1.
2013
Literacy
in
Art,
Craft
and
Design

2. ©
Page
2
The
PDST
is
funded
by
the
Department
of
Education
and
Skills
under
the
National
Development
Plan
2007
-­‐
2013
Cultural
and
Environmental
Education
Professional
Development
Service
for
Teachers
(PDST)
Dublin
West
Education
Centre,
Old
Blessington
Road,
Tallaght,
Dublin
24.
National
Co-­‐ordinator
Conor
Harrison
Mobile:
087
240
5710
E-­‐mail:
conorharrison@pdst.ie
Administrator
Angie
Grogan
Tel:
01-­‐
4528018
E-­‐mail:
angiegrogan@pdst.ie.

3. ©
Page
3
Acknowledgements
PDST
National
Co-­‐ordinator,
Cultural
&
Enviromental
Eduction:
Conor
Harrison
PDST
Associates
for
Art:
Maria
Moore,
Galway
Community
College,
Moinin
na
gCiseach,
Galway
Margaret
O’Shea,
Loreto
Secondary
School,
Coleville
Road,
Clonmel,
Co.
Tipperary
PDST
Art
Local
Facilitator
Team:
Aine
Andrews,
Coláiste
Choilm,
Ballincollig,
Co
Cork.
Jane
Campbell,
St.
Joseph's
Secondary
School,
Railway
Street,
Navan,
Co
Meath
Sheena
McKeon,
Coláiste
Pobail
Osraí,
Ormond
Road,
Kilkenny
Niamh
O’Neill,
Coláiste
Choilm,
Ballincollig,
Co
Cork.
Joe
Caslin,
Tullamore
College,
Tullamore,
Co
Offaly
Tony
Morrissey,
Davis
College,
Summerhill,
Mallow,
Co
Cork
Niamh
O’Donoghue,
Loreto
Secondary
School,
Balbriggan,
Co.
Dublin
Monica
White,
Mountrath
Community
School,
Dysartbeigh,
Mountrath,
Co
Laois
Keith
O’Rahilly,
Desonond
College,
Gortboy,
Newcastle
West,
County
Limerick.
Siobhan
Campbell,
Retired
from
John
Scottus
Secondary
School,
Morehampton
Rd.
Dublin
4.
With
special
thanks
to
Maria
Moore,
Margaret
O’Shea,
Keith
O’Rahilly
and
Monica
White
who
compiled
and
designed
this
document.
Edited
by
Maria
Moore
and
Margaret
O’Shea.

4. ©
Page
4
Contents
Foreword
Looking
and
Responding
6
Looking
and
Responding
7
Questioning
8
Learning
Windows
10
Active
Teaching
Methodologies
12
A
Gallery
Visit
14
Four
Corners
Debate
17
The
Basics
of
Romanticism
20
Online
Interview
24
Bring
Art
to
Life
27
Back
to
Back
33
Guest
Speaker
35
Skimming
and
Scanning
38
Art
History
Timeline
40
Art
Workstation
44
Pass
the
Buck
54
Crossword
56
Distillation/Conversion
59
Annotating
Drawings
62
Mind
Mapping
65
Writing
a
Story
based
on
Art
68
Art
Language
Explored
75
Word
Search
80
Additional
Literacy
Information
and
Activities
83
Smog
Readability
Test
84
Before,
During
and
After
Reading
Approaches
85
Writing
Frames
86
Art
Criticism
87
Word
Meaning
Checklist
88
Predicting
Meaning
90
Matching
Keyword
to
Definitions
91
Annotating
Images
92
123
Strategy
93
SQ3R
94
Graphic
Organisers
94
Visual
Verbal
Squares
97
Cloze
Test
98
Warm
Up
Activity
Ideas
99
Useful
Websites
100

5. ©
Page
5
Foreword
Welcome
to
our
booklet
which
focuses
on
the
use
of
literacy
in
the
Art
room.
We
are
all
aware
of
the
importance
of
literacy
and
numeracy
in
education.
There
is
plenty
of
evidence
to
show
that
educational
attainment
is
adversely
affected
when
fundamental
skills
are
not
acquired.
It
makes
good
sense
to
take
a
cross
curricular
approach
to
literacy
and
numeracy,
rather
than
making
it
a
subject
specific
one.
By
integrating,
acknowledging
and
reinforcing
skills
in
literacy
and
numeracy
we
can
help
our
learners
apply
these
skills
in
everyday
life.
As
Art
teachers
this
does
not
mean
employing
new
or
radically
different
methods.
The
good
news
is
that
we
have
been
embedding
and
reinforcing
literacy
and
numeracy
skills
in
our
classes
for
years.
The
difference
is
that
we
must
now
recognise,
acknowledge
and
plan
for
the
myriad
of
ways
in
which
we
facilitate
those
language
and
numeracy
skills.
This
resource
was
developed
by
Art
teachers
for
Art
teachers.It
focuses
specifically
on
Literacy
and
demonstrates
a
variety
of
literacy
methodologies
which
can
be
adapted
by
you
for
use
with
your
learners.
We
have
included
a
variety
of
exemplar
materials
which
can
be
photocopied
for
use
in
the
classroom.
We
have
focused
on
the
four
strands
in
literacy-­‐speaking,
listening,
reading
and
writing.
Activities
are
provided
in
each
area
but
you
will
find
that
these
skills
often
overlap
and
some
activities
integrate
one
or
more
areas.
There
are
suggestions
provided
for
varying
the
activities
as
well
as
supporting
materials
which
we
hope
you
will
find
useful.
This
booklet
is
designed
to
enable
us
to
develop
some
new
strategies
as
well
as
reminding
us
of
the
techniques
we
already
employ
on
a
day
to
day
basis.
We
are
greatly
indebted
to
the
Art
PDST
team
of
Local
Facilitators
and
their
learners,both
past
and
present,
who
have
generously
contributed
materials
for
this
booklet.
Maria
Moore
Margaret
O’Shea
PDST
Associates
for
Art
Conor
Harrison
National
Co-­‐ordinator,
Cultural
&
Enviromental
Eduction
February
2013

6. ©
Page
6
Looking
and
Responding

7. ©
Page
7
Looking
and
Responding
Rationale
for
looking
and
responding
in
the
art
classroom
Why
is
it
important
for
our
students
to
look
and
respond
to
their
own
work
and
the
work
of
others?
What
effect
does
it
have
on
students’
learning?
How
does
it
affect
their
completed
work
and
how
does
it
affect
their
performance?
Why
do
we
want
our
students
to
look
and
respond?
• To
use
terminology
• To
understand
• To
develop
confidence
• To
understand
process
• To
develop
a
sense
of
wonder
• To
enjoy
the
experience
If
we
facilitate
looking
and
responding
in
the
art
class,
what
will
the
OUTCOMES
be?
Observations
&
Evaluative
Judgments
Improve
▼
Forms
a
Better
Understanding
▼
Forms
Better
&
More
Informed
Decisions
▼
Better
Experience
&
Better
Work
How
do
we
go
about
getting
our
learners
to
look
and
respond?
One
of
the
most
useful
ways
of
encouraging
learners
to
look
at
and
respond
to
their
own
work
and
important
work
by
artists
and
designers
is
to
encourage
them
to
ask
and
answer
questions.

