Table
Introduction and acknowledgments
How to Use this Packet
object Descriptions
Activities
of
Contents
iv
v
1
19
States Word Search
Teacher’s Guide 19
Student Activity 20
Mapping and Matching
Teacher’s Guide 22
Student Activity 23
American Landscape Artist Word Search
Teacher’s Guide 24
Student Activity 25
Emotional Landscapes
Teacher’s Guide 26
Student Activity 27
Compare and Contrast
Teacher’s Guide 28
Student Activity 29
Interpretations
Teacher’s Guide 30
Student Activity 31
Your Journey & Travel Log Teacher’s Guide 32
Your Journey 33 - 57
Part 1: Beginning
Teacher’s Guide 33
Student Activity 34
Part 2: Destinations
Teacher’s Guide 35
Student Activity 36
Part 3: Supplies
Teacher’s Guide 37
Map 38
Student Activity 39
Page ii
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey (Continued)
Part 4: Mapping Your Journey
Teacher’s Guide 40
Student Activity 41
Part 5: Sites and States
Teacher’s Guide 42
Student Activity 43
Part 6: Map Vocabulary
Teacher’s Guide 44
Student Activity 45
Part 7: Scale, Mileage, and Mapping
Teacher’s Guide 46
Student Activity 47
Part 8: Necessities
Teacher’s Guide 50
Student Activity 51
Part 9: A Letter Home
Teacher’s Guide 55
Student Activity 56
Part 10: Road Bingo
Teacher’s Guide 57
Travel Log 58 - 67
Section A 59
Section B 60
Section C: Map Vocabulary Crossword Puzzle 61
Section D: Scale and Mileage 63
Section E: Mapping Your Way-Route Chart 64
Section F: Necessities 65
appendix: Materials for Road Bingo
68
Sources/Suggestions for Further Reading
101
Page iii
Copyright © 1995 and 2000, Ball State University Museum of Art
intRODUCTION
America in Art
Text by Nancy Huth,
Assistant Director and
Curator of Education,
and by Tonia Darst,
Intern for Museum
School Programs,
1994-95
Activities by
Tonia Darst
Layout and editing for
revised edition by Fred
Johnson, Museum
Education Assistant,
1998-2000
Cover: John Ottis
Adams, American
(1851-1927),
Summertime,1890; oil
paint on canvas;
1995.035.041
This project has been
supported in part by a
1993-1995 and a 19992000 Institute of
Museum and Library
Services General
Operating Support
Grant and by
Psi Iota Xi.
Second Edition.
America in Art: Landscape Painting in the Ball
State University Museum of Art
Views of the American land dominate paintings by American artists.
Throughout the nineteenth century and beyond, American painters
recorded their surroundings. The images in this packet are of American
landscape paintings in the Ball State University Museum of Art. The
entries in this packet focus on the geography and history of the sites and
scenes depicted, and on some of the artists who painted them.
For the revised 2000 edition, teacher’s guides and answer keys were
combined and streamlined. Some activities were removed and others
were re-written. We hope this will make for a more usable packet.
Acknowledgments
The authors wish to thank the numerous individuals from Muncie
Community Schools who have been instrumental in guiding the form
and contents of this packet. Jo Seidel, Director, Gifted/Talented and
Fine Arts, deserves our most heartfelt thanks for shepherding the project
from the beginning and for securing the support of principals and
teachers. We owe a debt to the many art and fifth-grade teachers who
advised us on classroom curriculum and appropriate design and content.
Among this group, special thanks go to Mary Lou Backor, Carolyn
Beard, Fred Christopher, Carolyn Clator, Sandra Connally, Maryellen
Frazier, Alice Harrell, John Lattimer, Kathy Lee, Shonet Martin, Larry
Mason, Susan Minkler, Jim Reece, Pam Reese, Pam Sommer and Susan
Valencic. Colleagues at other schools and institutions have also
provided assistance, including Ed Maxedon, Curator of Education,
Indiana University Art Museum, and both Edna Mae Covalt and Brenda
Crauder at Clinton Young Elementary in Indianapolis, Indiana.
Gala Garrels, Registrar Intern, scanned slides to create the illustrations
in this edition of the packet. Finally, thanks go to the staff of the Ball
State University Museum of Art whose cooperation and commitment
made the project possible.
Page iv
Copyright © 1995 and 1999, Ball State University Museum of Art
How To Use this Packet
Purpose
This packet is intended to enrich classroom studies of American geography through the
American landscape paintings in the Ball State University Museum of Art. Please note that the
packets are not designed for interactive use by students, as answer keys to activities are included
within the text. Instead, we recommend you print out the student activity sheets and distribute
them to the class.
Images
Color files (in jpeg format) reproducing works in the Ball State University Museum of Art
accompany this packet. Image files are numbered 01-20 followed by a brief title (e.g.
01StormKing). These images correspond to the numbered descriptions in the Object Description
section of the packet. A photograph of the White River as it looks today (file title
“21WhiteRiver”) is also included for use in some of the activities.
Text
The main text of this packet, the Object Descriptions section, provides relevant information for
each of the American landscape images and can be read aloud while viewing them. The works
are divided into three sections: Middle Atlantic, New England, and Midwest. Accompanying
each description is a reproduction of the work (for ease in identifying the corresponding image
file) and a small map of the appropriate region with the location of the landscape marked. The
information presented in the Object Descriptions section can be used in combination with the
images to provide students with a basic knowledge of these American landscapes and their
painters.
Activities
Activities for the classroom follow the text and are intended for use after viewing the images, or
after visiting the museum and viewing the objects in person. Each activity is introduced by a
brief teacher’s guide and answer key (where appropriate). Activity sheets for students follow and
can be printed out and photocopied for distribution to students. The activities in this packet
range from word searches to cooperative learning activities.
Museum Visit
We recommend using the images with the text of this packet as a preview to a museum visit
focusing on American landscape painting. Activity sheets can be used as a follow-up to the
museum visit. To schedule a guided or self-guided tour of the Ball State University Museum of
Art, phone (765) 285-5242 a minimum of two weeks in advance.
Target Grade Levels
This packet was originally designed for use in the fifth grade. However, teachers at other grade
levels doing units on Americans history or geography may also find the packet useful.
Page v
Copyright © 1995 and 1999, Ball State University Museum of Art
middle-Atlantic States
New York State
1-3. Storm King of the Hudson
Imagine a place without cars, housing additions, or
even a McDonald’s, where nature’s beauty
surrounds you and few people have traveled. What
would happen to such a place if people began to live
there? This was the painter Thomas Cole’s concern.
detail
detail
Thomas Cole
American (1801-1848)
Storm King of the Hudson
(also called Storm King
on the Hudson)
about 1825-1827
oil paint on linen canvas
1995.035.055
Cole’s landscapes depicted untouched wilderness
that might soon be lost as cities grew and the land
was settled. In Storm King of the Hudson, a small
figure on the left travels down a path toward us.
The worn path gives us hints that this place has been
visited before. Look to the right; do you see the cut
rocks? Who might have put them there? Look at
the sky. Against gathering storm clouds, the steep
cliffs and twisted, gnarled trees look threatening.
Storm King Mountain, the artist’s subject, lies on
the west bank of the Hudson River just north of
West Point. It got its name because storm clouds
seemed to gather there, as in this painting. This
painting also shows that the land of the Middle
Colonies was rich with growth and rolling hills.
Inspired by paintings and writings describing the
Hudson River Valley, many people began to travel
there to see what authors called, “The beauty and
spirit of nature.” As more tourists sought out the
splendid scenery in the Hudson River Valley, some
people–like Thomas Cole–feared the visitors would
leave their mark, changing the landscape forever.
Storm King Mountain
Page 1
Copyright © 1995 and 2000, Ball State University Museum of Art
4. Landscape
George Henry Smillie
American (1840-1921)
Landscape
1870
oil paint on linen canvas
1995.035.093
Middle Atlantic Region
In this painting by George Smillie, we see a lone
figure emerging from the woods into a peaceful
autumn countryside. This landscape depicts the
tranquil and beautiful Middle Colonies. Attention
to detail was very important to painters of this
landscape. What details do you see?
Look to the background. Notice the neatly
cultivated fields and the small farmhouses. These
elements show that people in the Middle Colonies
relied on the land for their food, shelter, and
clothing. These people were mainly hardworking,
self-sufficient farmers. The land of the Middle
Colonies was fertile, and rich with forests and
rivers.
Another artist who painted the Middle Colonies was
Thomas Cole. Do you remember his painting titled
The Storm King of the Hudson? Unlike Cole, who
emphasized the power of the raw, uncontrollable
wilderness, Smillie shows us how people began to
control nature through farming and building houses.
Do you see any other details in this painting that
would suggest that people have been there? What
are they? In this painting what natural resources do
you see that people could use? What could they do
with them?
Page 2
Copyright © 1995 and 2000, Ball State University Museum of Art
5. In the Catskills
Thomas Doughty
American (1793-1856)
In the Catskills
about 1832-1837
oil paint on canvas
1995.036.09
The Catskill Mountains lie to the west of the
Hudson River in southeastern New York. Part of
the Appalachian mountain system, the Catskills
contain many lakes and tall peaks. With woods,
gorges, waterfalls, and hills, the Catskills provided
painters with an endless variety of scenic vistas.
Thomas Doughty preferred to focus on the peaceful
aspects of the American wilderness. When Doughty
painted this, he lived in Boston, but he liked to take
sketching trips to the Catskill Mountains. In 1836
and 1837 he made several paintings of sites there.
In his Catskill paintings, like this one, he usually
included water and hazy background hills. He
almost always put people in his landscapes – often
small figures off to one side.
Catskill Mountains Area
New York State
Page 3
Copyright © 1995 and 2000, Ball State University Museum of Art
6. Saint Paul’s Church, New York
Edward Lamson Henry painted many New York
churches, making faithful records of American
architecture. This small painting depicts St. Paul’s
Church, in lower Manhattan, New York City.
Dedicated in 1766, today St. Paul’s is the oldest
church standing in Manhattan. George Washington
had a designated pew there.
Edward Lamson Henry
American (1841-1919)
St. Paul’s Church, New York
(also called Saint Paul’s
Church: 1766)
1868
oil paint on wood panel
1995.036.13
Manhattan
New York City
New York State
Page 4
Copyright © 1995 and 2000, Ball State University Museum of Art
7. Sketch on the Outlet
of Catskill Lake
Sanford Robinson Gifford
American (1823-1880)
Sketch on the Outlet of
Catskill lake
about 1870-1880
oil paint on canvas
1995.035.068
Throughout his life, Sanford Gifford sketched in the
many mountain ranges of New York and the eastern
United States. The Catskills were one of the sites he
favored.
This painting is an oil sketch. Gifford could later
refer to this small, quickly completed canvas when
making a larger painting. Like most artists of his
day, Sanford Gifford made larger, more detailed
paintings for exhibition.
Art critics and Gifford’s patrons and colleagues
appreciated the artist’s work for its sense of quiet
and peacefulness, and for its glowing light.
Catskill Mountains Area
New York State
Page 5
Copyright © 1995 and 2000, Ball State University Museum of Art
8. At the Falls
Charles Stanley Reinhardt
American (1844-1896)
At the Falls
about 1875
oil paint on canvas
Niagara Falls, shown here in a painting done in
1875, captured the nineteenth-century American
imagination. The Niagara River, in which the falls
are located, flows between Lake Ontario and Lake
Erie. The river separates the northwest corner of
New York State from Canada. By the mid-1800s,
the falls had become a popular tourist spot and an
important symbol for America’s strength and rich
natural resources.
