including building the Versailles palace,
further served, like this portrait, as a visual display of
his power and authority.
Fun Fact: Louisiana, where this exhibition was
organized, was named in King Louis XIV’s honor.
Responding to the Art
Project the image and have the students describe the painting without telling them who this man is.
What do you see? Who do you think this is? What does he do? Is he rich or poor? Discuss
how the artist conveys texture. What does the artist do with light and dark? Look at his
face. How do you think this person feels? Would you like to know this person?
After a thorough discussion about the painting, introduce some information about Louis XIV and
continue to discuss the painting in light of the new information.
Can art show power? How does the artist show visually Louis’ power as an absolute monarch.
Is it his sumptuous armor and jeweled sword or his cold, hard expression and confident stance?
Why would Louis want a portrait like this painted? Find some other portraits of Louis XIV
(example: a 1701 portrait by Hyacinthe Rigaud) and compare them.
Have students research King Louis XIV. Discuss or have students write down what they learn.
In this picture, he is 32 years old. How long had he been King when this portrait was made?
How long did he reign and what did he accomplish?
Louis XIV declared, “L’etat c’est moi” (I am the state). What did he mean by that?
Who was Apollo and why did Louis XIV compare himself to him?
How did Louis XIV’s reign affect New Orleans and Louisiana?
Louis XIV was a great patron of the arts. What did he do to help encourage the arts?
CreativeWriting Activity: Have students write Louis XIV a letter to ask him questions about his life, his
interest in the arts, his military conquest, how he felt about being king at such a young age, etc.
Art Activity: Louis XIV is pictured with symbols that show his power and authority, like his sword. Have
students create a self-portrait or a friend’s portrait and include a symbol that says something about the
subject. Example: a soccer ball indicates that the subject likes soccer. Color in the portrait with
crayons or markers. You can include decorative touches like glitter, gold paper, etc. to give the portrait
a more “Baroque” style.
Georgia O’Keeffe (1887-1986), My Backyard, 1937
The red hill is a piece of the bad lands
where even the grass is gone.
Bad lands roll away outside my door—
hill after hill….You have no associations
with those hills—our waste land—
I think our most beautiful country.
Georgia O’Keeffe
In the mid 1920s, Georgia O’Keeffe was
living among skyscrapers in midtown
Manhattan. Then in 1929, a summer in Taos,
New Mexico, changed her life and art. O’Keeffe would eventually settle on a remote ranch near the
village of Abiquiú. She was particularly drawn to the hills behind her house depicted in this work.
O’Keeffe found her true inspiration in the stark forms and subtle colors of these hills.
Responding to the Art
Project the image and have the students discuss what they see before providing any information about
the artist or the location featured.
What do they see? What colors did the artist use? Are there a lot of details or is the work
made from basic areas of color? What kind of lines do they see? How did the artist create a
sense of space? Is this a place that they would like to visit? What would they do there?
What season is this? How do they know?
After discussing the work of art, provide some information about Georgia O’Keeffe and this painting.
Georgia O’Keeffe (1887-1986) was born in Wisconsin, the second of seven children. Her
parents were dairy farmers and she was always interested in art and the land. O’Keeffe studied
art at the School of the Art Institute of Chicago and the Art Students League in New York City.
She also taught art in Chicago and then Amarillo, Texas, where she was first inspired by the South
west desert landscape. In 1924, O’Keeffe married Alfred Stieglitz, a New York photographer and
gallery owner. He was much older than she and he encouraged her painting. Many of her early
works featured large-scale paintings of architectural forms, especially skyscrapers of New York
City and flowers that were enlarged to the point of abstraction. In 1928, she made her first trip
to New Mexico and she eventually moved there in 1934, living half of the year in New Mexico and
the other half in New York with her husband. After her husband died, she moved to New Mexico
permanently and it inspired her art for the rest of her life. She was 99 when she died.
Georgia O’Keeffe’s style: O’Keeffe would transform her subject matter (flower, rocks, shells, animal
bones, landscapes) into abstract images with subtle changes in color and light and shade as well as
crisp contour lines. Her works synthesize representation and abstraction.
