DOCUMENT RESUME

ED 398 169 SO 026 883

AUTHOR Andre, Linda; Casey, Douglas, Ed.

TITLE Landscape Painting: Artists Who Love the Land.

INSTITUTION Smithsonian Institution, Washington, DC. Office of

Elementary and Secondary Education.

PUB DATE 96

NOTE 17p.

AVAILABLE FROM Smithsonian Office of Elementary and SecondaryEducation, Arts and Industries Building 1163, MRC402, Washington, DC 20560 (free).

PUB TYPE Collected Works Serials (022) Guides Classroom

Use Teaching Guides (For Teacher) (052)

JOURNAL CIT Art to Zoo: Teaching with the Power of Objects;

March-April 1996

EDRS PRICE MFOI/PC01 Plus Postage.

DESCRIPTORS Art; Art Activities; *Art Education; *Artists;

Elementary Secondary Education; GeographyInstruction; Integrated Activities; *Painting (Visual

Arts); Social Studies; *United States History; Visual

Arts

IDENTIFIERS Bierstadt (Albert); Catlin (George); Homer (Winslow);

*Landscapes; Moran (Thomas); *Westward Movement

(United States)

ABSTRACTThrough the study of several works of art by Albert

Bierstadt, George Catlin, Winslow Homer, and Thomas Moran, this

resource explores the way that people felt about their growing nation

during the period of westward expansion until the end of the 19th

century. It introduces students to basic principles of landscape

painting and has students practice geography skills to gain

appreciation for the physical characteristics of different regions of

the United States. Lesson plans and suggestions are provided. Black

and white reproductions of work by several artists are provided for

use with suggested activities. (MM)

***********************************************************************Reproductions supplied by EDRS are the best that can be made

from the original document.***********************************************************************

4

t

NDSCAPE PAINTING:Artists Who Love the Land

.fl;" ',4 . ; $. -..

`Itti''

..Y

.'Le§son PI . .-

Take-Home Pagein English/SpanIsh I V/ V.

Art. ,

Geographyr

Language Arts

U.S. HistOry

4-9 flu

Publication of Art toZoo is made possiblethrough the generoussupport of the.PaCificl:::".

Mutual Fatiridatioii:-4...::j.

i

U S DEPARTMENT OF EDUCATIONOffc of EduCatanai RaSoarcn ano improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)

This document has been reproduced aseceived from the person or organizationoriginating it

O Minor changes have been made toimprove reproduction quality

L.4

PERMISSION TO REPRODUCE ANDDISSEMINATE THIS MATERIAL

HAS BEEN GRANTED BY

1

Points of view or opinions stated in thisdocument do not necessarly represent

TO THE EDUCATIONAL RESOURCES

official OERI position or policy INFORMATION CENTER (ERICI

-" . '

.10.11111.

)( till

0 ' I.

'".s.?*).p

t4

tie.= otrtve

totit 1:.

_=Alidilif

Timm orktiv AM Ill A DT Me

Introduction

Lesson Plan Step 1' i

Activity Page

Activity Page 1B,

Activity Page 1C

-

: '=';

. _.

; .., ..:-.,..--..., ,

..

Activity Page....1.p :./f , ,......?,..ii,. ..

Lesson Plan Step 2 -i,--e.... 1 ft ,.......1.-,--.,-;.- -.;

- ." ..'-' :A' 1:i''':.i.. ' . .- "; :- ''''ts-i. -.1..--_,.;-.41j,; '' !.' .' t *-15.446:....,-,'..;- - ..i .!.:_,...-r: if- 0.7'..._..... /- --',",....4:t./ f 1.

