#[1]About.com ____________________ (Submit) Search [2]About.com [3]Art History 1. [4]Home 2. [5]Education 3. [6]Art History [7][education_arthistory;kw=;site=arthistory;chan=education;pos=lb;sz=7 28x90;ord=1A1HKXJ0C20SA0p7N] * [8]Share * * [9]Art History * [10]Artists * [11]Styles * [12]Works of Art * Free Art History Newsletter! ____________________ (Submit) Sign Up * [13]Discuss in my Forum rhythm By [14]Shelley Esaak, About.com Guide See More About: * [15]art definitions * [16]principles of design Definition: (noun) - Rhythm is a principle of art that's difficult to summarize in words. Assuming that you've picked up on a rhythm in music before, take what you heard with your ears and try to translate that to something you'd see with your eyes. Rhythm, in art, is a visual beat. A pattern has rhythm, but not all rhythm is patterned. For example, the colors of a piece can convey rhythm, by making your eyes travel from one component to another. Lines can produce rhythm by implying movement. Forms, too, can cause rhythm by the ways in which they're placed one next to the other. Really, it's easier to "see" rhythm in just about anything other than the visual arts. Literally-minded types should stick to music for rhythm. Pronunciation: rih·them Related Articles * [17]Guitar Strumming 101 - Strumming Pattern Exercise Number One * [18]From a Father to His Children - Clement Clarke Moore * [19]Music clip art and instruments and musicians and musical notes plus other m... * [20]Pittsburgh Arts Summer Camps - Performing & Visual Arts Summer Programs in ... * [21]United Kingdom Travel by Interest - Find History, Art, Theatre, Music and M... 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Dictionary ,ø¤º°`°ºº¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø ,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º° r rhythm - A visual tempo or beat. The [3]principle of design that refers to a regular repetition of [4]elements of art to produce the look and feel of [5]movement. It is often achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next. In any [6]artwork, it is possible to distinguish between rhythm of [7]color, [8]line, and [9]form. In the continuity of the three comes the whole rhythm of that work. Rhythm unites the [10]visual culture with [11]music, but in visual culture, rhythm is more evident in the [12]applied arts than in the [13]fine arts. In the former, it is often the foremost means of [14]aesthetic [15]expression. Rhythm originated in the Greek word rhymthmos, meaning measured flow, which they passed into Latin as rhythmus, meaning movement in [16]time. Its first uses in English were literary, in reference to themetrical rhyming of verses. English speakers began to use rhythm concerning repetition of musical beats in the late 18th century, and about visual elements in the same period. Each [17]artist, every [18]period, every [19]culture produces a characteristic sort of rhythm. Recognizing a work's rhythmical peculiarities often aids in [20]identify the culture or [21]time in which it was produced, if not the individual artist who produced it. Rhythm's importance can be demonstrated by noting how many important rhythmic cycles we observe in [22]nature -- consider the alternating tension and relaxation in the heart's beating or in the ocean's waves, the revolutions of the earth around the sun, the comings and goings of generations. Each of us has personal rhythms to our days, weeks, and years. Life, indeed, would be chaotic without rhythm. Participating in the tempo of this flow gives us excitement and calm, yearning and contentment, yin and yang. It is natural that we would employ rhythms to organize and [23]unify our works, much as they do the rest of our experience. There are several types of visual rhythm. These include: regular rhythms - The background design behind this text has a regular rhythm. (In the following examples, let the letters A, B, etc. stand for visual elements of any sort) AB-AB-AB is the most common type. Picture alternating stripes of two colors, for instance. (In English prosody, a student of poetry might read this as either "iambs" or "trochees". An iamb is a metrical foot consisting of two syllables, the first syllable accented, the second accented, as in AB-AB-AB. It becomes trochaic meter if the accenting is reversed, as in AB-AB-AB.) Some more examples: ABC-ABC-ABC (In English prosody, a student of poetry might read this as "anapests" or "dactyls". An anapest is a metrical foot consisting of three syllables, the first two syllables unaccented, the third accented, as in ABC-DEF-GHI-JKL. A dactyl consists of three syllables, the first accented, the second and third unaccented, as in ABC-DEF-GHI-JKL.) ABBB-ABBB-ABBB ABCB-ABCB-ABCB ABCDCDA-ABCDCDA-ABCDCDA alternating rhythms - some examples: ABA-CDC-ABA-EFE-ABA-CDC-ABA-EFE- ABC-ABC-ABC-DEF-DEF-DEF-ABC-ABC-ABC-DEF-DEF-DEF- ABCD-DCCBBA-ABCD-DCCBBA progressive rhythms - Progression occurs when there is a gradual increase or decrease in the size, number, color, or some other quality of the elements repeated. some examples: AB-AABB-AAABBB-AAAABBBB AB-AB-AB-AB-AB-AB AB-AB-AB-AB-AB-AB- ABC-ABD-ABE-ABF-ABG-ABH-ABI flowing rhythms - random rhythms - Each of these types of rhythm might be altered periodically. [24]Music theory might be defined as the study of rhythms and their periodic alterations. Example of works displaying rhythm: [rhythm_matis.danc1.th.jpg] see thumbnail to left Henri Matisse (French, 1869-1954), [25]Dance (first version), 1909, [26]oil on [27]canvas, 8 feet 6 1/2 inches x 12 feet 9 1/2 inches (259.7 x 390.1 cm), Museum of [e3_3_1_8d_french_art20.jpg] Modern Art, NY. Matisse painted a second version of see thumbnail to right [28]Dance in 1910, [29]oil on [30]canvas, 102 x 154 inches (260 x 391 cm), Hermitage Museum, St. Petersburg, Russia. Dance, together with Music, was commissioned by S.I.Shchukin to [31]decorate the staircase in his Moscow mansion. Matisse took the [32]motif of the round dance, used as a [33]symbol back as far as French [34]Renaissance, to represent the [35]rhythm and [36]expression of the 20th century. The spaciousness and expressive [37]lines [38]emphasize the dynamics of the [39]figures. [40]Simplified and schematic [41]forms intensify the [42]brightness and [43]resonance of the three colors -- red, blue and green. See [44]music. Dance, Matisse once said, meant "life and rhythm." See [45]dance, [46]music, and [47]movement. [destij_mond.broadwa.th.gif] see thumbnail to left Piet Mondrian (Dutch, 1872-1944), [48]Broadway Boogie Woogie. 1942-43, [49]oil on [50]canvas, 50 x 50 inches (127 x 127 cm), at the Museum of Modern Art, New York. See [51]De Stijl and [52]grid. [3L00164.jpg] see thumbnail to right Paul Klee (Swiss, 1879-1940), [53]Rhythmisches (In Rhythm), 1930, [54]oil on woven jute, 69.6 x 50.5 cm, Georges Pompidou Center, Paris. See [55]Bauhaus and [56]Swiss art. [femns_taeuber_circles_th.jpg] see thumbnail to left Sophie Taeuber-Arp (Swiss, 1889-1943; to France 1928), [57]Composition of Circles and Overlapping Angles (Composition à cercles et à bras superposés), 1930, [58]oil on [59]canvas, 19 1/2 x 25 1/4 inches (49.5 x 64.1 cm), Museum of Modern Art, NY. See [60]feminism and feminist art. [40x10pixel.space.gif] [femns_taeuber_echelon_th.jpg] see thumbnail to right Sophie Taeuber-Arp, [61]Echelonnement désaxé, 1934, [62]gouache on [63]paper, 13 7/8 X 10 5/8 inches (35.1 X 27 cm), Museum of Modern Art, NY. [bauhau_aalber.walldes.th.jpg] see thumbnail to left Anni Albers (born Analise Fleischman, married Josef Albers) (German, 1899-1994), [64]Design for Wall Hanging, 1926, [65]gouache and [66]pencil on paper, 14 x 11 1/2 inches (35.6 x 29.2 cm), Museum of Modern Art, NY. See [67]Bauhaus and [68]textile. Quote: "Rhythm and harmony find their way into the inward places of the soul." Plato (427?