Pytania

1. Impresjonizm - wyjaśnij pochodzenie nazwy
2. Podaj 5 cech charakterystycznych dla impresjonizmu
3. Zdefiniuj post-impresjonizm
4. Pointylizm - wyjaśnijj pojęcie
5. Podaj nazwiska 2 przedstawicieli impresjonizmu.
6. Podaj nazwiska 2 przedstawicieli postimpresjonizmu.
7. Opisz obraz 5-10 zdań
8. Namaluj obrazy w stylu impresjonistycznym i z zastosowaniem techniki pointylizmu. Oba obrazy powinny nosić tytuł "Słońce". Napisz krótkie notatki - w jaki sposób uzyskałeś efekt malarstwa  impresjonistycznego i pointylistycznego. Jakich narzędzi użyłeś, jakich materiałów, jakie techniki. Czy uważasz, że osiągnąłeś zamierzony cel? (NIE/TAK - DLACZEGO)

Obraz do opisania

 

Claude Monet
Lady with a Parasol, 1886, , Louvre, Paris
Oil on canvas



/autor, tytuł, data powstania, miejsce gdzie się znajduje aktualnie, technika, styl, tematyka, kompozycja, światło, kolorystyka, refleksje własne/ 5-10 zdań. /

Impressionism

 

"Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct."

 

Impressionism can be considered the first distinctly modern movement in painting. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Its originators were artists who rejected the official, government-sanctioned exhibitions, or salons, and were consequently shunned by powerful academic art institutions. In turning away from the fine finish and detail to which most artists of their day aspired, the Impressionists aimed to capture the momentary, sensory effect of a scene - the impression objects made on the eye in a fleeting instant. To achieve this effect, many Impressionist artists moved from the studio to the streets and countryside, painting en plein air.Impressionism was a style of representational art that did not necessarily rely on realistic depictions. Scientific thought at the time was beginning to recognize that what the eye perceived and what the brain understood were two different things. The Impressionists sought to capture the former - the optical effects of light - to convey the passage of time, changes in weather, and other shifts in the atmosphere in their canvases.

The Impressionists loosened their brushwork and lightened their palettes to include pure, intense colors. They abandoned traditional linear perspective and avoided the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality.

Impressionism records the effects of the massive mid-nineteenth-century renovation of Paris led by civic planner Georges-Eugène Haussmann, which included the city's newly constructed railway stations; wide, tree-lined boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment buildings. Often focusing on scenes of public leisure - especially scenes of cafes and cabarets - the Impressionists conveyed the new sense of alienation experienced by the inhabitants of the first modern metropolis.

Édouard Manet was the most important and influential artist to have heeded poet Charles Baudelaire's call to artists to become painters of modern life. Manet had an upper-class upbringing, but also led a bohemian life, and was driven to scandalize the French Salon public with his disregard for academic conventions and his strikingly modern images of urban life. He has long been associated with the Impressionists; he was certainly an important influence on them and he learned much from them himself. However, in recent years critics have acknowledged that he also learned from the Realism and Naturalism of his French contemporaries, and even from seventeenth century Spanish painting. This twin interest in Old Masters and contemporary Realism gave him the crucial foundation for his revolutionary approach.

Manet's modernity lies above all in his eagerness to update older genres of painting by injecting new content or by altering the conventional elements. He did so with an acute sensitivity to historical tradition and contemporary reality. This was also undoubtedly the root cause of many of the scandals he provoked.

He is credited with popularizing the technique of alla prima painting. Rather than build up colors in layers, Manet would immediately lay down the hue that most closely matched the final effect he sought. The approach came to be used widely by the Impressionists, who found it perfectly suited to the pressures of capturing effects of light and atmosphere whilst painting outdoors.

His loose handling of paint, and his schematic rendering of volumes, led to areas of "flatness" in his pictures. In the artist's day, this flatness may have suggested popular posters or the artifice of painting - as opposed to its realism. Today, critics see this quality as the first example of "flatness" in modern art.

