Students will listen to Copland's Appalachian Spring while listening to a reading of Heartland by Diane Siebert. They will then write their own poems and create accompanying artwork.

This article discusses how to use murals as an interdisciplinary, cooperative activity to blend science, art, and math concepts.

This resource aims to: engage teachers and students in acquiring authentic and culturally respectful information; build factual knowledge about art, history, religion, cultural traditions, the role of the artist and the use of materials and techniques; support teachers and students in developing skills in intercultural understanding; and develop Asia literacy, the understanding and valuing of the wealth of artistic and cultural traditions of Asia, and the links we share across countries and cultures.

Students will explore the use of cool colors in Bouguereau's painting 'Childhood Idyll'; experiment with cool, warm, and complementary colors; and create a self-portrait using one of these color schemes. Students will learn the concepts of cool, warm, and complementary colors, core knowledge that will help them with all artistic lessons they may encounter in the future.

Students will study Robert Rauschenberg's "Barge, 1962-63" and consider statements made by critics at the time. Students will also create a timeline of what was happening in the 1960's in the US. Students will identify the various processes used in "Barge". Students will also brainstorm images representative of their own community and create a collage from newspaper, magazine, and other image sources. They will also apply paint to the work. Students will also approach the subject through screenprinting.

Have students brainstorm a list of adjectives to describe places. As a group, look at Schiele's Old Houses in Krumau and then, working with a partner, to match words from the list with Schiele's scene. Have students reflect on process--how they know when an artwork is finished. Ask students about the use of anthropomorphic elements in Schiele's work and their own. Have students consider the terms looking and seeing and how the two differ. Students will produce an anthropomorphic landscape from their surroundings and write down similes and metaphors comparing parts of the landscape to the human form. Students will also work together to produce a series of images inspired by each other. Students will also work with the definition of "artists".

Students will look at Egon Schiele's "Seated Couple, 1915" and compare the two figures. Students will discuss how art can express feelings symbolically. Students will then consider Gustav Klimt's "The Kiss, 1908" and compare the two works noting proportions, perspective, color, decorative elements and the relationship between the figures and the environment. After a class discussion on allegory, students will create their own allegorical drawing. Students will then write a poem based on one of the works. Also, working in pairs, students will sketch each other twice making use of perspective to portray different aspects of the subject.

Students will look at Egon Schile's "Self-Portrait: Pulling Down an Eyelid, 1910" noting use of color and decorative elements, clothing, facial and body language and emotion. Students will also consider Schiele's use of line and his contrasting blocks of color. Students will compare his work to that of his mentor, Gustav Klimt. Working in groups, students will construct and act out a dialogue between artist and subject based on a Schiele drawing. Students will engage in two continuous drawing activities; two contour drawing activities; and create a digital self-portrait experimenting with contortion, asymmetry, and/or disproportionate elements.

In this lesson, students will look behind the story at the historical, social, and cultural circumstances that shape the narrative throughout Esperanza Rising. The lesson also invites students to contemplate some of the changes Esperanza undergoes as she grows into a responsible young woman and the contradictions that she experiences.

Students will engage in learning activities of 'Creating and Making' and 'Exploring and Responding'. The 'Creating and Making' activities include: plein-air drawing; creating a tour itinerary; digital landscape; sights and sounds journal; and making a film. 'Exploring and Respondin' exercises include: art and science; painting pictures with words; imagining a new land; building on the landscape tradition; perspective; compare and contrast; the legacy of von Guerard; and appropriating von Guerard.

Students will take on a mystery, Sherlock Holmes style, to uncover the secrets, history, and deeper meanings of Moyo Ogundipe's painting Soliloquy: Life's Fragile Fictions.

Students will be able to: explain why Ogundipe used particular colors, patterns, and images for his painting; discuss what the snakes and birds symbolize in the picture; and express in their own words at least three reasons the different elements of the painting are a treasure.

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 work with a gray value scale using light and shadows to create a dynamic composition. Students will examine and describe a work of art, focusing on the use of light and shadows in a monochromatic composition. They will practice problem-solving various ways to use these findings to create their own work of art in a gray value scale.

Students will be able to: mix values of gray from black to white; experiment with shadows and light; plan and create a dynamic composition; and demonstrate appropriate painting technique and craftsmanship.

This lesson invites students to learn and apply formal methods of visual arts analysis to investigate and understand Dan Namingha's Hopi Eagle Dancer They will then experiment with paints in an effort to get a sense of how the artist used different tools and thicknesses of paints to achieve varying effects in the painting.

Students will be able to: identify at least three different techniques/characteristics of the painting; discuss the impact of the artist's use of color in the painting; list and apply methods of formal visual analysis; and use trial-and-error methods to obtain different visual effects.

Students will watch "Blow After Blow" by Garmendia (link provided). They will also view works by Salaberria and Zabala. Through discussion and analysis, students will explore "context" as it relates to process and method. Students will also research punk music from different parts of the world, find photographs that compare past and present events noting aesthetic differences while considering how new technologies have changed both war and journalism. Finally, students will re-design a Salaberria exhibition.

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.

Students will put on their 'detective hats' and use magnifying glasses to find evidence that supports attributing the paintings in the Molleno Altar Screen to one artist and one piece. They will work in small groups and present a case to share with the entire class. They will also explore what would need to be different for them to prove that the pieces do not belong together.

Students will be able to: describe what an altar screen is; state that Molleno painted the scenes for this particular altar screen; develop and support a theory or hypothesis using details and logic; and share what they think and have learned with other students and the teacher.

This collection uses primary sources to explore the Hudson River School. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This collection uses primary sources to explore Japanese American internment during World War II. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

The resource features a 24-page guide with questions, learning activities, quotations and commentaries to support and model students' responses. An audio guide offers insightful commentary on works in the exhibition and an image bank presents Brack's key works together with contextual and comparative images. Students can also take part in an interactive analysis of Brack's famous painting.