8. ©
Page
8
Questioning
The
role
of
questioning
in
the
art
classroom
• Can
check
prior
knowledge
• Can
provide
variety
of
focus
• Can
be
targeted
to
gain
attention
• Can
check
that
a
lesson
has
been
absorbed
• Can
cause
learners
to
think
in
a
critical
fashion
Targeted
questions
The
reality
in
the
majority
of
Art
rooms
is
that
we
teach
to
mixed
ability
groups.
It
is
obvious
that
we
cannot
ask
every
learner
every
question,
so
targeted
questioning
is
a
very
useful
technique.
Targeted
questioning
is
where
you
ask
a
named
learner
a
question
which
is
commensurate
with
their
ability.
• It
helps
build
a
sense
of
trust
and
fosters
confidence.
• Learners
will
be
more
willing
to
participate
and
learning
increases.
• When
learners
make
mistakes
it
is
important
to
correct
the
mistake
in
a
sensitive
manner,
at
the
same
time
acknowledging
their
contribution.
Wait
time
Research
has
proven
the
importance
of
allowing
learners
‘wait
time’
to
answer
questions.
Allow
3-­‐5
seconds
of
wait
time
for
a
lower
order
question
and
5-­‐8
seconds
for
higher
order,
when
a
learner
answers
give
a
further
2-­‐3
seconds
before
you
respond.
This
gives
learners
time
to
think
further
about
the
opinion
given
and
may
elicit
further
responses.
Using
Lower
&
Higher
Order
Questioning
in
the
Classroom
We
use
lower
order
questions
to
give
learners
the
opportunity
to
demonstrate
basic
knowledge
&
understanding.
Characteristics
of
lower
order
questions:
• The
answers
are
closed;
there
are
often
a
single
or
limited
number
of
answers.

9. ©
Page
9
• Who,
when,
why,
how,
where?
• Describing
in
one’s
own
words.
• Remembering
(dates,
details,
etc.)
• Recognising
(styles,
artists,
art
works)
Higher
order
questions
require
learners
to
give
answers
which
require
synthesis,
analysis
and
evaluation.
Characteristics
of
higher
order
questions:
• Compare
&
Contrast
• Demonstrate
how
something
is
made
&
constructed
• Identify
motives
behind
the
work
• Create
a
new
product
based
on
similar
or
contrasting
themes
&
materials
etc.

10. ©
Page
10
Learning
Windows
LOOKING
&
RESPONDING
-­‐
ALTERNATIVE
APPROACHES
There
are
many
ways
of
approaching
the
principle
of
looking
and
responding.
One
of
the
better
ways
to
undertake
this
is
to
find
interesting
entry
points
into
a
piece
of
work.
The
Aesthetic
Window
The
entry
point
through
which,
learners
respond
to
formal
and
sensory
qualities
of
a
subject
or
work
of
art.
Possible
Methods
• Examine
Colour
• Explore
Line
• Identify
Composition
• Look
at
Balance
• Recognise
Pattern
The
Narrative
Window
The
entry
point
through
which,
learners
respond
to
the
narrative
or
story
elements
in
a
work
of
art.
Possible
Methods
• Write
a
Story
• Create
a
Poem
• Script
a
Play
• Compose
a
Story

11. ©
Page
11
The
Logical/Quantitative
Window
The
entry
point
through
which,
learners
respond
to
aspects
of
a
subject
or
work
that
invites
deduction
or
numerical
reasoning.
Possible
methods
• Measure
• List
• Sort
or
Group
• Compare
&
Contrast
The
Experiential
Window
The
entry
point
through
which,
learners
respond
to
a
subject
or
work
of
art
by
actually
doing
something
with
their
hands
or
bodies.
Possible
Methods
• Doing,
Role
Playing
or
Performing
• Peer
Teaching
&
Group
work
• Reconstruct
a
Work
of
Art
• Visit
a
Gallery
The
Foundational
Window
The
entry
point
through
which,
learners
respond
to
the
broader
concepts
of
philosophical
issues
raised
by
a
subject
or
work
of
art.
Possible
Methods
• Reflect
&
Consider
• Question
&
Evaluate
• Criticize
&
Judge
• Reason
&
Justify

12. ©
Page
12
Active
Teaching
Methodologies

13. ©
Page
13
A
Gallery
Visit
Looking
at
Art,
Craft
and
Design
Robert Ballagh ‘Three People with Jackson Pollock' (1973)
How?
1. Introduce
the
students
to
an
exhibition.
2. Divide
the
class
into
groups
of
four
and
assign
artwork
from
the
exhibition
to
be
investigated.
3. Using
a
worksheet
students
research
the
artwork
and
plan
a
presentation.
4. Time
is
then
allocated
for
group
work
to
merge
students’
key
concepts.
5. Feedback
is
given
to
the
class
on
a
group
by
group
basis.
6. Time
is
allocated
to
each
speaker
to
answer
questions.
7. Presentations
are
given,
in
turn,
by
each
group
during
the
following
class.
Applications
• Use
to
encourage
active
and
meaningful
engagement
with
exhibitions.
• Can
be
adapted
to
looking
at
resolved
classroom
artwork.
• Use
to
introduce
students
to
a
local
art
gallery
or
heritage
centre.
• Can
be
a
starting
point
for
a
written
art
history
assignment.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
****
***
***
****
****
****
****
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*
****
****
*****
**
****
***
*****
***
Specific
Room
Layout
Yes
No

14. ©
Page
14
Why
Do
it?
• This
methodology
will
develop
skills
in
observation,
reading
and
writing,
researching
and
speaking.
• Students
will
learn
to
be
selective
about
gathering
relevant
information
for
a
presentation.
• It
will
generate
discussion
and
reflection
on
the
exhibition
content.
• Critical
thinking
will
be
used
by
students
when
justifying
their
selections
and
opinions
about
the
work
to
the
larger
group.
• They
will
gain
an
appreciation
for
artists’
mediums
by
studying
artwork
in
situ.
• It
gives
learners
the
opportunity
to
engage
with
artwork
and
articulate
their
reactions
and
opinions
openly.
• This
is
a
methodology
for
fostering
team
building
skills.
Variations
• This
methodology
can
be
applied
to
artwork
on
display
in
a
classroom
context.
• Students
can
work
individually
or
in
pairs,
for
smaller
class
sizes.
• It
can
be
adapted
to
suit
group
shows
and
museum
exhibitions.
• This
work
could
lead
to
a
PowerPoint
presentation
being
compiled
by
each
student
group
within
the
class.
Additional
Resources
• Hand-­‐out
for
Leaving
Cert
Students
Visiting
a
Gallery
can
be
found
at
http://www.nationalgallery.ie/Learning/Schools/Teachers/Leaving_Cert_Resources/
~/media/Files/Education/Schools/Senior%20Cycle/NGI%20Exhibition%20Question%
20Handout%20pdf.ashx
• A
Guide
to
visiting
a
Gallery
can
be
found
on
Wikihow
http://www.wikihow.com/Visit-­‐an-­‐Art-­‐Gallery
• A
Guide
to
looking
at
artwork
can
be
found
on:
http://www.artjunction.org/archives/question_list.pdf
Appendix
• The
worksheet
used
named
‘Looking
at
Art
Craft
and
Design’.

15. ©
Page
15
Work
Sheet:
Looking
at
Art,
Craft
and
Design
Name
of
Student:
Year:
Date:
6
W’s
Who
Name
the
Artist
and
tell
me
something
interesting
about
them?
What
Describe
what
you
see?
When
Was
the
work
made
in
the
past
or
present,
what
is
your
proof?
With
What
materials
were
used
to
create
the
piece
of
Art?
Why
Why
did
the
Artist
make
the
piece,
what
was
the
idea
behind
it?
Wonder
What
do
you
think
about
the
work?,
do
you
like
it?
Is
the
art?
(circle
the
medium
that
best
describes
the
work)
Fine
Art
Textiles
Photography
Design
Jewellery
Film/Video
Craft
Glass
Installation
Graphic
design
Wood
work
Architecture
Painting
Sculpture
Street
Art
Ceramics
Stone
carving
Combination/Something
else?

16. ©
Page
16
Art
Vocabulary
Circle
6
keywords/
phrases
from
the
boxes
below
that
you
would
use
as
starting
points
to
describe
the
piece
of
Art
that
you
have
chosen;
Two
of
your
selections
must
be
from
the
box
on
right
hand
side.
Thumbnail
sketch
Photograph
here
Shape
Telling
a
story
subject
How
it
makes
you
feel?
Form
Composition
Link
to
something
you
have
seen
before?
Line
Negative
space
What
does
it
mean?
Texture
Colour
Why
did
the
Artist
do
it
that
way?
Tone
Warm/cold
colours
Would
you
make
changes?
Movement
Figurative
Is
it
well
made?
Mark
making
Style
How
does
it
compare
to
similar
work?