Activities: Look at some of Georgia O’Keeffe’s other paintings of buildings and landscapes. Compare
and contrast them, discussing how she treats the city versus the country as her subjects.
Geography activity: Research Abiquiú, New Mexico and learn about its landscape. Find it and other
places where Georgia O’Keeffe lived and worked and mark them on an US map. Calculate the distance between New York City and Abiquiú.
Art Activity: This work was inspired by the landscape outside her back window. Have the students
create pictures of their backyard, simplifying shapes and forms as much as possible. Try using pastels
to get softer effects like O’Keeffe. Students could create one picture of their favorite season or do
one of each season.
RESOUR
CES
RESOURCES
Hurricanes (Juvenile Non-Fiction)
New Orleans
Buehr, Walter. Storm Warning: The Story of Hurricanes and
Tornadoes,1972 J 551.5 B
Crescent City Cooking: Unforgettable Recipes from Susan
Spicer’s New Orleans, 2007 641.59763 S754
Carmer, Carl Lamson. The Hurricane’s Children, 1965
J 398 C
Gessler, Diana Hollingsworth. Very New Orleans: A Celebration of History, Culture, and Cajun Country Charm, 2006.
976.3 G392
Cole, Joanna. The Magic School Bus: Inside a Hurricane, 1995
J 551.55 C
Hurricanes,Typhoons and Other Tropical Cyclones, World Book,
Inc., 2008 J 551.55 Hurr
Simon, Seymour. Hurricanes., 2003 J 551.55 S
Treaster, Joseph. Hurricane Force: In the Path of America’s
Deadliest Storms, 2007 551.55 T784 (Teen)
Hintz, Martin. Passports’s Guide to Ethnic New Orleans: A
Complete Guide to the Many Faces and Cultures of New
Orleans,1995. 917.63 H666
Huber, Leonard Victor. New Orleans: A Pictorial History,
1971. 976.3 H877
Strom, Laura Layton. Built Below Sea Level: New Orleans,
2008.
J 976.335 STRO
Vogel, Carol Barbuny. Nature’s Fury: Eyewitness Reports of
Natural Disasters., 2000. J 551 V
CDs/Videos
Hurricanes (Juvenile Fiction)
Engel, Larry. Hurricane! 551.55 H
Anderson, Laurie Halse. Storm Rescue.
PBK JA
Demarest, Chris L. Hurricane Hunters! Riders on the Storm.
JE DEMA
Garland, Sherry. The Silent Storm. *J
Gershator, Phillis. Ting and Bigman. JE G
Hanflinger, Rachel. Hurricanes: Deadly Wind, Deadly Rain.
551.55H
Landmarks of Western Art: The Baroque, From Rococo to
Revolution, Romanticism, Impressionism and Post-Impressionism,
2006. 708 L
Harlow, Joan Hiatt. Blown Away! J HARL
Lewis, George and Jim Robinson. Classical New Orleans Jazz,
Vol. 1 and 2. CD
London, Jonathan. Hurricane! JE L
New Orleans Jazz Gumbo: Jazz, Blues and Gospel. CD
Paterson, Diane. Hurricane Wolf. JE PATE
Palast, Greg. Big Easy to Big Empty: The Untold Story of the
Drowning of New Orleans. 976.3 B
Wallner, Alexandria. Sergio and the Hurricane. JE W
Warner, Gertrude Chandler. The Hurricane Mystery.
PBK JW
Penny-Davey, Caroline. Hurricane Katrina: The Storm that
Drowned a City. 976.34
Spinney, Caroll. Friends to the Rescue. 2005 Family DVD
Weisner, David. Hurricane. JE W
Winthrop, Elizabeth. Belinda’s Hurricane. J
Websites
New Orleans Museum of Art-www.noma.org
Art History for Kids
www.princetonol.com/groups/iad/lessons/middle/forkids.htm
www.kinderart.com/arthistory
www.metmuseum.org/explore/index.asp
Art History for Kids
Art: A World History. 1998.
709 A783YP
Harris, Jonathan. Art History: The Key Concepts, 2006.
