Students will become familiar with the term "landscape" and will revisit the terms "foreground," "middle ground," and "background." Students will consider how an artist's painting technique impacts a viewer's interpretation of a painting.

Students will discuss the style and function of an 18th-century compound microscope and its case and then design their own modern scientific or technological instrument. Students should be able to discuss and analyze the elements and principles of design as seen in the Compound Microscope and Case; discuss and compare the design of the microscope to the design of modern scientific or technological devices; and apply the elements and principles of design to the creation of their own modern scientific or technological device.

Students will be able to compare portrayals of individual soldiers to depictions of battle scenes and discuss the impact of each on viewers; analyze rhetorical strategies in two newspaper articles about a current war; write two different newspaper articles about a current war from different viewpoints; and create digitally or manually manipulated photographs.

Students will be introduced to the notion of ephemeral and site-specific art and will consider the role of the photo-documentation of these works; explore works that challenge traditional notions of where art should be displayed; be introduced to artists' strategies of institutional critique.

Students explore the topics of interpretation and intertextuality by investigating and creating texts and works of art inspired by other texts. Essential Question: How does meaning change through interpretation?

Students will consider the challenges of representing identity visually; consider text and elements of popular culture in an image; continue to consider the role of drawing as a political medium.

Students will consider gesture in drawings; consider alternative materials and processes artists can use to create drawings; consider the role of chance in the creation of drawings.

In this lesson, students reflect on the social relevance of right-brain and left-brain thinking. Then, they practice the science skills of observation and drawing using a right-brain dominant approach and reflect on whether and how the different perspective helped them to learn the material.

Students will:
1. Respond to a logical, systematic and verbal drawing prompt.
2. Learn about the differences between brain hemispheres and the current emphasis on the value of creativity and imagination by reading and discussing the article "Let Computers Compute. It’s the Age of the Right Brain."
3. Employ drawing techniques to engage the right hemisphere of the brain and then apply these techniques to a science topic.
4. Compare two self-created drawings and reflect on the experience of approaching the topic from two perspectives, linear/logical and spatial/nonverbal/holistic.

Students will examine architectural structures in paintings and how they are used, also considering the art elements, composition, emphasis, color, and light. Students will be able to examine the use of architectural structures in paintings; consider the use of composition, emphasis, color, and light in paintings; write words, phrases, and a stanza of a poem depicting a painting's mood; draw an interior and write a related stanza of a poem; and draw exterior landmarks and write a related stanza of a poem.

Students will compare propagandistic strategies in artworks to modern-day examples of persuasive techniques and create a propaganda poster for a current political leader.

Students will be able to use English–language vocabulary to describe what they see in a work of art; create a collage that communicates their experience of the urban environment; and write about their collage, articulating what they were trying to express through visual images using English–language vocabulary.

Students will be able to describe and analyze techniques artists use to communicate persuasive messages through two-dimensional and three-dimensional images; understand key themes and artistic styles of the Counter-Reformation period in 17th-century Europe; and create a sculpture that conveys a message conceived by a patron.

This lesson is part of a sequential unit. Students use criteria developed in class to evaluate which of their own sketches would make the best symbolic sculpture. They choose a final design, techniques and materials, and create sculptures based on their designs.

Students will consider the term conceptual art and the role of math - geometry, fractions, permutations - in producing this art. They will first create a conceptual art piece by following a set of Sol LeWitt's instructions. Then, they will design two conceptual art plans using math concepts - one in two-dimensions, another in three - for a student-partner to follow.

Students will examine sixteen paintings by George Baselitz. Students will describe the works and discuss details, the reasoning and meaning behind painting upside down, techniques and methods required to work in this manner, and the process behind the series. Students will also analyze the titles and subtitles Baselitz used and the meaning or implications associated with each. Students will compose a dialogue between two characters in the paintings and will experiment with painting with hands and feet in the style of Baselitz.

Students will view and discuss Cy Twombly's "Nine Discourses on Commodus", research the Roman Emperor Commodus, investigate Twombly's process and technique, and consider the difference between works in a "series" created as "one in a sequence" rather than "stand alones". Students will also discuss how music may inspire visual arts; make paintings based on phrases of poetry; and debate the artistic value of graffiti.

This free website provides more than 600 adaptable lesson plans written by teachers in collaboration with the Denver Art Museum for more than 130 objects from the museums world-class art collection. Lesson plans and resources focus on inspiring students to think and problem-solve creatively. Organized in an easy way so that teachers can pick the topic they would like to explore or enhance, then use works of art to teach that subject.

High resolution images are included. Museum visits are not necessary to implement lesson plans. Includes professional and student development tools such as teacher workshops and webinars, virtual classroom courses, career videos, educator blogs and creativity tools. Easy for teachers in language arts, social studies and visual arts to provide a curriculum rooted in the arts while also meeting 21st Century Skills.

This project is designed for students in a beginning digital photography class but could be adapted for Digital Media, and or Visual Arts Beginning.  In this lesson, students will learn about Pictorialism and Alfred Stieglitz, a strong spokesperson for the style. Students will learn the characteristics of pictorialism and stage a scene in this style capturing it with a digital camera. Next, they will learn how to use Procreate to alter this photo (instead of in the traditional darkroom, a digital darkroom) so that it resembles a painting of the late 19th Century.

In this activity, students will learn how modern artists reinvented portraiture. By the turn of the 20th century, photographs had become the most accessible and popular mode of portraiture. As though freed from the burden of realism, portrait painters of the time began to explore new ways to represent people, breaking with the literal and representational portrait of the previous era.

Students will be able to research the history of individual labor unions and interview representatives about benefits and challenges; document in a photographer's journal the process of preparing for and participating in a photography assignment; formally analyze artworks in preparation for a photography assignment; and create an original photograph of a worker that uses leading lines to create emphasis.