411.:-.9' 4Bakigs1.4461.9144.r-.1.-Vsernft...*.9S''''''13...4,,,4..: ..:7447-'a, e :,..,1,,,...t,.. ,.... ,.:.,................-. i....e.,f.; .?,,

.: ty .,..., ,v...y.., 4.i-:...;:,.4.'-''.,: ..g.1-7,:'

:t? ,-. ' ': '14...'.::,3-A-4.21-,,

:.. I .;...-.,,,,,,k_.1_- ',AI 4.- : .41...:. -....4., -....;&:..itx

4.........iwol 44.3.. 4 t"4 : 14,14.:0:14 ?5 . 43' /On40 ; AA, : , s 1......:13tri. , 4'_.. ' ....v- 3

.' !.;-4e-'!.16.17''.4. !!"4. :.C.,..- . 6'. ; f c'''',1°''. ".' ^1 ''''': ... --:--1,k' .:;-. ,''': lirTake-flome Page-m spanisn ifi..L.;.,. t3.,.,,

Resources

3;t

.

.

' ; . .

t .. - . IV

7 ./.t.4,1z.ft'ts.4.51;46.. .

Art to tOo's pnriSose-IS to lief') teach'ers briii ink;A.? ::§1. `44.- t.' -_!/:."7;

their classroom§ the'ediicational power or Miseums

and other 6Ommunity feSources. .

. .

Art to Zoo draws on the Smithsonian's hundreds .

of exhibitions andprogramsfrom art, history, andscience to aviation and fOlklife-7to Create classro-orn.-.- tit%ready materials for grades four through nine.

EachOf the fohr dnhual issues explOres'a single

topic through an interdisciplinary, *multicultural "approach.

The Smithsonian invitet techerS to duplicate -.

Art to Z;;47* Material§z 3

14...WAr;f=';g411.:, .

'71otfina

. !ft.

: version orAby writuig to the

ddress listed.on: -back cover or bx faxing

to (202) 3572116.t

BEST COPY AVAILABLE

LANDSCAPE PAINTING:Artists Who Love the Land

How does an artist create a landscape? A landscape artist is a sort of magician

who can create a whole world on a piece of flat canvas. This world, of course, is

made of paint. Trees that seem thick with foliage are made with a few flicks of a

paintbrush. Lakes that shine, waterfalls that splash. grasses that bend in the wind,

and dark clouds that promise rain are all made of colors squeezed out of a paint

tube. How amazing it is that small dabs and smears of color can create places for

us to go in our imagination: a placid river winding, around hills, a rocky shoreline

where we can almost hear the crashing waves, an enormous canyon that seems to

stretch miles deep into the distance.

Air is an important partof any landscape as well.although we seldom aive itmuch thought. An artist hasto paint the air so skillfullythat we seem to feel the heatof the sun and the rush of thewind. He or she has to makeus believe that it might takehours for a bird to tly fromone side of the picture frameto the other. All of this ishard to do. There are nopaint tubes for sale labeled"sunshine." "frosty air.""gentle breeze." or -gloomyday." An artist has to createthe win J. the sunshine, andthe mist with the paint at theend of the brush.

It is important to remem-ber that a landscape artist isnot a camera that recordswhatever happens to be infront of the lens. He is notrequired to paint exactlywhat he sees. If he feels thatthere are too many trees on a

hill, he can leave some ofthem out of his picture. If hethinks the trees are in thewrong place. he can movethem around. If a riverbanklooks too empty, he canadd a few rocks that aren'treally there.

A landscape artist alsohas to decide what shewants us to see. If she ispainting a field, she has todecide whether she wants usto see each blade of grass orwhether she wants us to seethe field as a smear of color.She can paint her landscapeso that we see the field fromabove, as if we were lookingdown from an airplane. orfrom the ground, as if wewere lying flat on a picnic

blanket.Before making any of

these decisions, the land-scape artist must decidewhether to work outdoorson the land or indoors in thestudio. Working outdoorsallows him to observe the

colors of naturethe soil.the clouds, and the reflec-tions on water. He can studythe patterns of sunlight andshadow that change withevery passing moment. On

the other hand, if he choosesto paint inside his studio.he can work more slowly,rearrange the composition.and adjust the colors andshapes to his own way ofseeing. Many artists findboth methods useful. Theymake sketches outdoors andthen do the actual paintingback in their studio.

CREATING ILLUSIONS

No matter where the land-scape artist chooses to setup his easel, he will have toconfront the central problemposed by all landscapescreating the illusion of deepspace on a flat canvas. When

done well, the effect can bespellbinding. Wc feel that we

can enter the painting andcontinue walking for miles.