-327? BCE), Greek philosopher. The Republic, Book III, 401d, as translated by B. Jowett, 1901. See [69]harmony. Also see [70]animation, [71]arrangement, [72]chronology, [73]cinema, [74]composition, [75]dance, [76]direction, [77]egg-and-dart, [78]eurythmy, [79]four-dimensional, [80]harmonic sequence, [81]harmony, [82]kinetic, [83]juxtaposition, [84]measure, [85]metamorphosis, [86]mobile, [87]movement, [88]obsession, [89]pattern, [90]periodicity, [91]music, [92]sequence, [93]space-time, [94]time, and [95]whirligig. 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[25]Principles of Unity + [26]The Look of Unity + [27]Rhythm in Art + [28]Large Scale (& small) * [29]Websites to Visit + [30]K3Order * [31]Photos * [32]Testing * [33]OldMembers * [34]Videos * [35]Blogs * [36]Groups Rhythm in Art Take a look at this definition of Rhythm in Art. As noted in the definition, it can be likened to rhythm in music, and can be said to be a "patterened repitition" What do you think? Is rhythm a "visual beat?" (noun) - Rhythm is a principle of art that's difficult to summarize in words. Assuming that you've picked up on a rhythm in music before, take what you heard with your ears and try to translate that to something you'd see with your eyes. Rhythm, in art, is a visual beat. A pattern has rhythm, but not all rhythm is patterned. For example, the colors of a piece can convey rhythm, by making your eyes travel from one component to another. Lines can produce rhythm by implying movement. Forms, too, can cause rhythm by the ways in which they're placed one next to the other. it's sometimes easier to comprehend rhythm in just about anything other than the visual arts, but once understood, heightened sensitivity to this aspect can animate design and art making it visually interactive. "Rhythm of the Hills" by Judy Neale "Rhythm Joie De Vivre" by Robert Delaunay This very graphic and design-oriented painting uses repeated circles, half-circles, joined shapes and contrasting colors to create movement. "Although trained in fine arts in Paris, Delaunay worked in set design before beginning his painting career in 1905. He found his initial influences in the Neo-Impressionists, but gradually moved on to join Der Blaue Reiter in 1911. His Paris cityscapes began to take on a distinctive style that studied the effect of contrasting color patterning. Delaunay's unique method spurred friend and poet, Guillaume Apollinaire, to place his paintings in a new movement, which he called Orphism." - World Wide Art Resources Tamara De Limpicka's "The Model" This piece which is a very graphically-designed painting, in which the raised right arm drives the eyes to the right side of the model's torso; the focal point of the right breast then captures the viewer's attention, and directs it with a "pointer"... a triangular fold in the model's garment pulling the viewer to the left arm of the figure. The curve of the left arm uses the multiple pointers of the model's fingers to direct the eye strongly to the left into the garment's downward-sweeping folds, and down the highlighted leg. As if that were not enough to invest the piece with rhythm, the artist then uses a strong graphical "s" shape in the background to reinforce the motion using the model's shadow to create a feeling of movement as part of the pattern in the background. The overall positioning of the figure creates visual torque, creating a feeling of anticipated movement adding to the dynamicism of the design Welcome to DesignerNet [37]Sign Up or [38]Sign In About [39]Jane Ann Nelson [40]Jane Ann Nelson created this [41]Ning Network. [42]Create a Ning Network! » © 2010 Created by [43]Jane Ann Nelson on Ning. [44]Create a Ning Network! [45]Badges | [46]Report an Issue | [47]Privacy | [48]Terms of Service Hello, you need to enable JavaScript to use DesignerNet. Please check your browser settings or contact your system administrator. 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Students will also evaluate the impact of each element on the whole work and note personal reactions and connections to this art form. Students will then work in small groups to apply the same elements and personal evaluation and connections to a historical work of visual art. At the end of the lesson, students will reflect on ways these two experiences are similar. A lesson plan for grade 7 Visual Arts Education and English Language Arts By [17]Carol Horne Learn more Related pages * [18]Old Hat, New Hat: 3-D Pattern Hats: After students read Old Hat, New Hat by Jan and Stan Berenstain, they create their own new 3-D hats. * [19]Rhythm stars: This lesson will introduce the main components of rhythm: quarter, eighth, and sixteenth notes. * [20]How do I express what I believe? - Part 2: This is the second in a three-part lesson series seeking to examine belief systems and how they impact culture in the United States. This lesson, "How do I express what I believe?" requires 3 sessions at 40 minutes each to complete. The lesson series also seeks to let students examine their own personal belief system. In this lesson, the student will learn about the American tradition of the Face Jug/Pot and how it is used to express belief. The student will also create a Face Jug/Pot to express his/her belief, and this pot will be used in the third lesson entitled. "How do I present what I believe?" Related topics * Learn more about [21]arts, [22]color, [23]hands-on, [24]patterns, [25]rhythm, and [26]texture. Help Please read our [27]disclaimer for lesson plans. Legal The text of this page is copyright ©2008. See [28]terms of use. Images and other media may be licensed separately; see captions for more information and [29]read the fine print. [30]Creative Commons License Print * [31]Print Share * [32]Email * [33]Delicious [34]Delicious * [35]Digg [36]Digg * [37]Facebook [38]Facebook * [39]StumbleUpon [40]StumbleUpon Learning outcomes Students will: * learn to identify examples of "rhythm," "patterns," "color," and "texture" in order to analyze a whole class symphony of various sounds and movements. * learn to apply these same elements to a work of visual art. * evaluate the overall impact of each element and will investigate their personal reactions and connections to both of these art forms. * learn to reflect on the similarities of their analyses of both of these art forms. Teacher planning Time required for lesson 85 minutes Materials/resources * Adjust space for class to "perform" assigned individual movements as a whole group standing in one long line as the teacher stands in front of students to "conduct." If this is not possible, make sure students have enough space to "perform" as they stand alongside their desks. * Write variety of individual sounds and movements on index cards to distribute to each student, e.g. "bark like a dog; make a whooshing sound as you move like a wave; high-five and yell, `Yeah!'; whistle like an admirer; click your heels and say, `There's no place like home!'; sing the first bar of the Friskies' `Meow, meow, meow, meow' song; frog hop as you `ribbitt' twice; etc. * Set up a tape recorder and blank tape cued to record the class "symphony." * Make two overhead transparencies and two hard copies per student of the graphic organizer titled, "Elements of Art-Making Connections!" for analysis of the elements of "rhythm and patterns," "color," "texture," etc. (See attachment of a blank copy.) You will also need a transparency pen. * Pre-select a poster, transparency, or website image of a work of visual art preferrably from a historical period familiar to students and a narrative piece. (See "Relevant Web Sites" below for a suggested link to "Cleopatra and the Peasant.") * Complete a graphic organizer for the selected work of visual art to use as a suggested "answer key" for easy reference during small group facilitation. (See "Attachments" below for a suggested key of possible answers for "Elements of Art - Cleopatra and the Peasant" art image.) Technology resources Student computers