142

Focus On � Figure 8–1 Notice the birds, the flowers, and the use of brilliant colorsin this painting. What message or feeling do you think this self-portrait communicates?Frida Kahlo. The Frame, Self Portrait. c. 1937–38. Oil on aluminum, under glass and paintedwood. 28.5 � 20.5 cm (11.2 � 8.1�). Musée National d’Art Moderne, Centre GeorgesPompidou, Paris, France. © Banco de Mexico Trust.

143

Portraying

People

Like snowflakes, no two people are exactly alike.Each person has his or her own likes, dislikes, thoughts,feelings, and dreams. It is this unique quality that hasmade people a favorite subject of artists. This chapter will help you learn how to “read” artworks that depictpeople. It will also teach you about the different styles of portraits.

After completing this chapter, you will be able to:● Explain what is meant by having a style in art.● Identify the differences in ways people have

been portrayed throughout history and in a variety of cultures.

● Create artworks with people as subjects.

143

style

self-portrait

figure study

portraiture

ancestor figure

public art

murals

I paint self-portraits because I am so often alone,because I am the person I know best.

— Frida Kahlo (1907–1954)

“ “

Key Terms

Interpreting the QuoteRead the quote byKahlo and look atFigure 8–1. How welldo you know yourself?Write about yourselfand how you mightdepict yourself in a self-portrait.

Quick WriteQuick Write

Ever since the first cave dwellers roamedthe earth, the world’s population has beensteadily growing. So has the number of waysof portraying people in art. Each age hasgiven rise to new art styles. A style is anartist’s personal way of using the elements andprinciples of art to express feelings and ideas.

In this chapter, you will see examples ofdifferent styles artists have used to depictpeople through the ages.

PORTRAITS ASHISTORICAL RECORDS

Today, we know what our leaders andother celebrities look like. It wasn’t always so.

Imagine for a moment that you live in an agebefore television, newspapers, and magazines.Such a time existed in the not-too-distant past.As recently as the early 1800s, people whowanted to see important figures had to relylargely on painted portraits of them.

Portraits from the 1500sFigure 8–2 shows a portrait from the 1500s.

Bronzino was an Italian painter who was theoutstanding artist of the Tuscan High Man-nerist Style. His work is cold, refined, aristo-cratic and technically brilliant in the renderingof surface details and color. As the credit linereveals, the subjects are a woman and her son.What can you tell about the two people from

144 Chapter 8 Portraying People

LESSON 1

Portraits

� Figure 8–2 Compare thiswork with the Roman portraitsculpture on page 84 (Figure5–4). Which of the works doyou think is truer to life? Why?Agnolo Bronzino. Eleonora ofToledo and Her Son. c. 1550. Oilon panel. 1.2 � 1 m (48 � 393⁄8�).Detroit Institute of Arts, Detroit,Michigan. Gift of Mrs. RalphHarmon Booth in memory of herhusband Ralph Harmon Booth.

LESSON 1

looking at this painting? Look at the face andhands of Eleonora. How old does she seem tobe? How old does her son look? Look at thesize of his head and the size of his hands. No-tice how carefully the pearls aroundEleonora’s neck are placed. Notice the elabo-rate brocade design woven into the fabric ofher dress and the shine of the boy’s jacket.What do the clothing and jewelry tell youabout the social status of these two? This por-trait was commissioned to show the wealthand beauty of this woman. Do you think theartist depicted these people as they reallylooked or as they preferred to be shown?

EXPRESSIVE PORTRAITSThe portrait in Figure 8–3 was painted

over 300 years after Bronzino’s portrait by Vin-cent van Gogh. The style van Gogh used iscalled Expressionism. He painted to express hispersonal feelings about a subject. No one paid

van Gogh to paint this work. He chose theyoung woman, and asked her to pose for himbecause he saw something in her that hewanted to express. Did he try to depict the sur-face details and colors accurately? Comparethe quality of her skin to that of Eleonora’s.Notice the brushstrokes. Look at the girl’s face.With which of these two women would youfeel most comfortable? Which is the most re-alistic? Which is the most appealing?