Landscape artists knowthat there are certain tech-niques that work. Five "spacetricks" that students can tryout for themselves aredescribed in this Art to Zoo:

1. A winding path.A path or river that windsthrough the landscape fromforeground to backgroundcan make us believe that thepicture describes a deepspace.

2. Changes in size.

A tree that is close to usappears much larger than atree of the same size that isfar away.

3. Overlap.A boulder that is close to usoverlaps and partially hides amuch larger cliff behind it.

4. Changes in clarity.

A distant mountain rangeappears more hazy and lessdistinct than a mountain thatis closer.

5. Diagonal composition.Land that moves away fromus on the diagonal appears tomove back into space.

George Catlin. ThomasMoran. Albert Bierstadt, andWinslow Homer were fourAmerican artists who usedthese techniques well. Theirultimate purpose was not somuch to impress us withtheir ability to fool our eyesbut to create pictures thatportray the great size andsplendor of the Americanlandscape.

Catlin, Moran, andBierstadt were artist/explor-ers who were lured west bythe raw power of unexploredrivers, mountains, andcanyons. They joined geolog-ical and surveying expedi-tions into our nation's then-unexplored territories, mak-ing a visual record of theland with their paintings.Homer, on the other hand.preferred the East; his pas-sion was the rocky Atlantic

seacoast of Maine. All fourpainters helped Americanssee and love their land in atime when photography wasstill in its infancy and travelfilms did not exist. Todaytelevision floods us withimages, and we can easilytravel by car, train, or planeto whatever river, mountain.canyon, or seacoast we wishto visit. Yet the silent paint-ings of these artists stillspeak to us of the majestyof our land.

Through the study ofseveral works of art, thisissue of Art to Zoo exploresthe way that Americans feltabout their growing nationduring the period of west-ward expansion until the endof the nineteenth century. Itintroduces students to somebasic principles of landscapepainting and has them prac-tice geography skills to gainappreciation for the physicalcharacteristics of differentregions of the UnitedStates. All of the paintingsdiscussed in this issueare in the collections of theSmithsonian's NationalMuseum of American Art.

4 Art to Zoo Landscape Painting: Anists Who Love the Land hiarcWApril 1996

ABOUT THE ARTISTS

George CatlinGeorge Catlin was an east-erner who had been fascinat-ed with Native Americanssince boyhood. When hewas thirty-four years old, hedecided that painting picturesof Native Americans wouldbe far more interesting thanbeing a lawyer. So. in 1830he headed west. For sixyears. he moved from villageto village, using the MissouriRiver as a means of travel.He painted portraits of tribalchiefs and scenes of buffalohunts, dances, and otherNative American ceremonies.

Thomas MoranThomas Moran was aneastern artist who enjoyedgoing on geologicalexpeditions, although hewas not the rugged type.He joined an expedition tothe remote headwaters ofthe Yellowstone River inWyoming and, two yearslater, went to the GrandCanyon. which he sketchedmany times from an overlookcalled "Powell's Plateau."When he returned to hisstudio in the East. hecombined ideas from hissmall sketches to produceenormous paintings. Bythen he had established a finereputation as an artist, andhis glorious watercolors ofYellowstone had encouragedCongress in 1872 todesignate it as the nation'sfirst national park.

5

Albert BierstadtAlbert Bierstadt went toCalifornia in 1859 with aland-surveying team after thegold rush had aroused thecuriosity of the entire nation.At that time, easterners hadto learn about the magnifi-cent California wildernessfrom small black-and-whitephotographs brought homeby land surveyors. ButBierstadt was an artistwith a shrewd businesssense. He knew that ifhe produced impressive,panoramic "great pictures"of California, easternerswould pay money tosee them.

Winslow HomerIn 1893, Winslow Homer lefthis busy life in New Yorkand built a studio in an oldstable on the high shore ofProut's Neck in Maine, onlya few hundred feet from theocean. He loved walking onthe cliffs during fierce stormsto study the wa:. the surf didbattle with the rocks. Onmore pleasant days, he hadlittle interest in the water.When the ocean was calm,he thought it looked like"a duck pond."

