ART IN ANY CLASSROOM
Lesson Plans: Upper Elementary
Impressionism & Impasto Painting
In the nineteenth century attitudes about landscape painting changed slowly. Anew crossdisciplinary attention to nature meant that artists began to take an interest in specific sites.
Specific locations at specific times of day were made popular by a series of paintings by Claude
Monet (French, 1835-1926) of the cathedral at Rouen. Impressionists were able to paint en plein
air (outdoors) because of the invention of paint in tubes, which meant that oil paint could be
prepared and taken into the countryside.
Most of the landscape paintings in Modern Masters: From Corot to Kandinsky take the motif of
specificity one step farther as the artists attempt to capture the momentary. The permanent
collection at the Tail Museum of Art also has apainting that utilizes the specificity motif to
capture a site at a specific time of day. The Piazza of San Marco, Venice, during a Flood by
Felix Ziem captures light as it illuminates the facades of buildings in Saint Mark's Square. This
painting will be used in conjunction with the painting of Notre Dame in the Morning, No. 1, by
Francis Picabia to illustrate the importance of color as it is affected by light in the impressionistic
style of the painters.
Concept:
Students will study the Impressionist style. Impressionists were concerned with the way
color was affected by light and tried to capture images that virtually changed along with the time
of day. Most impressionist paintings display visual texture because of the thickness of paint used
along with varying brush strokes that allow the viewers' eye to blend colors as they view the art.
Students will select a building in their environment and do three paintings of this building in the
morning, afternoon and twilight. Mixing the tempera paint to create an impasto surface will add
to the interest of the painting. Color theory along with mixing tints and shades will also be taught
in this lesson.
The Art:
Francis Picabia
Notre Dame in the Morning, No. 1, 1906
Oil on canvas, 36 1/2 x 29 in.
It is almost forgotten, because of Picabia's important work in radical modernism ofthe Dada
style, that he had conventional art training and worked for almost six years in the already oldfashioned impressionist style before turning to cubism in 1911. In Notre Dame in the Morning,
No. 1, Picabia used the same method as Monet in his celebrated series of Rouen Cathedral,
rendering on several canvases the same view at different times as the light changed. This
particular painting, first in the series, depicts the famous Paris cathedral and the square in front of
it in the early morning when the fa,cade is in shadow.
The Artist:
Francis Picabia (French, 1879-1953) was a wealthy Parisian of Cuban end French
descent. He was a painter and the statements he made with his brush had more significance than
the words he said or wrote. He married a very wealthy woman named Gabrielle Buffet. Picabia
had inexhaustible powers of invention, he was rich, and he was independent, materially and
mentally, intellectually end creatively.
In 1913, Picabia and his wife left Europe for America. Alfred Stieglitz became friends
with Picabia and displayed his work. When Picabia arrived in New York from Spain, Marcel
Duchamp (French, 1887- 1968) was already there. Man Ray (American, 1890-1977) and
Duchamp entered into the art circle of Picabia. Picabia, the ultimate artist of the Dada
movement, defied life to do its worst and accepted all the consequences. Nothing less but total
destruction would satisfy him, at least in the field of art. Even at the height of his battle against
art he continued to produce astonishing works of art, whether hairpin portraits, profiles in string,
faces made of buttons, or feather landscapes. All these demonstrated his talent even more clearly
than his contempt for art. Somewhere in the depths of Picabia's soul, he hoped to find a meaning
"behind it all."
The Art:
Felix Ziem
The Piazza of San Marco, Venice, during a Flood, late 1850s
Oil on canvas, 37 5/8 x 27 1/4 in.
Ziem was the first important French artist to adapt the tradition of painting Venetian
views as pioneered by Canaletto (Venetian, 1697-1768) and Francesco Guardi (Venetian, 171293) during the eighteenth century and furthered by J. M. W. Turner (English, 1775-1851) in the
first half of the nineteenth century. Later, other members of the French school would follow his
path, notably Pierre-Auguste Renoir (French, 1841 - 1919) and Monet. Ziem's Venetian
cityscapes approach the effects of impressionism in their emphasis on the depiction of natural
light and atmosphere, and painterlybrushstrokes. The color is high-keyed. Ziem chooses
picturesque views that emphasize the scenic rather than the crumbling aspect or the political
reality of the city. This tourist landmark was the focus of Ziem's Venetian works, which were
greatly sought after by collectors during the nineteenth century.
The Artist:
Felix-Francois-Georges-Philibert Ziem (French, 1821-1911)
Felix Ziem's family settled in Dijon, France where he studied linear design and classical
architecture at the school there from 1837 to 1839. In May 1842, Ziem left Nice for a Grand
Tour across Europe. On his second visit to Venice, he said that he found it "a port of life". He
revisited the city eighteen times throughout his career. In 1844-45, Ziem actually lived on a
houseboat in Venice.