Olympia, 1863, , Musee d'Orsay
Oil on canvas




A Bar at the Folies-Bergere, 1881-82, , The Courtauld Institute Galleries, London
Oil on canvas

Claude Monet was among the leaders of the French Impressionist movement of the 1870s and 1880s. His 1873 painting Impression, Sunrise gave the style its name, and as an inspirational talent and a personality, he was crucial in bringing its adherents together. Inspired in the 1860s by the Realists' interest in painting in the open air, Monet would later bring the technique to one of its most famous pinnacles with his so-called series paintings, in which his observations of the same subject, viewed at various times of the day, were captured in numerous sequences of paintings. Masterful as a colorist and as a painter of light and atmosphere, his later work often achieved a remarkable degree of abstraction, and this has recommended him to subsequent generations of abstract painters.

Monet's early work is indebted to the Realists' interests in depicting contemporary subject matter, without idealization, and in painting outdoors in order to capture the fleeting qualities of nature.

Inspired in part by Edouard Manet, Monet gradually began to develop a distinctive style of his own in the late 1860s. He departed from the clear depiction of forms and linear perspective, which were prescribed by the established art of the time, and he experimented with loose handling, bold color, and strikingly unconventional compositions. The emphasis in his pictures shifted from figures to the qualities of light and the atmosphere in the scene, and, as he matured, he became ever more attentive to light and color.

In his later years, Monet also became increasingly sensitive to the decorative qualities of color and form. He began to apply paint in smaller strokes, building it up in broad fields of color, and, in the 1880s, he began to explore the possibilities of a decorative paint surface and harmonies and contrasts of color. The effects that he achieved, particularly in the series paintings of the 1890s, represent a remarkable advance towards abstraction and towards a modern painting focused purely on surface effects.

An inspiration and a leader among the Impressionists, he was crucial in attracting Pierre-Auguste Renoir, Alfred Sisley, Edouard Manet and Camille Pissarro to work alongside each other in the Parisian suburb of Argenteuil in the 1870s. He was also important in establishing the exhibition society that would showcase the group's work between 1874 and 1886.

Lady with a Parasol, 1886, , Louvre, Paris
Oil on canvas




Water Lilies, 1916, , The National Museum of Western Art, Tokyo
Oil on canvas

 http://www.theartstory.org/artist-monet-claude.htm

Post-Impressionism

Post-Impressionism 

Post-Impressionism encompasses a wide range of distinct artistic styles that all share the common motivation of responding to the opticality of the Impressionist movement. The stylistic variations assembled under the general banner of Post-Impressionism range from the scientifically oriented Neo-Impressionism of Georges Seurat to the lush Symbolism of Paul Gauguin, but all concentrated on the subjective vision of the artist. The movement ushered in an era during which painting transcended its traditional role as a window onto the world and instead became a window into the artist's mind and soul. The far-reaching aesthetic impact of the Post-Impressionists influenced groups that arose during the turn of the twentieth century, like the Expressionists, as well as more contemporary movements, like the identity-related Feminist Art.

Symbolic and highly personal meanings were particularly important to Post-Impressionists such as Paul Gauguin and Vincent van Gogh. Rejecting interest in depicting the observed world, they instead looked to their memories and emotions in order to connect with the viewer on a deeper level.

Structure, order, and the optical effects of color dominated the aesthetic vision of Post-Impressionists like Paul Cézanne, Georges Seurat, and Paul Signac. Rather than merely represent their surroundings, they relied upon the interrelations of color and shape to describe the world around them.

Despite the various individualized styles, most Post-Impressionists focused on abstract form and pattern in the application of paint to the surface of the canvas. Their early leanings toward abstraction paved the way for the radical modernist exploration of abstraction that took place in the early twentieth century.

Critics grouped the various styles within Post-Impressionism into two general, opposing stylistic trends - on one side was the structured, or geometric style that was the precursor to Cubism, while on the other side was the expressive, or non-geometric art that led to Abstract Expressionism.

 http://www.theartstory.org/movement-post-impressionism.htm

 Paul Cézanne

Paul Cézanne was the preeminent French artist of the Post-Impressionist era, widely appreciated toward the end of his life for insisting that painting stay in touch with its material, if not virtually sculptural origins. Also known as the "Master of Aix" after his ancestral home in the South of France, Cézanne is credited with paving the way for the emergence of modern art, both visually and conceptually. In retrospect, his work constitutes the most powerful and essential link between the ephemeral aspects of Impressionism and the more materialist, early twentieth century artistic movements of Fauvism, Cubism, Expressionism, and even complete abstraction.