with color monitors and Internet connection bookmarked at the site of the selected work of visual art. (optional) A classroom computer with color monitor and Internet connection set on site of selected work of visual art and connected to an LCD projector, which projects computer image onto classroom screen. (optional) Pre-activities No previous knowledge is needed for the opening "symphony" activity. However, to integrate social studies, students should be familiar with the general historical context of the work of visual art used in the second activity. If the "Cleopatra and the Peasant" piece is used, for instance, it would be helpful if students have had some background in the ancient Egyptian period prior to the viewing of this piece. If you are using another historical narrative piece, select one for which students have had some previous study. If your students will be accessing the Internet to view the visual art at a selected website, students should have obtained permission to use the Internet. They should also know how to go to bookmarked sites. Students should also have had some experience with small group collaboration with their peers. Students should have experience with writing one-sentence summaries for information presented textually or orally. Activities Because of the variety of activities, this lesson will work well as a block period, or it may be divided into two consecutive class periods. Initiating Activity - Whole Class "Symphony" (40 minutes) 1. Because we want to create an atmosphere of discovery and an air of mystery, the teacher will distribute one prepared index card to each student on which some type of sound is written without undue explanation. 2. Next, line up your students in a straight line facing you, and position yourself in front of them as the "conductor," if space permits. Explain now that the whole class will create a "symphony" using the assigned sounds while you conduct students' coming in, out, and level of volume. Briefly teach the students the signals indicated by the conductor's hand and arm movements for: making their sound/motion; decreasing the sound; increasing the sound; cutting the sound off; etc. 3. As a practice, point to each student individually to try out his assigned sound/motion along with your signals. Next, explain that at times there may be solos, duets, trios, etc., or times when the whole group will perform together. Those determinations will be indicated by the conductor, so students must watch the conductor carefully. 4. After students understand their "assignment," you, the conductor, will proceed to conduct a class symphony as you see fit. Before you start, explain that this production will be tape recorded. (Turn on your tape recorder when ready.) As you begin, experiment with different combinations of single, small group, and larger group participation as well as crescendo/decrescendo effects. You may also include periods of silence. Remember the elements you want to elicit in this improvised piece are: rhythm/patterns, color, and texture, which are discussed below. After several minutes of composing/performing, turn off the tape recorder. (See also another way of doing this activity described in "Supplemental Resources/Information for Teachers" section below.) 5. As students return to their seats, distribute copies of the blank "Elements of Art" graphic organizer to be used for an analysis of the class performance. (See "Attachments" below.) Using your overhead transparency and pen, prepare to conduct a whole class explanation/discussion of each element listed. 6. You will need to explain each of the specialized vocabulary terms below in the suggested ways. Elements for Musical Composition: Rhythm/Patterns These are listed together because patterns help to create rhythm. Rhythm is created with the recurrence (pattern) of varying stresses and tone lengths. These may be balanced against a steady, underlying succession of beats. Color You should be accepting of students' definitions here, but you may explain that "color" is created musically through such qualities as vitality, vividness, or interest. Musically speaking, "color" refers to the timbre, or tonal quality of the voice/instrument or the effect created by the combination of such qualities. Texture Explain that in music, "texture" is created by contrasts of rich, smooth, melodic, lyrical tones vs. stiff, staccato, harsh tones. 7. Before playing back the recording of the production, you may assign one-third of the class to listen for examples of rhythm and patterns, another one-third of the class can listen for examples of color, and the remaining one-third can listen for examples of texture. As they listen, they should note examples on their charts. 8. Next, ask students to share their examples of each element. Facilitate their sharing in light of the meaning of each element, remembering that your present objective is to help students to understand the meanings of all the elements and analyze examples from a musical piece. As examples are shared and discussed, model writing them on your overhead transparency; engage students by asking them to fill in examples for each element on their charts throughout the class discussion. 9. To review the elements and encourage students to engage in mental evaluation of their performance, ask students to assess which element they believe had the greatest impact on their overall performance. Did their piece seem to emphasize rhythm and pattern? Or did "color" or "texture" make the greatest impact, in their opinion? Get the students to explain and record their choices on their graphic organizers. 10. Last, to allow students to make this experience personally relevant, invite them to write single words that might describe their feelings or emotions toward their symphony. (Examples might be: exciting, interesting, invigorating, stimulating, etc.) In the last column, invite students to note something from their personal experience that the class symphony reminds them of. It could be a personal experience or feeling, or it might be one they've read about or seen portrayed in a movie or real life of a friend. Second Activity: Analyze the Elements in Visual Art (35 minutes) 1. Make a transition to the next activity by arranging students for partner or small group collaboration. If you are remaining in the classroom, arrange students in small groups of three to five with desks facing one another to encourage collaboration. If students are at computer stations, pair them up to encourage collaboration. 2. The teacher will need to use an overhead projector to initiate modeling of analysis of elements on the second overhead transparency of the graphic organizer. 3. Introduce the selected work of art and artist as you display the painting or image. (Ask students to navigate to the bookmarked website, if they are at computer stations.) Initiate discussion through use of a "hook" question. For example, if you are using the "Cleopatra and the Peasant" painting by Eugene Delacroix, ask: "Why do you think there is a little snake coiling out of the basket of plums?" As students brainstorm possibilities, work in bits of historical information. For example, remind them of who Cleopatra was and the culture and time in which she lived. (Note: Refer to "Supplemental Information" below. Also, if you access the Ackland Online website listed below under "Relevant Websites," background information about the painting will be provided.) Through questioning and discussion, develop the story behind the painting. 4. You may also mention that the painting was created in Europe in the 1800's. You may ask if students can locate clues in the painting to illustrate this fact. (Cleopatra was portrayed in this painting as a 19th century European woman in style of dress and ethnicity, for example, rather than an ancient Egyptian woman who lived during ancient Roman times.) 