Lesson 1 Portraits 145

Check Your Understanding

1. What is an artist’s style?2. Explain how portrait painting changed from

the 1500s to the 1800s.

� Figure 8–3 Compare and contrast the eyes in thisportrait to the eyes in Figure 8–2. Both women are lookingdirectly at the viewer, but their eyes reveal differentexpressions. Describe what they reveal.Vincent Van Gogh. La Mousmée. 1888. Oil on canvas. 73.3 �60.3 cm (287⁄8 � 233⁄4�). National Gallery of Art, Washington D.C.Chester Dale Collection. Image © 2003 Board of Trustees.

Italian RenaissanceHistorical connection. Look at Figure 8–2,an example of a portrait commissioned by theMedici family during the Italian Renaissance.The Renaissance was a period of greatawakening. It began in Italy around 1400 andlasted for over a century. During this time, thearts flourished, trade spread, andadvancements in science were made.

The Medici family played an importantrole in the Italian Renaissance.This familyruled Florence and much of Italy from 1537to 1631.Through trade and banking, thefamily became one of the wealthiest infifteenth-century Italy.

The Medicis were important patrons ofthe arts. In fact, they commissioned manypaintings, sculptures, and tapestries fromartists such as Agnolo Bronzino andMichelangelo.

Compare this portrait with Figure 8–3.What do the subjects’ clothing tell you abouttheir status?

Have you ever heard the expression“whistling in the dark?” It refers to efforts tolook and sound brave in the face of danger.The iron mask in Figure 8–4 was created formuch the same purpose. It was worn by a fifteenth-century Japanese warrior—makinghim look fierce and frightening to enemies,while adding to his own confidence in battle.Take a closer look at this art object. Notice thefurrowed brow, the wide-open eyes, and theangry scowl. Does the expression on thismask succeed in frightening you?

WHAT YOU WILL LEARNIn this lesson, you will create a masklike,

expressive face. You will use a variety oflarge and small shapes in contrasting colorstorn from colored construction paper. Thesewill be assembled and glued to a sheet ofblack construction paper. To make the faceas expressive as possible, you will exagger-ate and distort the features and use con-trasting colors. Then arrange the shapes inlayers to give your picture a bold, expres-sive look.

146 Chapter 8 Portraying People

Creating an Expressive Face

� Figure 8–4 Whatexpression do you “read” onthis mask? What features giveit such an expression?Japan. Mask. 1716. Iron repoussé.19.7 � 17.1 cm (73⁄4 � 63⁄4�). TheMetropolitan Museum of Art,New York, New York. RogersFund, 1913.

LESSON 2LESSON 2

STUDIO OPTIONSTUDIO OPTION

WHAT YOU WILL NEED● Pencil and sheets of sketch paper● Colored construction paper 9 x 12 inches● White glue or glue sticks● Cardboard cut into 1⁄2-inch squares● Scissors

WHAT YOU WILL DOl. Begin by studying the Japanese mask in

Figure 8–4. Note the way the artist dis-torted the features and expression of theface to make it appear more frightening.

2. Complete several sketches of faces.Experiment with different ways ofexaggerating and distorting the facialfeatures. Notice the different moods andfeelings suggested by the sketches.

3. Using your best sketch as a guide, tear a wide oval or round shape from a pieceof construction paper. Do not use scissorsfor this task. Glue the shape to a sheet ofconstruction paper.

4. Tear other shapes from the constructionpaper to form the eyes, eyebrows, nose,and mouth. For each feature, tear out sixor more shapes. Layer them from large tosmall. Keep in mind that the more shapesyou use for a single feature, the moresculpted it will look. To make your workmore expressive, distort the shapes. Besure to use bright, contrasting colors.

5. Assemble the various features on the faceshape. For each feature, glue the largestpiece in place first. Continue stackingsmaller shapes in this fashion. The resultwill be a layered effect.