Cézanne ultimately came to regard color, line, and "form" as constituting one and the same thing, or inseparable aspects for describing how the human eye actually experiences Nature.

Unsatisfied with the Impressionist dictum that painting is primarily a reflection of visual perception, Cézanne sought to make of his artistic practice a new kind of analytical discipline. In his hands, the canvas itself takes on the role of a screen where an artist's visual sensations are registered as he gazes intensely, and often repeatedly, at a given subject.

Cézanne applied his pigments to the canvas in a series of discrete, methodical brushstrokes, indeed as though he were "constructing" a picture rather than "painting" it, thus remaining true to an underlying architectural ideal: every portion of the canvas should contribute to its overall structural integrity.

In Cézanne's mature pictures, even a simple apple might display a distinctly sculptural dimension. It is as if each item of still life, landscape, or portrait had been examined not from one but several or more angles, its material properties then recombined by the artist as no mere copy, but as what Cézanne called "a harmony parallel to nature." It was this aspect of Cézanne's analytical, time-based practice that led the future Cubists to regard him their true mentor. 

  

Louis-Auguste Cézanne, the Artist's father, Reading "L'Evenement", 1866, , The National Gallery of Art, Washington, D.C.
Oil on canvas

 Table, Napkin, and Fruit (A Corner of the Table), 1895-1900, , The Barnes Foundation, Pennsylvania
Oil on canvas, 47 x 56 cm (18 1/4 x 22 in)

http://www.theartstory.org/artist-cezanne-paul.htm

Vincent Van Gogh 

"Instead of trying to reproduce exactly what I see before me, I make more arbitrary use of color to express myself more forcefully."

The iconic tortured artist, Vincent Van Gogh strove to convey his emotional and spiritual state in each of his artworks. Although he sold only one painting during his lifetime, Van Gogh is now one of the most popular artists of all time. His canvases with densely laden, visible brushstrokes rendered in a bright, opulent palette emphasize Van Gogh's personal expression brought to life in paint. Each painting provides a direct sense of how the artist viewed each scene, interpreted through his eyes, mind, and heart. This radically idiosyncratic, emotionally evocative style has continued to affect artists and movements throughout the twentieth century and up to the present day, guaranteeing Van Gogh's importance far into the future.

Van Gogh's dedication to articulating the inner spirituality of man and nature led to a fusion of style and content that resulted in dramatic, imaginative, rhythmic, and emotional canvases that convey far more than the mere appearance of the subject.

Although the source of much upset during his life, Van Gogh's mental instability provided the frenzied source for the emotional renderings of his surroundings and imbued each image with a deeper psychological reflection and resonance.

Van Gogh's unstable personal temperament became synonymous with the romantic image of the tortured artist. His self-destructive talent that was echoed in the lives of many artists in the twentieth century.

Van Gogh used an impulsive, gestural application of paint and symbolic colors to express subjective emotions. These methods and practice came to define many subsequent modern movements from Fauvism to Abstract Expressionism.



Self-Portrait with Bandaged Ear, 1889, Vincent van Gogh, Courtauld Institute Galleries, London
Oil on canvas

The Bedroom, 1889, Vincent van Gogh, Van Gogh Museum, Amsterdam
Oil on canvas

http://www.theartstory.org/artist-van-gogh-vincent.htm

"I am trying to put into these desolate figures the savagery that I see in them and which is in me too... Dammit, I want to consult nature as well but I don't want to leave out what I see there and what comes into my mind."

 

Paul Gauguin is one of the most significant French artists to be initially schooled in Impressionism, but who broke away from its fascination with the everyday world to pioneer a new style of painting broadly referred to as Symbolism. As the Impressionist movement was culminating in the late 1880s, Gauguin experimented with new color theories and semi-decorative approaches to painting. He famously worked one summer in an intensely colorful style alongside Vincent Van Gogh in the south of France, before turning his back entirely on Western society. He had already abandoned a former life as a stockbroker by the time he began traveling regularly to the south Pacific in the early 1890s, where he developed a new style that married everyday observation with mystical symbolism, a style strongly influenced by the popular, so-called "primitive" arts of Africa, Asia, and French Polynesia. Gauguin's rejection of his European family, society, and the Paris art world for a life apart, in the land of the "Other," has come to serve as a romantic example of the artist-as-wandering-mystic.

