### **ACTIVITY 1- PORTRAITURE**

![](media/image1.jpeg){width="0.75in" height="8.238194444444444in"}

**GOALS:**

-   Students will sharpen observation skills and learn the basic
    proportions of the human head in order to draw a portrait.

-   Portraiture builds on mathematical proportions of the human head and
    on observation skills. Understanding the process is invaluable in
    appreciating the creative thinking and choices that an artist
    constantly makes.

*Supports NH Curriculum Framework for the Arts Standard #2, especially:
create works that use the elements of art and principles of design to
solve specific visual arts problems (Grade 12)*, p.39; and *Standard
#6,especially: use knowledge of other subject matter to enhance their
art work (Grades 9-12)*, p. 42.

**MATERIALS:** handout, paper

**DURATION:** 1 class period

**LOCATION:** Art, Math or Language Arts class

**BACKGROUND INFORMATION:**

Review with your students that the art of portraiture was important to
the Gilded Age and was a typical art form of the American Renaissance, a
period in which Americans looked back to the ideals of the classical
past. A portrait may be done in any **medium** including drawing,
painting, clay and/or photography, which is most common today. A
portrait was a visible sign of success.

## 

## ![](media/image2.wmf)Some of the Cornish artists who were especially known for their portraiture include [Herbert Adams]{.underline} (sculpture), [Louise Cox]{.underline} (painting), [Thomas Dewing]{.underline} (painting), [Frances Houston]{.underline} (painting) and [Augustus Saint‑Gaudens]{.underline} (sculpture). The bas‑relief portraits of Saint‑Gaudens were in great demand and became marks of social distinction. A portrait may also be done in any size ranging from a miniature, which were very popular during the Gilded Age, (see [Lucia Fairchild Fuller]{.underline} and [Carlota Saint Gaudens]{.underline}) to a life‑size rendition.

**INSTRUCTIONAL STRATEGIES:**

1.  Discuss the relationships between features using the \"Mathematical
    Proportions of the Human Head\" worksheet.

2.  Discuss how individual characteristics (shape and size of eyes,
    nose, mouth, ears, etc.) describe a person\'s unique features and
    identity.

3.  Have students to work in pairs. With their chosen **medium,** ask
    them to observe their partner and draw exactly what they see,
    following the basic rules of proportion. (They should choose a
    **profile or full-face** view and begin by very faintly indicating
    the proportion guidelines on their paper.)

4.  Arrange the finished portraits around the room and ask students to
    identify who they represent.

###### ACTIVITY 2- LANDSCAPE DESIGN

![](media/image1.jpeg){width="0.75in" height="8.238194444444444in"}

**GOALS**:

-   Students will learn to \"read\" a site plan, identify standard
    architectural symbols and understand and explain what is meant by a
    \"built landscape.\"

-   Students will use the Landscape Design Worksheet to color
    architectural elements.

-   Students will learn about the characteristics of a formal garden
    design based on underlying geometric shapes.

-   Students will assume the role of a landscape designer to create
    their own landscape plan using standard architectural symbols and a
    mathematical scale. They will use Charles Platt\'s strategies to
    integrate their home into the space and take advantage of geographic
    features.

*Supports NH Curriculum Framework for the Arts Standard #4, especially:*
 *create a work of art that reflects historical and/or cultural context
(Grade 8),* p.40 and *Standard #6, esp.*  *use knowledge of other
subject matter to enhance their art work (Grades 9-12), p*.42.

**MATERIALS:**

-   Sets of colored pencils

-   Landscape Design Symbols and Charles Platt\'s site plan worksheets
    for students

-   Compass, pencils, erasers, rulers with 1/16\" divisions

-   A large piece of paper for each student, at least 11\" x 17\"
    (vellum tracing paper is ideal)

**DURATION**: 1.5 to 2 hours **LOCATION**: Art or Math class

**BACKGROUND INFORMATION:**

Landscape design is an art form in itself. Remind students that
beautiful landscaped gardens don\'t \"just happen." Instead, a great
deal of planning and thought process goes into creating a good design.

Students may wish to review some of the Colony members who were well
known for their gardens such as the [Dewings]{.underline}, [the
Saint-Gaudens family]{.underline}, [Stephen Parrish]{.underline} and the
architect/landscape designer [Charles Platt.]{.underline}

*This activity is presented in cooperation with the Hood Museum of Art,
Dartmouth College, Hanover, NH education department and with assistance
from Haynes & Garthwaite Architects, Norwich, VT.*

![](media/image3.wmf)Platt became a well-known architect whose influence
was largely responsible for a new interest in formal gardening in
America. Stress the fact that Platt controlled or \"built\" the
landscape using carefully selected features like paths, terraces,
stairways, balustrades, walls, and gates to lead the eye along. His
special talent was to unite a house with its topographic site.

