This lesson contains three activities. Each activity uses a different object to explore one method of analysis and emphasize concentrated looking. When using non-photographic images, emphasize that the tools students are learning can be used to analyze any work of art from any time period, including photographs. This activity is an engaging way to help students create rich, descriptive sentences. Learning to write these sentences will be helpful when students create their own artist's statements in later lessons.

Students will read an artist's statement by Dorothea Lange and write an artist's statement based on their own photographs. Students will examine the relationship between photography and the artist's statement; look closely at their own works of art; and use the methods of description, reflection, and formal analysis to write their own artist's statements.

Students will analyze modern artists' interest in travel; discuss modern artists' radical and unusual use of artistic materials; look at the ways in which modern artists were inspired by unusual artistic sources.

Students will compare portraits, two of which are self-portraits, focusing on artists' choices, such as medium, or the materials an artist uses to create a work of art, and composition, meaning the arrangement of different elements upon the surface of a painting, drawing, etc. Students will explore the characteristics that these portraits convey about the sitter.

Students will learn to broaden their descriptive and analytical vocabulary through comparisons and close analysis of works of art; discuss changes taking place in the modern world and the psychological effects on the artists discussed in this guide.

Students will learn that the bronze used to make this sculpture is an alloy of copper and tin with small amounts of antimony, lead, iron, silver, nickel, and cobalt. They use the periodic table to research the chemical formulas of compounds used to make bronze. After learning about oxidation-reduction reactions that occurred in the statue, students speculate about the conservation techniques needed to conserve the bronze sculpture.

Students will study an object from antiquity that was found in the sea off the coast of Italy in order to understand how conservators remove and prevent corrosion on bronze statues.

Students study an ancient bronze statue, analyze its pose, and discover how conservators remove and prevent corrosion.

Students will study "Flamingo Capsule", a painting by James Rosenquist drawing on the Apollo 1 training disaster. Students will try to connect the painting to the event by deconstructing the painting. Students will consider Rosenquist's composition and discuss the level of success the artist reached in portraying two opposite concepts within a single work. Students will research newspaper accounts of the Apollo 1 tragedy and create their own work responding to the event. Students will also experiment with scaling-up, the technique Rosenquist used to produce very large works.

Students will create a timeline outlining various groups' struggles for equal opportunity and create a 30-second radio or video public service announcement (PSA).

Students will be able to discuss and analyze the subject and compositional elements of a three-dimensional portrait bust; use multiple techniques for creating a portrait bust with their hands and simple tools; experiment with additive techniques in sculpture; create a three-dimensional portrait that communicates the characteristics of a friend, through the position of the head, facial expression, and movement; and articulate in writing the processes undertook to create a portrait bust.

Students will compare and contrast works of art; learn observational techniques; become familiar with buildings in their community; learn the terms foreground, middle ground, and background, as well as terms for describing objects such as line, color, shape, form, and pattern.

Students will watch and discuss an exerpt from Garmendia's "Untitled Orbea" 2007. Students will explore, video, and discuss a relevant object from the school. Students will consider local traditions, events, habits, or an unusual behavior in their community and create an imaginary monument that represents their community. Students will also design furniture playing with the function of the object.

Students will view and discuss works by Garmendia, Zabala, and Salaberria. Students will organize and construct an action sculpture, observing how objects react (how they move, sound, how the physical matter changes) if elements such as sun, water, or wind get involved. Students will use smartphones, cameras, and/or video to copy old photos and video comparing qualities of past and present. Students will also view the series "Unconscious/Conscious" and use photography and video to explore an emblematic building in their city.

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. But how much do they know about the genre of genre painting? What genre is Emanuel Gottlieb Leutze?s image of George Washington Crossing the Delaware from the collection of the Metropolitan Museum of Art? 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.

Students will view Gillian Wearing's "Self-Portrait as My Uncle, Bryan Gregory"; learn about her process of documentary portraiture; and debate whether her work is "self-portraiture" or not. Students will also use collage to merge an image of themselves with that of another. Students will also write a character sketch of one of Wearing's photographs and a short biography of the person they have researched.

Students will be able to examine a work of art and write a descriptive analysis about it; explore the differences between objective and subjective writing about an art object; consider the context in which a work of art was created, and develop opinions about a work of art; and discuss and reflect upon the process through which their first impressions of a work of art changed, after acquiring contextual knowledge about it.

This resource contains a list of tips that have been written specifically for high school art students who are looking to improve the realism of their observational drawings. It is for those who have already selected something appropriate to draw and who understand how to compose a drawing well.

Observational drawing is an integral component of IGCSE, A Level Fine Art or Painting and Related Media courses. For many students, drawing is the core method of researching, investigating, developing and communicating ideas. While it is accepted that there are many wondrous types of drawings - and that non-representational drawing methods have an important role in student art projects – it is usually advantageous to demonstrate competent, realistic observational drawing skills to the examiner (particularly in the early stage of a project).

Students will be able to view and discuss five different artworks (drawings and paintings created in late-1800s France) in terms of what art can tell them about vocations, social conventions, history, style, science, politics, economics, and creativity; create imaginary narratives about how the subjects came to be painted by the artist; create imaginary narratives about what the artists' private lives might have been like in Europe in the 1880s and 1890s by using historical references; learn how to organize information quickly in a visual manner by using various Bubble Maps©; conduct research to make study sketches (examples of text or graphic backgrounds); create an original work of art; and write a short essay in which they address the question: What can art tell us about ourselves?

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.