After mastering Impressionist methods for depicting the optical experience of nature, Gauguin studied religious communities in rural Brittany and various landscapes in the Caribbean, while also educating himself in the latest French ideas on the subject of painting and color theory (the latter much influenced by recent scientific study into the various, unstable processes of visual perception). This background contributed to Gauguin's gradual development of a new kind of "synthetic" painting, one that functions as a symbolic, rather than a merely documentary, or mirror-like, reflection of reality.

Seeking the kind of direct relationship to the natural world that he witnessed in various communities of French Polynesia and other non-western cultures, Gauguin treated his painting as a philosophical meditation on the ultimate meaning of human existence, as well as the possibility of religious fulfillment and answers on how to live closer to nature.

Gauguin was one of the key participants during the last decades of the 19th century in a European cultural movement that has since come to be referred to as Primitivism. The term denotes the Western fascination for less industrially-developed cultures, and the romantic notion that non-Western people might be more genuinely spiritual, or closer in touch with elemental forces of the cosmos, than their comparatively "artificial" European and American counterparts.

Once he had virtually abandoned his wife, his four children, and the entire art world of Europe, Gauguin's name and work became synonymous, as they remain to this day, with the idea of ultimate artistic freedom, or the complete liberation of the creative individual from one's original cultural moorings. 

 

Two Tahitian Women, 1899, , Metropolitan Museum of Art, New York, NY
Oil on canvas  

Manao Tupapau (The Spirit of the Dead Keeps Watch), 1892, , The Albright-Knox Art Gallery, Buffalo, NY
Oil on canvas

http://www.theartstory.org/artist-gauguin-paul.htm

 Georges Seurat

Georges Seurat is chiefly remembered as the pioneer of the Neo-Impressionist technique commonly known as Divisionism, or Pointillism, an approach associated with a softly flickering surface of small dots or strokes of color. His innovations derived from new quasi-scientific theories about color and expression, yet the graceful beauty of his work is explained by the influence of very different sources. Initially, he believed that great modern art would show contemporary life in ways similar to classical art, except that it would use technologically informed techniques. Later he grew more interested in Gothic art and popular posters, and the influence of these on his work make it some of the first modern art to make use of such unconventional sources for expression. His success quickly propelled him to the forefront of the Parisian avant-garde. His triumph was short-lived, as after barely a decade of mature work he died at the age of only 31. But his innovations would be highly influential, shaping the work of artists as diverse as Vincent Van Gogh and the Italian Futurists, while pictures like Sunday Afternoon on the Island of La Grand Jatte (1884) have since become widely popular icons.

Seurat was inspired by a desire to abandon Impressionism's preoccupation with the fleeting moment, and instead to render what he regarded as the essential and unchanging in life. Nevertheless, he borrowed many of his approaches from Impressionism, from his love of modern subject matter and scenes of urban leisure, to his desire to avoid depicting only the 'local', or apparent, color of depicted objects, and instead to try to capture all the colors that interacted to produce their appearance.

Seurat was fascinated by a range of scientific ideas about color, form and expression. He believed that lines tending in certain directions, and colors of a particular warmth or coolness, could have particular expressive effects. He also pursued the discovery that contrasting or complementary colors can optically mix to yield far more vivid tones that can be achieved by mixing paint alone. He called the technique he developed 'chromo-luminism', though it is better known as Divisionism (after the method of separating local color into separate dots), or Pointillism (after the tiny strokes of paint that were crucial to achieve the flickering effects of his surfaces).

Although radical in his techniques, Seurat's initial instincts were conservative and classical when it came to style. He saw himself in the tradition of great Salon painters, and thought of the figures in his major pictures almost as if they were figures in monumental classical reliefs, though the subject matter - the different urban leisure pursuits of the bourgeois and the working class - was fully modern, and typically Impressionist.