The gardens of Cornish became known throughout the country due in large
part to articles published in national magazines such as *House
Beautiful* and *Century Magazine.* Two other colony members, [Rose
Nichols]{.underline} and [Ellen Shipman]{.underline}, became nationally
famous landscape designers.

**INSTRUCTIONAL STRATEGIES:**

1.  Students should become familiar with the design symbols used by
    landscape architects to draw a site plan.

2.  Instruct students to locate north, south, east and west on their
    paper and indicate any significant features (i.e. vistas, specimen
    trees, boulders, etc.)

3.  Students will then outline the shape of the property.

4.  Using the scale of 1/4\" = 1\', students will design their property
    using standard symbols. Be as creative as possible. Begin by
    locating the house and any outbuildings. Then develop the plan by
    including courtyards, paths, fountains, terraces, walls, benches,
    trees, gardens, pools, etc.

5.  Students may wish to give a name to their \"property\" based on a
    person, the location, or after a prominent feature (some Cornish
    Colony properties were called \"Butternuts,\" \"High Court,\"
    \"Crossways,\" and \"Northcôte\").

# Activity 2- Landscape Design Symbols

These symbols are used by architects and landscape architects to draw up
site plans.

![](media/image4.png)

Landscape design symbols provided by Byron Haynes of Haynes & Garthwaite
Architects, Norwich, VT

### **Activity 2- Landscape Design Symbols continued**

![](media/image5.png)

# Activity 2- Landscape Design Worksheet

This is a site plan for Charles Platt's home, studio and gardens in
Cornish, New Hampshire.

![](media/image6.png)

###### ACTIVITY 3- TABLEAUX VIVANTS

![](media/image1.jpeg){width="0.75in" height="8.238194444444444in"}

**GOAL:**

-   Students will work in groups to choose and recreate a picture from
    the Old Masters. This will involve co-operative learning skills as
    the students select their picture and plan how to costume and stage
    their work.

*Supports NH Curriculum Framework for the Arts Standard 7: Students will
analyze, critique and construct meanings from works of theater, and
especially*  *constructively evaluate their own and other\'s
collaborative efforts and artistic choices in informal and formal
productions (Grade 12), p*.33.

**MATERIALS**:

-   Several art books (or enclosed postcards) from which to choose a
    painting

-   Costume material from the drama department or home

-   Cardboard- enough to make a \"picture frame\" to frame the action
    groups

-   A sheet or material mounted against the wall for background

**DURATION**: 1 class period to prepare and 1 class period to perform.
If this activity does not take up a full period, a game of charades can
be played.

**LOCATION**: Homeroom, with help from the Drama Department

**BACKGROUND INFORMATION:**

> ![](media/image7.wmf)Review with students that lacking radio or
> television, the Cornish families had to create their own forms of
> entertainment. Friends would gather in parlors for board games,
> recitations, musical duets or charades. Another popular diversion was
> to create **tableaux vivants** (living pictures). The goal was to
> reproduce a work of art as close to the original as possible using
> costumes, gestures and sets.

**INSTRUCTIONAL STATEGIES:**

1.  Groups will use books or postcards to choose a masterpiece. Pieces
    with several figures work best.

2.  Construct a rectangular picture frame, behind which the tableaux
    will occur.

3.  Each group will present its tableaux and the rest of the class will
    judge how closely the group has reproduced the masterpiece.

**ACTIVITY 4- SCULPTURE IN THE ROUND**

![](media/image1.jpeg){width="0.75in" height="8.238194444444444in"}

**GOALS:**

-   Students will create a sculpture in clay using an additive modeling
    process. They will learn how to prepare the clay (wedge) and join
    pieces by scoring and using slip.

-   Students will model figures engaged in a physical action or
    expressing an emotion. Students will work in pairs, one serving as
    the model. Change roles. The sculptors should pay special attention
    to body proportions and to weight distribution in the action pose.
    Have students to look at their figure from many angles.

*Supports NH Curriculum Framework for the Arts Standard 1, especially* 
*create works of visual art that demonstrate a connection between
personal expression and the intentional use of art materials, techniques
and processes (Grade 12)*, p.38.

**MATERIALS:**

-   Materials are often available from local art stores or pottery
    supply stores.

Or they may be ordered from the Sculpture House, (212) 645-9430 ext.
155,

West 26th St., New York, NY 10001.