LESSON PLANStep 1

VIEWS OF THE AMERICAN

WEST: TRUE OR FALSE?

ObjectivesTo understand that a

landscape painting may ormay not accurately representa specific place.

To identify techniquesthat create the illusion ofthree-dimensional space ona flat surface.

MaterialsCopies of Activity Pages

1AD.ill Pens or pencils.

Map of the westernUnited States.

SubjectsArt, geography. U.S. history

Procedure1. Give each student a

photocopy of Activity PagesIAC. which show threeviews of the American West.After they have studied theimages for a few minutes.ask students the followingquestions: Which paintingwas painted outdoors? Whichpainting was painted in anindoor studio from sketchesmade outdoors? Whichpainting was painted outsideof the United States?

2. Introduce students toRiver Bluffs, 1,320 Milesabove St. L,ouis by GeorgeCatlin on Activity Page IA.

A. Ask them to describethe painting, making surethat they notice the windingriver with occasional islands:the conical hills, or "bluffs";the Native American man:the scarcity of trees; the lackof buildings and roads: andthe wide-open sky.

B. Use a map of the west-ern United States to locatethe two-thousandmilestretch of the Missouri Riverbetween Fort Union, NorthDakota. and Saint Louis,Missouri. Estimate where1,320 miles above SaintLouis would be. Explainthat during the years beforetrains and cars were invent-ed, traveling by boat alongthe Missouri River was oneof the only ways to reach the

West. Indian villages.fur-trading posts, and fortswere built along its banks.

C. Refer to the "About theartists" section on page 4 tointroduce students to GeorgeCatlin. Have them readCatlin's description onActivity Page I A of how hepainted River Bluffs, 1.320Miles above St. Louis. Askthem what they can learnfrom his words that theymight not be able to seefrom the black-and-whitereproduction of his painting.

D. Read space trick 1to students:

SPACE TRICK 1

Catlin uses a winding river

to lead into space.

Ask students to put a fin-ger on the river at the lower

left corner of the picture.This part of the river, closestto the front, is in the fore-ground. Ask them to movetheir fingers along the riveruntil they reach the islands.This is the middleground.When they have moved theirfingers as far back as theycan go along the river, theyare in the background. Askstudents to run their fingersalong the bumpy line wherethe top of the bluffs meetsthe sky. This line, called thehorizon line, is the farthestpoint that the eye can see.

E. Read space trick 2 to

students:

SPACE TRICK 2

Catlin makes foregroundforms larger thanbackground forms.

Tell students to comparethe height of the bluffs in theforeground with the height oithe bluffs in the background.Explain that Catlin had tomake them different sizesto create the illusion ofdeep space. Ask students tomeasure the height of theman and then draw a secondperson exactly the same sizeon one of the islands in themiddle ground and on one ofthe bluffs on the horizon line.Discuss why the results areso comical.

3. Introduce The Chasmaf the Colorado by ThomasMoran on Activity Page 1B.

A. Ask students todescribe this place. makingsure that they notice the mas-sive rock cliffs, the smallpatch of grass (the only veg-etation), the mighty stormbreaking over part of thecanyon. and the steam risingbetween the rocks.

B. Use a map of the west-ern United States to locatethe Colorado River, whichcuts through the GrandCanyon in northern Arizona.

C. Use the "About theartists" section on page 4 tointroduce Thomas Moran.1.:xplain that, although he had

Art to Zoo Landscape Painting. Artists Who Love the Land March/April 1996 5

LESSON PLANStep 1 (continued)

never before spent much timein the outdoors, during hisfirst few expeditions hequickly became used totraveling by horse throughunknown territory. Askstudents if they have eversucceeded in doing some-thing for which they feltill-equipped at first.

D. Have students look atMoran's painting and readhis description of the GrandCanyon on Activity Page l B.Have them list words thatwould describe his view ofthe Grand Canyon.

E. Read space trick 3to students:

SPACE TRICK 3

Moran overlaps the rocks.