In Seurat's later work he left behind the calm, stately classicism of early pictures like Bathers at Asnières, and pioneered a more dynamic and stylized approach that was influenced by sources such as caricatures and popular posters. These brought a powerful new expressiveness to his work, and, much later, led him to be acclaimed by the Surrealists as an eccentric and a maverick. 

 Sunday Afternoon on the Island of La Grand Jatte, 1884-86, , Art Institute of Chicago
Oil on canvas 

 

La Seine à la Grande-Jatte, 1888, , Royal Museums of Fine Arts of Belgium, Brussels
Oil on canvas  

Young Woman Powdering Herself, 1888-1890, , The Courtauld Institute of Art, London
Oil on canvas

http://www.theartstory.org/artist-seurat-georges.htm

Pointillism is a mode of art-making, first developed in 1880s France, in which all of the paint is applied to the surface as tiny points or daubs of color. Based on the laws of color theory, pointillism relies on the viewer's eye to mix the disparate dots into the lines, shapes, shadings, and color ranges of the full scene.

obraz do analizy

Widok Warszawy od strony Pragi, 1770
(Olej na płótnie)


Bernardo Bellotto (Canaletto)
ur. 30 stycznia 1721 w Wenecji, zm. 17 listopada 1780 w Warszawie



 

Analiza obrazu...

Wstępna analiza obrazu

Autor obrazu, tytuł obrazu, czas powstania obrazu

to podstawowe informacje.

Epoka, nurt artystyczny

warto na nie zwrócić uwagę, .

Miejsce w dorobku artystycznym malarza

(wczesna twórczość, dojrzała, późna twórczość)

Wymiary obrazu

(wysokość, szerokość)

Technika malarska

akwarela, al secco, collage, enkaustyka, fresk, graffiti, gwasz, malarstwo akrylowe, malarstwo, kredkami, malarstwo na szkle, malarstwo olejne, malarstwo temperowe, polichromia, sgraffito, witraż

Temat obrazu

akt, malarstwo abstrakcyjne, malarstwo historyczne (odmiana: batalistyczne), malarstwo marynistyczne, malarstwo pejzażowe (krajobrazowe) (odmiana: nokturn, weduta), malarstwo portretowe, malarstwo religijne (odmiana: malarstwo mitologiczne), malarstwo rodzajowe, martwa natura.

Miejsce, w którym obraz się znajduje (zwykle nazwa muzeum).

Właściwa analiza obrazu

Kompozycja

Zasady kompozycyjne

W malarstwie obowiązują trzy zasady: zasada równowagi, zasada symetrii, zasada rytmu. Rozważ, którą z nich stosuje, albo łamie malarz.

Typ kompozycji

Określ po prostu czy w obrazie występuje kompozycja otwarta, czy kompozycja zamknięta.

Ruch

Obraz może być statyczny lub dynamiczny. Rozważ czy została zastosowana w nim kompozycja statyczna, czy kompozycja dynamiczna.

Przestrzeń

Opisz postacie i relacje pomiędzy nimi.

Przedstaw najważniejsze elementy (przedmioty, obiekty) organizujące przestrzeń obrazu.

Określ relacje między detalem (gest, przedmiot, kształt) a tym, co ogólne (wymowa całości dzieła).

Głębia

Opisz pierwszy plan, drugi plan i dalszy plan.

Zanalizuj tło obrazu.

Przedstaw sposób ukazania głębi: układ rzędowy, układ kolisowy, perspektywa linearna, perspektywa powietrzna, perspektywa malarska

Paleta barw

Na wstępie określ czy masz przed sobą obraz, który można zaliczyć do malarstwa monochromatycznego, czy do malarstwa polichromatycznego.

Opisz jak wygląda kolorystyka obrazu, gama użytych barw (barwy podstawowe, barwy pochodne, barwy czyste, barwy dopełniające, barwy ciepłe, barwy zimne). Spróbuj określić ich wpływ na temat obrazu.

Światło

Ustal źródło światła w obrazie: (naturalne, sztuczne).

Przedstaw rodzaje świateł: bezpośrednie, odbite, mieszane.

Określ sposób rozprzestrzeniania się światła w obrazie (kierunkowe, rozproszone, kierunkowo rozproszone).