17. ©
Page
17
Four
Corners
Debate
Debate
premise:
‘William
Turner’s
paintings
should
not
be
grouped
with
those
of
John
Constable
and
Casper
David
Friedrich
in
the
Romanticism
movement’.
Title:
Snow
Storm-­‐Steam
Boat
off
a
Harbour’s
Mouth
1842
How?
1. Begin
by
briefly
revising
the
work
of
Turner,
Constable
and
Friedrich
using
a
slide
show
of
one
painting
from
each.
2. Place
four
large
sheets
in
the
four
corners
of
the
room
with:
I
Agree,
I
kind
of
Agree,
I
Disagree,
I
kind
of
Disagree.
3. Select
a
controversial
premise
(see
above)
for
the
purpose
of
the
debate.
4. Students
move
to
the
corner
that
best
matches
their
opinion
and
discuss
and
formulate
their
opinions
for
5
minutes.
Notes,
text
books
and
Mind-­‐Maps
are
permitted
to
support
the
development
of
their
argument.
5. A
spokesperson
from
the
first
group
gives
feedback
to
the
class
on
their
opinion
for
30
seconds.
6. Students
are
permitted
to
change
their
groups
having
been
persuaded
by
what
was
said
before,
moving
on
to
the
next
group
for
feedback.
7. This
is
repeated
until
all
four
groups
have
given
feedback
once.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
****
*
**
****
***
**
*****
Skills
Used
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*
*****
***
***
***
***
***
*
****
Specific
Room
Layout
Yes
Setup
a
seating
area
in
each
corner
of
the
room.
No

18. ©
Page
18
8. Now
that
groups
are
finalised,
10
minutes
is
spent
on
establishing
and
developing
their
arguments.
Arguments
should
be
balanced,
clear
and
have
logical
conclusions.
9. Each
group
should
draft
one
concise
paragraph
of
writing
expressing
their
rationale
for
choosing
their
opinion.
10. To
conclude,
each
group’s
spokesperson
provides
feedback
on
the
final
argument.
Applications
• The
development
of
students’
fluency
with
the
material
through
discussion.
• To
encourage
deeper
engagement
with
the
reading
material.
• To
help
students
to
assimilate
information.
• A
method
of
developing
comprehension.
Why
Do
it?
• To
challenge
students
to
engage
with
the
material
by
forming
opinions
and
supporting
them
through
discussion
thereby
developing
critical
thinking.
• By
sharing
information
with
the
class
and
listening
to
other
perspectives,
deeper
learning
is
achieved
by
the
participating
students.
• Students
develop
skills
in
negotiation
and
teamwork.
• By
engaging
orally
and
through
listening,
students
gain
confidence
in
their
understanding
of
the
learning
materials.
Variations
• Students
can
be
involved
in
setting
the
debate
question.
• This
methodology
can
be
shortened
by
limiting
it
to
‘for
and
against’
a
particular
argument.
• This
can
be
used
as
a
starting
point
for
setting
an
essay
assignment.
• This
can
be
used
at
the
end
of
a
chapter
of
Art
History
as
a
revision
exercise.
Additional
Resources
• Resources
on
debate
in
the
classroom
can
be
found
on
the
following
webpage
sponsored
by
The
Saskatchewan
Elocution
and
Debate
Association
(SEDA).
http://www.saskdebate.com/media/2875/2007gamesandactivitiesguide.pdf

19. ©
Page
19
Appendix
• Attached
are
examples
of
the
written
work
from
this
lesson
conducted
with
a
1st
year
group.
• Text
and
supporting
material
for
drafting
of
arguments.
Appendix
1st
Year
Students’
work
from
3
Groups:
I
Agree,
I
kind
of
Disagree
and
I
Disagree.

20. ©
Page
20
The
Basics
of
Romantic
Art
Time
Period:
1800-­‐1860
Romanticism
(or
the
Romantic
era/Period)
was
an
artistic,
literary,
and
intellectual
movement
that
originated
in
Europe
toward
the
end
of
the
18th
century
and
in
most
areas
was
at
its
peak
from
approx.
1800
to
1840.
The
Industrial
Revolution
emerged
in
the
latter
part
of
the
18th
century,
starting
in
England
and
spreading
to
France
and
America.
This
revolution
brought
with
it
a
new
market
economy,
based
on
new
technology—machine
tools
and
machine
power
instead
of
human
tools
and
animal
power.
Romantic
artists
hoped
to
inspire
an
emotional
response
in
those
who
viewed
their
art;
but
instead
of
seeking
to
inspire
faith
as
their
predecessors
had,
most
sought
to
evoke
a
nostalgic
yearning
for
rural,
pastoral
life,
the
stirrings
of
life’s
mysteries
and
a
sense
of
the
power
and
grandeur
of
nature.
Art
of
this
period
also
depicted
the
romantic
ideal
of
nationalism,
but
for
reasons
of
length,
we
will
focus
on
landscapes
in
this
passage.
Romanticism
first
showed
itself
in
landscape
painting
and
from
as
early
as
the
1760s
British
artists
began
to
turn
to
wilder
landscapes,
storms
and
Gothic
architecture,
even
if
they
had
to
make
do
with
Wales
as
a
setting.
Caspar
David
Friedrich
and
J.
M.
W.
Turner
were
born
less
than
a
year
apart
in
1774
and
1775
respectively.
They
were
to
take
German
and
English
landscape
painting
to
the
extremes
of
Romanticism.
Turner
was
fascinated
by
the
mood
of
nature
and
her
ever
changing
effects.
He
continually
sketched
the
clouds,
the
sky
and
his
natural
surroundings.
Turner
was
particularly
fascinated
with
the
power
of
the
ocean.
It
is
said
that
he
had
once
asked
to
be
lashed
to
the
mast
of
a
ship
in
order
to
“experience
the
drama”
of
a
mighty
storm
at
sea.
Romantics
believed
that
God’s
presence
was
embodied
in
nature
and
that
nature
was
evidence
of
His
existence.
Turner
saw
light
as
a
divine
emanation
and
played
with
it
in
pictures
to
evoke
that
truth.
Fishermen
at
Sea
by
JMW
Turner,
1794

21. ©
Page
21
Wanderer
above
the
Sea
of
Fog,
by
Caspar
David
Friedrich,
1818.
German
artist
Caspar
David
Friedrich
was
a
quintessential
Romantic
artist;
this
is
a
quintessential
Romantic
painting.
It
conveys
both
the
infinite
potential
and
possibilities
of
man
and
the
awesome,
mysterious
grandeur
of
nature.
The
popular
Romantic
theme
of
the
greatness
of
man
contrasted
with
the
sublimation
and
power
of
nature
is
shown
here.
The
man
has
climbed
high
and
conquered
much,
only
to
see
that
there
are
infinite
vistas
still
out
there,
shrouded
in
a
fog
that
hides
what
lies
beyond.
Abbey
in
an
Oak
Forest,
by
Caspar
David
Friedrich,
1810.
Another
captivating
painting
by
Friedrich
depicting
the
ruins
of
an
abbey
church
which
has
become
a
graveyard.
It
captures
several
different
Romantic
elements
at
once.
As
in
Turner’s
abbey
piece,
nature
has
reclaimed
man’s
handiwork.
Friedrich
loved
to
paint
scenes
in
wintertime;
the
stark
leafless
trees
and
grey
pall
evoke
that
sense
of
melancholy,
yearning,
and
mystery
that
Romantics
so
prized.
Wanderer
above
the
Sea
of
Fog,
by
Caspar
David
Friedrich
1818

22. ©
Page
22
The
Haywain
by
John
Constable
Romanticism
also
had
to
do
with
a
renewed
look
at
nature
and
mankind’s
relationship
with
it,
making
landscape
paintings
in
particular
much
more
important
and
popular
as
a
result.
The
Haywain
by
John
Constable,
shown
above,
is
a
great
example
of
that.
Other
Romantic
painters
used
emotion
in
their
work
to
rally
political
awareness,
like
Eugene
Delecroix
did
in
his
painting
entitled
Liberty
Leading
the
People.
Eugene
Delecroix
Liberty
Leading
the
People.
It
was
a
fairly
gruesome
painting
for
that
time,
and
although
based
on
the
French
Revolution
of
1830,
it
was
obviously
highly
“romanticised”
by
Delacroix
with
bodies
piled
high
and
a
symbolically
bare-­‐breasted
woman
(denoting
liberty,
or
freedom)
carrying
the
national
flag
through
the
burning
city.