Ask students to put one oftheir hands in front of theother to see how the closerhand overlaps and partiallyhides the hand behind it.Explain that Moran arrangedrocks and cliffs in the sameway. The rocks that you seein full appear closest. Thosethat are partially obscuredappear farther back.

4. Introduce Among theSierra Nevada Mountains.CalifOrnia by AlbertBierstadt on ActivityPage IC.

A. Ask students to locatethe alpine peak. waterfall,herd of deer. and flock ofducks among the grasses inBierstadt's painting.

B. Use a map of the west-ern United States to locatethe Sierra Nevada Mountainsin eastern California. Theseare the highest and steepestmountains in the UnitedStates. They includeYosemite National Park.

C. Refer to the "About theartists" section on page 4 tointroduce Albert Bierstadt.Tell students two facts aboutAmong the Sierra NevadaMountains. California:

Although the scene looksextraordinarily realistic,nobody has ever found aplace in the Sierra Nevadasthat looks exactly like it.

Bierstadt paintedAmong the Sierra NevadaMountains. California whilehe was in Europe, nine yearsafter leaving California.

6 Art to Zoo Landscape Painting: Artists Who Love the Land Marrh/April /996

Ask students if they canexplain the first fact by thesecond. If they cannot. askthem to make a small sketchof an outdoor place they vis-ited a long time ago. Whenthey are finished, ask them todescribe what they remem-bered about the place. Pressthem for details, such as theexact shape of the tree or theprecise position of the sun. Ifthey are unable to rememberall the details, ask them howthey were able to draw theirpicture. When they admitthat they made up many ofthe details, tell them thatBierstadt did the same thing.

D. Tell students thatBierstadt also changed theshape of the Sierra NevadaMountains because he knewthat Americans wanted tothink that their native moun-tains were more majesticthan those of Europe. Giveeach student a photocopy ofActivity Page ID. Have themcompare these photographsof actual mountainsMountMatterhorn in the SwissAlps and the Sierra Nevadasin Californiawith themountains in Bierstadt'spainting (Activity Page IC).Have students guess whichmountains Bierstadt used asa model for the highestsnow-covered peak in hispainting. Ask them if they

approve of Bierstadt'smethod of combining andmanipulating sketches frommany locations to compose ascene that looks realistic.

E. Read space trick 4to students:

SPACE TRICK 4

Bierstadt makes thedistant mountains hazyand indistinct.

Ask students to use theirfingers to trace the outline ofthe cliff on the left side ofthe painting. Then ask themto use their fingers to tracethe outline of the mostdistant mountain they canfind in the picture. Ask themwhy Bierstadt made theoutline of the closer cliffso much clearer than theoutline of the distant moun-tain. Explain that when weare outdoors, the atmospherebetween our eye and adistant mountain (not tomention the imperfectionsof human vision) makes itsoutline appear less distinct.

ACTIVITY PAGE 1A

4111ffirk

A-kit"'" '

George Catlin. River Bluffs.1.320 Miles above St. Louis

I !I. ...ow -

In the artist's words: "I took my easel and canvas and brushes tothe top of the bluff, and painted two views from the same spot.These hills [were' five or six hundred feet hi.(2h and every foot ofthem, as far as they can he discovered in distance, covered with a

vivid green turf. From this enchanting spot there was nothing toarrest the eye from ranging over I the Missouri's waters for thedistance of twenty or thirty miles.-

William H. Truettner. ne Natural Man Observed: A Study of Catlin's Indian Gallery(Washington. D.C.: Smithsonian Institution Press. 1979). p. 247.

8 Art to Zoo Landscape Painting: Artists Who Love the Land Marrh/April 1996 7

ACTIVITY PAGE 1B

41'

A

IP)

Thomas MoranThe Chasm of the Colorado

BEST COPY AVAILABLE

8 Art to Zoo Landscape Painting: Artists Who Love the Land March/April I9A/5

47/1"71P-PL716'-t

.