1984.009.05
Niagara Falls
New York State
Page 6
Copyright © 1995 and 2000, Ball State University Museum of Art
9. The Rapids, Sister Island, Niagara
Artists and tourists were attracted to Niagara Falls
throughout the nineteenth century. Artist William
Morris Hunt also painted the rapids above the falls –
a less common subject for artists.
William Morris Hunt
American (1824-1879)
The Rapids, Sister
Island, Niagra
1878
oil paint on linen canvas
1995.035.076
Niagara Falls
New York State
Goat Island separates the Canadian falls (the
Horseshoe falls) from the U.S. falls. Just south of
Goat Island lie the Three Sisters Islands, probably
the site of Hunt’s painting.
William Morris Hunt’s Last Landscapes:
Taking time off from his career as a portrait painter
in Boston, Hunt vacationed at the falls in the late
spring of 1878. “There is nothing like Niagara in
June,” he wrote to a pupil. Excited by the majesty
of the falls and the quality of the northern light,
Hunt quickly sent for his assistant and his studio
van: a horse-drawn cart, made by a builder of gypsy
wagons, with room for sleeping and storing utensils
and painting materials. Once equipped, Hunt
painted numerous views of both the falls and the
rapids – paintings that proved to be his last
landscapes.
While at Niagara, Hunt was called to the state
capitol at Albany to paint murals there. The
exhausting job occupied Hunt for over a year.
Shortly after finishing the murals, Hunt went to
Appledore Island to rest. (See #15 below.) But
tragedy struck: while there, he drowned off the
rocky cliffs. Hunt’s landscapes of Niagara Falls had
been his last landscape paintings.
Page 7
Copyright © 1995 and 2000, Ball State University Museum of Art
10. Sunset in the Woods, Montclair
George Inness
American (1825-1894)
Sunset in the
Woods, Montclair
about 1880
oil paint on linen canvas
Montclair, in northeastern New Jersey, was settled
in 1666, and it served as George Washington’s
headquarters in 1780. In the nineteenth century, as
today, it acted as a residential suburb for New York
City and Newark, New Jersey. In 1878, painter
George Inness bought a home in Montclair, whose
woods provided him with a favorite subject for his
paintings.
1995.035.077
Montclair
New Jersey
Page 8
Copyright © 1995 and 2000, Ball State University Museum of Art
11. Shad Fishing at
Gloucester-on-the-Delaware
Thomas Eakins
American (1844-1916)
Shad Fishing at
Gloucester-on-the-Delaware
(also called Shad Fishing at
Gloucester on the Delaware
River and Shad Fishing on
the Delaware River)
June 1881
oil paint on canvas
The Delaware River forms the eastern border of
Pennsylvania, separating it from New York and
New Jersey. Thomas Eakins painted this scene from
what is now Gloucester City, New Jersey, near
Camden and across the river from Philadelphia.
In Eakins’s time, shad fish swam near the river’s
shore where fishermen cast and hauled in their nets.
Eakins’ family and others strolled along the river to
watch. Eakins was so intrigued by the river activity
that he painted several versions of this scene.
1995.036.10
Gloucester City
New Jersey
Page 9
Copyright © 1995 and 2000, Ball State University Museum of Art
12. The Ranger, Adirondacks
Winslow Homer
American (1836-1910)
The Ranger, Adirondacks
(also called Ranger in the
Adirondacks and The Ranger)
about 1892
watercolor on paper with
a preparatory pencil drawing
The Adirondack Mountains run through
northeastern New York. By the mid 1800s, the
Adirondacks had become a very popular
recreational site. By the 1870s, the railroad was
bringing countless tourists into the area. Many of
these tourists required guides, like the one shown in
this watercolor, who knew the isolated backwoods.
Scholars have identified this man as either Michael
“Farmer” Flynn, an Adirondack guide, or as Wiley
Gatchell, one of the artist’s neighbors in Maine,
who served as a model.
1995.036.14
(Please note: this painting is
not always on view because it
is a watercolor. Because
watercolors fade quickly in
light, they are not always
exhibited.)
The artist Winslow Homer first went to the
Adirondacks in 1870. He stayed at a private
hunting and fishing club, called “The North Woods
Club,” near Minerva, in Essex County, New York.
During his many visits there he painted numerous
watercolors of Adirondack scenes, mostly of
hunting, fishing, and logging.
Adirondack Mountains Area
New York State
Page 10
Copyright © 1995 and 2000, Ball State University Museum of Art
13. Rest by the Wayside
William Merritt Chase
American (1849-1916)
Rest by the Wayside
(also called Rest by
the Roadside)
about 1902
oil paint on plywood panel
Indiana-born William Merritt Chase did this and
several other paintings in the resort area of the
Shinnecock Hills near Southampton, Long Island.
There he and his family had a summer home –
complete with a studio – facing the beach along
Long Island’s Great Peconic Bay. In this painting,
small colorful bushes are Chase’s rendition of the
ferns, bay bushes, and heather that grew there.
Today, descendants of the Shinnecock Indians live
on a reservation nearby.
1995.035.054
Shinnecock Hills
Long Island
New York State
Page 11
Copyright © 1995 and 2000, Ball State University Museum of Art
14. Buckley’s Bridge
Alfred Henry Maurer
American (1868-1932)
Buckley’s Bridge
(also called Landscape)
about 1917-1923
oil paint on paperboard
This painting depicts a Japanese footbridge near
Shady Brook, the boarding house where artist
Alfred Maurer stayed during the summer. During
the colder months of the year, Maurer lived with his
father in New York City. In the summer, he went
north of New York City to the town of Marlboro, on
the west bank of the Hudson River. (Marlboro was
known then as Marlboro-on-the-Hudson.) Maurer
used bright colors in his paintings to express the
lush nature he found in his summer retreat.
1991.068.127
Marlboro
New York State
Page 12
Copyright © 1995 and 2000, Ball State University Museum of Art
New England
15. Entrance to the Siren’s
Grotto, Isles of Shoals
Childe Hassam
American (1859-1935)
Entrance to the Siren’s
Grotto, Isles of Shoals
1902
oil paint on canvas
1971.010b
About ten miles southeast of Portsmouth, New
Hampshire, on the Maine and New Hampshire state
line, lie the Isles of Shoals. These rocky islands,
occupying about one square mile, attracted artists to
their coasts. At the Isles of Shoals, the painter
Childe Hassam and other artists, writers, and
musicians congregated at the popular resort on
Appledore Island. There, Hassam had a studio near
the island’s hotel. He painted almost 400 canvases
of island scenes, including several of Appledore
Island’s granite cliffs, like those in this painting.
Isles of Shoals
New Hampshire and Maine
Page 13
Copyright © 1995 and 2000, Ball State University Museum of Art
16. The Old Lyme Bridge
Childe Hassam
American (1859-1935)
The Old Lyme Bridge
July 1903
oil paint on canvas
1980.010.06
Old Lyme, Connecticut, lies near the mouth of the
Connecticut River on the shore of Long Island
Sound, the body of water between Long Island, New
York, and Connecticut. In the summer, artists and
city dwellers traveled to Old Lyme to escape the
heat of Boston or New York City. In 1903 Childe
Hassam went to Old Lyme to join the lively
gathering of artists there. During that time, he
painted Bow Bridge, pictured here, probably the
first painting he did at Old Lyme. When he showed
this painting in an exhibition at Old Lyme, one critic
called it, “A delightful bit of open-air realism.”
Old Lyme
Connecticut
Page 14
Copyright © 1995 and 2000, Ball State University Museum of Art
17. Trout Brook #2
Willard Leroy Metcalf
American (1858-1925)
Trout Brook #2
(also called Trout Pond)
1911
oil paint on canvas
An active but sprawling artist’s colony thrived in
the hills and small towns around Cornish, New
Hampshire. Painter Willard Leroy Metcalf went
there regularly between 1909 and 1920, lured by the
winter and spring scenery. Painters associated with
the Cornish artists colony lived not only in Cornish,
but also in the nearby New Hampshire villages of
Cornish City, Cornish Flat, South Cornish, and
Plainfield, as well as in Windsor, Vermont. Metcalf
probably painted this at Plainfield, New Hampshire.
1995.036.22
Cornish
New Hampshire
Page 15
Copyright © 1995 and 2000, Ball State University Museum of Art
18. A Grey Thaw (Late
Winter, Vermont)
Willard Leroy Metcalf
American (1858-1925)
A Grey Thaw (Late
Winter, Vermont)
1923
oil paint on canvas
1995.036.20
In August of 1922 Willard Leroy Metcalf wrote to
his daughter that he intended to go to Chester,
Vermont, to, “Paint the springtime up there.” He
then spent the fall of 1922 and the spring of 1923 in
Chester, around which meandered the Little
Williams river. Metcalf may have painted A Grey
Thaw on the banks of the Little Williams river.
In the year before he painted A Grey Thaw, after his
wife had left him and following some professional
setbacks, Metcalf lapsed into a bout of drunkenness.
By February of 1922 he had promised to stop
drinking and enthusiastically turned again to
painting in his beloved New England.
Chester
Vermont
Page 16
Copyright © 1995 and 2000, Ball State University Museum of Art
midwest
19. Summertime
Indiana artist John Ottis Adams painted this scene
on the bank of the White River in Muncie. Small
houses in the background show Muncie’s
development over 100 years ago.
John Ottis Adams
American (1851-1927)
Summertime
1890
oil paint on canvas
1995.035.041
When he painted this, Adams had just returned from
studying art in Munich, Germany, at the art academy
there. Like many painters all over America, several
artists from Indiana went to Europe to study.
Muncie
Indiana
Page 17
Copyright © 1995 and 2000, Ball State University Museum of Art
20. In Poppyland (Poppy Field)
John Ottis Adams
American (1858-1925)
In Poppyland (Poppy Field)
1901
oil paint on canvas
In Brookville, Indiana, on the bank of the
Whitewater River, John Ottis Adams and his wife,
Winifred Brady, also a painter, shared a home with
another couple, artist T.C. Steele and his wife.
Adams liked to paint the cultivated and wild flower
beds – like the bright red poppies seen here – that
flourished in the soil around his Brookville home.
1995.035.040
Brookville
Indiana
Page 18
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
States Word Search
INSTRUCTIONS:
< The names of all the Middle Atlantic, Midwest, and New England states
are hidden in this word search.
< Names can be found across, down, upward, diagonally, and backward.
< Students will circle the hidden states and list them under their proper
regional headings on the second page.
< Students may have to use a map of the United States or their textbooks to
complete this activity.
SUPPLIES NEEDED:
< map of the U.S.
< textbook
ANSWER KEY:
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P
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NEW ENGLAND
Connecticut
Maine
Massachusetts
New Hampshire
Rhode Island
Vermont
MIDDLE
ATLANTIC
Delaware
Maryland
New Jersey
New York
Pennsylvania
MIDWEST
Illinois
Indiana
Iowa
Kansas
Michigan
Minnesota
Missouri
Nebraska
North Dakota
Ohio
South Dakota
Wisconsin
Page 19
Copyright © 1995 and 2000, Ball State University Museum of Art
States Word Search
All 23 Middle Atlantic, Midwest, and New England states can be found in the
word search below. The names of states can be found across, down, upward,
diagonally, and backward. Circle each state as you find it, and then list it under
the appropriate region heading on the next page.
