THIS UNIT IS ASSESSED USING A STANDARD THAT EXPIRED AT
THE END OF 2011. PLEASE ENSURE THAT YOU UPDATE THE
ASSESSMENT SCHEDULE
2007
VISUAL ART
Level 1
Achievement Standard: 90020 version 2
Generate and develop ideas in making artworks
Credits: 12
Cubist Still Life
Teacher Guidelines
The following guidelines are supplied to enable teachers to use and adapt this task
and schedule to carry out programme planning and formative assessment in the
delivery of the external level 1 Visual Art achievement standard 90020 (1.3.) This
task structure allows the teacher and student to formatively assess progress of
student work. The teaching notes related to Cubism are in grey boxes and could be
used as ideas for teaching content to students. It is intended that these boxes would
be removed from the student task sheet for use in the classroom.
Context/setting
This assessment resource is based on the study of the Cubists and includes the
study of (but is not limited to) artists Cezanne, Picasso, Braque, and Gris. Students
will be focusing on employing the pictorial and stylistic features of the Cubists to
develop their ideas.
The work produced prior to this study for the achievement standard 1.2 would have
been based on drawing a set still life using the conventions of traditional one point
perspective, proportion and tonal modelling. The Cubist study for achievement
standard 1.3 would focus on how these conventions can be altered and manipulated
to create abstract art works. Students will need to show their understanding of the
Cubists in their own work.
Conditions
Drawing, painting and constructed sculpture can all be achieved in the classroom
over a 15 week period. Formative assessment will occur when students have
completed each folio board. A combined teacher and student assessment schedule
is provided at the back of this resource.
Resource Requirements
Books, slides and videos so that concepts and ideas of Cezanne, Picasso, Braque
and Gris can be clearly explained.
Colour reproductions or photocopies of the following artworks are suggested but
could be replaced with similar works:
Cezanne Still Life with Plaster Cupid 1895
Cezanne Still Life with Fruit and Pitcher 1895-1900
Picasso Bread and Fruit Dish on a Table 1909
Picasso Portrait of Kahnweiller 1910
Picasso Ma Jolie 1911
Braque la Portugaise 1911
Picasso Bottle of Suze 1912
Picasso Still Life with Chair Caning 1912
Picasso Glass, Guitar and Bottle 1913
Picasso Guitar 1912
Picasso Violin, Glass, Pipe and Inkstand
Braque Still Life on the Table 1913
Braque Composition with Aces 1913
Gris The Beer Mug and Playing Cards 1913
Gris The Cups of Tea 1914
Gris Bowl of Fruit ad Carafe 1914
Picasso Sculpture
Guitar 1912. Constructed of cardboard and string.
Guitar and Bottle of Bass 1913 Constructed of painted wood, pasted paper, charcoal
and nails.
The Glass of Absinthe 1914. Painted bronze with silver sugar strainer
Bottle of Bass, Glass and Newspaper 1914. Constructed of sheet metal, oil and
paper.
Still Life 1914. Painted wood with upholstery fringe
Mandolin and Clarinet 1914. Constructed of painted wood and pencil.
Violin 1915. Constructed of painted metal.
Colour images of these works are found within the following publications
Modern Art 1890-1918 by Jean Clay. Published by Octopus 1978
Pablo Picasso–a retrospective. Edited by William Rubin. The Museum of Modern Art
New York 1980
Cezanne by Marcel Brion. Published by Thames and Hudson 1972
PROGRAMME PLANNER
Cubist Still Life
Week
1
2 and 3
3
Topic / Idea
Various views of
still life-A3
drawing
2 x A4 drawing
compositional ideas
using multiple
viewpoints
Compositional
ideas for painting
using multiple
viewpoints
Charcoal, pen,
pencil, paint,
shellac
Cezanne
Aquarelle pastels
Water Colour paint,
acrylic and/or oil paint
Cezanne
(brushstroke,
warm/cool
colour theory)
Early Picasso works
Mixed media With
colour
Week
Topic/
idea
4 and 5
6 and 7
8
Synthetic Cubist
Techniques
Resolve and
complete painting
Media
Collage and
Drawing media
Artist model
Picasso
Braque
Gris
Self Assessment
Compositional Ideas
for oval painting.