23. ©
Page
23
Steamer
in
a
Snowstorm
Joseph
Turner
was
a
man
whose
later
landscapes
and
seascapes
are
often
seen
as
a
precursor
to
Impressionism
in
the
later
19th
century.
You
can
barely
make
out
the
steamboat
in
Steamer
in
a
Snowstorm
(or
even
what
the
scene
is
at
first)
but
once
you
know,
the
amazing
power
and
fury
of
a
winter
storm
at
sea
can
clearly
be
felt
throughout
this
painting.
Turner’s
painting
is
probably
one
of
the
best
examples
of
Romanticism,
clearly
showing
a
deliberate
move
away
from
the
perfection
of
classicism,
towards
modernism.

24. ©
Page
24
On-­‐line
Interview
Interview
with
an
Artist
via
How?
1. Students
will
have
prior
knowledge
of
topic
related
to
the
artist
they
will
interview
in
order
to
generate
interview
questions.
For
example
if
they
are
to
interview
a
sculptor
they
will
perhaps
have
had
an
introduction
to
public
art,
an
interview
with
a
fashion
designer
preceded
by
a
workshop
in
fashion
design.
2. Students
will
work
as
a
group
to
generate
as
many
questions
as
they
can.
This
can
be
undertaken
as
a
group
exercise
or
individually.
3. The
questions
have
to
be
sorted/ranked
by
the
students
(in
collaboration
with
the
teacher).
The
teacher
can
then
plan
a
structured
approach
to
prior
learning
around
the
topic
before
the
interview
takes
place.
4. Test
the
technology
beforehand.
Send
the
list
of
questions
to
the
interviewee
to
ensure
a
more
targeted
response.
If
the
group
is
large
consider
using
a
data
projector
rather
than
a
P.C.
5. Students
will
have
predetermined
who
asks
which
particular
question
and
will
have
appointed
a
chairperson
to
record
answers.
6. To
conclude,
the
interviewee
will
have
the
opportunity
to
pose
questions
to
the
students.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
***
**
*
****
****
***
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
**
****
**
***
***
*
**
*****
****
Specific
Room
Layout
Yes
No

25. ©
Page
25
Applications
• An
insightful
way
of
comprehending
a
practitioner’s
view
of
the
world
of
Art
&
Design.
• To
encourage
consideration
of
the
artist’s
role
in
society.
• To
develop
familiarity
with
various
forms
of
information
gathering.
Why
Do
it?
• It
provides
a
student
centred
staring
point.
It
increases
the
student’s
interest
in
the
topic
and
raises
their
level
of
motivation.
• It’s
immediate.
Students
get
instant
feedback.
It
is
a
new
way
to
uncover
information
and
it
brings
the
real
world
into
the
classroom,
making
art
relevant.
Everyone
has
access
to
the
information,
irrespective
of
ability.
• Students
are
more
receptive
to
information
from
questions
they
themselves
have
asked.
It
encourages
students
to
ask
for
specific
information.
As
they
have
determined
the
information
sought
they
have
experienced
managing
their
own
learning.
• It
helps
to
create
an
environment
conducive
to
learning.
Variations
• Students
can
be
involved
in
setting
the
questions.
• They
can
search
for
a
local
artist
and
invite
them
to
be
interviewed.
• Students
can
assume
the
guise
of
an
artist
(historical)
and
be
interviewed
by
the
class
on
screen.
Additional
Resources
• www.skype.com
(for
details
on
how
to
set
up
Skype)
• http://www.learnnc.org/lp/pages/752
(interviewing
artists
in
the
classroom)
Appendix
• Attached
are
samples
of
questions
generated
by
a
second
year
group
interviewing
a
stone
mason.

26. ©
Page
26
Questions
for
Skype
interview
• How
do
you
engrave
letters
on
stone?
• How
do
you
print
letters
on
glass?
• How
long
does
it
take?
• How
long
will
the
lettering
on
the
stone
last?
• What
gave
you
the
idea
to
do
lettering?
• What
age
were
you
when
you
started?
• How
did
you
paint
the
blue
writing
in
the
carved
letters?
• Where
was
the
first
place
you
did
this?
• How
could
we
improve
our
lettering?
• How
useful
is
lettering
to
business?
• What
is
the
easiest
material
to
carve
into?
• What
machines
do
you
use
for
lettering?
• Have
you
ever
done
lettering
on
anything
other
than
stone?
• Have
you
ever
done
lettering
on
a
grave
for
anyone
famous?
• Have
you
ever
made
a
mistake
in
lettering?
• How
do
you
erase
a
letter
if
you
get
it
wrong?
• What
inspired
you
to
do
this
type
(ransom)
lettering?
• Why
did
you
decide
to
do
lettering
as
a
career?

27. ©
Page
27
Bringing
Art
to
Life
Re-­‐enacting
works
of
art
http://www.nationalgallery.org.uk/paintings/michelangelo-­‐merisi-­‐da-­‐caravaggio-­‐the-­‐supper-­‐at-­‐emmaus
Caravaggio
‘Supper
at
Emmaus’
(1601)
How?
1. Introduce
three
artists
and
their
work
using
a
Power
Point
presentation
to
students.
2. Divide
the
class
into
three
drama
groups
and
assign
a
painting
to
each.
3. Groups
begin
by
looking
at
their
painting,
consider
casting
roles
and
staging
of
the
scene.
In
particular
students
should
look
carefully
at
clothing,
pose
and
facial
expressions.
4. Using
a
worksheet
students
write
a
script
for
a
short
drama
lasting
3
minutes.
5. Students
plan
improvised
props,
costumes
and
stage
movements.
6. Groups
rehearse
drama
of
paintings
and
video
record
them.
7. Films
are
edited
adding
titles
and
credits.
8. Films
may
be
screened.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
***
***
*****
****
****
*****
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*
*****
*****
****
*
*
***
****
****
Specific
Room
Layout
Yes
Students
will
use
the
room
freely
to
develop
drama.
No

28. ©
Page
28
Applications
• This
methodology
can
be
applied
to
both
painting
and
sculpture.
• Art
work
can
be
used
as
a
starting
point
for
a
full
length
drama
lasting
5
minutes.
• It
can
be
used
to
consolidate
learning
about
a
particular
period
in
Art
History
or
Artistic
movement.
• It
can
be
carried
out
with
any
junior
or
senior
cycle
class.
Why
Do
it?
• By
looking
at
the
story
behind
the
paintings
students
will
gain
a
thorough
understanding
of
the
artwork.
• Students
will
develop
literacy
skills
in
writing
and
speaking
by
drafting
and
performing
scripts.
• Imagining
the
dialogue
or
story
preceding
the
painting
is
a
good
way
of
remembering
the
painting
and
its
historical
context.
• This
type
of
active
learning
recognises
all
abilities
and
styles
of
learning
and
is
easily
differentiated.
• Students
are
encouraged
to
critically
reflect
on
the
paintings
and
interpret
them.
By
students
having
autonomy
over
the
learning
process
greater
motivation
and
engagement
is
achieved.
• Independent
thinking
and
learning
is
encouraged
through
the
use
of
this
methodology
as
students
are
tasked
with
devising
original
scripts
and
dramas.
• Students
will
learn
to
plan
dialogue
and
dramatic
movements
suited
to
a
specific
theme.
Variations
• This
methodology
can
be
adapted
to
a
photographic
project
presenting
the
work
in
comic
strip
format.
• Certain
paintings
can
be
selected
for
dramatizing
where
all
students
in
the
class
are
involved
in
the
same
drama.
• Student
roles
can
be
divided
into:
Story-­‐board,
scripting,
actors,
filming
and
editors
making
one
resolved
drama.
Additional
Resources
• A
YouTube
re-­‐enactment
of
‘The
Last
Supper’:
http://www.youtube.com/watch?v=lpDG8eav2iQ