Lesson 2 Creating an Expressive Face 147

Evaluating Your Work● Describe Are all the features of the face

included in your mask? Are these featuresdistorted?

● Analyze Did you use a variety of largeand small shapes? Point out places on yourmask where contrasting colors are used.

● Interpret Would viewers agree that yourmask is expressive? If asked to describeyour mask with a single word, what wordwould you choose?

● Judge Do you think you succeeded increating an expressive face? If you were to do another, what would you change tomake the work more effective?

Create a self-portrait, a painting or drawingof an artist’s own image. Study your face in themirror. Using charcoal, draw a large oval to rep-resent the outline of your face. Try to captureyour expression. Use white chalk to highlighteyes, cheeks, and so on. Complete your self-portrait by adding details and shading.

� Figure 8–5 Student work. Expressive face.

Evaluating Your Work

Visual Art JournalUsing descriptive adjectives,

write a paragraph in your journal de-scribing the expression you weretrying to capture in your portrait andwhether you were successful.

One of the hardest parts of a barber’s orhairstylist’s job is working on a customerwho won’t sit still. Even the slightest move-ment presents a real challenge to the stylist’ssure hand.

This observation holds true not only forhaircutters but also for artists. For the artist,however, the challenge provided by thehuman body in motion is a welcome one. It isan opportunity to present people as theyoften appear—in the midst of one activity or another.

In this lesson, you will learn about art-works that show figures in action.

FIGURE STUDIESAs emphasized in Chapter 6, the Renais-

sance artist Leonardo da Vinci filled manysketchbooks with drawings. Among thesketches he made were hundreds of figurestudies. A figure study is a drawing that fo-cuses on the human form. Leonardo observedand faithfully recorded in great detail theworkings of the arms and legs in motion.

The studies Leonardo made set the stagefor generations of artists to follow. Take a moment to study the drawing in Figure 8–6.Notice the way in which Daumier capturesthe movement of a running messenger.

148 Chapter 8 Portraying People

Figures in Action

� Figure 8–6 Do you detect a sense of urgency? How has value and line been usedto convey this feeling?Honoré Daumier. The Young Courier. Black chalk and gray wash on laid paper. 15.5 � 23.2cm (61⁄8 91⁄8�). © 1997 Board of Trustees, National Gallery of Art, Washington, D.C. TheRosenwald Collection.

LESSON 3LESSON 3

FIGURE PAINTINGThe recording of figures in action is not

limited to drawing. Many painters try to cap-ture action in their work.

Edgar Degas often depicted his subjects innatural, active poses. In Figure 8–7 you see abackstage ballet scene. Notice how he has useddiagonal movement to depict the arms, legs,and torsos of the dancers. No one is standingstraight and stiff. Everyone looks alive andready to dance off the background. In thiswork, his technique of leaving the strokes ofthe pastel unblended adds to the movementand excitement.

Lesson 3 Figures in Action 149

Check Your Understanding

1. What is a figure study?2. Describe the body language of the figures

in motion on these two pages.

� Figure 8–7 Notice the simple shapes the artist has used. Explain how the artist has used color to create movement.Edgar Degas. Ballet Scene. c. 1907. Pastel on cardboard. 76.8 � 111.2cm (301⁄4 � 433⁄4�). National Gallery of Art, Washington D.C. ChesterDale Collection. Image © 2003 Board of Trustees.

Edgar Degas (1834–1917)Cultural connection. You may know thatDegas is famous for his paintings of balletdancers, but did you also know that hestudied to be a lawyer? Born in Paris to awealthy family in 1834, Degas studied lawfor a short time before discovering hisinterest in painting.

To pursue a career in art, he trained atthe École des Beaux-Arts in Paris and trav-eled widely to find inspiration. Influenced byphotography and Japanese prints, Degasused many innovative compositions in hisartwork. His themes dealt with people andcity life, especially ballet dancers at the theater (see Figure 8–7).