-

In the artist's words: "I was completelycarried away by its Ithe Grand Canyon's]magnificence. I will not attempt to sayanything about it as no words can expressthe faintest notion of it.-

Ron Tyler. Visions qffl,neriea: Pioneer Artists in a New

Land (New York: Thames and Hudson, 1983), p. 58.

ACTIVITY PAGE iC

Albert BierstadtAmong the Sierra NevadaMountains, California

% , 0^ .

-

-

-, -. Tr :,e,,5,

e '

:ert.`ttr

-,

....L.=

JEST COPY AVAILABLE

4

Ad to Zoo Landscape Painting: Artists Who Love the Land Marrh/April 1996 9

ACTIVITY PAGE 1D

Mount Matterhorn.southern Switzerland

Ansel AdamsYosemite Valley, winter.

from Inspiration Point

_3111PIP`P .

10 .,-

4.0.2111144e

;1"..7...,gr,

4

; 4seitimakt

=.7 .

dEST COPY AVAILABLE

10 Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996

roW-

,

tv-merr-

LESSON PLANStep 2

THE ROCKY SHORE

ObjectivesTo compare a realistic

landscape painting with aphotograph of the sameplace.

To use space tricks tocreate a landscape painting.

MaterialsCopies (1. Activity Page 2.

II Map of Maine.Take-Home Page.

SubjectsArt. geography

Procedure

I. Introduce Wins lov,

Homer', High Cliff Coast ofMaine by giving each studenta photocopy of Activity Page2. Ask students to describethe cliff that slopes down tomeet the ocean. Is it smoothor rough? How steep is it? Ifthey went for a walk on thelower part of this cliff, wouldthey want to wear shoes?

2. Use a map of Maine topoint out Prout's Neck, arocky peninsula jutting outinto the Atlantic Ocean justsouth of Portland. High Cliff,the subject of Homer's paint-ing. is the steepest rock wallon Prout's Neck. Duringstorms, the waves crash upagainst it.

3. Use the "About theartists- section on page 4 totell students about WinslowHomer. Ask them to imaginethat they are standing closeenough to the bottom of thepainting to get their feet wet.How long would it take themto walk to the top of thepainting? Make sure thqlook closely at the upperright-hand cornerthey willfind a surprising clue.

4. Have students readHomer's words below hispainting on Activity Page 2.Ask them how the artisticmethods of Homer differfrom those of Bierstadt. Toextend the activity, havestudents stage a mock debatebetween the two artists to

t2

argue the advantages anddisadvantages ot' composinglandscape paintines indoorsand outdoors.

5. Ask them to compareHomer's painting of HighCliff with a 1938 photouraphof High Cliff taken from thesame point of view. Discussthe weather in each picture.What was it like on the dayHomer made his painting?What was it like on the daythe photograph was taken?Ask students how Homer'spainting emphasizes the waythat the sea and land cut intoeach other.

6. Have students lookfor a horizon line in thephotograph and in Homer'spainting. Discuss how theartist's elimination of ahorizon line allows him tofit in more of the roughocean. Read space trick 5to students:

SPACE TRICK 5

Homer makes the scene

appear to stretch far backinto space by using adiagonal line betweenland and sea.

Ask students to imaginethe line separating land andsea as horizontal instead ofdiagonal. How far backwould the land take them?If the land were horizontal.would the three figures looklike full-sized people orsmall dolls?

7. Hand out copies of theTake-Home Page and tell stu-dents that they will each 'lecreating their own interpreta-tion of the scene on that pageas homework or in class.First, have them imaginewalking around in the photo-giaph. asking themselves thefollowine questions: Wherewould I go first'? Is the landhilly or flat'? What is growingin this place? What is theweather like? Does anythingabout this place puzzle orsurprise me? Remind stu-dents of the five space tricksthat landscape artists use.Have them try to incorporatethese tricks into their owninterpretation of the picture.

8. In class, discuss andcompare students' interpreta-tions. Refer to the Nast printon the cover, which showshow every artist sees alandscape from his or herown point of view.

Art to Zoo Landscape Paint,Ig: Arosn; Who Love the Land ManVApul /90 11

ACTIVITY PAGE 2

, .