Many critics feel that the early work of Ziem was his most inventive and fruitful. His
later work became repetitious and commercialized. Ziem won medals in the Salon of Paris for
his Venetian and marine subjects. He was praised by the Goncourts and other critics. Ziem
became increasingly popular during the 1860s, although writers began to criticize the lack of
"drawing" or definition in his works, a nonacademic finish for which the impressionists were
also rebuked. He exhibited his last works in the Salon in 1888 and then began to sell his
paintings through Parisian dealers.
In 1877 Ziem built a villa near Nice. His last trip to Venice was in 1897. He married his
longtime companion from Provence in 1904 and attained a position of Commander of the Legion
of Honor in 1908. Ziem died on November 10,1911.
Impressionism:
The Impressionists challenged academic traditions in French painting in the 1870s and
1880s, particularly. The major artists to whom the label "Impressionists" came to be attached
were all born within eleven years of each other between 1830 and 1841. All of them studied in
Paris, many at the same art school. They shared the same preoccupations and the same
immediate past. Most of them were also from the bourgeoisie, whether great or small, and
therefore born into the class which was to dominate French artistic taste for the better part of the
nineteenth century. Impressionism had tremendous, widespread influence because of its
technical innovations as well as its desire to depict reality through capturing ever-changing
aspects of light as the phenomenon that makes vision possible. Monet was the classic
practitioner of this style, which is characterized by beautiful, strong colors, broad visible
brushstrokes, outdoor subjects, including people and leisure, and a light, airy appearance.
Technological advances as a result of the Industrial Revolution played a central role in
the impressionist achievement by giving the movement's artists the ability to develop their own
painting techniques and take advantage of the new colors. The three significant developments
were the introduction of mechanical grinding, oil binders, and additives to keep paint fluid and
workable in the new tube containers. All these combined to influence the texture of the midnineteenth century paints, which were more suitable to impasto (heavily builtup, highly textured)
work.
The use of the term "impressionism" in connection with Monet's work gives some
indication of the manner in which the painting was conceived. As an expression,
"impressionism" was already current in discussions on mid-nineteenth century French painting;
it denoted the initial effect imposed on an artist's mind by a given subject. John House, however,
has observed that Monet meant it to signify not the initial idea set off by a painter's reaction to a
scene, but rather that idea in physical form made in paint on canvas.
In the series of paintings by Monet of Rouen Cathedral the understanding of
impressionism is an unchanging and unchangeable object, yet one that provokes a constant
movement of light in the most complex way. At every moment of every day, the changing light
creates a new view of the cathedral, which seems as though it were constantly altering. In front
of Monet's twenty views of the building, one begins to realize that art, in setting out to express
nature with ever growing accuracy, teaches us to look, to perceive, to feel.
The Lesson:
National Goals and Standards:
 Students create artworks that use organizational principles and functions to solve specific
visual arts problems.
 Students intentionally take advantage of the qualities and characteristics of art media,
techniques, and processes to enhance communication of their experiences and ideas.
 Students generalize about the effects of visual structures and functions and reflect upon
these effects in their own work.
 Students know that the visual arts have a history and specific relationships to various
cultures.
Vocabulary:
Binder - Sticky oil or glue used in paints to bind pigments together. As the binder dries and
hardens it holds the pigment to the surface of the painting. Binders maybe made of vegetable
oils, egg yolks, petroleum, beeswax, glue or gum arable.
Brush - The finest brushes used for watercolor are made of sable hair. Stiffer brushes are made
from pig hair or boar bristles. Brushes come in all shapes and sizes allowing the artist to make
different kinds of brush strokes.
Canvas - A strong woven cloth used for painting. It was traditionally made of hemp or linen.
Today, it is mostly made of cotton or artificial fibers. Canvas is usually stretched over a wooden
frame and covered with a ground such as gesso, before it can be painted. This stops the canvas
from soaking up too much paint.
Easel - An easel holds a canvas steady while a painter works on it. Easels come in all sizes and
shapes. Lighter easels can be folded and used outdoors.
Oil paint - Oil paint is made by mixing pigments with vegetable oil (usually linseed oil) into a
thick paste. To make the paint thinner, the artist mixes in more linseed oil or varnish or
turpentine. Oil paint dries very slowly so that the artist has time to blend in the brush strokes.
Palette - In the 1400s, painters began to layout and blend colors on a slab of wood, stone, or
ivory. This slab came to be called a palette. In the 1800s palettes were large and kidney shaped.
A hole was also made in them for the artist's thumb.
Pigment - A colored powder taken from a plant, animal or mineral (such as a rock). To make
paint, the pigment is mixed with water, oil, wax, or egg—to bind it. Today most pigments are
made with chemicals and the range of colors is quite large.