A
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A
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Page 20
Copyright © 1995 and 2000, Ball State University Museum of Art
States Word Search
Use this page to list the states you found in the word search. Be sure to write
the name of each state below the appropriate region heading.
NEW ENGLAND
MIDDLE ATLANTIC
MIDWEST
Page 21
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Mapping
and
Matching
INSTRUCTIONS:
< This can be a project for individual students or for a group.
< Students will need to use their textbook’s glossary and an atlas to
complete this mapping activity.
VISUALS:
< Optional: one large U.S. map
SUPPLIES:
< textbook
< atlas
ANSWER KEY:
M
1.
This state is bordered by only one other state.
A
2.
This city is a Middle Atlantic megalopolis.
G
3.
This area is known as the country’s manufacturing belt.
I
4.
The capital of this state is Boston.
K
5.
Lake Ontario is part of the northern border of this state.
N
6.
This is the region of rolling hills at the bottom of the
Appalachian Mountains.
B
7.
In the fall, thousands of people visit to see the trees here.
E
8.
The Great Lakes are linked to the Mississippi River by this.
H
9.
This is the Great Lake that touches the northern border of
Indiana.
C
10.
The Catskill Mountains run along the west bank of this river.
F
11.
This city is the capital of New York State.
D
12.
This river flows into the Delaware Bay.
L
13.
Lake Superior, Lake Michigan, Lake Huron, and Lake Erie are
located in this region.
J
14.
This popular tourist spot was an important symbol for
America’s strength and rich natural resources.
Answers:
A. New York City
B. New England
C. Hudson River
D. Delaware River
E. Illinois Waterway
F. Albany
G. Middle Atlantic
H. Lake Michigan
I. Massachusetts
J. Niagara Falls
K. New York State
L. Midwest
M. Maine
N. Piedmont
Page 22
Copyright © 1995 and 2000, Ball State University Museum of Art
mapping
and
Matching
Use the maps of the Middle Atlantic, New England, and Midwestern states in your
textbook, along with your textbook’s glossary and an atlas, to complete the following
exercise. Match the places listed at the top to the numbered descriptions below.
A. New York City
F. North Dakota
K. New York State
B. New England
G. Middle Atlantic
L. Midwest
C. Hudson River
H. Lake Michigan
M. Maine
D. Delaware River
I. Massachusetts
N. Piedmont
E. Illinois Waterway
J. Niagara Falls
O. Albany
_____ 1.
This state is bordered by only one other state.
_____ 2.
This city is a Middle Atlantic megalopolis.
_____ 3.
This area is known as the country’s manufacturing belt.
_____ 4.
The capital of this state is Boston.
_____ 5.
Lake Ontario is part of the northern border of this state.
_____ 6.
This is the region of rolling hills at the bottom of the Appalachian
Mountains.
_____ 7.
In the fall, thousands of people visit to see the trees here.
_____ 8.
The Great Lakes are linked to the Mississippi River by this.
_____ 9.
This is the Great Lake that touches the northern border of Indiana.
_____ 10. The Catskill Mountains run along the west bank of this river.
_____ 11. This city is the capital of New York State.
_____ 12. This river flows into the Delaware Bay.
_____ 13. Lake Superior, Lake Michigan, Lake Huron, and Lake Erie are located in
this region.
_____ 14. This popular tourist spot was an important symbol for America’s strength
and rich natural resources.
Page 23
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
American Landscape Artist
Word Search
INSTRUCTIONS:
< The word search contains names of American landscape artists whose works
are featured in this packet.
< Names can be found across, down, upward, backward, and diagonally.
ANSWER KEY:
M
A
U
T
U
V
R
E
I
N
H
A
R
D
T
R
E
S
C
O
L
L
T
T
R
A
E
A
I
N
T
S
P
Q
S
A
G
O
N
M
L
L
K
D
R
O
F
F
I
G
A
B
S
D
S
E
L
R
E
M
O
H
G
H
J
N
O
R
C
F
E
E
M
W
A
E
I
V
D
O
U
G
H
T
Y
S
H
U
N
T
A
Y
U
K
U
T
A
K
I
S
I
P
S
O
T
P
N
M
U
W
I
R
R
O
N
H
N
M
J
U
R
F
O
V
I
E
R
N
N
E
S
S
K
I
N
I
S
E
L
O
Y
A
N
T
E
I
Z
O
U
X
K
S
A
L
S
A
T
R
S
E
E
S
R
E
H
I
N
A
H
A
R
D
C
Y
M
T
M
P
A
M
C
H
A
S
E
E
N
N
E
T
A
S
A
O
I
R
S
I
T
U
S
R
S
I
V
O
E
I
Y
M
R
I
L
W
F
L
T
N
S
M
T
D
U
M
C
S
B
M
S
D
L
U
D
K
E
N
A
Q
I
O
C
S
F
V
T
H
H
W
I
F
G
T
S
I
M
A
B
Z
Y
R
N
E
H
I
D
C
E
T
T
V
American
Landscape Artists
Adams
Chase
Cole
Doughty
Eakins
Gifford
Hassam
Henry
Homer
Hunt
Inness
Maurer
Metcalf
Reinhardt
Smillie
Page 24
Copyright © 1995 and 2000, Ball State University Museum of Art
American Landscape Artist
Word Search
Names of American landscape artists are hidden in the puzzle below. Draw a circle
around each name as you find it in the puzzle. The names can be found across, down,
upward, backward, and diagonally.
Adams
Eakins
Homer
Metcalf
Chase
Gifford
Hunt
Reinhardt
Cole
Hassam
Inness
Smillie
Doughty
Henry
Maurer
M
A
U
T
U
V
R
E
I
N
H
A
R
D
T
R
E
S
C
O
L
L
T
T
R
A
E
A
I
N
T
S
P
Q
S
A
G
O
N
M
L
L
K
D
R
O
F
F
I
G
A
B
S
D
S
E
L
R
E
M O
H
G
H
J
N
O
R
C
F
E
E
M W A
E
I
V
D
O
U
G
H
T
Y
S
H
U
N
T
A
Y
U
K
U
T
A
K
I
S
I
P
S
O
T
P
N
M
U W
I
R
R
O
N
H
N
M
J
U
R
F
O
V
I
E
R
N
N
E
S
S
K
I
N
I
S
E
L
O
Y
A
N
T
E
I
Z
O
U
X
K
S
A
L
S
A
T
R
S
E
E
S
R
E
H
I
N
A
H
A
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D
C
Y
M
T
M
P
A
M
C
H
A
S
E
E
N
N
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S
A
O
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S
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U
S
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V
O
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Y
M
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I
L
W F
L
T
N
S
M
T
D
U
M
C
S
B
M
S
D
L
U
D
K
E
N
A
Q
I
O
C
S
F
V
T
H
H W
I
F
G
T
S
I
M
A
B
Z
Y
R
N
E
H
I
D
E
T
T
V
C
Page 25
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Emotional Landscapes
INSTRUCTIONS:
< The hand symbol (L) on the activity sheet indicates questions that may be used
for discussion or as writing activities.
< This activity is designed to generate discussion about moods and emotions
suggested by American landscape paintings. It can be completed by individual
students, small groups of students, or an entire class.
< As the class discusses these paintings, they can view them from the image file
on the computer screen, projected from the computer, or printed out from the
image (jpeg) files
VISUALS:
< Images of the following:
1. A Grey Thaw (Late Winter, Vermont) by Willard Leroy Metcalf
2. Trout Brook #2 by Willard Leroy Metcalf
3. Rest by the Wayside by William Merritt Chase
4. In Poppyland by John Ottis Adams
5. The Ranger, Adirondacks by Winslow Homer
SUPPLIES:
< optional: copies of the EMOTIONAL LANDSCAPES activity sheet to be
distributed to the class
Page 26
Copyright © 1995 and 2000, Ball State University Museum of Art
Emotional Landscapes
When an artist paints a landscape, he or she is often trying to do more than just show
you a picture of a place. Often, landscape artists are also trying to express an idea or
emotion through their depiction of a particular time and place.
Look at the following landscapes:
1. A Grey Thaw (Late Winter, Vermont) by Willard Leroy Metcalf
2. Trout Brook #2 by Willard Leroy Metcalf
3. Rest by the Wayside by William Merritt Chase
4. In Poppyland by John Ottis Adams
5. The Ranger, Adirondacks by Winslow Homer
L What feelings or moods does each of these landscapes suggest?
L Does each one “feel” differently?
L Name emotions or moods suggested to you by each painting.
L What is it about each painting that gives it its particular mood?
If you have trouble getting started, here are some words that might help:
Loneliness
Relaxation
Uncertainty
Coldness
Happiness
Solitude
Peacefulness
Sadness
Excitement
Freedom
Warmth
Calm
Activity
Page 27
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Compare and Contrast
INSTRUCTIONS:
< This exercise may be used as a small group activity, or it may be used to
generate classroom discussion.
VISUALS:
< Storm King of the Hudson by Thomas Cole
< Landscape by George Henry Smillie
SUPPLIES:
< optional: copies of the COMPARE AND CONTRAST activity sheet to be
distributed to the class
Page 28
Copyright © 1995 and 2000, Ball State University Museum of Art
Compare
and
Contrast
Look at the landscapes Storm King of the Hudson, by Thomas Cole, and Landscape,
by George Henry Smillie. In what ways are the two paintings similar? In what ways are
they different? List these similarities and differences in the spaces below.
SIMILARITIES
DIFFERENCES
Page 29
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Interpretations
INSTRUCTIONS:
< The hand symbol (L) indicates questions that may be used either for discussion
or as writing activities.
< Students should view images of the two paintings listed below.
< At the end of this activity, students will make a drawing to illustrate the landscape
they have described.
VISUALS:
< Storm King of the Hudson by Thomas Cole
< Landscape by George Henry Smillie
SUPPLIES:
< pencils and crayons or colored pencils
< drawing paper
Page 30
Copyright © 1995 and 2000, Ball State University Museum of Art
Interpretations
THOMAS COLE:
In his paintings, Thomas Cole emphasized the power of nature and the uncontrollable
wilderness of the Hudson River Valley.
GEORGE HENRY SMILLIE:
George Henry Smillie emphasized how people began to control nature by settling the
land and farming.
Like Cole and Smillie, landscape artists sometimes have strong feelings about the
environments they are painting. The way they paint and what they choose to paint can
say a lot about their attitudes about a particular landscape.
L
Look at the images of the paintings by Cole and Smillie. Do you think these two
artists have the same attitude about the American landscape?
L
In your own words, what is the mood of each painting?
You will be writing a paragraph describing the kind of landscape you would create.
Before beginning, think about whether your interpretation of the landscape will be more
like Thomas Cole’s or more like George Smillie’s. How will your landscape be like that
of the artist you selected? What sorts of things will be in your landscape? What will it
look like?
Whose interpretation did you select? ____________________________
Before beginning to write, list below what you will put in your landscape:
On the back of this page, write a paragraph describing your landscape. After you have
finished writing, use a separate sheet of paper to draw the landscape you have
described.
Page 31
Copyright © 1995 and 2000, Ball State University Museum of Art
GENERAL TEACHER’S GUIDE
Your Journey & Travel Log
DESCRIPTION:
YOUR JOURNEY and TRAVEL LOG, together, guide your students as
they plan an imaginary trip from Muncie, Indiana, to a chosen destination
in a Middle Atlantic or New England state. Students can work in groups to
decide where they will travel, what they will see, and what they will bring.