After 1909, Degas turned to sculpturedue to failing eyesight. He left many waxmodels of dancers and horses that werecast into bronze after his death.

The painting in Figure 8–7, as you saw,has an energetic quality. Its mood is achieved,moreover, through a union of natural, activeposes.

Both those comments apply equally to thework in Figure 8–8. Take a moment to exam-ine this painting closely. Do the playfulshapes in it remind you of the interlockingpieces of a jigsaw puzzle? If so, your think-ing is in line with the artist’s. All of his artwas meant to be playful. Notice the work’stitle. The word reveler means merrymaker.Can you find the head, arms, and legs of thismerrymaker?

WHAT YOU WILL LEARNIn this studio lesson, you will paint an

abstract figure in action. You will not worryabout making your subject look real. Instead,you will concentrate on using a variety oflines, shapes, bright colors, and textures tosuggest a moving figure. These art elementswill add up to a cheerful design.

WHAT YOU WILL NEED● Pencil and sheets of sketch paper● White drawing paper, 12 x 18 inches● Black marker with a medium point

150 Chapter 8 Portraying People

Drawing a Figure in Action

� Figure 8–8 Analyze the variety of lines andshapes in this painting. How has the artist tied theseelements together to form a human figure?Jean Dubuffet. The Reveler. 1964. Oil on canvas. 195 �130.2 cm (763⁄4 � 511⁄4�). Dallas Museum of Art, Dallas,Texas. Gift of Mr. and Mrs. James H. Clark.

LESSON 4LESSON 4

● Several brushes ● Tempera paints, mixing tray● Scissors● White glue● Black construction paper

WHAT YOU WILL DOl. Begin by looking again at Figure 8–8.

Concentrate on the lines of the figure.Observe how the artist has used a varietyof lines, shapes, colors, and textures,within the overall shape. See how theseadd action to the work’s composition.

2. Complete several pencil sketches of astudent model in an action pose. In your sketches, focus on capturing thelines of action in the figure. Draw onlythe outline of the figure.

3. Working lightly with a continuous pencil line, transfer your best sketch tothe sheet of white drawing paper. Makeyour drawing large enough to fill most of the paper. Go over the pencil line witha black marker.

4. Still working with the marker, divideyour figure into a variety of large andsmall shapes.

5. Switching to tempera and brush, paintthe smaller shapes within the large figureshape. Select bright, cheerful colors thatcontrast with one another. You do nothave to paint all the shapes. You may alsowant to add painted lines or lines madewith the marker to some of the shapes.Notice that the artist has done this inFigure 8–8 to create different textures.

6. With scissors, cut out your drawing. Usewhite glue to mount the drawing on asheet of black construction paper.

Lesson 4 Drawing a Figure in Action 151

● Describe Can you easily identify thehead, arms, and legs in your figure? Doesthe figure appear to be moving?

● Analyze Did you break up your figurewith a variety of large and small shapes?Did you also use a variety of colors andtextures?

● Interpret Do you think most viewers willrecognize your work as an abstract figurein action?

● Judge What do you consider to be thebest part of your composition?

� Figure 8–9 Student work. Abstract figure in action.

Evaluating Your WorkEvaluating Your Work

REFLECTIVE THINKINGREFLECTIVE THINKINGCritical Evaluation. Select and display a varietyof your artworks in the classroom. Analyze theoriginal exhibition of your peers to form conclu-sions about formal properties and historical andcultural contexts.

Visual Art JournalTake notice of the various shapes

found in nature.Explore these shapesand forms by illustrating them inyour journal. Try different colors,shapes, and sizes.

Are you familiar with the phrase in theflesh? It is a colorful way of saying “in person.”This phrase also calls to mind a property ofpeople that can never be fully captured in two-dimensional paintings or drawings. That is thethree-dimensionality of the human form.What better way to show this property than inart that has three dimensions?

In this lesson, you will explore anotherapproach to portraiture (pohr-tray-chur)—the art of making portraits—that highlights thisproperty. You will learn about and see exam-ples of portraits “in the round.”