-   Clay: 1-2 lbs. per student. If there is no kiln, self-hardening clay
    may by used. Plastocine, an oil based clay, maintains its
    consistency without water, and does not dry out. It may be reused,
    but it is more expensive

-   12\" square masonite boards provide a good surface on which to model
    (may also use a piece of cardboard)

-   Simple clay tools, sponges, atomizer, plastic bags to keep work
    moist until final shape is achieved

-   Shellac or acrylic polymer medium to finish non-glazed sculptures

**DURATION**: At least 2 class periods

**LOCATION**: Any room with access to clay, water and storage

**BACKGROUND INFORMATION:**

Clay is one of the most forgiving materials. It can be reworked until
the desired shape is obtained, but, if using water-based clay, it must
be kept moist. When it is dry it is called **greenware** and is very
fragile. It will then be fired in a **kiln** and the resulting piece is
called **bisque**.

Saint‑Gaudens was one of the most popular sculptors during the late 19th
century for his public and privately commissioned works. He kept several
studios in simultaneous operation and employed many assistants to carry
out his designs.

> ![](media/image8.wmf)Looking at the list of Cornish Colony visual
> artists, review some of the names: [Herbert Adams]{.underline},
> [Frances Grimes]{.underline}, [Henry Hering]{.underline}, [James Earle
> Fraser]{.underline}, [Paul Manship]{.underline}, [William
> Zorach,]{.underline} etc.

**INSTRUCTIONAL STRATEGIES:**

1.  Have students **wedge (like kneading bread)** a ball of clay. This
    process forces out air bubbles that could make the piece explode
    during firing.

2.  There are many ways to shape a figure. We suggest the following:

    a.  Divide the clay into 3 pieces: small, medium and large.

    b.  Shape the small piece into a ball for the head.

    c.  Roll coils approx. thumb size with the other 2 pieces.

    d.  Join the pieces together by scoring and using slip (a slurry of
        clay.) Then smooth the joint.

3.  Now the figure is ready to be bent and positioned. Pay special
    attention to where the body weight is as this helps to emphasize the
    gesture. Students may use wads of newspaper to help support heads,
    arms or legs until the clay hardens.

4.  Texture and details (clothing) should be added from extra scraps of
    clay.

5.  If the clay starts to crack, it is becoming too dry. Students should
    mist or wet their clay with a damp sponge.

6.  Attach the figures to a base for stability. If the figures are very
    thick, carefully hollow out from the bottom so they will dry better.

7.  Dry all sculptures slowly. When the clay is dry, it is in the most
    fragile stage called **greenware.** The work is now ready for the
    bisque firing which fuses the clay together into a permanent state.

8.  To finish sculptures without a second firing, do either of the
    following:

    a.  Apply clear shellac with brushes. Clean with shellac thinner.
        This will deepen the color of the clay. A well-ventilated space
        is essential because fumes may be dangerous.

    b.  Apply clear, glossy acrylic polymer medium. You may add acrylic
        paint to the medium if color is desired. Clean with water.

![](media/image1.jpeg){width="0.75in"
height="8.238194444444444in"}**ACTIVITY 5- BAS RELIEF SCULPTURE**

**GOAL:**

-   Students will demonstrate an understanding of the bas-relief
    sculpture process by modeling from an original drawing. Subjects
    could be a portrait, a pet, scenes from daily life, an historical
    event or an episode from a story.

*Supports NH Curriculum Framework for the Arts Standard 1, especially* 
*create works of visual art that demonstrate a connection between
personal expression and the intentional use of art materials, techniques
and processes (Grade 12), p*.38.

#### MATERIALS:

-   Clay ‑ approximately 1‑2 lb. per student (if there is no kiln, use a
    self­- hardening clay)

-   A 12\" square piece of masonite/cardboard on which to work

-   Simple clay tools

-   A rolling pin

-   Atomizers or sponges

**DURATION:** 1 period

**LOCATION:** Any room with access to clay, water and storage

**BACKGROUND INFORMATION:**

Review with students the term *relief sculpture.* Talk about the
differences between **bas‑relief** and **high relief**. Low relief is
\"making a picture in clay in which the design is raised from the
background, yet is attached to it.\"

> ![](media/image9.wmf)Saint‑Gaudens did many portraits using the
> bas‑relief technique. Some of his work is so delicate that the figure
> is modeled only 1/8\" above the background. A relief gives the
> impression of a full figure, however, because the artist employs very

subtle foreshortening of his shapes. Relief is the most difficult type
of sculpture! One of the most familiar reliefs is the **frieze** around
the Parthenon in Athens, Greece. A reproduction of this frieze is
mounted on the south wall of Saint‑Gaudens\' studio.