As they complete YOUR JOURNEY and TRAVEL LOG, your students will
connect the art featured in this packet with the actual places in which
these paintings were made. They will understand that the places depicted
in these paintings are places they might visit in the real world. Along the
way, students will develop and reinforce valuable mapping and tripplanning skills.
1. YOUR JOURNEY:
YOUR JOURNEY is designed as a guide for each group of students. It
leads your students step-by-step through mapping their journey and
arriving at their destination. YOUR JOURNEY consists of eleven
activities. Parts 1 through 7, in order, will guide your students through the
process of planning their trip. Parts 8 through 11 are designed as optional
extensions of the trip. In practice, you may choose to use some or all of
these eleven activities with your class, as you see fit.
2. TRAVEL LOG:
TRAVEL LOG contains a variety of activities that can be completed by
individual students with the help of their group. Each student should have
his or her own personal TRAVEL LOG. The TRAVEL LOG is designed to
be used in conjunction with YOUR JOURNEY, and several of the activities
in YOUR JOURNEY direct students to complete sections of the TRAVEL
LOG.
3. PLEASE NOTE:
< The pencil sign (O) indicates that students should refer to their individual
TRAVEL LOGs.
< The hand symbol (L) indicates discussion questions for the whole class.
< Worksheets for students follow the teacher’s guides. Student worksheets
can be printed out and photocopied.
Page 32
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 1: beginning
NOTES AND INSTRUCTIONS:
< Divide students into groups of 4 to 6 before continuing.
< Distribute one TRAVEL LOG to each student.
< The activities in YOUR JOURNEY may be distributed as you go, or you
may copy pages 34, 36, 38 (map), 39, 41, 43, 45, 47-49, 51-54, and 56 to
distribute them to the groups as you begin YOUR JOURNEY.
VISUALS:
< Image of Summertime by John Ottis Adams and a current photo of the
White River (included as jpeg files 19Summertime or b&w19Summer and
21WhiteRiver or 21b&wWhiteRiv).
SUPPLIES:
< blank sheets of writing paper
Page 33
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 1: beginning
You will begin your journey in MUNCIE, INDIANA, along the banks of the WHITE
RIVER.
Look at the painting called Summertime. In 1890, Indiana painter John Ottis
Adams painted this picture of the White River in Muncie, Indiana.
L How does the artist show you that it is summer?
L What time of day is it?
L How can you tell?
Look at a photo of the White River today (your teacher will provide one). What
are the differences between the way the river looks now and the way it looked
when John Ottis Adams painted it? What changes have occurred? Write a
paragraph explaining how the appearance of the White River has changed
between the 1890s and today.
Page 34
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 2: destinations
NOTES AND INSTRUCTIONS:
< In this section, each group will select a destination for its journey based on
a selection of landscape paintings from this packet (listed below).
< We recommend that you read aloud the student directions for Part 2 and
show the whole class images of the landscapes from which they are
choosing.
< You may want to take time to allow students to discuss, as a class, what
they see in the images, what appeals to them in the images, and what
does not appeal to them in the images.
VISUALS:
< The Rapids, Sister Island, Niagara by William Morris Hunt
< Storm King of the Hudson by Thomas Cole
< Shad Fishing at Gloucester-on-the-Delaware by Thomas Eakins
< A Grey Thaw by Willard Leroy Metcalf
< Entrance to the Siren's Grotto, Isles of Shoals by Childe Hassam
< Saint Paul's Church, New York by Edward Lamson Henry
Page 35
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 2: Destinations
Everyone’s journey will begin at the White River in Muncie and will end in some
Middle Atlantic or New England state. You will travel to one of the locations you
have seen in the paintings your class has been viewing.
Your six possible destinations are listed below. First, view these paintings in the
reproductions provided by your teacher. Then, as a group, decide on a
destination. Circle your chosen destination below.
1. The Rapids, Sister Island, Niagara
by William Morris Hunt, 1878
Destination: Niagara Falls, New York
2. Storm King of the Hudson
by Thomas Cole, 1825-1827
Destination: Storm King Mountain, New York
3. Shad Fishing at Gloucester-on-the-Delaware
by Thomas Eakins, 1881
Destination: Gloucester City, New Jersey, on the Delaware River
4. A Grey Thaw
by Willard Leroy Metcalf, 1923
Destination: Chester, Vermont
5. Entrance to the Siren's Grotto, Isles of Shoals
by Childe Hassam, 1902
Destination: Isles of Shoals, off the coast of Maine and New
Hampshire, on the state line; ten miles southeast of Portsmouth,
New Hampshire
6. Saint Paul's Church, New York
by Edward Lamson Henry, 1868
Destination: Lower Broadway, Manhattan, New York City,
New York
Page 36
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 3: supplieS
NOTES AND INSTRUCTIONS:
< Each student will fill in Section A of his or her TRAVEL LOG as part of this
exercise. Students will need to refer back to Part 2: DESTINATIONS to
complete Section A.
< In this activity, students also assemble supplies needed to complete Parts
3 through 7 of YOUR JOURNEY.
< You may choose to distribute all of the supplies now or to distribute them
as needed throughout YOUR JOURNEY.
< Each group will need a blank map that includes the Midwestern, Middle
Atlantic, and New England states. This map needs to be large enough for
students to color and write on.
< We have provided a suitable map on the following page, which can be
used as is or enlarged.
SUPPLIES: Students may be responsible for some of these supplies. They will
need these supplies for YOUR JOURNEY, Parts 3 through 7.
< a map of the U.S. from the classroom, a textbook, an atlas, or a map
website
< one blank map of the U.S. or the eastern half of the U.S. per group (see
next page)
< a road atlas with a mileage chart (may be shared among groups) and a
U.S. interstate map
< at least one yellow highlighter per group
< ball point pens and pencils
< two sticker stars per group
< scissors
< one gluestick per group
Page 37
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 3: supplies
To plan your journey you will need to use more than your book. Your group will
need some supplies, and each person in your group will need a TRAVEL LOG to
record the adventure!
1. O In your TRAVEL LOG, fill in Section A now. Refer to YOUR JOURNEY
Part 2: DESTINATIONS.
2. Check to make sure your group has access to everything on the supply list
below before you start.
9 a social studies textbook
9 one blank map that includes the Midwest, Middle Atlantic, and New England
States
9 a road atlas with a mileage chart and U.S. interstate map
9 a yellow highlighter
9 ball point pens and pencils
9 two sticker stars
9 scissors
9 a glue stick
Page 39
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 4: mapping your journey
NOTES AND INSTRUCTIONS:
< Students will need to refer to maps of the United States as well as maps of
individual states to complete Part 4.
a. Students will locate their starting and destination states. On their
blank group map, each group should color in its starting state and
its destination state with a yellow highlighter.
b. Students will use a road atlas to find their exact destination
within their destination state. They will then use a ball point pen to
mark the destination on their group map. (The pens will work better
than pencil for marking over previously highlighted areas.)
c. Each student will fill in Section B of his or her TRAVEL LOG as a
part of this exercise.
d. On their group map, students will use a yellow highlighter to
color in all of the states they have listed in their TRAVEL LOGs.
Groups will also label the states with ball point pen and put sticker
stars on their starting and destination points.
< If your students have not worked with maps before, you may need to give
further instruction on locating states, cities, and towns.
< You may want to instruct each group to select a secretary. The secretary
could be a different student each day or the same student throughout the
activity. This direction is not on the student activity sheet for YOUR
JOURNEY; the nature of the secretary position is left to your discretion.
Page 40
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 4: mapping your journey
Complete questions 1-4 in order.
1. Look at a map of the United States in your textbook, in an atlas, in your
classroom, or on a map web site.
Locate both Indiana and your destination state, which is
_______________________________
(name of the destination state)
On your group’s blank map, color in these two states with a highlighter.
2. Look at a map of your destination state in a road atlas.
Locate your exact destination, which is
_______________________________
(name of your exact destination)
Estimate the destination point on your group map. Using an ink pen, place a
small dot on your map at your destination point.
3. O In Section B of your TRAVEL LOG:
What states will you go through to get to your destination? Starting with Indiana,
list the states in the order you will travel through them from Indiana to your
destination state.
4. On your group map:
Use a highlighter to color in the states you listed in Section B of your TRAVEL
LOG. Label the states with pen and put sticker stars on your starting point and
destination point.
Page 41
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 5: SITEs and states
NOTES AND INSTRUCTIONS:
< On the list on their worksheets for Part 5, students will highlight the states
they will travel through as well as the sites they would like to visit in those
states.
< On a U.S. map, students will locate the states and sites they have
highlighted.
< On their group map, students will label the states, cities or towns,
mountain ranges, and rivers which they would like to visit.
< It may be useful for you to review, as a class, the landscape images that
represent the possible sites listed in Part 5; that way, students can
remember which sites particularly appealed to them. The paintings which
correspond to the sites are listed below:
Indiana:
Brookville: In Poppyland
Pennsylvania:
Delaware River: Shad Fishing at Gloucester-on-the-Delaware (#11)
Vermont:
Chester: A Grey Thaw (#18)
New Hampshire:
Portsmouth: Entrance to the Siren’s Grotto (#15)
New Jersey:
Montclair: Sunset in the Woods, Montclair (#10)
New York:
Adirondack Mountains: The Ranger, Adirondacks (#12)
Catskill Mountains: In the Catskills (#5) and
Sketch on the Outlet of Catskill Lake (#7)
New York City: Saint Paul’s Church, New York (#6)
Niagara Falls: At the Falls (#8) and
The Rapids, Sister Island, Niagara (#9)
Storm King Mountain: Storm King of the Hudson (#1-3)
Page 42
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 5: SITEs and states
1. Listed below are some of the states and sites where artists painted the
landscapes you have been viewing. If you are traveling through any of these
states you may want to visit several of these places. In the list below, use a
highlighter to mark the states you will travel through and the sites in those states
that you would like to visit as you travel.
INDIANA:
NEW YORK:
Brookville
Adirondack Mountains
Catskill Mountains
New York City
OHIO
Niagara Falls
West Point
PENNSYLVANIA:
Delaware River
VERMONT:
Chester
NEW JERSEY:
Montclair
NEW HAMPSHIRE:
Portsmouth
2. On a wall map or in a road atlas, find the states, cities or towns, or sites that
you highlighted in the above list. On your group map, label them using a pen.
Page 43
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 6: map vocabulary
NOTES AND INSTRUCTIONS:
< To complete the MAP VOCABULARY matching activity, students will locate
mapping terms and definitions in their textbook or in a dictionary.
< As a part of this exercise, each student will complete the MAP VOCABULARY
CROSSWORD PUZZLE in Section C of the TRAVEL LOG. To complete the
puzzle, students will need to use their textbook and the completed matching
activity from this part of YOUR JOURNEY.
< Answer key for MAP VOCABULARY MATCHING:
Anything that stands for something else
CARDINAL DIRECTIONS
INTERMEDIATE DIRECTIONS
Explains the relationship between real distances on the
earth and distances on the map
North, south, east, and west
NORTH POINTER
An indicator for the direction north on a map
SCALE
Such as northwest or southeast; means “between”
SYMBOL
Tells the meaning of each symbol on the map
MAP KEY
<
Answer key for MAP VOCABULARY CROSSWORD PUZZLE:
***ACROSS***
1. On a map, COLOR is often used to distinguish one state from another.
3. The NORTH pointer is found on most maps.
4. Northeast, southeast, southwest, and northwest are called INTERMEDIATE
directions.