411!

0

.;.t"

-

s

*be.

1

BEST COPY AVAILABLE

12 Art to Zoo Landscape Painting: Artists Who Ltr,e the Land March/April /9%

Philip C. Beam, High CliffProut's Neck

Winslow Homer, High CliffCoast of Maine

In the artist's words:"I prefer . . .

a picture composedand painted outdoors.This making studiesand then taking themhome to use them isonly half right. Youget composition butyou lose freshness."

Lloyd Goodrich, WinslowHomer (New York: TheWhitney Museum ofAmerican Art, 1973), p. 28.

TAKE-HOME PAGEYou're the Artist

To the teacher

III Duplicate this pagefor students.

Use with LessonPlan Step 2.

Publication of Art to Zoo ismade possible through the

generous support of thePacific Mutual Foundation.

Directions: Make a landscape based on the photograph on this page. As thelandscape artist, you can use colored pencils, markers, crayons, paints, piecesof cloth, or colored paper. Try to use some of the techniques used by GeorgeCatlin, Thomas Moran, Albert Bierstadt, Winslow Homer, or other landscapeartists you like.

yo- A Aral-yr_

-'

Ay. .1.4.

4y. %h..:4

,

Cumberland Island,CLorgia

,.1 -4ekrwa

.111111.OP

14

. *-4.1...Vs4, .z.`i- ...,

:5...':,

,vir-fet .

BEST COPY AVAILABLE

Alt to Zoo Landsca Paintin : Artists Who Love t

TRABAJO PARARACER EN LA CASATu Eres el o la Paisajista

Al maestro la)Copie esta pagina para

los alumnos.Usela con el segundo

paso del plan de la lecciOn.

Esta publicación ha sido

posible Qracias al generoso

aporte de la PacificMutual Foundation.

Instrucciones: Haz un paisaje basado en la fotograffa que yes. Como paisajista.

puedes usar liipices de colores, marcadores. pinturas, pedacitos de papel de colores

o retazos de telas. Trata de usar algunas de las técnicas artisticas que usaron los

paisajistas George Catlin. Thomas Moran. Albert Bierstadt. Winslow Homer u otros

que te gusten.

stelC"

.

" tt" e

- e

,

,

ti, 'Abms y

-All't11' A4 AA_

No.

Cumberland Island.Georgia

BEST COPY AVAILABLE 15

ta Art te Zoe Landscane Paintine: Artists Who Love the Land March/Apri1 1996

RESOURCES

BOOKS

The artists and their work

Anderson, Nancy K., andLinda S. Ferber. AlbertBierstadt: Art andEnterprise. New York:Hudson Hills Press inassociation with theBrooklyn Museum, 1990.

Beam, Philip C., Lois HomerGraham, Patricia Junker,David Tatham, and JohnWilmerding. Winslow Homerin the 1890s: Prow's NeckObserved. New York:Hudson Hills Press, 1990.

Flexner, James Thomas.The World of WinslowHomer. New York: Time,Incorporated, 1966.

Kloss, William. Treasuresfrom the National Museum ofAmerican Art. Washington,D.C.: Smithsonian InstitutionPress, 1985.

Landscape painting

Gussow, Alan. A Sense ofPlace: The Artist and theAmerican Land. New York:Seabury Press, 1971.

Trenton, Patricia, and PeterH. Hassorick. The RockyMountains: A Vision forArtists in the NineteenthCentury. Norman: Universityof Oklahoma Press, 1983.

TEACHER RESOURCES

Lewis, Tony, and ThomasGoehner. Land andLandscape: Views ofAmerica's History andCulture. National Museum ofAmerican Art, SmithsonianInstitution, 1994. This studyguide is included in themuseum's media-basedresource kit, which alsocontains a video and work-book. Distributor: CrystalProductions, 1812 JohnsDrive, P.O. Box 2159,Glenview, IL 60025-6159;telephone: (800) 255-8629.

ELECTRONIC RESOURCES

Visitors to the NationalMuseum of AmericanArt's home page can viewselections from thepermanent collection aswell as highlights oftemporary exhibitions athttp://www.nmaa.si.edu/artdir/treasures.html.