**INSTRUCTIONAL STRATEGIES:**

1.  Students will sketch a design on paper using the dimensions of the
    planned relief.

2.  **Wedge** clay to prepare for modeling.

3.  Students will divide their clay in half and either roll or press out
    a slab about 3/4\" thickness. Students should flip the slab while it
    is being shaped so that it will not stick to the work board.

4.  Lightly sketch the design onto the slab. Now using the other half of
    the clay, begin to model the drawing using fingers and tools. You
    are working for 3 levels of relief. Remember that the background
    will be the lowest relief and the foreground (those shapes closest
    to you) will be the highest. This will take practice. If the clay
    begins to dry out, dampen it with the sponge or atomizer. Clay not
    being used should always be covered with plastic or a damp cloth to
    keep it moist.

5.  Textures can be modeled with fingers and/or tools for an interesting
    surface.

6.  If this relief is to become a wall plaque, make a hole approximately
    1/2\" from the top. Clay shrinks as it dries, so make the hole
    larger than you might expect.

7.  Finishing: after clay is fired, the bisque ware can be given a coat
    of shellac or acrylic polymer medium as described in **Activity 4:
    Sculpture in the Round.**

##### ACTIVITY 6- DESIGN A MEDAL OR COIN

![](media/image1.jpeg){width="0.75in" height="8.238194444444444in"}

**GOAL**:

-   Students will select a theme and design a medal commemorating a
    person, event or favorite sport using the bas-relief technique. The
    challenge is to fit the design harmoniously into the chosen shape.
    (For examples, see the Xerox sheet.) Both sides, the **obverse** and
    **reverse,** should relate thematically.

*Supports NH Curriculum Framework for the Arts Standard 1, especially* 
*create works of visual art that demonstrate a connection between
personal expression and the intentional use of art materials,*
*techniques and processes (Grade 12)* p.38.

**MATERIALS**:

-   Soft pencil, paper, compass

-   If clay is chosen, see Materials in **Activity 5- Bas-relief**

-   Copy for each student the "Medal Design" handout

**DURATION**: 1 or 2 class periods.

**LOCATION**: The Art, Language Arts or Social Studies room.

**BACKGROUND INFORMATION**:

Review with your students that Saint-Gaudens was **commissioned** by
President Theodore Roosevelt to design the \$10 and \$20 gold coins
known as the *Eagle* and *Double Eagle* respectively. They have been
called the most beautiful American coins. Due to illness, however,
Saint-Gaudens was unable to complete the commission. He asked [Henry
Hering]{.underline}, one of his most talented assistants to carry
through with the project. Unfortunately Saint-Gaudens did not live to
see the coins struck, which were minted in late 1907.

> ![](media/image10.wmf)Other Cornish Colony sculptors were later
> commissioned to produce coins: [James Earle]{.underline}
> [Fraser]{.underline} designed the *Buffalo nickel* and [Adolph
> Weinman]{.underline} designed the *Winged Liberty* dime. From a design
> point of view, medals are like coins in that the relief modeling must
> be compressed into the shape

of the medal. Many other Cornish Colony artists became involved in
designing medals including [Louis St. Gaudens]{.underline}, [Herbert
Adams]{.underline}, Frederick MacMonnies, [Paul]{.underline}
[Manship]{.underline}, and [Bessie Potter Vonnoh]{.underline}.

Some of the most familiar medals used today are the gold, silver and
bronze awards given to athletes competing in the Olympics. There are two
sides to a coin or medal: the **obverse** (front) and the **reverse**
(back).

**INSTRUCTIONAL STRATEGIES:**

1.  The video *Medal Maker* can be shown to students before starting
    their medal designs.

2.  Students may want to bring examples of coins or medals to class.

3.  Instruct students to design 2 sides, obverse and reverse, to their
    medal. Both sides must have a common theme. We suggest modeling to
    an 8\"-9\" shape. Explain that this is a workable size used by
    sculptors and that the final piece would later be **reduced** by a
    mechanical process.

4.  Students may want to include an inscription.

5.  As they draw, students should pay special attention to adapting
    their design to the overall shape of the medal and should consider
    symmetry and balance. Teachers may want to remind the class that a
    simple design is often more effective than a busy, complicated one.

6.  The designs may now be translated into clay, if desired.

7.  Students should show their medals to the class for a constructive
    discussion. Have them describe how well the design conveys the
    intention, conforms to the shape, etc.

![](media/image11.wmf){width="7.752083333333333in" height="9.0875in"}