6. Southeast is the direction halfway between south and EAST .
8. A SYMBOL is something that stands for something else.
9. WEST is the direction opposite of east.
S
C O L O R
O
A
U
N O R T H
T
D
H
I
***DOWN***
1. North, south, east, and west are CARDINAL directions.
2. Locate the U.S. map in your textbook. In what direction would you travel if you
were going from Montpelier, Vermont, to Concord, New Hampshire? SOUTHEAST
5. A MAP KEY tells the meaning of each symbol on the map.
7. Find the north pointer on the map of the Middle Atlantic states. Pennsylvania lies
SOUTH of New York.
8. SCALE explains the relationship between real distances on the earth and
distances on the map.
N T E R M E D
N
E A S T
L
I
A T E
A
A
P
S
K
E
T
S
S Y M B O L
C
U
A
T
L
H
W E S T
Page 44
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 6: map vocabulary
1. To read a map you must understand map vocabulary. Study the list of terms
and definitions below. Locate the terms in your textbook or in a dictionary and
match the definitions to the terms by drawing a line between them.
CARDINAL DIRECTIONS
Anything that stands for something else
INTERMEDIATE DIRECTIONS
Explains the relationship between real
distances on the earth and distances on the
map
NORTH POINTER
North, south, east, and west
SCALE
An indicator for the direction north on a map
SYMBOL
Such as northwest or southeast; means
“between”
MAP KEY
Tells the meaning of each symbol on the map
2. O In Section C of your TRAVEL LOG, do the MAP VOCABULARY CROSSWORD
PUZZLE using your answers from above to help you (you may also need to use your
textbook).
Page 45
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 7: scale, mileage, and mapping
NOTES AND INSTRUCTIONS:
< At the beginning of this exercise, students will fill out Section D of their
TRAVEL LOGs, using their textbooks to help them if needed; the terms
they learned in Part 6 will help them complete TRAVEL LOG Section D1.
< Part 7 includes three sections (7.1, 7.2, and 7.3).
< Answer key for exercise from Section D1 of TRAVEL LOG (page 63):
1. Maps are as large as the part of the earth they show.
TRUE or FALSE? FALSE
2. Scale explains the relationship between real distances on the earth and distances on the map.
TRUE or FALSE? TRUE
3. On a map, distance may be indicated by two different measures: MILES and kilo METERS.
4. If you measured the miles between Muncie, Indiana, and Albany, New York, on two different maps, would you
get the same sum of miles for each? YES Why or why not? The mileage is the same no matter what the
scale of the map is.
7.1
Student groups will determine the mileage of their trip; each student will
record the results and calculate round trip mileage in his or her TRAVEL
LOG, Section D2. Students may need further instruction if they are
unfamiliar with using mileage charts.
7.2
Students will design their own symbols to create a map key for their group
map. They will either draw a map key directly on their maps or cut out and
attach the map key they make in 7.2.
7.3
Students will familiarize themselves with a road atlas. You may need to
take time as a class to discuss interstates and route mapping. Each group
will determine what interstate routes they will take to get to their
destination. Each student will record the group's findings in his or her
TRAVEL LOG, Section E, MAPPING YOUR WAY–ROUTE CHART.
Page 46
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 7: scale, mileage, and mapping
Now you are ready to use the terms you learned in Part Six. You will be learning
about “scale,” determining the mileage of your trip, and creating a map key to
identify significant locations on your map. You will also choose the routes you
will follow to get to your final destination.
1. O Fill in Section D1 of your TRAVEL LOGs. Follow the directions carefully
and answer all the questions.
2. Complete exercises 7.1, 7.2, and 7.3 in order.
7.1 Determining Mileage:
< How many miles is it to your destination? To determine the number of
miles, find the United States mileage chart in a road atlas. For your
starting point, locate Indianapolis, Indiana, on the left side of the chart.
Indianapolis is the large city closest to Muncie. Now locate your group’s
destination point—or the city or town nearest your destination—on the top
of the chart. Find where these two lines of miles meet: that number is the
approximate number of miles to your destination!
< O Fill in Section D2 of your TRAVEL LOG.
Page 47
Copyright © 1995 and 2000, Ball State University Museum of Art
7.2 Making a Map Key:
Your group will need to create a map key (sometimes called a “map legend”)
with symbols to identify cities or towns, mountain ranges, and rivers. The map
key tells you what each symbol on the map stands for.
< In the box on the bottom half of this page, design a symbol for each of the
items listed. Draw your symbols below each term.
< Using the symbols your group designed, draw the appropriate symbol next
to each town or city, mountain range, or river labeled on your group map.
< Two ways to make your map key:
1) Cut out the map key below and attach it to your group map with
a glue stick. (Be sure not to cover up any states you highlighted.)
2) Copy the headings and symbols from the map key below directly
onto a blank area of your group map.
C
MAP KEY
C
City or Town
Mountain Range
River
Page 48
Copyright © 1995 and 2000, Ball State University Museum of Art
7.3 Mapping Your Way:
< Your group will need to look at a road atlas (provided by your teacher) to
complete this activity.
< Familiarize yourselves with the road atlas. Read the explanation of map
symbols.
< Everyone in your group must work together to determine what interstate
highways your group will take. Locate Section E, “Mapping your
Way–Route Chart” in your TRAVEL LOG. Each person in your group will
fill out his or her own chart, although your group will do this activity
together.
As a group, read and follow the directions below.
1. In the road atlas, locate the states through which you will travel to get to your
destination.
2. Find the eastbound interstate closest to Muncie, Indiana.
3. Follow this route until your group reaches the next state or the route ends.
Always remember that your ultimate goal is to reach your group's destination;
take only roads that lead in that direction.
4. O Complete Section E of your TRAVEL LOG. Use the spaces provided to
list roads in the order that your group will be traveling on them. Indicate direction
(north, south, east, or west) as well. Also, write down the states through which
you are traveling. (You may be traveling on more than one route within a single
state or through more than one state on the same route.) You may not need all
the spaces. Each of you should record this activity in Section E of your TRAVEL
LOG.
Page 49
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 8: necessities
GENERAL NOTE: The following activities (Part 8 and Part 9) are optional. The
journey can be completed at this time or can be extended using these two
activities.
NOTES AND INSTRUCTIONS:
< In Part 8, students plan supplies for a ten day trip.
< This exercise begins with four questions designed for the whole class to
discuss together. Sections 8.1-8.4 are designed for individual groups to
complete after the class discussion.
8.1 CAMPING and EQUIPMENT:
a. Students will use a road map or atlas to locate campgrounds in the
states they will visit. They will also decide what equipment they will need
for a camping trip.
b. As part of this exercise, each student will complete his or her TRAVEL
LOG, Section F1, CAMPING EQUIPMENT.
8.2 TRANSPORTATION:
a. Each group will select a vehicle to transport them on their journey.
b. As a part of this exercise, each student will complete his or her
TRAVEL LOG, Section F2, TRANSPORTATION.
8.3 FOOD:
a. Students will calculate their food budget and select food from grocery
store fliers (provided by teacher or brought from home).
b. As a part of this exercise, each student will record the
group’s decisions in his or her TRAVEL LOG, Section F3,
GROCERY LIST.
8.4 CLOTHING:
a. One suitcase is allowed per student. Each individual must decide what
he or she will pack.
b. Each student will read directions and complete his or her TRAVEL
LOG, Section F4, CLOTHING.
SUPPLIES: enough grocery store sale fliers for each group to have three
Page 50
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 8: necessities
Your journey will begin in the spring; it will last ten days, and there is still a lot of
planning to do!
L What kind of clothing will you pack?
L Where will you stay?
L Will you bring food and, if so, what kind?
L How will you get there?
8.1 CAMPING:
1. As you travel you will be camping. For extra fun, use an atlas or a road map
to look for campgrounds in the states you will be visiting. Use the map’s key or
explanation of symbols to find out how campgrounds are marked.
2. What equipment might your group need? As a group, decide what you will
need for a camping trip.
3. O Every group member should fill out his or her TRAVEL LOG, Section F1,
CAMPING EQUIPMENT, recording your group’s equipment needs.
Hint: Think about what you will wear to sleep, how you will prepare food, how
you will store food, and what you will use for light. These are not all the
considerations you will have to make. Be sure to discuss and brainstorm
with your group.
Page 51
Copyright © 1995 and 2000, Ball State University Museum of Art
8.2 TRANSPORTATION:
You must have some type of transportation to get to your destination. To see so
many different things, it would be best to drive. In the box below, choose a
vehicle that will best suit your needs. Be careful not to select one that is too
small to fit your group and its supplies.
a. Circle the name of the vehicle your group has chosen.
SPORT UTILITY VEHICLE (S.U.V.):
Seats up to 5 people
Large storage area
MINI VAN:
Seats up to 7 people
Small storage area
RECREATIONAL VEHICLE (R.V.):
Seats and sleeps 4 to 6 people
b. O Fill in Section F2 of your TRAVEL LOG, TRANSPORTATION.
Page 52
Copyright © 1995 and 2000, Ball State University Museum of Art
8.3 FOOD:
Eating out can be very expensive. Because you are camping it seems natural
that you will be cooking your meals most of the time. You must decide what you
are going to purchase and take with you. Your trip will be ten days long.
a. Your budget is $200.00 for each person in your group. To figure your group's
total budget, multiply the number of people in your group by 200. Do this
calculation in the box below.
b. Collect at least three different grocery store sale fliers to complete the
following activity.
From your fliers you will be able to tell the price of a grocery item and how
much you will be able to get for that price. Fruit, meat, bread, vegetables,
and dairy products are a few categories that will be very important to you.
Decide what food your group will need for your trip. Keep in mind your
group’s total budget.
Hint: Certain foods can be very expensive, so don’t count on always eating
twinkies and steak for dinner.
c. O Fill out Section F3 of your TRAVEL LOG, GROCERY LIST. Each person
in your group should record the group’s decisions and calculate costs.
Page 53
Copyright © 1995 and 2000, Ball State University Museum of Art
8.4 CLOTHING:
Each member of your group will be allowed one suitcase. You will be using
Section F of your TRAVEL LOG, CLOTHING, to make a list of items to take.
Remember, your trip will be ten days long.
Answer these questions before beginning:
1. During which season will you be traveling?
2. Will it be cold or warm?
3. Think about where you are going. What will the climate be like? Will
mountains make a difference in the weather?
O Each member of the group should use Section F of his or her TRAVEL LOG
to make a personal list of things to bring on the trip.
Page 54
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 9: A LETTER HOME
NOTES AND INSTRUCTIONS:
< On the front and back of Part 9: A LETTER HOME, each student will write
a letter or poem describing what they did on their journey, what the
landscape looks like, or how it makes them feel.
Page 55
Copyright © 1995 and 2000, Ball State University Museum of Art
Your Journey
part 9: a letter home
J
Now you have reached your destination and completed the mapping activities.
Look once more at the photograph of the landscape painting that brought you
this far. Look at the scenery. Can you think of any adjectives to describe this
landscape?
Using the space below and the back of this page if needed, write a letter home
describing to your family what you did on your imaginary journey to your
destination, or write a poem describing what your destination landscape looks
like or how it makes you feel.
