Teaching and Learning Sequence - Teacher Copy
- Portrait of Katherine Mansfield, 1918
- Teaching and Learning Sequence - Teacher Copy
- 'Elizabeth Solomon', 1862
- 'Darby and Joan', Ina Te Papatahi, Ngā Puhi
- Captain James Cook 1776-80
- 'Te Puhi o te tai Haruru', 1984-85
- Student Information Sheet
- 'Rutu', 1951
- Student Peer Assessment
- Assessment Schedule
- Student Task Sheet
- Peer Critique of Self-portraits
- Double Bubble Example - Investigation Task 3
- SCAMPS example - Investigation Task 1
- Double Bubble Example - Investigation Task 2
- A3 Presentation Example - Investigation Task 3
- SCAMPS - Investigation Task 1
- Double Bubble - Investigation Task 2
Learning Experience: Research and paint a self-portrait that demonstrates an understanding of the Rita Angus self-portrait 'Rutu'.
Investigation (UC, CI) - Approx: 4 Periods
- In small groups students investigate one asset per group using SCAMPS .
- As a class the 'traditional' style portraits (Captain James Cook 1776-80 ; 'Darby and Joan', Ina Te Papatahi, Ngā Puhi ; 'Elizabeth Solomon' ) with 'Rutu' using a Double Bubble . The aim of this task is for students to become aware of the ways that artists use combinations of art-making traditions to produce new art works, and the way that portraiture has changed over time.
- In pairs, students produce an A3 Presentation that compares one of the 'traditional' style portraits with one of the more contemporary ones (Portrait of Katherine Mansfield ; 'Rutu' ; Self-portrait of Grace Cossington Smith; 'Te Puhi o te tai Haruru' ). Using a Double Bubble may help students with this task. The aim of this task is for students to reinforce the learning from task 2, and to transfer it to a new, but similar, setting. Working with portraits that they are unfamiliar with will provide students with more of a challenge, while working with 'Rutu' may be more suitable for less able students.
- Teacher-led whole class discussion re-capping key elements of 'Rutu'
- About the artist's spiritual and cultural identity
- Uses a range of symbols and references
- Combines Polynesian and European characteristics (dark skin, blond hair)
- Fish reference the artist's birth sign; they have also been a symbol of Christ since early Christian times
- Lotus blossom is an important symbol of re-birth and creation in Oriental religions
- Lush vegetation suggests regeneration
- Shows the influence of a range of artistic styles
- Colours and linear forms reflect Japanese art
- Choice of domestic subject matter shows influence of Jan Vermeer
- Also shows influence from Piero della Francesca
Producing a portrait (PK, DI) - Approx 12 - 14 Periods
- Working in pairs, students brainstorm possible symbols and references that they could include in their own portraits.
- Physical characteristics relating to their ethnic backgrounds
- Personal symbols and religious symbols
- References to landscape where they live
- Individually, students draw symbols and collect (from magazines, photocopies etc) source material for their portraits. Teacher may need to assist in sourcing relevant imagery.
- If students are not already familiar with portraiture, teacher leads workshop introducing students to basic elements of portrait drawing. Students produce self-portrait sketch
- Students incorporate selected symbols from task 2 into their self-portrait and place references to the landscape where they live into the background. Colours are chosen and painting style is considered, making reference to the artist model's work.
- When students are satisfied with their sketch they critique it with the other member of their pair (from task 1) using LAPS.
- Suggested changes are made, then it is transferred onto a prepared ground (primed re-cycled folio card, or canvas).
- Using a palette of intense colours, students paint their self-portrait in the style of 'Rutu'.
- Students complete the peer assessment sheet and hand in work.
Download Word file (Word 112 KB)