SCULPTUREMany artists through the ages have striven

for realism in their works. Look back at theAncient Roman sculpture in Figure 3–14 onpage 52. Notice how the artist has capturedthe feeling of the athlete through the accurateproportions of his body and the careful de-piction of muscles. Look at the careful atten-tion to details such as the toenails and hair.

Renaissance Portrait SculptureDuring the Renaissance ancient works from

the Greeks and Romans were rediscovered

152 Chapter 8 Portraying People

Portraits in the Round

� Figure 8–10 Does thisfigure appear calm andrelaxed? If not, how would youdescribe it?Michelangelo. Moses. c. 1513–15.Marble. Approx. 244 cm (8�)high. San Pietro in Vincoli,Rome. Scala/Art Resource, NY.

LESSON 5LESSON 5

African Ancestor FigureThe work in Figure 8–11 is typical of

the style of art of the Chokwe (choh-kway)people of Africa. The work is an example ofan ancestor figure. This is an image carved inwood that was used as the resting place of a spirit.This particular ancestor figure is based on agreat leader and hunter.

Like most African figures, this carving wascreated for two reasons. One was respect forthe dead and the other was a fear of angryspirits of the dead. Notice that the proportionsare different from the statue of Moses. Thehead and the hands are very large. These pro-portions are found in much African art.

and appreciated. Artists like Michelangelo and Leonardo da Vinci secretly studiedanatomy so that they could create anatomicallyaccurate paintings and statues of people. Fig-ure 8–10 is a sculpture that was created byMichelangelo that represents Moses. Michelan-gelo has depicted Moses with heroic propor-tions. Notice the athletic muscles and veins ofhis arms.

Michelangelo paid careful attention to de-tail. Notice the lifelike quality of his hair andbeard and the graceful folds of the fabric. Hisright arm is resting on the stone tablets thatrepresent the Ten Commandments.

Lesson 5 Portraits in the Round 153

Check Your Understanding

1. Which of the sculptures in this lesson servedas an example for artists who createdrealistic art later on? Explain your answer.

2. What is an ancestor figure?

� Figure 8–11 What clues can you find that this figurewas a great leader and hunter?Africa. Angola. Chokwe. Chibinda (The Hunter), Ilunga Katele.Mid-nineteenth century. Wood, hair, hide. Height: 40.6 cm(16�). Kimbell Art Museum, Fort Worth, Texas.

Michelangelo (1475–1564)Cultural connection. Born in a small villagenear Florence, Italy in 1475, MichelangeloBuonarroti was the creator of some of thegreatest masterpieces in the history of art.Not only was he a brilliant sculptor, but alsoa talented painter, architect, and poet.

Figure 8–10 illustrates Michelangelo’sgenius as a sculptor of marble. He also created the awe-inspiring paintings on theceiling of the Sistine Chapel. This monu-mental task took four years. He depictedintricate Biblical scenes on a ceiling that wasalmost ten thousand square feet in area,while lying on a scaffold erected high abovethe chapel floor.

To learn more about Michelangelo, clickon Artist Profiles at art.glencoe.com.

154 Chapter 8 Portraying People

Look at the clay soldiers shown in Figure 8–12.These life-size sculptures were created in Chinaaround 221 B.C. This “spirit army” was intended toprotect Qin Shi Huang, the first emperor of Qin(chin) in the afterlife. Notice the differences in thesoldiers’ facial expressions. What clues give youan idea about the soldiers’ rank or position? Howdo the figures differ from each other? What aretheir similarities?

UNEARTHING THE SOLDIERSFor 2,000 years, these clay figures remained

buried in the tomb of Emperor Qin Shi Huang, the

founder of the Qin dynasty.The sunken soldierswere discovered in 1974 by farmers digging a wellin the city of Xi’an in the Shaanxi province (seeFigure 8–13), home of Qin’s burial site. For thenext two years, archeologists unearthed more than8,000 of these sculpted clay warriors, each with anactual likeness to Qin’s army. After the excavationof the site, measurements were taken of the giantburial site. One of the tombs is roughly 18 feetdeep and over 350 yards long.That’s bigger thanthree football fields!