Page 56
Copyright © 1995 and 2000, Ball State University Museum of Art
TEACHER’S GUIDE
Your Journey
part 10: road bingo
NOTES AND INSTRUCTIONS:
< Bingo sheets to photocopy and the list of towns from which to draw are
provided in the appendix.
< Cut apart ROAD BINGO: TOWNS AND STATES and fold each one in
half. Put the folded papers into a container from which to draw.
< Distribute one ROAD BINGO sheet to each student.
< Distribute 20 chips to each student.
< Read the directions for ROAD BINGO aloud to students:
1. Each player should have one Road Bingo sheet and 20 chips.
2. Look at the names of the towns and states in the 25 squares on
your card so that you will remember which cities are on your card
when the cities are called.
3. Put a chip on the square marked FREE. Now you are ready to
begin playing.
4. Listen carefully to each town your teacher reads aloud. If you
have that town and state in one of your squares, put a chip on that
square.
5. To win you must have five chips in a row. The rows can be
across, down, or diagonal. When you have won, yell, “BINGO!”
< Draw a folded town and state from the container and read it aloud to the
class. Allow time for students to look for the correct town and state on
their Road Bingo sheets.
< Repeat the above direction until someone yells “bingo.”
< The student who has yelled “bingo” must read the winning row of five
towns and states on his or her Road Bingo sheet to you. If all five are
correct, the student has won. However, if they are not correct the game
continues.
< The winner may receive a prize if you wish.
SUPPLIES:
< chips for ROAD BINGO (candy works nicely)
< copies of ROAD BINGO sheets (see APPENDIX, pages 71-100)
< photocopies of ROAD BINGO: TOWNS AND STATES
< optional prize for winner of ROAD BINGO
Page 57
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
____________________________
(Name)
____________________________
(Date)
Page 58
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section A
How many people are in your group?_______________
List the people in your group:
______________________
______________________
______________________
______________________
______________________
______________________
WHERE DO WE START?
(Look at Part 2: DESTINATIONS in YOUR JOURNEY.)
Starting Point: _____________________________
Destination: _______________________________
Title of your destination landscape painting:
_________________________________________
Name of artist:_____________________________
Year painted:______________________________
Take a travel break.
Page 59
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section B
Write the name of your beginning state on line 1. Then, in the order you will
reach them, list the states your group will pass through on the way to your
destination. Finish by listing your destination state. (You may not need to use
all the lines provided.)
1.____________________
5.____________________
2.____________________
6.____________________
3.____________________
7.____________________
4.____________________
8.____________________
Return to Part 4, question 4, of YOUR JOURNEY.
Page 60
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section c
map vocabulary crossword puzzle
ACROSS
1. On a map, ___________ is often used to distinguish one state from another.
3. The ______________ pointer is found on most maps.
4. Northeast, southeast, southwest, and northwest are called __________
directions.
6. Southeast is the direction halfway between south and ________.
8. A ___________ is something that stands for something else.
9. _______ is the direction opposite of East.
DOWN
1. North, south, east, and west are _______________ directions.
2. Locate the U.S. map in your textbook. In what direction would you travel if
you were going from Montpelier, Vermont, to Concord, New Hampshire?
________________________
5. A _________ __________ tells the meaning of each symbol on the map.
7. Find the north pointer on the map of the Middle Atlantic states. Pennsylvania
lies ______________ of New York.
8. _____________ explains the relationship between real distances on the
earth and distances on the map.
After completing the MAP VOCABULARY CROSSWORD PUZZLE
on the next page, go to Part 7 of YOUR JOURNEY.
Page 61
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section C
map vocabulary crossword puzzle
2
1
3
4
5
6
7
8
9
Return to Part 7 of YOUR JOURNEY.
Page 62
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section D
Scale and mileage
D1 UNDERSTANDING SCALE:
“Scale” is a term used in map reading. In your textbook, find the explanation of
how to use scale. Read carefully and answer the following questions.
1. Maps are as large as the part of the earth they show.
TRUE or FALSE? _________________
2. Scale explains the relationship between real distances on the earth and
distances on the map.
TRUE or FALSE? _________________
3. On a map, distances may be indicated by two different measures, _________
and kilo_________.
4. If you measured the miles between Muncie, Indiana, and Albany, New York,
on two different maps, would you get the same sum of miles for each? _______
Why or why not?
_______________________________________________________________
_______________________________________________________________
Return to Part 7.1 of YOUR JOURNEY.
D2 ESTIMATING MILEAGE:
Approximately how many miles is it to your destination? ______________
Multiply the number of miles to your destination by two.
What is your answer? ____________ This is how many miles it will take
your group to go there and back. This is called your round trip.
Return to Part 7.2 of YOUR JOURNEY.
Page 63
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section E
mapping your way–route chart
Before starting this activity, fill in the starting point and destination point at the
beginning and end of this chart.
STARTING POINT ________________________________________________
ROUTE _______________________
DIRECTION ___________________
STATE(S) YOU WILL BE IN ____________________________________
TO
ROUTE _______________________
DIRECTION ___________________
STATE(S) YOU WILL BE IN _________________________________________
TO
ROUTE _______________________
DIRECTION ___________________
STATE(S) YOU WILL BE IN _________________________________________
TO
ROUTE _______________________
DIRECTION ___________________
STATE(S) YOU WILL BE IN _________________________________________
TO
ROUTE _______________________
DIRECTION ___________________
STATE(S) YOU WILL BE IN _________________________________________
TO
DESTINATION POINT ___________________________________________________
Page 64
Copyright © 1995 and 2000, Ball State University Museum of Art
TRAVEL LOG
Section F
necessities
F1 CAMPING EQUIPMENT:
1.
8.
2.
9.
3.
10.
4.
11.
5.
12.
6.
13.
7.
14.
Return to Part 8.2 of YOUR JOURNEY.
F2 TRANSPORTATION:
Write the name of the vehicle your group has chosen.
____________________________________________________
Go to Part 8.3 of YOUR JOURNEY.
Page 65
Copyright © 1995 and 2000, Ball State University Museum of Art
F3 GROCERY LIST:
Use a pencil on this sheet to write in the groceries your group would like to buy.
To get the cost of each item, multiply the quantity you’ll need by the price. When
you are done, add up the costs to get a total. If you go over your budget, your
group will need to decide what to subtract from the list. The first line is an
example.
ITEM
QUANTITY
8-pack/hot dogs
X
4
PRICE
$2.00
=
COST
$8.00
TOTAL*
*Your total should be less than or equal to your budget amount
(which you calculated in YOUR JOURNEY, Part 8.3).
Page 66
Copyright © 1995 and 2000, Ball State University Museum of Art
F4 CLOTHING:
Remember, all of your clothing must fit into one suitcase.
1.
10.
2.
11.
3.
12.
4.
13.
5.
14.
6.
15.
7.
16.
8.
17.
9.
18.
Page 67
Copyright © 1995 and 2000, Ball State University Museum of Art
Appendix:
Materials for
Road Bingo
Page 68
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO: TOWNS AND STATES
(Page 1of 2)
Blue Rock, Ohio
Center, Ohio
Mingo Junction, Ohio
Convoy, Ohio
Newcomerstown, Ohio
Farmer, Ohio
Peebles, Ohio
Flushing, Ohio
Rice, Ohio
Rob Roy, Indiana
Utopia, Ohio
Hue, Ohio
Alert, Indiana
Mabee Corner, Ohio
Buckskin, Indiana
Birdseye, Indiana
Harmony, Indiana
Carp, Indiana
Raccoon, Indiana
Loogootee, Indiana
Economy, Indiana
Gas City, Indiana
Challenge, Pennsylvania
Mechanicsburg, Pennsylvania
Hershey, Pennsylvania
Elmora, Pennsylvania
Oil City, Pennsylvania
Mars, Pennsylvania
Scalp Level, Pennsylvania
Paisley, Pennsylvania
Page 69
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO: TOWNS AND STATES
(Page 2 of 2)
Amityville, New York
Calcium, New York
Bath, New York
Surprise, New York
Graphite, New York
Hamburg, New York
Great Neck, New York
Moons, New York
Kidders, New York
Painted Post, New York
Rye, New York
Sabbath Day Point, New York
Notchland, New Hampshire
Heartwellville, Vermont
Orange, Vermont
Cos Cob, Connecticut
Pepper, Delaware
Blackbird, Delaware
Bargaintown, New Jersey
Gum Tree Corner, New Jersey
Ship Bottom, New Jersey
Surf City, New Jersey
Double Trouble, New Jersey
Downstown, New Jersey
Loveladies, New Jersey
Page 70
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Blue Rock,
Ohio
Scalp Level,
Pennsylvania
Mabee Corner,
Ohio
Center,
Ohio
Hue,
Ohio
Sabbath Day
Point,
New York
Orange,
Vermont
Painted Post,
New York
Oil City,
Pennsylvania
Mechanicsburg,
Pennsylvania
Mars,
Pennsylvania
Notchland,
New Hampshire
Alert,
Indiana
Farmer,
Ohio
Kidders,
New York
Surprise,
New York