Opisz natężenie światła.

Odnajdź rolę i symbolikę światła.

Interpretacja obrazu

W interpretacji obrazu warto jeszcze uwzględnić:

nastrój, który panuje w obrazie, ale też nastrój, który obraz wywołuje w odbiorcy;

symbolika – czyli umowne znaczenia, przedmiotów, gestów, układów elementów obrazu

ekspresja – w jaki sposób w obrazie oddaje się emocje, jak bardzo są one ukazywane;Spróbuj również opisać zachodzące w obrazie relacje pomiędzy poszczególnymi płaszczyznami analizy obrazu.


http://język-polski.pl/325/1530-mikolaj-sep-szarzynski

Wykonaj plakat informacyjny dotyczący Twojej prezentacji

Personal Project.

Już za kilka tygodni odbędzie się Twoja prezentacja Personal Project. Nie ważne co było Twoim tematem pracy! Ważne jest to, że włożyłeś w to całe swoje serce i mnóstwo czasu.

Oprócz krótkiej prezentacji, Twoim zadaniem jest zaaranżowanie nietypowego stanowiska, gdzie będziesz miał możliwość wizualnie zaprezentować swój produkt, pomysł, swoją pasję.

Głównym elementem tego stanowiska ma być plakat. To jest Twoje zadanie na Visual Arts! Stworzyć plakat, który przyciągnie  widzów, który poinformuje o temacie Twojej pracy i o jej autorze...

INVESTIGATION

• Co jest Twoim zadaniem?
• Opisz AofI z którym łączy się zadanie. Opisz dlaczego
• Co to jest plakat informacyjny?
• Jakie powinien zawierać elementy?
• Jakich elementów nie powinien zawierać?
• Jaka jest rola plakatu?
• Jakie kolory warto używać?
• Jak skomponować pracę?
•  Co oznacza „charakter artystyczny”
• Jaki element graficzny najlepiej określi Twój PP?  (Twoje zdanie, zdanie kolegów)
• Wykonaj kilka szkiców elementu graficznego (różnych lub jednego w różnych wersjach jeśli jesteś zdecydowany). Zastanów się nad kolorem.
• Jakie liternictwo najlepiej zastosować? Jeśli chcesz zastosować litery drukowane, pamiętaj, aby się przygotować i przynieść wydruki z domu. To samo dotyczy innych elementów graficznych.
• W jakiej technice będziesz pracować, dlaczego?
• Opracuj plan działania. Jakich materiałów będziesz potrzebować, co może się przydać. Pamiętaj że na stworzenie pracy masz 3 godziny lekcyjne. Planuj pracę realnie.
• Wybierz kilka przykładów plakatu z bloga. Opisz je. (Twoja opinia na ich temat nie musi być koniecznie pozytywna)

UNIT 2 POSTER

UNIT2

Plakat informacyjny o charakterze artystycznym

(5 hours)

TASK:   Wykonaj plakat informacyjny dotyczący Twojej prezentacji Personal Project.

Już za kilka tygodni odbędzie się Twoja prezentacja Personal Project. Nie ważne co było Twoim tematem pracy, ważne, że włożyłeś w to całe swoje serce i mnóstwo czasu. Prezentacja to czas, kiedy możesz zaprezentować swoją wyjątkową pracę.

Oprócz krótkiej prezentacji, Twoim zadaniem jest zaaranżowanie nietypowego stanowiska, gdzie będziesz miał możliwość wizualnie zaprezentować swój produkt, pomysł, swoją pasję.

Głównym elementem tego stanowiska ma być plakat. To jest Twoje zadanie na Visual Arts! Stworzyć plakat, który przyciągnie  widzów, który poinformuje o temacie Twojej pracy i o jej autorze... 



  *******************************************************************************************************

Human ingenuity

• Why and how do we create?
• What are the consequences?

 *******************************************************************************************************

 

Inquirers    I can ask! I want to gain a lot of knowledge about the posters,
about the techniques and possibilities of its implementation.

Knowledgeable    Looking for information about posters. I know how I analyze a work of art.  

Communicators    I can talk about my creative work. Discuss about my work as well as the creative work of my friends. Well also discuss on the works of great artists.