The figures now appear gray and colorless, butwere originally painted in vivid colors. Each figure

Sculpted Soldiers

LESSON 6LESSON 6 Art SocialStudies

SocialStudies

Art&&

� Figure 8–12 Life-size clay soldiers created as a "spirit army" for the firstemperor of Qin.

Lesson 6 Art and Social Studies 155

MAKE THE CONNECTIONMAKE THE CONNECTIONTake Another Look1. Look again at Figure 8–12. What do you

notice about the soldiers’ expressions?2. Why do you think it was important for the

emperor of Qin to have these soldiers builtand buried?

3. What might historians learn aboutstudying this burial site?

Art&Social StudiesCreate a time capsule. Art such as Em-peror Qin Shi Huang’s “spirit army” providesa glimpse of an ancient culture. It revealsinformation on the emperor’s beliefs andtells us about the time in which he lived.Imagine that you are planning a time cap-sule to give future generations a glimpse ofyour culture. What would you include? Whatwould these objects reveal about the cul-ture of the early twenty-first century?

has a distinct expression, posture and hairstyle.Some appear to gaze straight ahead while otherslower their heads, as if worried or troubled.Standing erect, these haunting soldiers weredepicted with hand gestures that make them seemalmost alive.

You’ve seen portraits in the round created frommarble and wood, but these were crafted out ofterra-cotta, which means “baked earth” in Italian.This material was used because the clay in theregion was heavy enough to support the life-sizefigures. Once formed, the sculptures were fired inlarge brick kilns at high temperatures.They werethen colored with vegetable dyes.

� Figure 8–13 Shaanxiprovince of China.

Every culture and generation has its heroes. Some heroes are living people suchas firefighters, law enforcement officers, anddoctors. Other heroes are lasting symbols ofvalues we hold dear. The larger-than-life PaulBunyan and his faithful companion, Babe theblue ox, are a pair of such folk heroes.

In this lesson, you will meet examples ofeach type of hero. You will also see ways inwhich these heroes have been celebrated andremembered in art.

PUBLIC ARTAre there statues in your city or commu-

nity? Perhaps there is a statue of your city’sfounder in a local park or square. Such works

are examples of public art, which is art to bedisplayed in and enjoyed by a community. Usu-ally, public art is found outdoors in the formof statues, fountains, or murals. Murals arelarge two-dimensional works painted on walls.

Memorial ArtThe work displayed in Figure 8–14 is a

special type of public art. Called memorial art,its purpose is to help people remember thesingular achievement or dedication of agroup or individual. The group commemo-rated in this work were United StatesMarines. Some 6,000 of these brave fightersgave their lives in a single battle while fight-ing for democracy during World War II.

156 Chapter 8 Portraying People

Heroes in Art

� Figure 8–14 This artworkis displayed, appropriately, inArlington National Cemeteryoutside Washington, D.C. Explainhow World War II influenced thissculpture. Raising the Flag on Iwo Jima.Arlington Cemetery, Arlington,Virginia.

LESSON 7LESSON 7

HUMAN LEGENDS IN ARTFigure 8–15 shows a hero of a different

sort. He is the folk legend John Henry. Amythical railroad worker of the 1800s, he hasbeen the subject of countless songs andpoems. John Henry symbolizes the “sweatand tears” of hardworking people during ournation’s time of growth. In this painting, heraises two hammers above his head as hegazes out on future generations of settlersheading west. How has the artist capturedthe inner—and outer—strength of this hero?What meaning can you attach to the rainbowthat appears in the distance? Notice how themuscles of the figure’s forearms glisten. Whatsculpture from this chapter does this atten-tion to detail call to mind?