29. ©
Page
29
Appendix
• Worksheet
for
dramatizing
a
painting.
• Background
Information
on
three
artists
given
to
TY
students.
Worksheet
for
Dramatising
a
Painting
Artist:
Title:
Cast
Names
of
Characters
Names
of
Students
Props
and
Costumes:
Scene
Description:
Script:

30. ©
Page
30
Background
Information
for
bringing
Art
to
life
Selected
works:
— The
Last
Supper
by
Leonardo
da
Vinci
— Oath
of
the
Horatii
by
Jacque
Louis
David
— Supper
at
Emmaus
by
Caravaggio
Leonardo
da
Vinci
-­‐1452
-­‐1519
(High
Renaissance)
‘The
Last
Supper’
— Renaissance
-­‐
a
cultural
movement
which
began
in
Italy
and
spread
throughout
Europe.
Scholars
of
the
time
became
interested
in
how
the
world
works;
the
art
of
the
time
became
more
realistic
concentrating
on
nature,
real
settings
and
perspective.
— The
Last
Supper-­‐
The
final
meal
that
Jesus
shares
with
his
Disciples
before
he
is
crucified
on
the
cross.
Leonardo
chooses
the
moment
that
Jesus
tells
them
‘one
of
you
will
betray
me’.
— Repeated
references
are
made
to
the
number
three
…apostles
sit
in
threes…three
windows
behind
them…the
three
points
of
Jesus’s
triangular
form…perhaps
a
reference
to
the
holy
trinity
— From
the
left-­‐
Bart,
James
and
Andrew
look
on
in
surprise.
Judas,
Peter
and
John
are
next,
Judas
carries
a
money
bag
and
has
his
arm
on
the
table,
Peter
wields
a
knife
and
points
it
away
from
Jesus
perhaps
predicting
the
aggression
that
is
to
happen
in
the
garden
of
Gethsemane.
Young
John
swoons
in
shock.
On
the
other
side
of
Jesus,

31. ©
Page
31
Thomas
is
upset,
James
looks
stunned
with
arms
in
air
and
Philip
appears
questioning.
Final
grouping
is
Matthew
and
Jude
who
turn
to
Simon
in
discussion.
— All
diners
are
seated
on
one
side
of
the
table
to
avoid
excluding
the
viewer.
Jesus
himself
is
in
centre
of
the
vanishing
point,
all
lines,
angles
and
lighting
point
to
him.
— It
is
a
fresco
painting,
found
on
the
back
wall
of
the
Refectory
in
the
chapel
of
Santa
Maria
delle
Grazie
in
Milan.
Jacques-­‐Louis
David
1748-­‐
1825.
‘The
Oath
of
the
Horaitii’
Neo
Classical
Art-­‐
a
movement
which
looks
to
the
ancient
art
of
Greece
and
Rome
for
its
inspiration.
The
high
ideals
of
classical
art
became
the
cornerstone
of
a
new
truth
in
art
which
looked
to
uncover
a
sense
of
moral
integrity.
It
can
be
described
as
highly
heroic,
courageous
and
serious.
Colours
were
at
times
sombre
to
imply
high
morals
and
self-­‐
sacrifice.
•
This
work
is
set
in
699BC,
a
time
when
Rome
was
at
war
with
Alba.
It
depicts
three
members
of
the
Roman
Horatii
family,
(left)
who
were
chosen
by
their
father
(centre)
to
duel
against
three
members
of
the
Curiatii
family
from
Alba.
The
women
on
the
right
are
either
sisters
of
or
are
married
to
the
men
on
either
side
of
the
duel.
The
men
show
no
emotion
while
the
women
are
overcome
with
sadness.

32. ©
Page
32
• As
is
typical
of
David’s
work
the
figures
are
heroic
and
full
of
integrity.
Although
painted
before
the
Revolution,
the
painting
became
a
symbol
of
loyalty
to
the
French
King
and
State.
Caravaggio
1571
-­‐
1610
‘Supper
at
Emmaus’
Baroque-­‐
a
very
varied
epoch
in
Art
history
which
usually
displays
dynamic
emotion
in
an
immediate
way.
It
can
also
show
very
high
levels
of
detail
in
the
rendering
of
cloth
or
skin.
• This
painting
shows
a
common
religious
theme
in
Art
history;
the
moment
when
the
resurrected
Jesus
reveals
himself
to
the
disciples
Luke
and
Cleophas
who
respond
in
disbelief.
Luke
wears
a
scallop
shell,
a
sign
of
a
pilgrim;
the
figures
are
life
size
and
dramatic
in
their
presence.
It
shows
the
recurring
theme
of
an
everyday
event
being
interrupted
by
a
sublime
happening.
• Achieves
a
heightened
sense
of
realism
that
attempts
to
observe
the
human
being
in
both
a
physical
and
emotional
way.
Creates
intense
drama
and
effect
with
dramatic
use
of
lighting.

33. ©
Page
33
Back
to
Back
A
listening/speaking
methodology
Back
to
back
in
action
in
class
How?
1. Sitting
back
to
back
in
pairs,
learner
1
describes
an
image
in
detail,
while
learner
2
draws
the
image.
2. Learner
2
does
not
see
the
image
until
the
end
of
the
exercise
3. Learners
will
need
an
image,
pen/pencil
and
paper.
4. Learners
are
given
5-­‐7
minutes
to
describe
the
image
in
as
much
detail
as
possible.
5. Their
partner
listens
carefully
and
draws
what
they
describe-­‐no
peeking!
Applications
• This
method
can
be
used
to
introduce
a
new
topic.
• To
help
learners
to
describe
in
words
the
contents
of
an
image.
• To
encourage
learners
to
listen
carefully
• To
use
correct
terminology
when
describing
a
work
of
art,
craft
or
design.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
***
***
**
****
***
*****
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*
*****
**
*****
*****
*
*
*****
***
Specific
Room
Layout
Yes
Learners
sit
back
to
back,
in
pairs.

34. ©
Page
34
Why
Do
it?
• To
challenge
students
to
engage
with
the
material
by
using
the
correct
terminology
when
describing
a
work
of
Art,
Craft
or
Design.
• It
can
be
great
way
to
generate
discussion
about
a
new
topic.
• It
could
be
a
fun
way
to
revise.
• It
is
very
quick
and
easy
to
do.
• Encourages
whole
class
participation.
Variations
• This
could
evolve
into
a
“Pictionary”
game,
with
teams
competing
to
describe
and
recognise
a
work
of
Art,
Craft
or
Design.
• Learners
could
reverse
the
process
and
write
a
description
while
looking
at
an
image.
• This
exercise
could
be
extended
by
asking
learners
to
focus
on
adding
the
colours/tones
to
the
correct
part
of
the
drawn
image.

