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.
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.
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.
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.
Artists often structure their compositions in particular ways in order to convey a sense of harmony in the picture. Students will use the viewing experiences of the activities in the first lesson of this curriculum unit, Composition Basics as the basis for discussing some additional compositional techniques found in the images in this activity.
Impressionism, Cubism, Realism, Neoclassicism, Mannerism. When we visit a museum or flip through a book we often see these terms, along with the word movement (or sometimes style). This lesson plan will help students to understand the idea of movements in the visual arts, and begin to differentiate between some of the most well known movements in Western art- particularly in painting.
By juxtaposing the different promotional tracts of William Penn and David Pastorius, students will understand the ethnic diversity of Pennsylvania along with the “pull” factors of migration in the 17th century English colonies.
This lesson encourages close study of Wood's painting, American Revolution primary sources, and Longfellow's poem to understand the significance of this historical ride in America's struggle for freedom. By reading primary sources, students learn how Paul Revere and his Midnight Ride became an American story of patriotism.
Leonardo da Vinci—one of history’s most imaginative geniuses—was certainly born at the right time and in the right place. In this lesson plan, the students will explore Leonardo da Vinci and the age in which he lived and consider the meaning of the Greek quotation, “Man is the measure of all things” and why it particularly applies to the Renaissance and to Leonardo.