Lesson 7 Heroes in Art 157

Making a Hero ExhibitPractical applications for designideas. With several classmates, plan a“Heroes in the News” exhibition. Searchnewspapers and magazines for illustra-tions of heroes of the moment. Cut outthe images. Work together to think ofwords that help convey the heroism ofthe people in the pictures. Write thesewords in decorative fashion on strips ofcolored construction paper. With whiteglue, paste the images and words to asheet of poster board.

P O R T F O L I O

Take photographs of the poster sothat each member of your workgrouphas a copy. Attach your photo to a self-reflection and add it to yourportfolio.

Check Your Understanding

1. What is public art? What are murals?2. What folk hero appears in Figure 8–15?

� Figure 8–15 Notice thatthe artist has chosen not toshow John Henry’s face. Whydo you suppose this is so?Jerry Pinkney. John Henry. 1994.Pencil, colored pencils, andwatercolor on paper. 32.4 � 40.6cm (123⁄4 � 16�). From JohnHenry by Julius Lester,published by Dial Books, 1994.

In the previous lesson, you viewed artbased on several heroes. Figure 8–16 containsyet another such work. Do you recognize thehero in this painting? It is Joan of Arc. Joan ofArc lived in France in the 1400s. She was notmuch older than you when she bravely ledan army of French troops against the English.

Look closely at Figure 8–16. The pictureis filled with figures and action. Even so, Joanis easily identified. She is mounted on a whitecharger and carries a huge banner.

WHAT YOU WILL LEARNIn this lesson, you will create your own

banner honoring a hero. Your banner, whichwill use mixed media, may focus on a real-life

or made-up hero. The work will be dividedinto three sections. In each section you willuse different media to create images and sym-bols associated with your hero. Using differ-ent media will allow you to create a variety ofvisual textures. These in turn will add inter-est to your banner.

WHAT YOU WILL NEED● Pencil and sheets of sketch paper● Ruler or other straight edge● Butcher paper, 18 x 24 inches● Scissors● Tissue paper in assorted colors● White glue● Pen

158 Chapter 8 Portraying People

Creating a

Mixed-Media Banner

� Figure 8–16 Do you sense movement when you look at this artwork? Whatelement of art contributes to this strong feeling?Franck Craig. “La Pucelle”: Jeanne d’Arc Leads Her Army. 1907. Oil on canvas. 190 � 341.5cm (743⁄4 � 1342⁄5�). Musée d’Orsay, Paris, France. Erich Lessing/Art Resource, NY.

LESSON 8LESSON 8

Evaluating Your WorkEvaluating Your Work● Magazines● Colored markers

WHAT YOU WILL DO1. Select a hero. Sketch several designs for

banners to honor your hero. Use straightor curved lines to divide each bannerdesign into three sections.

2. In each of the three sections, createimages or symbols that tell somethingabout your hero. For example, a bannerhonoring Paul Bunyan might includetrees, an ax, and a blue ox. Make yourdrawings large. Avoid small details.

3. Using a ruler or other straight edge,transfer your best banner design to asheet of butcher paper. Fill the paper with your design. With scissors, trimaway the portions of the paper beyondthe banner’s outline. Divide the bannerinto three sections with straight or curvedpencil lines. Using your sketch as amodel, lightly draw the images andsymbols for each section.

4. Cut or tear shapes from sheets of coloredtissue paper. Overlap and glue thesedown to complete one section. Defineshapes and details with pen. Cut or tearpictures and words cut from magazinesto complete another section. Completethe third section using colored markers.Make certain to fill each section of yourbanner with color. Take care not to crossthe lines between sections.

5. Place your banner on display. Ask class-mates if they can identify your hero.

Lesson 8 Creating a Mixed-Media Banner 159

● Describe Identify the images andsymbols in each of the three sections ofyour banner.

● Analyze Does your banner show avariety of visual textures? In which sectionof your banner do you think texture is bestdemonstrated?

● Interpret Could classmates identify thehero your banner honors? What image orsymbol was most helpful to them inmaking this identification?

● Judge What is the best feature of your design?