35. ©
Page
35
Guest
Speaker
Learning
by
Listening
Inez
Nordell
giving
a
presentation
on
Costume
Design
How?
1. The
teacher
gives
students
background
information
they
should
take
note
of,
engage
with
and
respond
to,
using
a
template.
2. During
the
talk,
students
write
down
key
words
and
any
new
vocabulary
that
they
hear.
3. Following
the
talk
the
teacher
writes
the
key
words
on
the
board.
4. Students
are
required
to
give
their
own
definition
of
each
word.
5. Students
are
then
asked
to
look
up
the
words
in
the
dictionary
and
compare
and
correct
the
meanings.
Applications
• To
encourage
students
to
listen
• To
introduce
new
vocabulary.
• To
develop
comprehension.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
****
**
**
**
**
**
****
**
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
*
*
**
*****
**
*****
****
**
Specific
Room
Layout
Yes
Room
is
prepared
for
speaker
to
give
talk.
No

36. ©
Page
36
Why
Do
it?
• Pupils
can
engage
with
the
guest
speaker
and
can
become
independent
learners
through
personal
note
taking
and
effective
questioning.
• They
can
assess
what
information
is
most
relevant.
• The
language
and
vocabulary
used
by
the
guest
speaker
can
help
pupils
gain
a
better
understanding
of
the
topic.
These
new
terms
can
be
promoted
and
used
extensively
in
future
art
classes.
• Pupils’
communication
skills
will
be
reinforced
through
active
listening
and
questioning.
Variations
• The
guest
speaker
can
be
brought
to
the
class
through
digital
means
for
example
Skype.
• A
follow
up
visit
by
the
speaker
may
be
arranged
to
provide
a
workshop.
• Students
can
watch
a
DVD
or
You
Tube
film
and
apply
this
methodology.
• Mind
Mapping
can
be
used
to
record
information
while
the
speaker
is
presenting.
Additional
Resources
• Webpage
for
Listening
Strategies:
http://www.discoveryeducation.com/teachers/free-­‐lesson-­‐plans/listening-­‐and-­‐
speaking-­‐strategies.cfm
• A
link
to
using
MP3
player
to
develop
listening
skills:
http://www.britishcouncil.org/professionals-­‐podcast-­‐english-­‐listening-­‐downloads-­‐
archive.htm
Appendix
• Guest
Speaker
Visit
worksheet

37. ©
Page
37
Guest
Speaker
Visit
Worksheet
Student
Name:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Class:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Year
Group:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Topic:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Name
of
Guest
Speaker:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Occupation:-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐
Background
of
Guest
Speaker:
Key
words:
Other
information/questions
I
would
like
to
ask
:

38. ©
Page
38
Skimming
and
Scanning
How?
SKIMMING
is
a
method
of
rapidly
moving
the
eyes
over
text
with
the
purpose
of
getting
only
the
main
ideas
and
a
general
overview
of
the
content.
SCANNING
rapidly
covers
a
great
deal
of
material
in
order
to
locate
a
specific
fact
or
piece
of
information.
For
example,
you
skim
the
dictionary
to
find
the
‘T’
section
but
you
scan
for
the
meaning
of
‘tympanum’.
You
skim
the
textbook
for
the
Renaissance
section
and
scan
to
find
a
painting
by
Raphael.
Applications
• To
reinforce
keyword
vocabulary.
• A
way
of
developing
comprehension
and
understanding
of
a
particular
topic.
• To
encourage
deeper
engagement
with
the
reading
material.
Why
Do
it?
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
***
**
*
**
***
****
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
****
**
*
***
****
***
****
Specific
Room
Layout
Yes
No

39. ©
Page
39
1. Help
students
become
fast,
flexible
and
independent
readers.
2. Skimming
and
Scanning
helps
students
pick
out
specific
information
quickly,
training
them
to
tailor
their
reading
rate
depending
on
their
purpose.
3. Aids students to critically evaluate their own understanding.
Variations
2. Another
strategy
that
uses
the
skills
of
skimming
and
scanning
to
help
students
read
for
meaning
is
SQ3R.
2. SQ3R
stands
for
Survey,
Question,
Read,
Review
and
Recall.
Additional
Resources
http://www.bbc.co.uk/skillswise/topic/skimming-­‐and-­‐scanning
Appendix
Student
Guide
Skimming
When
should
I
skim?
When
I
want
a
quick
idea
of
what
the
text
is
about.
ü Skim
means
to
look
quickly
through
the
text.
Looking
at
headings,
diagrams,
pictures
or
words
in
bold.
This
will
give
you
a
quick
idea
of
what
the
text
may
be
about.
ü Skim
can
mean
to
‘skim’
through
the
text
reading
quickly
to
get
the
gist
or
main
idea
on
the
topic.
ü Skim
can
also
be
to
read
the
first
and
last
paragraphs
to
get
the
gist
of
the
topic.
Scanning
When
should
I
scan
When
I
want
specific
information.
ü Scan
means
to
look
through
the
text
quickly
to
find
specific
information,
e.g.
keywords
ü Scan
can
also
mean
to
look
throughthe
text
to
find
the
answers
to
questions.

40. ©
Page
40
Art
History
Timeline
Using
information
to
make
a
timeline
Pablo
Picasso
(1881-­‐1973)
How?
1. Show
documentary
on
Picasso
by
Alastair
Sooke,
(BBC
Modern
Masters
series).
2. Make
reference
to
the
sequential
development
of
Picasso’s
life
and
work
using
this
video.
3. Provide
students
with
a
timeline
template
(with
hyperlinks
to
vetted
websites)
and
an
explanation
of
how
to
complete
it.
4. Introduce
the
class
to
relevant
websites
that
students
can
access
during
their
development
of
a
timeline.
5. In
the
second
session,
using
an
ICT
room
with
internet
facilities,
instruct
students
to
research
and
compile
the
timeline.
6. Rewriting
and
condensing
text
into
the
students’
own
words
is
encouraged
rather
than
copying
and
pasting
exclusively.
7. Students
are
required
to
present
their
work
for
display
in
the
classroom
where
a
general
discussion
and
reflection
on
the
assignment
will
take
place.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
*
***
*****
*
*
****
***
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
*
*
*
*
*****
****
**
****
Specific
Room
Layout
Yes
Carried
out
in
ICT
Room.
No
http://www.biographyonline.net/artists/pablo-­‐

41. ©
Page
41
Applications
• This
methodology
can
be
applied
to
any
Art
History
period,
movement
or
individual
artist.
• It
can
be
used
as
an
introduction
or
conclusion
to
Art
History
schemes
of
work.
• Used
to
reinforce
learning
and
develop
new
vocabulary
related
to
a
genre
of
art.
• Could
be
applied
to
each
section
of
the
Art
History
course.
Why
Do
it?
• This
methodology
promotes
independent
learning
by
students.
• Students
will
develop
good
research
techniques.
• It
is
suited
to
students
of
mixed
ability
as
the
complexity
levels
can
be
easily
differentiated.
• Students
have
autonomy
over
their
selection
of
information
leading
to
greater
motivation
in
the
subject
area.
• Sequential
thinking
is
required
to
make
a
timeline
and
students
gain
experience
in
organising
information.
• ICT
skills
are
developed
by
creating
a
timeline,
by
researching
internet
websites
and
presenting
information
on
Microsoft
Word.
• Reading
(skimming
and
scanning),
writing
and
the
summarising
of
information
are
skills
developed
by
students
using
this
methodology.
Variations
• This
method
can
be
carried
out
manually.
Use
Art
History
notes
and
pre-­‐prepared
timeline
templates.
• Students
can
work
individually
or
in
groups
to
compile
a
timeline
depending
on
its
level
of
complexity.
• Comparative
timelines
can
be
constructed
using
a
similar
method
comparing
artists
or
Art
History
movements.

42. ©
Page
42
Additional
Resources
• Picasso
by
Alastair
Sooke
as
part
of
the
BBC
Modern
Masters
series:
http://www.bbc.co.uk/programmes/p007hs2n
• Instruction
on
how
to
make
a
timeline
using
Microsoft
Word:
http://www.microsoft.com/education/en-­‐us/teachers/how-­‐to/Pages/creating-­‐
timeline.aspx
Appendix
• Attached
an
example
of
a
completed
Timeline,
compiled
by
a
1st
year
student.