Begin A3 size oval
painting
Mixed media Collage,
Oil and collage on
cardboard
Picasso
Braque
Gris
The
beginnings
of
Abstraction
Media
Artist model
Cezanne
Assessment
Assessment
Oil and collage on
cardboard
Picasso
Braque
Gris
Formative
Assessment of
Board 1.
week
9
10
11
12
13,
14 and 15
Topic/ Idea
Drawing
objects for
sculpture –
Develop
ideas for
constructivist
sculpture in
drawings
and
maquettes
Make
Sculpture
Make
Sculpture
Abstracting
Objects in
Space – 4
drawings.
Oval
Paintings.
Organise
and stick
down three
panels
Charcoal,
ink
Charcoal,
ink, mixed
media
collage,
cardboard
Found
materials
such as
cardboard
wood, glue
gun etc
Found
materials
such as
cardboard
wood, glue
gun etc
Mix media,
paper
Picasso
cubist
sculpture
Picasso
cubist
sculpture
Picasso
cubist
sculpture
Teacher
feedback in
class
Picasso
cubist
sculpture
Cezanne
and Cubists
Acrylic
and/or oil
paint, card
and paper
for
paintings.
Cardboard
bull gum
Cezanne
and Cubists
simplification
of objects
Media
Artist
Model
Assessme
nt
2007
VISUAL ART
Level 1
Achievement Standard: 90020
Generate and develop ideas in making artworks
Credits: 12
Cubist Still Life
Student Instruction Sheet
You will need to complete all tasks so that you can complete the two panel folio for
the external assessment component of this course. There are three tasks in this
achievement standard and they will take approximately 15 weeks to complete..
Task One
The beginnings of abstraction – a drawing and painting
project based on the art works of Cezanne and early
Cubism
Task Two
Abstracting objects and space – painting and mixed
media collage based on analytical and synthetic Cubism
Task Three
Constructed abstract relief sculpture and painting sculpture project based on Picasso’s constructivist
sculptures and his painting
TASK ONE
The beginnings of abstraction (3 weeks)
Teaching Notes
Students look at Cezannes’ Still Life with Plaster Cupid 1895 and Still Life
with Fruit and Pitcher 1895-1900. They consider the various viewpoints
Cezanne has used within the same painting. For example in Still Life with
Plaster Cupid Cezanne has used an “eye level” view of the sculpture and a
high “birds eye” view of the floor behind the table. Students identify the
viewpoints and consider what effect this has on flattening the picture plane.
The Aim of Task 1 is for you to examine the ways in which the Cubists used subject
matter to explore ideas about abstraction. To complete this project you will need to
look at colour reproductions of at least two still life paintings by Cezanne and one
from the early phase of Cubism by Picasso. You will need to carefully consider the
ideas and conventions of these artists and apply these to your own work.
1A) Using multiple viewpoints
Make 1 x A3 drawing (portrait format) from the still life set up in the classroom. Use
selected wet and dry media e.g. pencil, charcoal, ink, paint, shellac or/and chalk
pastels to make a drawing of the still life arrangement in the centre of the room.
Include at least three different views of the still life within your picture. For example
you could draw a violin and jug from one view, move around the room to draw the
cups and saucers, stand above the still life to look down on the music score and
teapot and sit on the ground to observe the table top and surrounding space.
Begin your work by making a rough outline drawing on the page of where each object
exists within the composition. Then draw the detail of each object from each of the
different viewpoints. This will distort the perspective of the image. Use tonal
modelling like Cezanne so that the objects are still identifiable. (1 week)
Teaching Notes
Students look at the colour and brushstrokes of Cezanne. For example
Cezanne:
 used “passage” where he exploits the tonal range of for example
green or brown by placing patches of tone side by side.
 experimented with warm and cool colours to enhance or distort
space. For example in Still Life with Plaster Cupid he used cool blues
in the foreground and warm browns in the background that has the
effect of flattening the picture plane.
 used deliberate visible brushstrokes to describe the form of the three
dimensional objects he painted.
 used dark outlining around the outside shapes of objects
Look at how Picasso uses a similar colour range of warm browns and cool
greens in Bread and Fruit Dish on a Table 1909. Although the forms are
more simplified Picasso is still using tonal shading to show the form and
structure of the objects.
1B) Composing
Look at the way Cezanne carefully composes his images to make all areas of the
picture important or equal. He accomplishes this by organising various objects in the
foreground, middle ground and background of his pictures. He uses angles of tables
tops or floor to lead the viewers eye throughout the composition.