Tempera - Tempera is made with a binder of egg yolk. Tempera dries quickly and brush strokes
do not blend easily. The artist must blend color by painting colors on top of one another.
Motivation:
Decorate the classroom with many reproductions of impressionist paintings. Talk about the style
of painting with your students. Travel to the Taft or the Cincinnati Art Museum to view actual
impressionist paintings. Study the school building or other buildings in your area for differences
in color depending on the time of day or light source. Students may do this activity at home on
the weekend with a side of their house.
Studio Procedure:
1.
2.
Students use three pieces of matt board or cardboard to make a quick sketch of the
building they will paint. Make sure all drawings are about the same size.
Mix impasto tempera paint using one tablespoon of white detergent powder. Stir until
mixed. **NOTE: Other thickeners that work well are powdered cornstarch, or white
flour, using the same 1 T. to l/2 cup paint. Tempera paint thicknesses can vary also, so be
prepared to thin with water or thicken with more thickeners!
Materials:
• Jars or cups for mixing paint
• Spoons
• Flat containers or grocery polysterene trays
• Craft sticks
• Paintbrushes (variety of sizes)
3. Scoop paint onto the plastic trays to form a palette.
4. Apply paint to the buildings that have been sketched. Each building should be painted in the
morning light, afternoon light, and dusk or nighttime.
5. Mix colors together to make tints (white) and shades (black) or new colors.
6. By using paint brushes and craft sticks, the painting will take on an Impressionist feel because
of the thick paint. Remember any mistakes can be painted over!
7. Allow the thick impasto paintings to dry overnight.
8. The next period, discuss the results of the time/color study and the buildings. Display the work
as a series.
(Assessment Tool is on a separate page.)
Critical Questions:
 Identify the hues in the paintings by Picabia and Ziem. How do the colors tell you what
time of day you are looking at?
 Does the handling of light on three dimensional forms enhance them or dissolve them?
Do the buildings look hard-edged or softened?
 Do these paintings appear to have movement or are they static? What makes them move?
 What are the dominant hues in each painting? How do the artists keep these hues from
dominating the entire canvas?
 Point to several examples of varying degrees of color value and color intensity in each
painting.
Curricular Connections:
Language Arts: The paintings by Picabia and Ziem are of very famous places and tourist
attractions. Make a postcard of a famous place you have visited and write about your experience
on the back. Share the postcards with your class.
Math: Measurement is used in both mixing paint with the thickeners and the measurement of the
buildings with a ruler in all of the paintings. Geometric shapes are also used.
Social Studies: Study the history and architectural style of the buildings in each painting. Locate
each site on a map. What was happening in the world during the time of impressionism?
Science: Study the science of vision and the eye. How do we see? What other technological
advances have made a profound impact on the world and society? How does a camera work?
Music: Listen to the music of Wagner. He was a popular composer that many of the
impressionists liked to listen to. The opera was also very popular with the impressionists. Degas
loved the ballet. Try to visit the Cincinnati Opera or Ballet.
Bibliography:
Adams, Steven, The Impressionists, London: 2000.
Amiel, Leon, The Impressionists, New York: 1985.
Hunter, Sam and John Jacobus, Modern Art, New York: 1985.
Kachur, Lewis C., "Nineteenth-Century French Paintings," The Taft Museum: European and
American Painting, NewYork: 1995.
Kohl, Maryann F. and Kim Solga, Discovering Great Artists, Bright Ring Publications: 1990.
Massey, Sue J. and Diane Darst, Learning To Look: A Complete Art History and Appreciation
Program for Grades K-8/Book and Slides, 1992. (out of print)
Richter, Hans, Dada Art and Anti-Art, New York: 1965.
Yenawine, Phillip, How To Look At Modern Art, New York: 1991.
Cityscape Painting Assessment
Impressionism Impasto
1. Composition
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Buildings are balanced on page.
Buildings are erect.
Foreground, middleground, background evident
Low
High
1 2 3 4
1 2 3 4
1 2 3 4
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Detail of buildings is clear
An awareness of paint texture is demonstrated
Awareness of paint texture is demonstrated
1
1
1
2 3
2 3
2 3
4
4
4
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Tints and Shades are mixed
New colors are made
Colors indicate time of day
1
1
1
2 3
2 3
2 3
4
4
4
The effect of source of light is indicated by the use of headlight
Cast shadows are evident
1
1
2 3
2 3
4
4
Demonstrates skill in handling paint medium
Cardboard is not smudged or bent
Clean-up of brushes, trays and table evident
1
1
1
2 3 4
2 3 4
2 3 4
2. Details
1. Color
1. Light Source
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1. Neatness
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