43. ©
Page
43
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&
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1903:Thiswastimewhen
blindnesswasrepresented
inmostofhisworkssuch
asTheBlindman'sMeal
andtheportraitofCelestina
paintedthisyear.
January,1907:!Beginspainting
"LesDemoisellesd'Avignon"
1909:
Cubismfirstdevelopedbetween
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Cubismfirsttookshapewiththe
helpofGeorgeBraque.Both
theseartistsanalysedshapes
andtranslatedthemintoimages.
Hespendsthemonthsin
Avigon.BraqueandDerain
aremobilisedinthewar
whichpresentstheendof
cubismasamovement.He
returnstoPariswithEvain
October.
!
!
BirthofsonPaulo.Figures
inpaintingsbecomemore
classicalandmonumental
GuernicawaspaintedbyPicassoto
expresshisoutrageoftheGerman
bombingoftheBasquetownof
GuernicaonApril26,1937during
theSpanishCivilWar.Guernicashowsthetragedies
ofwarandthesufferingitinflictsuponindividuals,
particularlyinnocentcivilians.
WeepingWomanisanintensely
personalimageandisanemblemof
thesufferingoftheSpanishnation.It
capturesamoodofmoralanxiety
thathauntedthosewhowitnessed
theSpanishCivilWar
Thistalentedartistpassed
awayon8thApril,1973.
19031907/91913/19141921/192219371973
1903
PicassopaintsTragedy
WrightBrothersfirstflight
FordMotorCompany
founded
Anti-Semiticpogromsin
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June5th
-Automaticwasher&
dryerareintroduced.1914OutbreakoftheFirst
WorldWarstartswhen
GermanyinvadesFrance
!
!
JamesJoycePublishes
Ulysses.
OnNovember5,1937,Adolf
Hitlerheldasecretconference
intheReichChancelleryduring
whichherevealedhisplansfor
theacquisitionofLebensraum,
orlivingspace,fortheGerman
peopleattheexpenseofother
nationsinEurope.
Atabout16:30onMonday,26
April1937,warplanesoftheGermanCondorLegion,
commandedbyColonelWolframvonRichthofen,
bombedGuernicaforabouttwohours.Germany,at
thistimeledbyHitler,hadlentmaterialsupporttothe
Nationalistsandwereusingthewarasanopportunity
totestoutnewweaponsandtactics.Later,intense
aerialbombardmentbecameacrucialpreliminarystep
intheblitzkriegtactic
.
Thedecisionbythevast
majorityoftheIrishpeople
tojoinwhatwasthenthe
EuropeanEconomic
Community(EEC)in1973.
&&&&&&&&&&&&

44. ©
Page
44
Art
Workstation
Pop
Art
Worksheet
Whaam!
1963
-­‐
Lichtenstein
How?
1. Set
up
resource
stations
in
the
classroom.
These
may
include
a
combination
of
books
(textbooks
&
reference
books),
prepared
texts,
short
video,
internet
site
addresses,
posters
etc.
It
is
important
that
there
are
a
variety
of
information
sources.
Students
can
use
all
available
resources.
2. Begin
by
introducing
and
discussing
Pop
Art.
Explain
the
learning
objectives
of
the
lesson.
Students
can
work
in
groups.
Each
group
is
supplied
with
a
Pop
Art
Worksheet.
Students
are
encouraged
to
find
the
information
for
the
Pop
Art
worksheets
within
a
time
frame.
3. Students
must
delegate
work
within
their
own
group
in
order
to
complete
the
exercise
on
time.
Therefore
students
must
assess
both
the
required
information
and
the
strengths/weaknesses
of
their
group
and
plan
accordingly.
4. Students
may
seek
the
teacher’s
assistance
however
the
focus
is
on
working
on
their
own
initiative.
The
teacher’s
role
here
is
to
support,
monitor
workstations
and
direct
focus
when
necessary.
5. Students
regroup
to
compile
the
information.
6. At
the
end
of
the
allotted
time,
learning
is
consolidated
by
the
teacher,
drawing
on
the
knowledge
and
understanding
achieved
by
the
students.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
***
**
*
***
****
****
*****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
*****
*****
***
**
**
**
***
***
Specific
Room
Layout
Yes
No

45. ©
Page
45
Applications
• To
develop
a
familiarity
with
the
variety
of
information
sources
available.
• To
encourage
deeper
engagement
with
a
chosen
topic.
• To
help
students
assimilate
and
qualify
material
by
skimming
&
scanning.
Why
Do
it?
• To
encourage
independent
learning
within
the
security
of
a
group.
• To
allow
students
the
opportunity
to
experience
a
range
of
learning
approaches.
• Students
will
engage
meaningfully
with
material,
identify
key
points
of
information,
record
and
share
findings
with
their
group.
• Students
learn
to
appreciate
the
value
of
teamwork,
collaboration
and
decisive
contributions
to
the
group.
• The
physically
active
nature
element
of
this
activity
will
appeal
to
the
kinaesthetic
learner.
• Students
actively
seek
information
rather
than
receive
it
passively.
Variations
• Can
be
used
for
any
topic
in
Art
History
&
Appreciation.
• Students
can
work
in
pairs
or
individually
to
complete
the
worksheet.
• Can
be
used
to
summarise
a
movement/period
of
Art
History.
• Source
materials/resources
can
be
provided
to
the
group
if
space
is
at
a
premium.
• Students
could
set
up
the
resources
for
a
topic
for
different
groups.
Additional
Resources
• Website:
www.moma.org/collection
• National
Portrait
Gallery
website:
www.npg.org.uk
(information
and
activities).
• Website:
edu.warhol.org/ppt/Pop_Art.ppt
(PowerPoint
presentation)
Appendix
• Attached
are
a
number
of
examples
of
the
Pop
Art
Work
Sheets.

46. ©
Page
46
Pop Art Worksheet
Definition
of
Pop
Art
In
the
speech
bubble
below
write
how
you
would
describe
Pop
Art…
Include
the
following
words
in
your
definition…
late
nineteen
fifties;
nineteen
sixties;
consumer
culture;
popular
media;
cultural
icons…
Pop
Artists
Name
the
artists
involved
in
this
movement
below…
________ _________ ________ _______ ________

47. ©
Page
47
Looking
at
Abstract
Expressionism
and
Reasons
why
this
new
style
of
art
emerged
in
both
England
and
America…
Describe
the
style
of
art
that
was
popular
before
Pop
Art
emerged…
(Use
the
images
below
to
help
write
your
answer)

48. ©
Page
48
Reasons
Changes
that
happened
in
society
during
this
time
and
which
influenced
many
artists
included:
o New
technologies
(Hollywood
movies,
colour
TV)
o New
popular
interests
(comic
books,
consumer
goods
such
as
coca
cola)
o History
(post
war
art)
o The
rise
of
an
affluent
society
in
both
America
and
Europe
o A
wealth
of
popular
imagery
o The
rise
of
the
celebrity…
Give
examples
of
each
word
underlined,
in
the
world
which
we
live
in
today…

49. ©
Page
49
How
did
the
role
of
the
artist
change
with
Pop
Art?
Use
some
or
all
of
the
following
words
in
your
answer…
Celebrity
status
Film
maker
Fashion
designer
Mass
product
rather
than
an
individual
work
of
art
Humour
Use
of
everyday
objects
Commercial
brand
Myth
surrounding
the
artist
Mass
media
Embracing
consumerism
Andy
Warhol,
David
Hockney,
Henry
Geldzahler
and
friend…