5. As you continue to develop the history of the story, initiate one possible answer under each of the first three columns of the graphic organizer for "rhythm/patterns," "color," and "texture." Students may copy these onto their charts. 6. Take this opportunity to weave in a review and explanation of the terms below and how they relate to analysis of a work of visual art. Definitions of Elements for Visual Art: Rhythm/Patterns The recurrence of lines, colors, and shapes (perhaps in a pattern) to create movement within a work of art. Color Qualities brought out by the use of hues (colors) and their variations. Texture Use of materials, such as paint, to create the impression of a feature, (e.g. satin, glass, or fur); or the use of real materials within the work of art, (e.g. hair, leather, or metal.) 7. After students have an understanding of the information in the painting and the elements and have written at least one example of each element on their charts, direct the small groups or partners to continue with their analyses. They should also discuss and complete the last three sections in which they evaluate which element had the greatest impact on the work of art as a whole, explore their personal feelings, and note their personal connections to the art. 8. During partner/group discussion time, the teacher should circulate to facilitate the above activities. 9. Within the last few minutes of this activity, ask students to share examples of answers recorded on their graphic organizers. Reflection Activity (10 minutes) 1. Facilitate a five-minute discussion of similarities of the symphony and work of visual art with the whole group through questioning. (Examples: "In what ways are symphonies like visual art?") Encourage students to refer to their two charts. Assist them in making oral connections between these two art forms. 2. On a slip of notebook paper during the remaining five minutes, have students write "exit slips," meaning they will get to exit your class after they have handed you their "tickets," or exit slips, out of class. 3. On the slip of paper ask students to answer the following question in one concise sentence: "What did I learn today about the elements of art in music AND in visual art?" The teacher can gain insight about the kinds of things the students learned as a result of the day's lesson by reading the exits slips. The teacher may elect to give the students some type of daily credit for completing the slips satisfactorily. Assessment The following two types of assessments may be used in addition to teacher observation: 1. Two completed graphic organizers titled, "Elements of Art," one for the symphony activity and the other for the visual art activity. The teacher may collect these and give credit for quality of answers or for participation (completion.) 2. Exit slip - This is the reflection the students made at the end of the lesson during which they were asked to summarize in one statement something they learned about the elements of both a musical composition and a work of visual art. The teacher can quickly assess the level of understanding by reading and assessing the quality of these answers for a daily grade. Supplemental information Alternate "symphony" activity: One other way to conduct this initiating activity is for the teacher NOT to be the conductor. Instead, assign sounds on cards as previously described and tell students to begin making their sounds together and continue until you indicate for them to stop. At first, the combined sounds will not be coordinated. However, as time goes along, the students will naturally begin to add their own rhythms, loudness/softness, etc. In the follow-up analysis of this musical production, it could be pointed out how the first part lacked the elements listed on the chart; but as the "music" proceeded, these elements became evident. Historical Background for the Life of Cleopatra: Cleopatra became queen of ancient Egypt in 51 B.C. Though she lacked beauty, she was intelligent, witty, charming, ambitious, and concerned about the well-being of her subjects. Cleopatra developed loyal and romantic relationships with Julius Caesar and Mark Antony, great Roman leaders. Antony aspired to rule Rome alone and, due to the wealth of Egypt, hoped to obtain financial aid from Cleopatra. They fell in love and Cleopatra had several children by Antony. Cleopatra's ambition was for her children to become rulers of Rome. Because Antony gave preferential treatment to his children by Cleopatra, other Roman leaders became jealous. They thought Cleopatra was greedy and had too much control over Antony. A war broke out between the two of them and Octavian, Antony's former brother-in-law and one of the rival rulers of Rome. As Octavian came after Cleopatra and Antony, she spread a rumor that she had committed suicide. When Antony heard the report, he stabbed himself. He later died in her arms. When Cleopatra's attempts to make up to Octavian failed, she put a poisonous snake on her arm and indeed did commit suicide. Antony's and Cleopatra's love story has taken many dramatic and artistic forms through the ages. In the painting, "Cleopatra and the Peasant," the peasant is shown as suggesting to Cleopatra (or enticing her by his slight smile and her serious expression of consideration) with the idea of taking her life with a snake. The peasant is holding a basket of plums under his leopard pelt. A snake is emerging from the plums. A jpg image of Cleopatra by Delacroix along with credit information has been provided as an attachment below. Related websites Color image of "Cleopatra and the Peasant," by Eugene Delacroix: Ackland Museum Online: http://www.unc.edu/depts/ackland/tours/classes/delacroix.html NC Wise Owl Research Site: http://www.ncwiseowl.com/ Comments For special needs students, such as LD, the teacher may provide a hard copy for each of the two completed "Elements of Art" graphic organizers, saving time for the student in copying information onto the charts. Enrichment can be provided by encouraging students to formulate their own questions about either work of art (musical, as in the class symphony, or the historical work of visual art,) and their elements. Allow students to conduct their own research to answer these questions using CD ROMS, Internet art sites, NC Wise Owl, a research site, which has been included under "Relevant Websites," etc. North Carolina Curriculum Alignment Visual Arts Education (2001) Grade 7 * Goal 1: The learner will develop critical and creative thinking skills and perceptual awareness necessary for understanding and producing art. + [41]Objective 1.06: Recognize and discuss the use of multiple senses in visual arts. * Goal 2: The learner will develop skills necessary for understanding and applying media, techniques, and processes. + [42]Objective 2.02: Explore and identify the unique properties and potential of materials using proper vocabulary and terminology. * Goal 3: The learner will organize the components of a work into a cohesive whole through knowledge of organizational principles of design and art elements. + [43]Objective 3.03: Explore and discuss that diverse solutions are preferable to predetermined visual solutions. + [44]Objective 3.04: Explore and discuss the value of intuitive perceptions in the problem-solving process. * Goal 5: The learner will understand the visual arts in relation to history and cultures. + [45]Objective 5.02: Describe characteristics of specific works of art that belong to a particular culture, time and place. * Goal 7: The learner will perceive connections between visual arts and other disciplines. + [46]Objective 7.01: Explain connections, similarities and differences between the visual arts and other disciplines. + [47]Objective 7.03: Compare characteristics of visual arts within a particular historical period or style with ideas, issues or themes in other disciplines. 