709 H3147
Janson, H.W. History of Art for Young People, 1997.
RJ 709J
Mason, Antony. A History of Western Art: From Prehistory to
the 20th century, 2007. J 709 MASO
The Odyssey Continues: Masterworks from the New Orleans
Museum of Art, 2007 (exhibition catalogue). (available at
KIA Library)
AR
TV
OCABUL
AR
Y
ART
VOCABUL
OCABULAR
ARY
Abstract
This style of art does not show objects realistically. Abstract artists sometimes simplify
or exaggerate shapes and colors. If the artwork is totally abstract–doesn’t resemble
anything in the natural world–it is called non-representational or non-objective.
Balance
A sense of stability, sometimes symmetry, established by the way forms, lines and colors are
place within a painting.
Color
What the eye sees when light is reflected from it. Hue is the color in its most intense
form. Value refers to the differences in hue ranging from the lightest to darkest. Primary
colors (red, blue, yellow) cannot be produced by mixing other colors together. Secondary
colors (orange, violet, green) are created by mixing primary colors.
Composition
The way shapes, color, line, space, mass and objects are arranged and organized in a work of
art.
Docent
From the Latin word, docere, meaning to teach. Docents are specially trained museum
guides.
Elements of Art The basic components used by the artist when producing works of art–color, value, line,
shape, form, texture, and space. These elements are found in any artwork.
Form
Shape with three dimensions–height, width, and depth.
Impressionism 19th century art style that tries to capture a moment of everyday life.
Landscape
An artwork that depicts a scene from nature in which the place or the land itself becomes
the main subject.
Line
The path of a moving point. It can be vertical, horizontal, diagonal, curved, angular, zigzag,
bent, straight, interrupted, thick, thin.
Portrait
A likeness made of a person created by an artist, such as a painter or photographer.
Realism
Art style that tries to make objects look life-like.
Space
Actual (open air around sculpture or architecture) or implied (represented by control of
size, color, overlapping).
Still Life
A picture of an object or group of objects–implies an absence of people or activity.
Texture
Surface treatment ranging from very smooth to quite rough. It can be real or implied.
DISASTER MATH!
Learn more about hurricanes and the problems they cause as you solve these story problems.
1. Hurricane Alan has winds that are moving at 124 miles per hour on Sunday. On Monday, Hurricane Alan’s
winds have slowed down and are only going 94 miles per hour. What is the difference in the speed of the winds
from Sunday to Monday?
š 218 miles per hour
š 1,000 miles per hour
š 30 miles per hour
š 1 mile per hour
2. Tropical storms officially become hurricanes when they reach 74 miles per hour. Tropical Storm Zelda currently has winds of 59 miles per hour. How much do the winds of Tropical Storm Zelda need to speed up in
order to become a hurricane?
š 133 miles per hour
š 13 miles per hour
š 15 miles per hour
š 51 mile per hour
3. Hurricanes can cause storm surge – when the water of the ocean rises much higher than usual. Storm surge
is very dangerous, and can sweep away homes that are built right along the beach. In the town of Palm Nut
Beach, the homes along the water are built on stilts that are 8 ½ feet high. If the storm surge is 6 ½ feet high,
how much space is there between the homes and the water?
š 2 ¼ feet
š 10 feet
š 5 feet
š 1 ¼ feet
4. Pretend that the storm surge is 10 ½ feet. How much of the house would be under water”
š 5 feet
š 22 feet
š 1 foot
š 2 feet
5. There is a hurricane warning for the coast and three towns might have to evacuate: Palm Nut Beach (population 3,451), Femaville (population 1,256) and Sandgate (population 7,436). What is the total number of people
who might have to evacuate from these three towns?
š 12,413 people
š 14,123
š 1,243 people
š 21,431 people
6. There are 1,200 houses in Palm Nut Beach. The town has been told to prepare for a hurricane by storing
water. Each household is told to store 12 gallons of water. How many gallons of water will the town store?
š 4,000 gallons
š 12 gallons
š 14,400 gallons
š 1,200 gallons