Make 2 x A4(landscape format) drawings which explore compositional ideas . Use
wet media e.g. acrylic paint, watercolours, oil, oil sticks etc. (2 weeks)
TASK TWO
Paintng – abstracting objects and space
(5 weeks)
Teaching Notes
There are a number of techniques that the Cubist artists used during the
analytical and synthetic phase of cubism to abstract objects and space.
These include:
 Faceting - where objects are broken up with lines and planes
 Multiple viewpoints - where a range of views of one object are shown
simultaneously in one drawing/painting
 Merging the object and background space so that forms and space
are not separated but merge together
 Abandoning traditional perspective
 Inclusion of pattern, text and “found” collage objects such as rope
 Visual analogy – the repetition of similar shapes throughout a
composition
 Visible textured brushstroke
 Tonal modelling of the facets to show several different light sources
 Symbolism – for example the guitar is the Spanish symbol of a woman
Teachers ask students to find examples of some of the above features within
the following examples:
Picasso Portrait of Kahnweiller 1910
Picasso Ma Jolie 1911
Braque La Portugaise 1911
Picasso Violin and Grapes 1912
Picasso Still Life with Chair Caning 1912
Gris Still Life 1911
The Aim of this task is for you to use the ideas and techniques of the Cubist artists to
make abstract mixed media collage drawings to resolve ideas and complete a mixed
media painting.
2A) Synthetic Cubism
Use the still life set up in the classroom as a starting point for creating two works
where you combine papier colle and mixed media drawing techniques. Collect
relevant materials such as sheet music, newspaper, wallpaper, wood grain effects,
coloured paper to use to construct your works. Make two compositions (A4
landscape format) where you compose at least three objects and the surrounding
space e.g. table, floor, wall in a cubist style mixed media collage. (2 weeks)
Teaching Notes
Teachers need to explain the meaning of the term Synthetic Cubism and
the techniques such as papier colle and collage that these artists used.
Teachers could ask students to
Look at the papier colle works of Picasso and Braque. Examples could
include:
Picasso Still Life with Chair Caning 1912
Picasso Bottle of Suze 1912
Picasso Glass, Guitar and Bottle 1913
Braque Still Life on the Table 1913
Gris The Beer Mug and Playing Cards 1913
Gris The Cups of Tea 1914
Examine how the artists have combined materials, drawing media and paint
in the still life. Look for “keys” or “clues” where you can find recognisable
subject matter. Identify features from the list in 1.
2B) Composition
Look at Picasso’s oval compositions:
Still Life with Chair Caning 1912
Guitar 1912
Violin, Glass, Pipe and Inkstand 1912
Use these as a basis to develop a mixed media A3 painting (portrait format) for
Board 1. Use paint and/or mixed media collage to construct your painting.
Continue to develop your ideas from the still life set up in the classroom and
complete some planning sketches that use the stylistic methods of analytical and
synthetic cubism. Select you most successful sketch and develop into the A3
painting. (3 weeks)
2C) Selection of work for folio presentation
Select work that illustrates all stages of development. The work must be organised in
a logical sequence on the folio.
Formative teacher assessment for BOARD ONE
TASK THREE
Constructed relief sculpture and painting
(7 weeks)
Teacher Notes
To complete this project students will need to carefully examine the relief
constructions and sculptures of Picasso. Suggested works include:
Guitar 1912 Constructed of cardboard and string.
Guitar and Bottle of Bass 1913 Constructed of painted wood, pasted
paper, charcoal and nails.
The Glass of Absinthe 1914. Painted bronze with silver sugar strainer
Bottle of Bass, Glass and Newspaper 1914. Constructed of sheet metal,
oil and paper.
Still Life 1914. Painted wood with upholstery fringe
Mandolin and Clarinet 1914. Constructed of painted wood and pencil.
Violin 1915. Constructed of painted metal.
Teachers could ask students to look carefully at reproductions of artworks
listed above to identify the following key features:
 use of recycled found materials, not normally associated with
sculpture
 use of planar materials to describe the internal structure of objects
 multiple viewpoints of objects within one sculpture
 small scale experimental works
 the use of pattern and decorative elements
 visual analogy – the repetition of shapes and forms
 ambiguous subject matter – for example a sculpture could be read
as a head and/or a glass
Identify some of these features in the key works listed.
The aim of this activity is for you to develop ideas through a series of collage
drawings to construct a cubist constructivist sculpture and to develop Painting ideas.
