In this lesson, students analyze Jacob Lawrence’s The Migration of the Negro Panel no. 57 (1940-41), Helene Johnson’s Harlem Renaissance poem “Sonnet to a Negro in Harlem” (1927), and Paul Laurence Dunbar’s late-nineteenth-century poem “We Wear the Mask” (1896), considering how each work represents the life and changing roles of African Americans from the late nineteenth century to the Harlem Renaissance and The Great Migration.
A virtual field trip to the ruins of Pompeii. In this lesson, students learn about everyday life, art and culture in ancient Roman times, then display their knowledge by creating a travelogue to attract visitors to the site. They can also write an account of their field trip modeled on a description of Pompeii written by Mark Twain.
The story of the Ramayana has been passed from generation to generation by numerous methods and media. Initially it was passed on orally as an epic poem that was sung to audiences by a bard, as it continues to be today.
Still Life, portrait, and landscape are all categories, or genres, of painting which your students have probably seen examples of on their trips to the museum or when looking through an art book. This lesson plan will help students to understand and differentiate the various genres in the visual arts, particularly in Western painting. Students will learn to identify major genres, and will learn to discriminate between a painting’s subject and its genre.
Striking examples of poetic "pictures"-not just vivid images but the entire mental picture conjured up by a poet-are to be found in "The Charge of the Light Brigade," by Alfred, Lord Tennyson, and "The Highwayman," by Alfred Noyes. As they explore the means by which Tennyson and Noyes create these compelling pictures in words, students will also learn the critical terminology to analyze and describe a variety of poetic techniques and will have an opportunity to create their own pictures in words.
In this lesson students will learn about Abraham Lincoln the individual and the President. By examining Alexander Gardner's February 5, 1865 photograph and reading a short biography of Lincoln, students will consider who the man on the other side of the lens was. Students will demonstrate their understanding by writing an "I Am" Poem and creating their own multimedia portrait of Lincoln.
Through close study of Alfred Stieglitz’ 1907 photograph "The Steerage" and William Carlos William's 1962 poem "Danse Russe," students will explore how poetry can be, in Plutarch’s words, "a speaking picture," and a painting (or in this case a photograph) can be "a silent poetry."
The focus of this lesson is the Robert Gould Shaw and the Massachusetts 54th Regiment Memorial by Augustus Saint-Gaudens. Students will put themselves in the shoes of the men of the Massachusetts 54th Regiment as they read, write, pose, and then create a comic strip about these American heroes.
How do artists create a story that provides a message or provokes emotions in that single frame? This lesson will help students analyze ways in which the composition of a painting contributes to telling the story or conveying the message through the placement of objects and images within the painting.
After a close reading and comparison of Edward Hopper's painting House by the Railroad and Edward Hirsch's poem about the painting, students explore the types of emotion generated by each work in the viewer or reader and examine how the painter and poet each achieved these responses.