Open-minded     I am open to other people. I want to know features of the appearance of people from other continents. I am open to other people's work.  I try to understand their art

Balanced    I take care of my development both in terms of knowledge
and imagination. I want to be smart and creative. 
 I want everything to be balanced.

Caring I try to think about others. I do not want to hurt them. I know that the work of art is a way of expressing my thoughts and feelings, and I know that using certain symbols and elements can offend someone's feelings. I try to make my art work had only good emotions.

Reflective I think about my own work. I can critically analyze it.
I try to think about the strengths and weaknesses of their work. Reflections I use in further action. I can draw conclusions

STEPS TO FOLLOW:

All steps are combined with information that you can find on the www.4myp.blogspot.com

1.  18 lutego - lekcja. Podczas zajęć dowiesz się na co zwrócić szczególną uwagę podczas projektowania plakatu. Jakie elementy sa niezbędne w tej formie informacji. Jakich elementów nie nalzeży używać. Na co zwracać uwagę.

Zastanów się nad tym, co może stanowić główny element Twojego plakatu, w jaki sposób zilustrować Twój PP przy pomocy środków artystycznych. Zapytaj kolegów.
Zastanów się się jaka technika będzie najodpowiedniejsza dla Twojej pracy. Masz do wyboru: malarstwo, rysunek (ołówek, tusz, pisaki, kredki), collage, techniki mieszane. Możesz użyć elementów grafiki komputerowej, jeżeli je przygotujesz i przyniesiesz na następne zajęcia.  Pamiętaj, aby wybrać taka technikę, która będzie najlepiej pasowała do tematu plakatu, ale również w której Ty się dobrze poruszasz.  
Wykonaj kilka szybkich szkiców. Pamiętaj o tym, że na tym etapie musisz zadecydować o materiałach, które będą Ci niezbędne na następnych zajęciach. Powinieneś się zastanowić nad głównym elementem graficznym, liternictwem, kompozycją.





  (CRIT.B)

2. At home, do some exercises. Draw elements of the face - nose, eyes, mouth, ears. Observe them from nature or from a photo. Do not draw from memory. Exercise can be measured in the bus or during a break between lessons. It will be quick sketches, in which the most important is the shape of the elements. (CRIT.B)

3. ( 17^th September) Bring a mirror. During lesson you will try to draw his face. Use a pencil or pen. Be sure to follow the proportions of the face and the shape of the elements. Draw a self-portrait is a very difficult task, so focus on it. Make it as best you can. It will be a very good exercise that will help you in your final product at a high level. Good luck :) (CRIT.B)

4. At home describe your self. Think the portrait done as well as you wanted? Do you have kept the proportions of your face? Is the shape of a face is right? What would you like to change? What elements need further exercise? What came out very well and you are satisfied? Is the character in the picture resembles you? Why? (why yes and why not)? What gave you this exercise - describe your thoughts. (CRIT.C)

5. ( 24th September & 1^st October) Bring to class pictures (newspaper / Internet) presenting portraits of three people from different continents. Try to draw these portraits in your workbook. Look out for characteristics of these people. Portraits do the various techniques / mixed media. Select the ones that you think are the most interesting, in every portrait, please use a different technique.  To perform this task, you have 2 VA lessons.

6. At home!

On our blog I presented a few self-portraits. Select 2 and describe them. They will help you with this challenge questions.

Always include both factual information in own words as well as personal opinion and observations.

Include images (color if possible) and text. 

Please fill at least 2 pages in your Workbook and remember to site site sources, consider presentation and visual look of your research. (CRIT.A)

Guiding questions to the editors of image description:

In the beginning ...
• Who was the artist, in which period he worked, do you know the origin of work
• What technique he applied
• What is the subject of the image (the image and the title), qualify for a particular kind of image that is curious about what you're interested in it, why you chose this picture?