3A) Generating Ideas
Select two – three objects from the still life that you could explore as the subject
matter for your sculpture. For example, you could select a teapot, jug, cup and
saucer or violin. Make a series of drawings on A3 paper where you simplify these
objects into their essential structural shapes. Consider the internal structure (inside
of the form) and essential shapes and forms of these objects. These should be quick
drawings in charcoal to help you make decisions about which object you could use
as a basis for your sculpture. (2 lessons)
3B) Selecting and developing
Select one object and make another series of drawings to establish ideas for
construction in a relief. Indicate in these drawings how it will support itself against a
wall or other surface, the materials to be used, size and dimensions. Refer to the list
of characteristics above to help develop and refine your ideas. Make 2 small models
or maquettes and experiment with materials. Use your cardboard to describe form in
a simplified planar way. Remember your sculpture needs to look interesting from the
side and front view. (1 week)
3C) Constructing Sculpture
Gather materials for constructing sculpture. Use glue, screws, nails and other
jointing mechanisms to assemble materials with good craft skills. Resolve ideas by
constructing sculpture using sound construction techniques. Remember Picasso
shows more than one viewpoint of an object and often shows the inside form e.g. the
guitar. Use the edge of the material or pattern to link forms visually so the eye is lead
throughout the piece. Photograph (2 x A4 landscape format photographs) sculpture
for folio presentation.
(2 weeks)
3D) Abstracting objects and space
Divide an A4 page into 4 equal squares. After looking carefully at the suggested
artworks make a sequence of 4 drawings exploring some or all of the following ideas:
 Two objects are faceted and begin to merge
 The object(s) and background merge
 The object is shown with three different views
 The object is faceted so that the edges of planes (facets) break up the form
and each piece or fragment shows a different section or part of the object
(1 week)
Self Assessment
3E) Oval Paintings
Look at and consider the drawings you have completed in Task 3D) and the Picasso,
Braque and Gris images that you have looked at. Put gesso or undercoat on
cardboard using a warm ochre base colour. Draw your two desired compositions
onto cardboard in pencil.
Apply layers of collage where appropriate e.g. tickets, music, texture. Begin applying
oil paint in thin layers, building up to thicker paint for more visible brushstrokes and
wood grain effects. Use your collage and compositional studies to inform the choices
you make for the application of colour and materials. (3 weeks)
3F) Selection of work for folio presentation
Select work which illustrates all stages of sculptural development and resolved
painting and organise it in a logical sequence on the folio. Photographs and/or
drawings must show at least two viewpoints of the completed sculpture.
Spend time putting together your two panel folio submission for the final assessment.
Consider how you will show the evidence of your purposeful decision making
throughout the folio presentation.
Possible folio layout for folio panels
Board 1
Board 2
3C)
1B)
3A) and 3B)
1A)
3C)
1B)
2B)
3E)
3D)
2A)
2A)
FORMATIVE ASSESSMENT – ACHIEVEMENT STANDARD 1.3
NAME: ____________________________FORM: ____________
FOLIO BOARD 1
FOLIO BOARD 2
Tick box above to indicate which folio board this assessment relates to.
Achievement
Achievement with Merit
Achievement with
Excellence
Shows evidence of
decision-making in the use
of media and techniques
related to Cubist painting
and sculpture
Shows evidence of
purposeful decisionmaking and control of
media and techniques
related to Cubist painting
and sculpture
Shows evidence of
purposeful decisionmaking and fluent control
of media and techniques
related to Cubist painting
and sculpture
Student comment:
Student comment:
Student comment:
Teacher comment:
Teacher comment:
Teacher comment:
Records information from
the still life and ideas are
developed to reflect Cubist
concepts
Records information from
the still life and ideas are
developed to reflect Cubist
concepts
Records information from
the still life and ideas are
developed and resolved
to reflect Cubist concepts
Student Comment:
Student Comment:
Student Comment:
Teacher Comment:
Teacher Comment:
Teacher Comment:
Shows that ideas,
techniques and
conventions of Cezanne
and Cubism have been
used in painting and
sculpture presented
Shows that ideas,
techniques and
conventions of Cezanne
and Cubism have been
developed in painting and
sculpture presented.
Shows that ideas,
techniques and
conventions of Cezanne
and Cubism have been
developed and
integrated in painting and
sculpture presented.
Student Comment:
Student Comment:
Student Comment:
Teacher Comment:
Teacher Comment:
Teacher Comment:
Words highlighted in bold indicate the different qualities required at the
different levels of achievement
OVERALL TEACHER JUDGEMENT