The University of NorthCarolina at Chapel Hill'sSunSITE features aWeb Museum with imagesof hundreds of famouspaintings. The home page, athttp://sunsite.unc.edu/wm-paintl, includes a glossary ofpainting terminology as wellas an index of painters andperiods, from thirteenth-century Gothic painting totwentieth-century pop art.

The University of MontanaMuseum of Fine Arts homepage, http://www.umt.edu/partv/famus/painting.htm,features a variety of periodpaintings by artists fromacross the United States.

Note: Because of the rapidlyevolving nature of theInternet, it is possible thatthe uniform resource locators(URLs) above may havechanged since publication.

PHOTOGRAPHS

Covet:Thomas Nast. The Artist inthe Mountains.

Page 7:George Catlin. River Bluffs.!,320 Miles above St. Louis.National Museum ofAmerican Art, SmithsonianInstitution. Gift of Mrs.Joseph Harrison, Jr.

Page 8:Thomas Moran. The Chasmof the Colorado. NationalMuseum of American Art,Smithsonian Institution.Lent by the U.S. Departmentof the Interior, Office of theSecretary.

Page 9:Albert Bierstadt. Among theSierra Nevada Mountains,C'alifornia. NationalMuseum of American Art,Smithsonian Institution.Bequest of Helen HuntingtonHull, granddaughter ofWilliam Brown Dinsmore,who acquired the paintingin 1873 for "The Locusts."the family estate in DutchessCounty. New York.

Page 10:Mount Matterhorn, southernSwitzerland.

Photograph by Ansel Adams.Copyright © 1995 by theTrustees of the Ansel AdamsPublishing Rights Trust. Allrights reserved.

Page 12:Philip C. Beam. High CliffProut's Neck. Figure 42 inBeam, Philip C. WinslowHomer at Prow's Neck.Boston: Little, Brown andCompany, 1966.

Winslow Homer. High CliffCoast of Maine. NationalMuseum of American Art,Smithsonian Institution. Giftof William T. Evans.

Page 13:Saint Mary's, CumberlandIsland, Georgia, home page,http://www.gacoast.com/navigator/stmarys.html

ACKNOWLEDGMENTS

Nora PanzerNational Museum ofAmerican ArtSmithsonian Institution

ART TO ZOO

Art to Zoo is a publicationof the Office of Elementaryand Secondary Education,Smithsonian Institution,Washington, DC 20560.

WriterLinda Andre

EditorDouglas Casey

TranslatorSuite Rodriguez

DesignKarlic Design Associates, LLCBaltimore, Maryland

Publications flirectorMichelle Knovic Smith

ART TO ZOO ONLINE

This publication is availableelectronically through theInternet via anonymous ftpto educate.si.edu. Followthe path pub/publications_for_teachers/art-to-zoo.Reccnt issues and supple-mentary materials areoffered in hypertext formatvia the World Wide Web athttp:lleducate.si.edu/art-to-zoo/azindex.htm.Current and back issues(starting with spnng 1993)arc also available throughAmerica Online (keywordSMITHSONIAN).

Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996 15

SUBSCRIBE TOArt to Zoo

For a free subscription to Art to Zoo, make a copy of this form and send it to Smithsonian Office of

Elementary and Secondary Education / Art to Zoo, Arts and Industries Building 1163, MRC 402,

Washington. DC 20560. Please pi-iat clearly.

Name

Address

ZIP

DirectionsPrint clearly and include your ZIP code. Check ONE of the following boxes:

This is my school (or other organization) address. This is my home address.

SMITHSONIANOffice of Elementary and Secondary

VE4cation

Arts and Industries Building 1163MRC 402Washington. DC 20560

Official BusinessPenalty.* Private Use, $300

150.846;996

Smithsonian

Bulk RatePostage and Fees PaidSmithsonian InstitutionG-94

17

04054 4 012EPICINDIANA UNI VERS I T YSOCIAL STUDIES DEVELOPMENT CENTER'....,BLOOMINGTON, IN 47408-269d