The Looking Glass. Elizabeth MacPherson Four 50 minute lessons Six Social Studies, Visual Arts, Language Arts

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1 The Looking Glass Developed By Suggested Length Suggested Grade Level(s) Subject Areas Elizabeth MacPherson Four 50 minute lessons Six Social Studies, Visual Arts, Language Arts Overview This unit incorporates social studies, visual arts, and language arts learning, while exploring the impact of art works on viewers and encouraging various perspectives and responses to artwork. The lesson plans, centered around the sea and fishing, allow students to investigate artists intentions behind works and to contemplate the notion that art mirrors life. Links to Curriculum Outcomes Students will (be expected to) describe how culture is preserved, modified, and transmitted (Social Studies) recognize and explain the interdependent nature of relationships among individuals, societies, and the environment (Social Studies) analyze others artwork to form conclusions about formal properties, cultural contexts, and intent (Visual Arts) contribute to and respond constructively in conversation, small-group and whole-group discussion (Language Arts) Links to Telling Stories: Themes / Key Words Perspectives Dangers of life on the sea Art Works Sands of Dee, Robert Harris, CAG H-2236 Her Joy Has Turned Into Mourning, Robert Harris, CAG H-633b Untitled, Robert Harris, CAG H-1567 Jesus Appearing to Two Fishermen, Robert Harris, CAG H-1203 The Widow s Warning, Robert Harris, CAG H-1409 Context Visual images affect us in many ways from raising our body temperatures to creating lasting images of what we see. We may not consciously recognize their impact, but we are influenced by them. For a quick look at the effect that visuals have on viewers, check out Eric Carle s book Hello, Red Fox.

2 Make sure that students have easy access to books in the classroom that suggest techniques for sketching and painting. In preparation for this unit, discuss the process for creating works of art, reinforcing the concept that much effort and planning happens during art making. Sketches are often used as artists decide which angle, pose, or aspect to represent. There are always intentions behind works of art Lesson #1: Pieces of the Puzzle Students will respond orally and in writing to a painting, and recognize that seeing the whole picture can offer a different perspective. Related Art Work(s) Sands of Dee, Robert Harris, CAG H-2236 flipchart paper markers response journals pencils Charles Kingsley s The Sands of Dee 1. Display only the upper half of Harris Sands of Dee for students to consider. Have them observe the picture silently, paying attention to colour, emphasis, and body language. 2. Still referring to only the upper half of the work, have students write a one paragraph response to the picture, choosing three characteristics about the picture that they can comment on (e.g., use of colour, body language, setting). 3. Now students view the entire Harris work while listening to a reading of Charles Kingsley s poem entitled The Sands of Dee. Read the poem a second time and make the connection that it is the inspiration for Harris work. 4. As a class, discuss questions listed below and record responses on flip-chart paper: What does this picture depict? Where might a scene like this have taken place?

3 What techniques and materials did Harris use to convey his message? Has your perspective of the painting changed after seeing the entire work? How does this piece make you feel? How is seeing the entire work similar to having all of the pieces of a puzzle? 5. Post the flip-chart paper around the room to allow for re-visitation during the next lessons. Computer Option Students can look on-line to find Charles Kingsley s The Sands of Dee on the University of Toronto s homepage, under representative poetry. Ideas for Assessment Ask students to respond to the following question in their response journals: Can you think of any examples in real life when you needed to see the whole picture in order to make an informed decision? Lesson #2: Artwork Evokes Feelings Students will compare and contrast two Harris works and create abstract artwork of their own that is intended to evoke opposing feelings when viewed by an audience. Related Art Work(s) Her Joy Has Turned Into Mourning, Robert Harris, CAG H-633b Untitled, Robert Harris, CAG H x 7 sheets of white paper (2 per student) pastels or markers pencils erasers 1. In groups of four, have students examine the two Harris works and create a list of similarities and differences. Ask students to consider Harris use of: colour body language / expression

4 setting light and dark contrasts 2. As a whole group, discuss answers to the following questions: Do you think that Harris intentions behind the works are different? Does each of the works evoke the same feelings in the viewer? 3. Give students two 5 x 7 sheets of paper and invite each to create two abstract works of art that are intended to evoke contrasting feelings (e.g., one representing calmness and the other chaos). They might use: warm vs. cool colours smooth lines vs. jagged lines patterns vs. dissension 4. Display the artwork in a straight line, with all of the calm works on the top and chaos works underneath, keeping the works of each artist together. This show will represent life we all experience both calm and chaos in our lives. Computer Option Search on-line for ways that people use design and colour choices to decorate, based on the atmosphere that they wish to create (e.g., calm colours for hospitals and classrooms). Ideas for Assessment Students might present their abstract art, sharing their reasons behind choosing specific colours, lines, and shapes. Lesson #3: Folklore and Fishing Students will discuss the role of fishing in Canada and in the depiction of Harris works, and create a tableau representing the lives of fishermen. Related Art Work(s) Jesus Appearing to Two Fishermen, Robert Harris, CAG H-1203 The Widow s Warning, Robert Harris, CAG H-1409 map of Canada

5 1. Display the following questions and create a word web about fishing, using ideas generated: Why do people go fishing? What do people fish? Who depends on the catch the fishermen bring in? What dangers are presented for people who work on the water? 2. Look at a map of Canada and mark provinces where fishing and fish processing are industries. 3. As a class, look at the two Harris works and discuss the themes presented (e.g., fishing as livelihood, death at sea, warnings and forerunners). Ask: Why might Harris have painted these images? How do the images mirror reality? Folklore? What is the first image you notice in each work? Why? 4. In groups of three or four, one student will be the artist and the others subjects. Invite students to find a comfortable place in the classroom and have each artist create, using their subjects, a living tableau that represents the life of fishermen. Remind students that: subjects are to assume positions as directed by the artist and must remain silent and still once in position artists must remember to consider body language and facial expressions artists must be respectful of their subjects Ideas for Assessment Make a checklist with the class regarding expectations for the tableau and circulate as students are creating. Lesson #4: Art Mirrors Life Students will revisit the concept that art mirrors life and role-play characters from the Harris works. flipcharts from Lesson #1 overhead with suggested stimuli for role-plays

6 1. Revisit Harris Sands of Dee and read the accompanying poem by Charles Kingsley. Take a few minutes to review flip-charts from Lesson #1. Discuss how these two works represent real life. 2. In pairs, have students take a step into their favorite of the five works listed above, and become a person in the painting. Invite students to role-play the events depicted, using their imaginations and spontaneity (scripts are not allowed)! The following may be used to stimulate ideas: What do you do when... You are out for your usual Sunday boating excursion, when suddenly something appears in the water? (Sands of Dee) You are visiting the grave of your lost loved one when you suddenly feel a presence over your shoulder? (Her Joy Has Turned into Mourning) You have gone to visit the grave of a loved one, and are not alone? (Untitled) You are pulling in your fishing nets after a hard day s work, when a lighted figure appears on the edge of the cliff? (Jesus Appearing to Two Fishermen) You are standing on the shoreline with other people, when someone starts to chant a warning? (The Widow s Warning) 3. Call on student volunteers to share a version of their role-play with the class and note the wealth of improvisation ideas. Insist on sensitivity and respect for all. Suggested Resources Hello, Red Fox (Eric Carle, 1998) local galleries for examples of art works that mirror life Faces, one of the Heritage Moment vignettes (check local library) This vignette offers a multi-cultural and holistic perspective on Canadians through sketches. Possible Extensions Invite a local artist to speak to the class about process and intentions when creating a work of art. Invite a local fisher to visit the class and talk about fishing and the sea.