There are different ways to choose what toput into your portfolio. You might select an art-work because:● It shows your best example of composition.● It demonstrates your growth in using a spe-

cific medium.● It shows the skill you exhibited in making an

artwork.

PORTFOLIO IDEASPORTFOLIO IDEAS

� Figure 8–17 Student work. Mixed-media banner.

For additional activities, check outour Web site at art.glencoe.com.There you will also find:

● Artist Profiles● Interactive Games● Museum Web Links● Student Art Gallery

The largest camera on Earth captures faces and feelings of twenty-first-century heroes.

unique camera sitsin a studio in New

York City. It is a 12-foot-wide by 16-foot-highPolaroid. In 90 seconds,it takes color picturesthat are 40 inches wideby 106 inches high.That’s as high as anaverage room’s ceiling.

The camera wasput to use days afterSeptember 11, 2001,when terroristsdestroyed New York City’s World Trade Center towers.Photographer Joe McNally used the Polaroid to takepictures of rescue workers. He photographed firefighters,police officers, doctors, and nurses. The portraits show theworkers’ emotions and feelings since that fateful day.

At the end of the project, McNally was exhausted. He wascertain, however, that his photos would stand as a tribute to the courage and heroism of workers at Ground Zero—the siteof the disaster. “I think this might be the one significant thing I will do as a photographer,” said McNally.

ABOVE: McNally in his studio. The camera is behind him. RIGHT: An animal rescueworker photographed by McNally.

TIME TO CONNECTTIME TO CONNECT• How has technology changed the look of art and

the way it is produced? Give examples.

• Analyze the photo of the animal rescue worker.Whatdo her face, uniform, and body language express?

• If you were posing for a life-size photo, how would you want the world to see you? Write a paragraph,using descriptive adjectives, to let the peopleknow who you are.Write about the clothes you’dwear, your pose, and so on.

160 Chapter 8 Portraying People

JOE

MC

NA

LLY

(2X

)

BUILDING VOCABULARYNumber a sheet of paper from 1 to 7. After

each number, write the term from the list thatbest matches each description below.

ancestor figure public artfigure study self-portraitmurals styleportraiture

1. Art to be displayed in and enjoyed by a community.

2. A drawing that focuses on the humanform.

3. A painting or drawing of an artist’s ownimage.

4. The art of making portraits.5. An image carved in wood that was used

as the resting place of a spirit.6. Large two-dimensional works painted

on walls.7. An artist’s personal way of using the

elements and principles of art to expressfeelings and ideas.

REVIEWING ART FACTSNumber a sheet of paper from 8 to 12.

Answer each question in a complete sentence. 8. In what artistic style did Agnolo Bronzino

paint the portrait in Figure 8–2?9. What features gave the Japanese mask

a fierce look?10. What types of lines are emphasized

in the figure in action drawing in thischapter? Why are they emphasized?

11. What are some of the ways in whichMichelangelo made his figures lifelike?

12. What are two reasons why the Chokweof Africa made figure carvings?

CROSS-CURRICULUM CONNECTIONS

On a sheet of paper, answer each questionin a sentence or two.13. Language Arts. Explain the following

statement: “Art styles change over timeand from place to place.” Restate this inyour own words. Use examples from the chapter that illustrate the truth of this statement.

14. Language Arts. Locate a book of poems that includes “The Ballad of JohnHenry.” Practice reading the poem aloud.Share it with classmates as they look atFigure 8–15. Discuss the qualities of thisfictional character that the artist pin-points in his work.

Chapter 8 Review 161

Smithsonian National Portrait Gallery,Washington, D.C.

In this chapter, you have learned aboutportraits and the way people, heroes, andlegends from different cultures are de-picted in art.

Go to art.glencoe.com and take a his-toric tour by clicking on the SmithsonianNational Portrait Gallery link.You will learnabout America’s first president, GeorgeWashington.You will study artist GilbertStuart’s original portrait of Washington.

Describe the symbolic, biographical, andartistic elements. How did the artist depictthese in the painting? What techniques didthe artist use?