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[4]Home 2. [5]Education 3. [6]Art History [7][education_arthistory;kw=;site=arthistory;chan=education;pos=lb;sz=7 28x90;ord=1A1JJ6U0P20SA0xBC] * [8]Share * * [9]Art History * [10]Artists * [11]Styles * [12]Works of Art * Free Art History Newsletter! ____________________ (Submit) Sign Up * [13]Discuss in my Forum rhythm By [14]Shelley Esaak, About.com Guide See More About: * [15]art definitions * [16]principles of design Definition: (noun) - Rhythm is a principle of art that's difficult to summarize in words. Assuming that you've picked up on a rhythm in music before, take what you heard with your ears and try to translate that to something you'd see with your eyes. Rhythm, in art, is a visual beat. A pattern has rhythm, but not all rhythm is patterned. For example, the colors of a piece can convey rhythm, by making your eyes travel from one component to another. Lines can produce rhythm by implying movement. Forms, too, can cause rhythm by the ways in which they're placed one next to the other. Really, it's easier to "see" rhythm in just about anything other than the visual arts. Literally-minded types should stick to music for rhythm. Pronunciation: rih·them Related Articles * [17]Guitar Strumming 101 - Strumming Pattern Exercise Number One * [18]From a Father to His Children - Clement Clarke Moore * [19]Music clip art and instruments and musicians and musical notes plus other m... * [20]Pittsburgh Arts Summer Camps - Performing & Visual Arts Summer Programs in ... * [21]United Kingdom Travel by Interest - Find History, Art, Theatre, Music and M... 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Dictionary ,ø¤º°`°ºº¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø ,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º°`°º¤ø,¸,ø¤º° r rhythm - A visual tempo or beat. The [3]principle of design that refers to a regular repetition of [4]elements of art to produce the look and feel of [5]movement. It is often achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next. In any [6]artwork, it is possible to distinguish between rhythm of [7]color, [8]line, and [9]form. In the continuity of the three comes the whole rhythm of that work. Rhythm unites the [10]visual culture with [11]music, but in visual culture, rhythm is more evident in the [12]applied arts than in the [13]fine arts. In the former, it is often the foremost means of [14]aesthetic [15]expression. Rhythm originated in the Greek word rhymthmos, meaning measured flow, which they passed into Latin as rhythmus, meaning movement in [16]time. Its first uses in English were literary, in reference to themetrical rhyming of verses. English speakers began to use rhythm concerning repetition of musical beats in the late 18th century, and about visual elements in the same period. Each [17]artist, every [18]period, every [19]culture produces a characteristic sort of rhythm. Recognizing a work's rhythmical peculiarities often aids in [20]identify the culture or [21]time in which it was produced, if not the individual artist who produced it. Rhythm's importance can be demonstrated by noting how many important rhythmic cycles we observe in [22]nature -- consider the alternating tension and relaxation in the heart's beating or in the ocean's waves, the revolutions of the earth around the sun, the comings and goings of generations. Each of us has personal rhythms to our days, weeks, and years. Life, indeed, would be chaotic without rhythm. Participating in the tempo of this flow gives us excitement and calm, yearning and contentment, yin and yang. It is natural that we would employ rhythms to organize and [23]unify our works, much as they do the rest of our experience. There are several types of visual rhythm. These include: regular rhythms - The background design behind this text has a regular rhythm. (In the following examples, let the letters A, B, etc. stand for visual elements of any sort) AB-AB-AB is the most common type. Picture alternating stripes of two colors, for instance. (In English prosody, a student of poetry might read this as either "iambs" or "trochees". An iamb is a metrical foot consisting of two syllables, the first syllable accented, the second accented, as in AB-AB-AB. It becomes trochaic meter if the accenting is reversed, as in AB-AB-AB.) Some more examples: ABC-ABC-ABC (In English prosody, a student of poetry might read this as "anapests" or "dactyls". An anapest is a metrical foot consisting of three syllables, the first two syllables unaccented, the third accented, as in ABC-DEF-GHI-JKL. A dactyl consists of three syllables, the first accented, the second and third unaccented, as in ABC-DEF-GHI-JKL.) ABBB-ABBB-ABBB ABCB-ABCB-ABCB ABCDCDA-ABCDCDA-ABCDCDA alternating rhythms - some examples: ABA-CDC-ABA-EFE-ABA-CDC-ABA-EFE- ABC-ABC-ABC-DEF-DEF-DEF-ABC-ABC-ABC-DEF-DEF-DEF- ABCD-DCCBBA-ABCD-DCCBBA progressive rhythms - Progression occurs when there is a gradual increase or decrease in the size, number, color, or some other quality of the elements repeated. some examples: AB-AABB-AAABBB-AAAABBBB AB-AB-AB-AB-AB-AB AB-AB-AB-AB-AB-AB- ABC-ABD-ABE-ABF-ABG-ABH-ABI flowing rhythms - random rhythms - Each of these types of rhythm might be altered periodically. [24]Music theory might be defined as the study of rhythms and their periodic alterations. Example of works displaying rhythm: [rhythm_matis.danc1.th.jpg] see thumbnail to left Henri Matisse (French, 1869-1954), [25]Dance (first version), 1909, [26]oil on [27]canvas, 8 feet 6 1/2 inches x 12 feet 9 1/2 inches (259.7 x 390.1 cm), Museum of [e3_3_1_8d_french_art20.jpg] Modern Art, NY. Matisse painted a second version of see thumbnail to right [28]Dance in 1910, [29]oil on [30]canvas, 102 x 154 inches (260 x 391 cm), Hermitage Museum, St. Petersburg, Russia. Dance, together with Music, was commissioned by S.I.Shchukin to [31]decorate the staircase in his Moscow mansion. Matisse took the [32]motif of the round dance, used as a [33]symbol back as far as French [34]Renaissance, to represent the [35]rhythm and [36]expression of the 20th century. The spaciousness and expressive [37]lines [38]emphasize the dynamics of the [39]figures. [40]Simplified and schematic [41]forms intensify the [42]brightness and [43]resonance of the three colors -- red, blue and green. See [44]music. Dance, Matisse once said, meant "life and rhythm." See [45]dance, [46]music, and [47]movement. [destij_mond.broadwa.th.gif] see thumbnail to left Piet Mondrian (Dutch, 1872-1944), [48]Broadway Boogie Woogie. 1942-43, [49]oil on [50]canvas, 50 x 50 inches (127 x 127 cm), at the Museum of Modern Art, New York. See [51]De Stijl and [52]grid. [3L00164.jpg] see thumbnail to right Paul Klee (Swiss, 1879-1940), [53]Rhythmisches (In Rhythm), 1930, [54]oil on woven jute, 69.6 x 50.5 cm, Georges Pompidou Center, Paris. See [55]Bauhaus and [56]Swiss art. [femns_taeuber_circles_th.jpg] see thumbnail to left Sophie Taeuber-Arp (Swiss, 1889-1943; to France 1928), [57]Composition of Circles and Overlapping Angles (Composition à cercles et à bras superposés), 1930, [58]oil on [59]canvas, 19 1/2 x 25 1/4 inches (49.5 x 64.1 cm), Museum of Modern Art, NY. See [60]feminism and feminist art. [40x10pixel.space.gif] [femns_taeuber_echelon_th.jpg] see thumbnail to right Sophie Taeuber-Arp, [61]Echelonnement désaxé, 1934, [62]gouache on [63]paper, 13 7/8 X 10 5/8 inches (35.1 X 27 cm), Museum of Modern Art, NY. [bauhau_aalber.walldes.th.jpg] see thumbnail to left Anni Albers (born Analise Fleischman, married Josef Albers) (German, 1899-1994), [64]Design for Wall Hanging, 1926, [65]gouache and [66]pencil on paper, 14 x 11 1/2 inches (35.6 x 29.2 cm), Museum of Modern Art, NY. See [67]Bauhaus and [68]textile. Quote: "Rhythm and harmony find their way into the inward places of the soul." Plato (427?