Rye,
New York
Graphite,
New York
Newcomerstown,
Ohio
Elmo,
Pennsylvania
Calcium,
New York
Hershey,
Pennsylvania
Harmony,
Indiana
Downstown,
New Jersey
Road Bingo Score Card #1
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Center,
Ohio
Orange,
Vermont
Scalp Level,
Pennsylvania
Hue,
Ohio
Mars,
Pennsylvania
Blue Rock,
Ohio
Sabbath Day
Point,
New York
Newcomerstown,
Ohio
Painted Post,
New York
Farmer,
Ohio
Graphite,
New York
Surprise,
New York
Oil City,
Pennsylvania
Alert,
Indiana
Raccoon,
Indiana
Notchland,
New Hampshire
Kidders,
New York
Rye,
New York
Buckskin,
Indiana
Calcium,
New York
Harmony,
Indiana
Elmora,
Pennsylvania
Mabee Corner,
Ohio
Hershey,
Pennsylvania
Road Bingo Score Card #2
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Newcomerstown,
Ohio
Center,
Ohio
Hue,
Ohio
Scalp Level,
Pennsylvania
Farmer,
Ohio
Graphite,
New York
Surprise,
New York
Buckskin,
Indiana
Sabbath Day
Point,
New York
Mars,
Pennsylvania
Blue Rock,
Ohio
Orange,
Vermont
Painted Post,
New York
Harmony,
Indiana
Rye,
New York
Kidders,
New York
Notchland,
New Hampshire
Oil City,
Pennsylvania
Alert,
Indiana
Raccoon,
Indiana
Hershey,
Pennsylvania
Calcium,
New York
Elmora,
Pennsylvania
Mabee Corner,
Ohio
Road Bingo Score Card #3
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Surprise,
New York
Hue,
Ohio
Center,
Ohio
Farmer,
Ohio
Scalp Level,
Pennsylvania
Rye,
New York
Graphite,
New York
Sabbath Day
Point,
New York
Buckskin,
Indiana
Newcomerstown,
Ohio
Raccoon,
Indiana
Alert,
Indiana
Harmony,
Indiana
Mars,
Pennsylvania
Blue Rock,
Ohio
Orange,
Vermont
Oil City,
Pennsylvania
Painted Post,
New York
Hershey,
Pennsylvania
Notchland,
New Hampshire
Kidders,
New York
Mabee Corner,
Ohio
Calcium,
New York
Elmora,
Pennsylvania
Road Bingo Score Card #4
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Hershey,
Pennsylvania
Raccoon,
Indiana
Surprise,
New York
Mabee Corner,
Ohio
Center,
Ohio
Scalp Level,
Pennsylvania
Hue,
Ohio
Rye,
New York
Farmer,
Ohio
Buckskin,
Indiana
Alert,
Indiana
Harmony,
Indiana
Sabbath Day
Point,
New York
Graphite,
New York
Notchland,
New Hampshire
Oil City,
Pennsylvania
Painted Post,
New York
Elmora,
Pennsylvania
Mars,
Pennsylvania
Blue Rock,
Ohio
Orange,
Vermont
Kidders,
New York
Newcomerstown,
Ohio
Calcium,
New York
Road Bingo Score Card #5
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Scalp Level,
Pennsylvania
Blue Rock,
Ohio
Orange,
Vermont
Hershey,
Pennsylvania
Mabee Corner,
Ohio
Notchland,
New Hampshire
Raccoon,
Indiana
Alert,
Indiana
Hue,
Ohio
Center,
Ohio
Harmony,
Indiana
Oil City,
Pennsylvania
Rye,
New York
Surprise,
New York
Buckskin,
Indiana
Painted Post,
New York
Elmora,
Pennsylvania
Sabbath Day
Point,
New York
Calcium,
New York
Newcomerstown,
Ohio
Graphite,
New York
Farmer,
Ohio
Kidders,
New York
Mars,
Pennsylvania
Road Bingo Score Card #6
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Notchland,
New Hampshire
Mabee Corner,
Ohio
Hershey,
Pennsylvania
Newcomerstown,
Ohio
Rye,
New York
Alert,
Indiana
Blue Rock,
Ohio
Orange,
Vermont
Mars,
Pennsylvania
Harmony,
Indiana
Scalp Level,
Pennsylvania
Painted Post,
New York
Hue,
Ohio
Center,
Ohio
Sabbath Day
Point,
New York
Elmora,
Pennsylvania
Buckskin,
Indiana
Calcium,
New York
Surprise,
New York
Oil City,
Pennsylvania
Raccoon,
Indiana
Graphite,
New York
Farmer,
Ohio
Kidders,
New York
Road Bingo Score Card #7
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Mabee Corner,
Ohio
Notchland,
New Hampshire
Graphite,
New York
Rye,
New York
Hershey,
Pennsylvania
Farmer,
Ohio
Painted Post,
New York
Harmony,
Indiana
Alert,
Indiana
Newcomerstown,
Ohio
Elmo,
Pennsylvania
Blue Rock,
Ohio
Mars,
Pennsylvania
Hue,
Ohio
Scalp Level,
Pennsylvania
Raccoon,
Indiana
Calcium,
New York
Buckskin,
Indiana
Center,
Ohio
Kidders,
New York
Oil City,
Pennsylvania
Orange,
Vermont
Sabbath Day
Point,
New York
Surprise,
New York
Road Bingo Score Card #8
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Rye,
New York
Farmer,
Ohio
Notchland,
New Hampshire
Orange,
Vermont
Alert,
Indiana
Mabee Corner,
Ohio
Harmony,
Indiana
Painted Post,
New York
Newcomerstown,
Ohio
Hershey,
Pennsylvania
Kidders,
New York
Elmora,
Pennsylvania
Surprise,
New York
Buckskin,
Indiana
Calcium,
New York
Blue Rock,
Ohio
Hue,
Ohio
Mars,
Pennsylvania
Graphite,
New York
Scalp Level,
Pennsylvania
Sabbath Day
Point,
New York
Oil City,
Pennsylvania
Raccoon,
Indiana
Center,
Ohio
Road Bingo Score Card #9
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Kidders,
New York
Buckskin,
Indiana
Farmer,
Ohio
Notchland,
New Hampshire
Raccoon,
Indiana
Harmony,
Indiana
Mabee Corner,
Ohio
Hershey,
Pennsylvania
Orange,
Vermont
Alert,
Indiana
Sabbath Day
Point,
New York
Hue,
Ohio
Elmora,
Pennsylvania
Newcomerstown,
Ohio
Rye,
New York
Calcium,
New York
Surprise,
New York
Center,
Ohio
Graphite,
New York
Painted Post,
New York
Blue Rock,
Ohio
Scalp Level,
Pennsylvania
Mars,
Pennsylvania
Oil City,
Pennsylvania
Road Bingo Score Card #10
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Oil City,
Pennsylvania
Alert,
Indiana
Blue Rock,
Ohio
Graphite,
New York
Harmony,
Indiana
Kidders,
New York
Hershey,
Pennsylvania
Mars,
Pennsylvania
Sabbath Day
Point,
New York
Notchland,
New Hampshire
Calcium,
New York
Mabee Corner,
Ohio
Orange,
Vermont
Elmora,
Pennsylvania
Painted Post,
New York
Hue,
Ohio
Center,
Ohio
Rye,
New York
Raccoon,
Indiana
Farmer,
Ohio
Buckskin,
Indiana
Surprise,
New York
Scalp Level,
Pennsylvania
Newcomerstown,
Ohio
Road Bingo Score Card #11
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Sabbath Day
Point,
New York
Oil City,
Pennsylvania
Surprise,
New York
Harmony,
Indiana
Newcomerstown,
Ohio
Elmo,
Pennsylvania
Kidders,
New York
Blue Rock,
Ohio
Raccoon,
Indiana
Graphite,
New York
Painted Post,
New York
Calcium,
New York
Hershey,
Pennsylvania
Notchland,
New Hampshire
Alert,
Indiana
Mabee Corner,
Ohio
Mars,
Pennsylvania
Orange,
Vermont
Farmer,
Ohio
Center,
Ohio
Hue,
Ohio
Rye,
New York
Buckskin,
Indiana
Scalp Level,
Pennsylvania
Road Bingo Score Card #12
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Surprise,
New York
Painted Post,
New York
Harmony,
Indiana
Oil City,
Pennsylvania
Graphite,
New York
Buckskin,
Indiana
Elmora,
Pennsylvania
Kidders,
New York
Sabbath Day
Point,
New York
Newcomerstown,
Ohio
Rye,
New York
Hershey,
Pennsylvania
Calcium,
New York
Scalp Level,
Pennsylvania
Hue,
Ohio
Alert,
Indiana
Blue Rock,
Ohio
Raccoon,
Indiana
Notchland,
New Hampshire
Mabee Corner,
Ohio
Center,
Ohio
Mars,
Pennsylvania
Orange,
Vermont
Farmer,
Ohio
Road Bingo Score Card #13
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Harmony,
Indiana
Buckskin,
Indiana
Painted Post,
New York
Newcomerstown,
Ohio
Orange,
Vermont
Oil City,
Pennsylvania
Surprise,
New York
Elmora,
Pennsylvania
Kidders,
New York
Scalp Level,
Pennsylvania
Mabee Corner,
Ohio
Raccoon,
Indiana
Rye,
New York
Calcium,
New York
Center,
Ohio
Hershey,
Pennsylvania
Alert,
Indiana
Sabbath Day
Point,
New York
Hue,
Ohio
Mars,
Pennsylvania
Farmer,
Ohio
Blue Rock,
Ohio
Graphite,
New York
Notchland,
New Hampshire
Road Bingo Score Card #14
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Farmer,
Ohio
Harmony,
Indiana
Elmora,
Pennsylvania
Blue Rock,
Ohio
Painted Post,
New York
Calcium,
New York
Rye,
New York
Scalp Level,
Pennsylvania
Sabbath Day
Point,
New York
Orange,
Vermont
Oil City,
Pennsylvania
Center,
Ohio
Kidders,
New York
Raccoon,
Indiana
Mars,
Pennsylvania
Mabee Corner,
Ohio
Notchland,
New Hampshire
Alert,
Indiana
Hershey,
Pennsylvania
Surprise,
New York
Graphite,
New York
Buckskin,
Indiana
Newcomerstown,
Ohio
Hue,
Ohio
Road Bingo Score Card #15
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Carp,
Indiana
Hamburg,
New York
Heartwellville,
Vermont
Rob Roy,
Indiana
Cos Cob,
Connecticut
Amityville,
New York
Blackbird,
Delaware
Convoy,
Ohio
Rice,
Ohio
Downstown,
New Jersey
Loogootee,
Indiana
Challenge,
Pennsylvania
Birdseye,
Indiana
Moons,
New York
Peebles,
Ohio
Mingo Junction,
Ohio
Economy,
Indiana
Great Neck,
New York
Mechanicsburg,
Pennsylvania
Pepper,
Delaware
Bath,
New York
Flushing,
Ohio
Gas City,
Indiana
Utopia,
Ohio
Road Bingo Score Card #16
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Rob Roy,
Indiana
Heartwellville,
Vermont
Hamburg,
New York
Cos Cob,
Connecticut
Amityville,
New York
Carp,
Indiana
Loveladies,
New Jersey
Economy,
Indiana
Blackbird,
Delaware
Great Neck,
New York
Peebles,
Ohio
Convoy,
Ohio
Rice,
Ohio
Birdseye,
Indiana
Mingo Junction,
Ohio
Challenge,
Pennsylvania
Loogootee,
Indiana
Mechaniscsburg,
Pennsylvania
Moons,
New York
Bath,
New York
Pepper,
Delaware
Utopia,
Ohio
Flushing,
Ohio
Gas City,
Indiana
Road Bingo Score Card #17
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Heartwellville,
Vermont
Rob Roy,
Indiana
Cos Cob,
Connecticut
Hamburg,
New York
Moons,
New York
Peebles,
Ohio
Great Neck,
New York
Blackbird,
Delaware
Surf City,
New Jersey
Amityville,
New York
Carp,
Indiana
Birdseye,
Indiana
Challenge,
Pennsylvania
Loogootee,
Indiana
Economy,
Indiana
Mechanicsburg,
Pennsylvania
Convoy,
Ohio
Rice,
Ohio
Mingo Junction,
Ohio
Utopia,
Ohio
Gas City,
Indiana
Pepper,
Delaware
Bath,
New York
Flushing,
Ohio
Road Bingo Score Card #18
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Downstown,
New Jersey
Cos Cob,
Connecticut
Rob Roy,
Indiana
Heartwellville,
Vermont
Hamburg,
New York
Economy,
Indiana
Peebles,
Ohio
Loogootee,
Indiana
Great Neck,
New York
Mingo Junction,
Ohio
Birdseye,
Indiana
Blackbird,
Delaware
Convoy,
Ohio
Amityville,
New York
Carp,
Indiana
Utopia,
Ohio
Rice,
Ohio
Challenge,
Pennsylvania
Moons,
New York
Gas City,
Indiana
Flushing,