DEVELOPED ...
• Is the image plane can be divided into parts (the planes) - what is the composition of an image (FIRST PLAN, SECOND PLAN, BACKGROUND ...)
• What kind of people are portrayed in the image, their role in the picture, what they do, what they look like (their dynamics, movement, gestures, facial expressions, clothing) - DESCRIPTION + INTERPRETATION

• What is the colors of the image (try to name the colors), what is the mood of the image
FINALLY ...
• Is the image you like, what could be the purpose of the image, which is its value- YOUR IMPRESSIONS
 (What does it make you think? Why do like/dislike the work? Why? Does it remind you of any-thing else? What does it make you wonder? What are you curious about?)

After describing the two selected images try to compare them. What they have in common? What's the difference?

7. At home. After finishing work on portraits describe them. How would you rate your works? Do you like the result? Why? Which technique do you think is the most interesting? Why? Or is there any technique that you saw at a friend and you like more? The technique that you feel best? Why? What similarities and what differences you observed In the illustrated persons. How you tried to show their differences in appearance? Describe your reflections.  (CRIT.C)

8. At school. In the last few weeks have collected a lot of experience with a man and a way how portray him. Tried different art techniques and you know who you think is the best to use in the main project. I am convinced that at this time you watched a more firmly different people who you met. I hope you were trying to look at each individually and not through the prism of the crowd.
Today's lesson is offered for your reflections about the experience gained. Think about how you can show yourself in the artwork. Who are you. What are your characteristics. What do you like, how you perceive others. Think about both your appearance and the internal characteristics. Describe it. Make design of their work. It may be small drawings. Think about the composition and the elements that are on your image. Think again of the techniques that we use in your creative work. Plan your work. Check out what materials are available at the studio, and what you should prepare and deliver. Your work should be done in mixed technique. Choose the most friendly ways to submit you on paper. J (CRIT.B) (CRIT.C)

9. At school. Create your own self-portrait.
* Time: 2 hours lesson
* Image Size A3 .
* Mixed
* in the image must appear YOUR face

Your work should be done aesthetically. Apply your knowledge when creating the image. Use your skills as best you can.
Enjoy! J (CRIT.B)

10. At home, make analysis of your work. Do an analysis of your image. What it shows what elements are used. What techniques did you use. Does the job do you like? Why? Would you like something in it \ change? What have you learned during the project? Which elements are most interesting, and that was not interesting? Do exercises help you create your work? Which task is right for you help? Describe your all reflections on the project. (at least one page). (CRIT.C)

APPROACHES TO LEARNING:

- (Information) The students will practice using the formal language of art in an artwork, practice using technical skills, and practice communicating through visual art.

- (Collaborative Skills) The students will work with others to evaluate the progress of their work.

- (Problem Solving and Thinking Skills)  The students will be given a design problem to solve while completing an artwork.

- (Critique/Reflection) The students will also develop their ability to evaluate and reflect on their work

- (Communication) The students will discuss what they have created/learned.

OTHER THE AREAS OF INTERACTION:

Human Ingenuity

The students will creating self portrait.

ASSESSMENT TASK/CRITERION:

Criterion A: Knowledge and understanding

Maximum: 8

The student is able to demonstrate excellent knowledge and understanding of the art form studied in relation to societal or cultural or historical or personal contexts. The student is able to demonstrate excellent knowledge and understanding of the elements of the art form studied. The student is able to communicate a well‑developed critical understanding of the art form studied, in the context of his or her own work.

Criterion B: Application

Maximum: 10

The student is able to elaborate an idea, a theme or a personal interpretation to a point of realization. There is evidence of purposeful expression and effective communication of artistic intentions. Skills and techniques are applied at a high level of proficiency. The student shows an excellent ability to apply the artistic processes involved in creating art.

Criterion C: Reflection and evaluation

Maximum: 8

The student reflects critically and in depth on his or her artistic development and processes at different stages of his or her work. The student carries out an excellent evaluation of his or her work. This shows a considered appraisal of the quality of work produced and details of improvements that could be made.

The student intentionally uses feedback in his or her artistic development, which shows an appropriate consideration of his or her artistic processes.

Criterion D: Personal engagement

Maximum: 8

The student shows excellent commitment in using his or her own artistic processes. The student actively demonstrates curiosity, self‑motivation, initiative and a willingness to take informed risks. The student actively supports, encourages and works with his or her peers in a positive way. The student is actively receptive to art practices and artworks from various cultures, including his or her own.