-327? BCE), Greek philosopher. The Republic, Book III, 401d, as translated by B. Jowett, 1901. See [69]harmony. Also see [70]animation, [71]arrangement, [72]chronology, [73]cinema, [74]composition, [75]dance, [76]direction, [77]egg-and-dart, [78]eurythmy, [79]four-dimensional, [80]harmonic sequence, [81]harmony, [82]kinetic, [83]juxtaposition, [84]measure, [85]metamorphosis, [86]mobile, [87]movement, [88]obsession, [89]pattern, [90]periodicity, [91]music, [92]sequence, [93]space-time, [94]time, and [95]whirligig. 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[25]Principles of Unity + [26]The Look of Unity + [27]Rhythm in Art + [28]Large Scale (& small) * [29]Websites to Visit + [30]K3Order * [31]Photos * [32]Testing * [33]OldMembers * [34]Videos * [35]Blogs * [36]Groups Rhythm in Art Take a look at this definition of Rhythm in Art. As noted in the definition, it can be likened to rhythm in music, and can be said to be a "patterened repitition" What do you think? Is rhythm a "visual beat?" (noun) - Rhythm is a principle of art that's difficult to summarize in words. Assuming that you've picked up on a rhythm in music before, take what you heard with your ears and try to translate that to something you'd see with your eyes. Rhythm, in art, is a visual beat. A pattern has rhythm, but not all rhythm is patterned. For example, the colors of a piece can convey rhythm, by making your eyes travel from one component to another. Lines can produce rhythm by implying movement. Forms, too, can cause rhythm by the ways in which they're placed one next to the other. it's sometimes easier to comprehend rhythm in just about anything other than the visual arts, but once understood, heightened sensitivity to this aspect can animate design and art making it visually interactive. "Rhythm of the Hills" by Judy Neale "Rhythm Joie De Vivre" by Robert Delaunay This very graphic and design-oriented painting uses repeated circles, half-circles, joined shapes and contrasting colors to create movement. "Although trained in fine arts in Paris, Delaunay worked in set design before beginning his painting career in 1905. He found his initial influences in the Neo-Impressionists, but gradually moved on to join Der Blaue Reiter in 1911. His Paris cityscapes began to take on a distinctive style that studied the effect of contrasting color patterning. Delaunay's unique method spurred friend and poet, Guillaume Apollinaire, to place his paintings in a new movement, which he called Orphism." - World Wide Art Resources Tamara De Limpicka's "The Model" This piece which is a very graphically-designed painting, in which the raised right arm drives the eyes to the right side of the model's torso; the focal point of the right breast then captures the viewer's attention, and directs it with a "pointer"... a triangular fold in the model's garment pulling the viewer to the left arm of the figure. The curve of the left arm uses the multiple pointers of the model's fingers to direct the eye strongly to the left into the garment's downward-sweeping folds, and down the highlighted leg. As if that were not enough to invest the piece with rhythm, the artist then uses a strong graphical "s" shape in the background to reinforce the motion using the model's shadow to create a feeling of movement as part of the pattern in the background. The overall positioning of the figure creates visual torque, creating a feeling of anticipated movement adding to the dynamicism of the design Welcome to DesignerNet [37]Sign Up or [38]Sign In About [39]Jane Ann Nelson [40]Jane Ann Nelson created this [41]Ning Network. [42]Create a Ning Network! » © 2010 Created by [43]Jane Ann Nelson on Ning. [44]Create a Ning Network! [45]Badges | [46]Report an Issue | [47]Privacy | [48]Terms of Service Hello, you need to enable JavaScript to use DesignerNet. Please check your browser settings or contact your system administrator. 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Students will also evaluate the impact of each element on the whole work and note personal reactions and connections to this art form. Students will then work in small groups to apply the same elements and personal evaluation and connections to a historical work of visual art. At the end of the lesson, students will reflect on ways these two experiences are similar. A lesson plan for grade 7 Visual Arts Education and English Language Arts By [17]Carol Horne Learn more Related pages * [18]Old Hat, New Hat: 3-D Pattern Hats: After students read Old Hat, New Hat by Jan and Stan Berenstain, they create their own new 3-D hats. * [19]Rhythm stars: This lesson will introduce the main components of rhythm: quarter, eighth, and sixteenth notes. * [20]How do I express what I believe? - Part 2: This is the second in a three-part lesson series seeking to examine belief systems and how they impact culture in the United States. This lesson, "How do I express what I believe?" requires 3 sessions at 40 minutes each to complete. The lesson series also seeks to let students examine their own personal belief system. In this lesson, the student will learn about the American tradition of the Face Jug/Pot and how it is used to express belief. The student will also create a Face Jug/Pot to express his/her belief, and this pot will be used in the third lesson entitled. "How do I present what I believe?" Related topics * Learn more about [21]arts, [22]color, [23]hands-on, [24]patterns, [25]rhythm, and [26]texture. Help Please read our [27]disclaimer for lesson plans. Legal The text of this page is copyright ©2008. See [28]terms of use. Images and other media may be licensed separately; see captions for more information and [29]read the fine print. [30]Creative Commons License Print * [31]Print Share * [32]Email * [33]Delicious [34]Delicious * [35]Digg [36]Digg * [37]Facebook [38]Facebook * [39]StumbleUpon [40]StumbleUpon Learning outcomes Students will: * learn to identify examples of "rhythm," "patterns," "color," and "texture" in order to analyze a whole class symphony of various sounds and movements. * learn to apply these same elements to a work of visual art. * evaluate the overall impact of each element and will investigate their personal reactions and connections to both of these art forms. * learn to reflect on the similarities of their analyses of both of these art forms. Teacher planning Time required for lesson 85 minutes Materials/resources * Adjust space for class to "perform" assigned individual movements as a whole group standing in one long line as the teacher stands in front of students to "conduct." If this is not possible, make sure students have enough space to "perform" as they stand alongside their desks. * Write variety of individual sounds and movements on index cards to distribute to each student, e.g. "bark like a dog; make a whooshing sound as you move like a wave; high-five and yell, `Yeah!'; whistle like an admirer; click your heels and say, `There's no place like home!'; sing the first bar of the Friskies' `Meow, meow, meow, meow' song; frog hop as you `ribbitt' twice; etc. * Set up a tape recorder and blank tape cued to record the class "symphony." * Make two overhead transparencies and two hard copies per student of the graphic organizer titled, "Elements of Art-Making Connections!" for analysis of the elements of "rhythm and patterns," "color," "texture," etc. (See attachment of a blank copy.) You will also need a transparency pen. * Pre-select a poster, transparency, or website image of a work of visual art preferrably from a historical period familiar to students and a narrative piece. (See "Relevant Web Sites" below for a suggested link to "Cleopatra and the Peasant.") * Complete a graphic organizer for the selected work of visual art to use as a suggested "answer key" for easy reference during small group facilitation. (See "Attachments" below for a suggested key of possible answers for "Elements of Art - Cleopatra and the Peasant" art image.) Technology resources Student computers with color monitors and Internet