Ohio
Bath,
New York
Pepper,
Delaware
Mechanicsburg,
Pennsylvania
Road Bingo Score Card #19
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Economy,
Indiana
Loogootee,
Indiana
Moons,
New York
Surf City,
New Jersey
Rob Roy,
Indiana
Hamburg,
New York
Convoy,
Ohio
Heartwellville,
Vermont
Mingo Junction,
Ohio
Cos Cob,
Connecticut
Bath,
New York
Rice,
Ohio
Mechanicsburg,
Pennsylvania
Utopia,
Ohio
Birdseye,
Indiana
Blackbird,
Delaware
Challenge,
Pennsylvania
Flushing,
Ohio
Amityville,
New York
Carp,
Indiana
Peebles,
Ohio
Gas City,
Indiana
Great Neck,
New York
Pepper,
Delaware
Road Bingo Score Card #20
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Loogootee,
Indiana
Carp,
Indiana
Great Neck,
New York
Mingo Junction,
Ohio
Loveladies
New Jersey
Rob Roy,
Indiana
Hamburg,
New York
Challenge,
Pennsylvania
Convoy,
Ohio
Heartwellville,
Vermont
Gas City,
Indiana
Peebles,
Ohio
Flushing,
Ohio
Cos Cob,
Connecticut
Pepper,
Delaware
Rice,
Ohio
Blackbird,
Delaware
Birdseye,
Indiana
Bath,
New York
Economy,
Indiana
Moons,
New York
Mechanicsburg,
Pennsylvania
Utopia,
Ohio
Amityville,
New York
Road Bingo Score Card #21
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Blackbird,
Delaware
Ship Bottom,
New Jersey
Challenge,
Pennsylvania
Loogootee,
Indiana
Mechanicsburg,
Pennsylvania
Rice,
Ohio
Carp,
Indiana
Hamburg,
New York
Flushing,
Ohio
Rob Roy,
Indiana
Heartwellville,
Vermont
Gas City,
Indiana
Bath,
New York
Great Neck,
New York
Peebles,
Ohio
Pepper,
Delaware
Utopia,
Ohio
Convoy,
Ohio
Cos Cob,
Connecticut
Birdseye,
Indiana
Economy,
Indiana
Mingo Junction,
Ohio
Amityville,
New York
Moons,
New York
Road Bingo Score Card #22
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Peebles,
Ohio
Loogootee,
Indiana
Gum Tree Corner
New Jersey
Flushing,
Ohio
Great Neck,
New York
Gas City,
Indiana
Moons,
New York
Rob Roy,
Indiana
Hamburg,
New York
Rice,
Ohio
Utopia,
Ohio
Carp,
Indiana
Heartwellville,
Vermont
Challenge,
Pennsylvania
Mechanicsburg,
Pennsylvania
Convoy,
Ohio
Pepper,
Delaware
Amityville,
New York
Bath,
New York
Blackbird,
Delaware
Birdseye,
Indiana
Economy,
Indiana
Mingo Junction,
Ohio
Cos Cob,
Connecticut
Road Bingo Score Card #23
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Birdseye,
Indiana
Mechanicsburg,
Pennsylvania
Flushing,
Ohio
Moons,
New York
Blackbird,
Delaware
Utopia,
Ohio
Rob Roy,
Indiana
Gas City,
Indiana
Mingo Junction,
Ohio
Hamburg,
New York
Challenge,
Pennsylvania
Heartwellville,
Vermont
Amityville,
New York
Bargaintown,
New Jersey
Rice,
Ohio
Carp,
Indiana
Bath,
New York
Pepper,
Delaware
Great Neck,
New York
Pebbles,
Ohio
Loogootee,
Indiana
Cos Cob,
Connecticut
Economy,
Indiana
Convoy,
Ohio
Road Bingo Score Card #24
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Mechanicsburg,
Pennsylvania
Flushing,
Ohio
Birdseye,
Indiana
Peebles,
Ohio
Bath,
New York
Moons,
New York
Utopia,
Ohio
Mingo Junction,
Ohio
Amityville,
New York
Gas City,
Indiana
Hamburg,
New York
Rob Roy,
Indiana
Economy,
Indiana
Heartwellville,
Vermont
Cos Cob,
Connecticut
Great Neck,
New York
Double Trouble,
New Jersey
Rice,
Ohio
Pepper,
Delaware
Convoy,
Ohio
Carp,
Indiana
Challenge,
Pennsylvania
Loogootee,
Indiana
Blackbird,
Delaware
Road Bingo Score Card #25
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Convoy,
Ohio
Bath,
New York
Carp,
Indiana
Amityville,
New York
Flushing,
Ohio
Mechanicsburg,
Pennsylvania
Cos Cob,
Connecticut
Blackbird,
Delaware
Economy,
Indiana
Birdseye,
Indiana
Pepper,
Delaware
Hamburg,
New York
Rob Roy,
Indiana
Gas City,
Indiana
Ship Bottom,
New Jersey
Heartwellville,
Vermont
Mingo Junction,
Ohio
Peebles,
Ohio
Rice,
Ohio
Moons,
New York
Utopia,
Ohio
Loogootee,
Indiana
Challenge,
Pennsylvania
Great Neck,
New York
Road Bingo Score Card #26
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Bath,
New York
Gas City,
Indiana
Convoy,
Ohio
Amityville,
New York
Economy,
Indiana
Birdseye,
Indiana
Flushing,
Ohio
Carp,
Indiana
Cos Cob,
Connecticut
Peebles,
Ohio
Rob Roy,
Indiana
Pepper,
Delaware
Hamburg,
New York
Rice,
Ohio
Heartwellville,
Vermont
Mechanicsburg,
Pennsylvania
Blackbird,
Delaware
Mingo Junction,
Ohio
Utopia,
Ohio
Bargaintown,
New Jersey
Challenge,
Pennsylvania
Moons,
New York
Loogootee,
Indiana
Great Neck,
New York
Road Bingo Score Card #27
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Flushing,
Ohio
Challenge,
Pennsylvania
Amityville,
New York
Utopia,
Ohio
Convoy,
Ohio
Mechanicsburg,
Pennsylvania
Bath,
New York
Birdseye,
Indiana
Loogootee,
Indiana
Moons,
New York
Rice,
Ohio
Blackbird,
Delaware
Pepper,
Delaware
Hamburg,
New York
Rob Roy,
Ohio
Cos Cob,
Connecticut
Carp,
Indiana
Heartwellville,
Vermont
Gas City,
Indiana
Mingo Junction,
Ohio
Double Trouble,
New Jersey
Great Neck,
New York
Peebles,
Ohio
Economy,
New York
Road Bingo Score Card #28
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Mingo Junction,
Ohio
Gas City,
Indiana
Utopia,
Ohio
Challenge,
Pennsylvania
Loogootee,
Indiana
Flushing,
Ohio
Blackbird,
Delaware
Amityville,
New York
Birdseye,
Indiana
Convoy,
Ohio
Mechanicsburg,
Pennsylvania
Bath,
New York
Moons,
New York
Pepper,
Delaware
Hamburg,
New York
Rob Roy,
Indiana
Heartwellville,
Vermont
Cos Cob,
Connecticut
Economy,
Indiana
Rice,
Ohio
Peebles,
Ohio
Carp,
Indiana
Loveladies,
New Jersey
Great Neck,
New York
Road Bingo Score Card #29
Copyright © 1995 and 2000, Ball State University Museum of Art
ROAD BINGO
Gas City,
Indiana
Utopia,
Ohio
Cos Cob,
Connecticut
Carp,
Indiana
Challenge,
Pennsylvania
Pepper,
Delaware
Mingo Junction,
Ohio
Peebles,
Ohio
Mechanicsburg,
Pennsylvania
Economy,
Indiana
Convoy,
Ohio
Birdseye,
Indiana
Bath,
New York
Great Neck,
New York
Flushing,
Ohio
Hamburg,
New York
Amityville,
New York
Rob Roy,
Indiana
Moons,
New York
Loogootee,
Indiana
Heartwellville,
Vermont
Gum Tree
Corner,
New York
Blackbird,
Delaware
Rice,
Ohio
Road Bingo Score Card #30
Copyright © 1995 and 2000, Ball State University Museum of Art
Sources and Suggestions
for Further Reading
Baigell, Matthew. Thomas Cole. New York: Watson-Guptill Publications, 1981.
Bermingham, Peter. American Art in the Barbizon Mood. Washington, D.C.:
Smithsonian Institution Press, 1975.
Beyer, Barry K., et al. The World Around Us, United States and Its Neighbors. New
York: MacMillan/McGraw-Hill School Publishing Company, 1991.
Cikovsky, Nicolai. George Inness. New York: Praeger, 1971.
Cole, Thomas. “Essay on American Scenery.” 1835. Quoted in John W. McCoubrey.
American Art 1700-1960, 98-109. Sources and Documents in the History of Art
Series. Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1965.
Cooper, Helen A. Winslow Homer Watercolors. Washington: National Gallery of Art,
1986; New Haven: Yale UP, 1986.
Curry, David Park. Childe Hassam: An Island Garden Revisited. New York and
London: W. W. Norton and Company in association with Denver Art Museum,
1990.
de Veer, Elizabeth and Richard J. Boyle. Sunlight and Shadow: The Life and Art of
Willard L. Metcalf. New York: Abbeville Press for Boston University, 1987.
Dunwell, Frances. The Hudson River Highlands. New York: Columbia UP, 1991.
Gerdts, William H. Art Across America: Two Centuries of Regional Painting 17101920. New York: Abbeville Press, 1990.
Goodrich, Lloyd. Thomas Eakins. Cambridge, Massachusetts and London: Harvard UP
for the National Gallery of Art, Washington, D.C., 1982.
Goodyear, Frank H., Jr. Thomas Doughty 1793-1856: An American Pioneer in
Landscape Painting. Philadelphia: Pennsylvania Academy of the Fine Arts, 1973.
Page 101
Copyright © 1995 and 2000, Ball State University Museum of Art
Handley, Laurie. “Thomas Cole and Early American Landscape Painting.” Muncie,
Indiana: Ball State University Museum of Art, 1990. Gallery notes.
Heath Social Studies. Regions Near and Far Workbook. Lexington, Massachusetts:
D.C. Heath and Company, 1985.
—. The World Today Workbook. Lexington, Massachusetts: D.C. Heath and Company,
1985.
Homer, William Inness. Thomas Eakins, His Life and Art. New York: Abbeville Press,
1992.
Hoppin, Martha J. and Henry Adams. William Morris Hunt: A Memorial Exhibition.
Boston: Museum of Fine Arts Boston, 1979.
Huth, Hans. “Impressionism Comes to America.” Gazette des Beaux Arts (April, 1946):
231-149.
Huth, Nancy M. and Alain G. Joyaux. European and American Paintings and Sculpture:
Selected Works. Muncie, Indiana: Ball State University Museum of Art, 1994.
Inness, George, “A Painter on Painting.” Harper's New Monthly Magazine 56 (Feb
1878): 461. Quoted in Metropolitan Museum of Art. American Paradise: The
World of the Hudson River School. With an Introduction by John K. Howat. New
York: Metropolitan Museum of Art, 1987. 236.
Joyaux, Alain G., Brian Moore and Ned Griner. Childe Hassam in Indiana. Muncie,
Indiana: Ball State University Art Gallery, 1985.
Kloss, William, et. at. America in Art: Fifty Great Paintings Celebrating Fifty Years.
Santa Barbara: Santa Barbara Museum of Art, 1991.
Krause, Martin. The Passage: Return of Indiana Painters from Germany 1880-1905.
Indianapolis: Indianapolis Museum of Art; distributed by Indiana University
Press, Bloomington, 1990.
Landgren, Marchal E. and Sharman Wallace McGurn. The Late Landscapes of William
Morris Hunt. College Park, Maryland: University of Maryland Art Gallery, 1976.
Page 102
Copyright © 1995 and 2000, Ball State University Museum of Art
Lowe Art Museum. French Impressionists Influence American Artists. Coral Gables:
Lowe Art Museum, University of Miami, 1971.
McCausland, Elizabeth. A.H. Maurer. New York: A. A. Wyn for the Walker Art
Center, 1951.
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