50. ©
Page
50
Join
the
terms
below
with
an
image
that
best
describes
their
meaning…
(More
than
one
term
may
be
applied
to
the
same
image)
Mass
media
Polular
media
Consumer
society
Mass
reproduction
Cultural
Icons
Soft
sculptures
Giant
sculptures
Repetition
Garish/Bold
colours
Packaging
Art
for
art’s
sake
Mass
production
Clean
lines
Flat
colours
Mass
media
Polular
media
Consumer
society
Mass
reproduction
Cultural
Icons
Soft
sculptures
Giant
sculptures
Repetition
Garish/Bold
colours
Packaging
Art
for
art’s
sake
Mass
production
Clean
lines
Flat
colours

51. ©
Page
51
Mass
media
Polular
media
Consumer
society
Mass
reproduction
Cultural
Icons
Soft
sculptures
Giant
sculptures
Repetition
Garish/Bold
colours
Packaging
Art
for
art’s
sake
Mass
production
Clean
lines
Flat
colours

52. ©
Page
52
Pop
Art
and
You…
Can
you
think
of
packaging
we
use
in
today’s
world
that
is
universally
popular?
Name
an
icon
living
in
today’s
world
that
Andy
Warhol
might
use
in
his
art
practice,
if
he
was
still
alive
today…
If
you
were
to
design
a
large
scale
sculpture
or
a
soft
sculpture,
similar
to
the
examples
below,
for
your
school
what
object
would
you
chose
and
why?

53. ©
Page
53
Looking
at
and
discussing
an
image
of
Pop
Art
…..
Just
what
is
it
that
makes
todays’
homes
so
different,
so
appealing?
Poster
collage
designed
by
Richard
Hamilton
for
exhibition
entitled
‘This
Is
Tomorrow’,
in
1956.
Label
this
artwork
with
the
following
words
and
describe
their
meaning…
Domestic
interior
scene;
stereotyped
couple;
comfortable
living;
glamour;
affluence;
modern
accessories;
collage;
magazine
cut-­‐outs;
mass
produced
product;
ironic
tone;
humour;
scale;
Dadaism
reference;
use
of
text;
post-­‐war
Britain;
American
influence

54. ©
Page
54
Pass
the
Buck
Art
History
and
Appreciation
Lesson
Using
Video,
DVD‘You
Tube’
or
‘Smart
History’
videos
to
encourage
learning
through
listening,
writing
and
speaking.
http://smarthistory.khanacademy.org/Masaccio.html
How?
1. Write
a
higher
order
question
on
the
board
and
ask
the
students
to
listen
carefully
to
a
DVD,
Video,
You
Tube
or
Smart
History
video.
(In
this
example
the
smart
History
website
was
used
,
see
link
above,
and
the
question
posed
was:
• Masaccio’s
(1401-­‐1428)
grasp
of
perspective
and
three-­‐dimensional
modeling
is
seen
in
the
“The
Tribute
Money”.
Discuss
Masaccio’s
work
with
detailed
reference
to
the
Tribute
Money,
the
period
in
which
it
was
produced,
its
subject
matter,
composition,
materials
and
the
techniques
used
in
its
production.
(Q
2
European
Section
L.C.
Higher
Level
2012)
2. Students
work
in
pairs
and
have
a
strict,
short
time
limit
(example
5
minutes)
to
draft
an
answer
to
a
difficult
question.
It's
best
if
they
work
on
large
A2
paper
with
felt
pens.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
****
***
***
****
****
***
****
****
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
***
*****
*****
*****
*****
*****
***
Specific
Room
Layout
Yes
No

55. ©
Page
55
3. When
the
time
is
up,
ask
the
students
to
pass
their
unfinished
answer
to
the
pair
of
students
behind
them
and
receive
the
work
of
the
pair
in
front.
4. They
now
have
five
minutes
to
continue,
not
their
own
answer,
but
the
received
answer
from
the
pair
in
front,
picking
up
from
wherever
it
was
left.
They
are
encouraged
not
just
to
add,
but
to
cross
out
bits
they
don't
agree
with,
redraft
and
correct
spellings
and
grammar
mistakes.
5. When
5
minutes
are
up,
papers
are
passed
on.
6. The
newly
received
answer
is
continued
for
a
further
five
minutes.
7. And
so
on
until
the
students
have
complete
answers
or
10
minutes
before
the
end
of
class
time.
8. The
answers
are
then
returned
to
their
original
authors,
who
have
the
opportunity
to
draft
the
final
polished
version
of
the
answer.
Applications
• Use
to
encourage
students’
listening,
speaking,
writing
and
reading
skills.
• To
help
students
to
assimilate
information
by
reading
and
scanning
for
keywords.
• A
way
of
developing
comprehension
and
understanding
of
a
topic.
• Can
be
a
revision
exercise
at
the
end
of
a
scheme
of
work
or
topic.
Why
Do
it?
• This
activity
trains
students
in
crucial
exam
technique,
particularly
the
art
of
writing
precise
and
full
answers.
• It
promotes
a
more
conscious
approach
to
writing,
including
planning,
accuracy,
attention
to
time
and
speed,
awareness
of
audience.
• Even
though
the
material
might
be
heavy
and
serious,
the
activity
itself
is
light.
No
one
gets
too
bogged
down.
The
pace
and
the
passing
make
it
sparky
and
fun.
Variations
There
are
so
many
variables
in
this
activity,
for
example:
• Vary
the
time
for
each
round.
Give
four
minutes
for
the
first
round,
five
for
the
second,
six
for
the
third
and
so
on
to
allow
enough
reading
and
thinking
time
as
the
answers
become
fuller.
• Vary
the
length
and
complexity
of
the
tasks.
Differentiation
can
be
built
in.
• Vary
the
questions,
so
each
pair
starts
with
a
different
question
-­‐
this
really
keeps
people
on
their
toes.
Students
have
to
switch
their
thinking
to
a
new
subject
every
round.
This
simulates
the
pressure
of
an
exam.
• In
the
first
round
give
students
enough
time
to
write
a
complete
answer.
Then,
the
pair
behind
don't
continue
it:
they
redraft
it.
• Or,
the
pair
behind
mark
the
answer
to
set
criteria.
This
is
particularly
powerful
if
exam
criteria
are
used.
Students
will
need
to
know
beforehand
how
an
examiner
approaches
a
script.

56. ©
Page
56
Crossword
Crossword
How?
1. Using
keywords
for
the
subject
area,
devise
clues
for
a
crossword
suited
to
your
learners.
Input
clues
and
solutions
into
puzzle
maker
of
your
choice.
2. Print
and
copy
one
per
learner.
3. There
are
many
web
sites
available.
4. This
could
be
used
for
reinforcing
key
words
in
Art
history,
craft
or
design.
Applications
• Uses
key
words
to
reinforce
learning.
• Could
be
used
for
homework
or
as
a
form
of
revision
• Taps
into
skills
learners
use
both
in
and
out
of
school.
Literacy
Purposes
Thinking
Emotional
intelligence
Independence
Interdependence
Multi-­‐sensation
Fun
Articulation
*****
*
***
*****
*
*
***
***
*
Other
Skills
Individual
work
Group
work
Moving
Speaking
Listening
Reading
Writing
Looking
Choice
*****
*
*
*
*
*****
*****
***
****
Specific
Room
Layout
Yes
no

57. ©
Page
57
Why
Do
it?
— A
quick
way
to
reinforce
learning;
can
be
used
as
a
homework
exercise
or
as
a
method
of
revising
a
topic.
— Very
popular
with
learners.
— Quick
and
easy
to
do.
— Fun
Variations
— Students
could
devise
their
own
crosswords
using
list
words.
— The
crosswords
could
be
compiled
and
used
in
an
Art
crossword
book.
— Learners
could
work
in
pairs
to
solve
the
clues.
Additional
Resources
Good
websites
include….
https://crosswordlabs.com/
http://www.crosswordpuzzlegames.com/create.html
http://edhelper.com/crossword_free.htm
http://www.puzzle-maker.com/CW/
Appendix
— Attached
is
a
crossword
and
answer
page
based
on
Neo-­‐Classical
Art.