connection bookmarked at the site of the selected work of visual art. (optional) A classroom computer with color monitor and Internet connection set on site of selected work of visual art and connected to an LCD projector, which projects computer image onto classroom screen. (optional) Pre-activities No previous knowledge is needed for the opening "symphony" activity. However, to integrate social studies, students should be familiar with the general historical context of the work of visual art used in the second activity. If the "Cleopatra and the Peasant" piece is used, for instance, it would be helpful if students have had some background in the ancient Egyptian period prior to the viewing of this piece. If you are using another historical narrative piece, select one for which students have had some previous study. If your students will be accessing the Internet to view the visual art at a selected website, students should have obtained permission to use the Internet. They should also know how to go to bookmarked sites. Students should also have had some experience with small group collaboration with their peers. Students should have experience with writing one-sentence summaries for information presented textually or orally. Activities Because of the variety of activities, this lesson will work well as a block period, or it may be divided into two consecutive class periods. Initiating Activity - Whole Class "Symphony" (40 minutes) 1. Because we want to create an atmosphere of discovery and an air of mystery, the teacher will distribute one prepared index card to each student on which some type of sound is written without undue explanation. 2. Next, line up your students in a straight line facing you, and position yourself in front of them as the "conductor," if space permits. Explain now that the whole class will create a "symphony" using the assigned sounds while you conduct students' coming in, out, and level of volume. Briefly teach the students the signals indicated by the conductor's hand and arm movements for: making their sound/motion; decreasing the sound; increasing the sound; cutting the sound off; etc. 3. As a practice, point to each student individually to try out his assigned sound/motion along with your signals. Next, explain that at times there may be solos, duets, trios, etc., or times when the whole group will perform together. Those determinations will be indicated by the conductor, so students must watch the conductor carefully. 4. After students understand their "assignment," you, the conductor, will proceed to conduct a class symphony as you see fit. Before you start, explain that this production will be tape recorded. (Turn on your tape recorder when ready.) As you begin, experiment with different combinations of single, small group, and larger group participation as well as crescendo/decrescendo effects. You may also include periods of silence. Remember the elements you want to elicit in this improvised piece are: rhythm/patterns, color, and texture, which are discussed below. After several minutes of composing/performing, turn off the tape recorder. (See also another way of doing this activity described in "Supplemental Resources/Information for Teachers" section below.) 5. As students return to their seats, distribute copies of the blank "Elements of Art" graphic organizer to be used for an analysis of the class performance. (See "Attachments" below.) Using your overhead transparency and pen, prepare to conduct a whole class explanation/discussion of each element listed. 6. You will need to explain each of the specialized vocabulary terms below in the suggested ways. Elements for Musical Composition: Rhythm/Patterns These are listed together because patterns help to create rhythm. Rhythm is created with the recurrence (pattern) of varying stresses and tone lengths. These may be balanced against a steady, underlying succession of beats. Color You should be accepting of students' definitions here, but you may explain that "color" is created musically through such qualities as vitality, vividness, or interest. Musically speaking, "color" refers to the timbre, or tonal quality of the voice/instrument or the effect created by the combination of such qualities. Texture Explain that in music, "texture" is created by contrasts of rich, smooth, melodic, lyrical tones vs. stiff, staccato, harsh tones. 7. Before playing back the recording of the production, you may assign one-third of the class to listen for examples of rhythm and patterns, another one-third of the class can listen for examples of color, and the remaining one-third can listen for examples of texture. As they listen, they should note examples on their charts. 8. Next, ask students to share their examples of each element. Facilitate their sharing in light of the meaning of each element, remembering that your present objective is to help students to understand the meanings of all the elements and analyze examples from a musical piece. As examples are shared and discussed, model writing them on your overhead transparency; engage students by asking them to fill in examples for each element on their charts throughout the class discussion. 9. To review the elements and encourage students to engage in mental evaluation of their performance, ask students to assess which element they believe had the greatest impact on their overall performance. Did their piece seem to emphasize rhythm and pattern? Or did "color" or "texture" make the greatest impact, in their opinion? Get the students to explain and record their choices on their graphic organizers. 10. Last, to allow students to make this experience personally relevant, invite them to write single words that might describe their feelings or emotions toward their symphony. (Examples might be: exciting, interesting, invigorating, stimulating, etc.) In the last column, invite students to note something from their personal experience that the class symphony reminds them of. It could be a personal experience or feeling, or it might be one they've read about or seen portrayed in a movie or real life of a friend. Second Activity: Analyze the Elements in Visual Art (35 minutes) 1. Make a transition to the next activity by arranging students for partner or small group collaboration. If you are remaining in the classroom, arrange students in small groups of three to five with desks facing one another to encourage collaboration. If students are at computer stations, pair them up to encourage collaboration. 2. The teacher will need to use an overhead projector to initiate modeling of analysis of elements on the second overhead transparency of the graphic organizer. 3. Introduce the selected work of art and artist as you display the painting or image. (Ask students to navigate to the bookmarked website, if they are at computer stations.) Initiate discussion through use of a "hook" question. For example, if you are using the "Cleopatra and the Peasant" painting by Eugene Delacroix, ask: "Why do you think there is a little snake coiling out of the basket of plums?" As students brainstorm possibilities, work in bits of historical information. For example, remind them of who Cleopatra was and the culture and time in which she lived. (Note: Refer to "Supplemental Information" below. Also, if you access the Ackland Online website listed below under "Relevant Websites," background information about the painting will be provided.) Through questioning and discussion, develop the story behind the painting. 4. You may also mention that the painting was created in Europe in the 1800's. You may ask if students can locate clues in the painting to illustrate this fact. (Cleopatra was portrayed in this painting as a 19th century European woman in style of dress and ethnicity, for example, rather than an ancient Egyptian woman who lived during ancient Roman times.) 