Editor's note

Arts & Activities, April, 2004 by Maryellen Bridge

Our excursion into painting and composition begins with a touring exhibition of work by artist-explorer, George Catlin (1796-1872). "Learning from Exhibitions: George Catlin and His Indian Gallery" (page 25) highlights work by a man universally recognized for his documentation of American Indian life. The reproductions of Catlin's paintings presented in this issue are a sample of what one will see at the exhibition--on tour through August 2005. Your students will be fascinated by our synopsis of the story of this American artist and the people and places he painted. For classroom activities and more information related to the exhibition, be sure to visit the Smithsonian Institution's educational Web site, Catlin Classroom.si. edu.

With a bit of inspiration courtesy of Mr. Catlin, we dive into "Intuitive Painting." Tapping into Creative Accidents" (page 30). Here, students learn to appreciate the Modernist approach in art, literature and music. They also become familiar with Abstract Expressionism and Surrealism as they begin to paint more instinctively. In "Creative Collaborations: Art Museum Full of Educational Opportunities" (page 32), a museum visit leads to the creation of unique self-portraits inspired by one of the artworks seen. The subsequent exhibit of K-1 student work--in a REAL museum--makes the experience all the more eventful. And, the change of seasons is welcomed by kindergartners wielding paint-soaked puff-balls in "Bluebirds of Happiness" (page 45), as the children become more observant of the world around them.

Kokoshka and Beckmann help introduce high-schoolers to Expressionism, and inspire them to create self-portraits in "But It Doesn't Look Like Me" (page 46). Colorful compositions result when students relax, knowing they don't have to render an exact, photo-realistic painting of themselves. Whereas, in "Dazzling Acrylic Portraits" (page 50), secondary-level students embellish high-contrast, black-and-white digital photographs of themselves with acrylic paint and markers, striving to express an aspect of their personalities.

The thumbprints of teachers, administrators, custodians, visitors, parents and students all went into the subject of "Let's Get to the Point! Creating a Masterpiece Mural" (page 52). Everyone got involved following a sixth-grade study of Post-Impressionism, Pointillism and Georges Seurat. The entire school worked cooperatively on a 4' x 5' mural of "Sunday Afternoon on the Island of La Grand Jatte." The famous

painting really came to life, and was ultimately displayed in the school office area for all to enjoy.

These are all ways to incorporate painting into your school curriculum. There are other suggestions contained in this issue but, alas, there's not enough space to describe them all here. Choose the lesson plan that is right for you and take your students on their own excursion into painting and composition.