5. As you continue to develop the history of the story, initiate one possible answer under each of the first three columns of the graphic organizer for "rhythm/patterns," "color," and "texture." Students may copy these onto their charts. 6. Take this opportunity to weave in a review and explanation of the terms below and how they relate to analysis of a work of visual art. Definitions of Elements for Visual Art: Rhythm/Patterns The recurrence of lines, colors, and shapes (perhaps in a pattern) to create movement within a work of art. Color Qualities brought out by the use of hues (colors) and their variations. Texture Use of materials, such as paint, to create the impression of a feature, (e.g. satin, glass, or fur); or the use of real materials within the work of art, (e.g. hair, leather, or metal.) 7. After students have an understanding of the information in the painting and the elements and have written at least one example of each element on their charts, direct the small groups or partners to continue with their analyses. They should also discuss and complete the last three sections in which they evaluate which element had the greatest impact on the work of art as a whole, explore their personal feelings, and note their personal connections to the art. 8. During partner/group discussion time, the teacher should circulate to facilitate the above activities. 9. Within the last few minutes of this activity, ask students to share examples of answers recorded on their graphic organizers. Reflection Activity (10 minutes) 1. Facilitate a five-minute discussion of similarities of the symphony and work of visual art with the whole group through questioning. (Examples: "In what ways are symphonies like visual art?") Encourage students to refer to their two charts. Assist them in making oral connections between these two art forms. 2. On a slip of notebook paper during the remaining five minutes, have students write "exit slips," meaning they will get to exit your class after they have handed you their "tickets," or exit slips, out of class. 3. On the slip of paper ask students to answer the following question in one concise sentence: "What did I learn today about the elements of art in music AND in visual art?" The teacher can gain insight about the kinds of things the students learned as a result of the day's lesson by reading the exits slips. The teacher may elect to give the students some type of daily credit for completing the slips satisfactorily. Assessment The following two types of assessments may be used in addition to teacher observation: 1. Two completed graphic organizers titled, "Elements of Art," one for the symphony activity and the other for the visual art activity. The teacher may collect these and give credit for quality of answers or for participation (completion.) 2. Exit slip - This is the reflection the students made at the end of the lesson during which they were asked to summarize in one statement something they learned about the elements of both a musical composition and a work of visual art. The teacher can quickly assess the level of understanding by reading and assessing the quality of these answers for a daily grade. Supplemental information Alternate "symphony" activity: One other way to conduct this initiating activity is for the teacher NOT to be the conductor. Instead, assign sounds on cards as previously described and tell students to begin making their sounds together and continue until you indicate for them to stop. At first, the combined sounds will not be coordinated. However, as time goes along, the students will naturally begin to add their own rhythms, loudness/softness, etc. In the follow-up analysis of this musical production, it could be pointed out how the first part lacked the elements listed on the chart; but as the "music" proceeded, these elements became evident. Historical Background for the Life of Cleopatra: Cleopatra became queen of ancient Egypt in 51 B.C. Though she lacked beauty, she was intelligent, witty, charming, ambitious, and concerned about the well-being of her subjects. Cleopatra developed loyal and romantic relationships with Julius Caesar and Mark Antony, great Roman leaders. Antony aspired to rule Rome alone and, due to the wealth of Egypt, hoped to obtain financial aid from Cleopatra. They fell in love and Cleopatra had several children by Antony. Cleopatra's ambition was for her children to become rulers of Rome. Because Antony gave preferential treatment to his children by Cleopatra, other Roman leaders became jealous. They thought Cleopatra was greedy and had too much control over Antony. A war broke out between the two of them and Octavian, Antony's former brother-in-law and one of the rival rulers of Rome. As Octavian came after Cleopatra and Antony, she spread a rumor that she had committed suicide. When Antony heard the report, he stabbed himself. He later died in her arms. When Cleopatra's attempts to make up to Octavian failed, she put a poisonous snake on her arm and indeed did commit suicide. Antony's and Cleopatra's love story has taken many dramatic and artistic forms through the ages. In the painting, "Cleopatra and the Peasant," the peasant is shown as suggesting to Cleopatra (or enticing her by his slight smile and her serious expression of consideration) with the idea of taking her life with a snake. The peasant is holding a basket of plums under his leopard pelt. A snake is emerging from the plums. A jpg image of Cleopatra by Delacroix along with credit information has been provided as an attachment below. Related websites Color image of "Cleopatra and the Peasant," by Eugene Delacroix: Ackland Museum Online: http://www.unc.edu/depts/ackland/tours/classes/delacroix.html NC Wise Owl Research Site: http://www.ncwiseowl.com/ Comments For special needs students, such as LD, the teacher may provide a hard copy for each of the two completed "Elements of Art" graphic organizers, saving time for the student in copying information onto the charts. Enrichment can be provided by encouraging students to formulate their own questions about either work of art (musical, as in the class symphony, or the historical work of visual art,) and their elements. Allow students to conduct their own research to answer these questions using CD ROMS, Internet art sites, NC Wise Owl, a research site, which has been included under "Relevant Websites," etc. North Carolina Curriculum Alignment Visual Arts Education (2001) Grade 7 * Goal 1: The learner will develop critical and creative thinking skills and perceptual awareness necessary for understanding and producing art. + [41]Objective 1.06: Recognize and discuss the use of multiple senses in visual arts. * Goal 2: The learner will develop skills necessary for understanding and applying media, techniques, and processes. + [42]Objective 2.02: Explore and identify the unique properties and potential of materials using proper vocabulary and terminology. * Goal 3: The learner will organize the components of a work into a cohesive whole through knowledge of organizational principles of design and art elements. + [43]Objective 3.03: Explore and discuss that diverse solutions are preferable to predetermined visual solutions. + [44]Objective 3.04: Explore and discuss the value of intuitive perceptions in the problem-solving process. * Goal 5: The learner will understand the visual arts in relation to history and cultures. + [45]Objective 5.02: Describe characteristics of specific works of art that belong to a particular culture, time and place. * Goal 7: The learner will perceive connections between visual arts and other disciplines. + [46]Objective 7.01: Explain connections, similarities and differences between the visual arts and other disciplines. + [47]Objective 7.03: Compare characteristics of visual arts within a particular historical period or style with ideas, issues or themes in other disciplines. 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