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Elementary Art Lesson Plans Grades 3-5. Crystina Castiglione ARE 4351 – Thomas Brewer. Wayne Thiebaud Drawing. Objectives. Statement of Origin.

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elementary art lesson plans grades 3 5

Elementary Art Lesson PlansGrades 3-5

Crystina Castiglione

ARE 4351 – Thomas Brewer

wayne thiebaud drawing
Wayne ThiebaudDrawing


Statement of Origin

The idea for this lesson plan was inspired by the article “Principles of Possibility: Considerations for a 21st Century Art Culture and Curriculum,” by Olivia Gude and the chapter 8 article on “Art Production: Ideas and Techniques,” by Linderman. In the first article Gude stresses the importance of “empowered making” in art education and how “artists and educators who are responsive to the needs of their current students must consider contemporary as well as traditional artistic and critical practice and ask what students need to know to successfully make and understand art and culture today, (Gude, pp. 12, 2007). In the second article, Linderman addresses how to create a still life and the questions involved that students should address when creating one, (Linderman, pp. 124-125, 1997). The images chosen were inspired by an exhibition I have seen in the past at the National Art Gallery.

Student’s will learn about artist Wayne Thiebaudand will:

-Explore the iconic imagery of mass produced foods that represent American consumerism

-How these images are symbolic of popular culture

-Understand the elements and principles of light, color, space, repetition, line, shape and composition to create a still life

- Examine how advertising is used to market mass produced consumer products by turning their drawing into an advertisement

cafe flowers caged condiments cream pie java and sinkers and other food 1995 drawing ink on paper
“Cafe Flowers, Caged Condiments, Cream Pie, Java and Sinkers, and Other Food,” 1995. Drawing, ink on paper.
lisa kokin sculpture mixed media
Lisa KokinSculpture/Mixed Media


Statement of Origin

This lesson was inspired by the article, “The School Art Style: A Functional Analysis,” by Efland and the NAEA Advisory, “School Art Versus Meaningful Artistically Authentic Art Education,” by Amy Giles. Both articles emphasize the important of students have an artistically authentic experience by closely following the practices of authentic artists to make quality products that draw from life experiences. I was also inspired by The Sketch Book Project and wanted to incorporate it into the lesson to teach students about the value of visual diaries as a way to record their artistic process and communicate their “art voice” and their relation to the artistic process of bookmaking.


Students will :

  • Explore bookmaking as an artistic way for artists to express ideas, symbols, and subject matter and to meaningfully incorporate personal family history and written records or prose in a work of art
  • About the work of artist Lisa Kokin as well as be introduced to “The Sketch Book Project.”
  • Examine the question “Who I Am” and use their moleskin journals from The Sketch Book Project that incorporates the question and answer into a 3 dimensional work of art.
memoria technica 2002 mixed media artists book http www lisakokin com
“MemoriaTechnica,” 2002. Mixed Media Artists Book.(http://www.lisakokin.com/ )
the sketch book project 2011 http arthousecoop com
The Sketch Book Project 2011 http://arthousecoop.com/
  • http://arthousecoop.com/projects/sketchbookproject
juane quick to see smith mixed media collage painting
Juane “Quick-to-See” SmithMixed Media Collage/Painting


Statement of Origin

This lesson was Inspired by the article, “Principles of Possibility: Considerations for a 21st Century Art and Culture Curriculum,” by Olivia Gude in which she emphasizes the importance of encountering difference in art by saying, “Good multicultural curriculum introduces us to the generative themes of others – helping us to see the world through the eyes of others-understanding the meaning of artworks in terms of the complex aesthetic, social, and historical contexts out of which they emerge, (Gude, p. 9, 2007).

Students will:

-Examine the work of artist Juane “Quick-to-See” Smith to understand how artists use their work to represent their cultural and ethnic background and address stereotypes about them

-Explore the importance of diversity and how art can help us to learn about cultures other than our own, expand our ideas about the world and develop respect and sensitivity to people that are different from ourselves.

-Understand how to mix paint on a palette to create new colors and various paintbrush techniques

-Create a painting that portrays their personal cultural background and the symbolism associated with it


Juane “Quick to See” SmithPaintinghttp://www.missoulaartmuseum.org/files/documents/collection/Montana%20Connections_Smith/TremblayEssay.pdf

kiel johnson ceramics
Kiel JohnsonCeramics


Statement of Origin

The idea for this lesson plan came from class discussions related to the role of the media and technology in art and in contemporary society. Developing it into a ceramics lesson was inspired by the article, “Representational Concepts in Clay: The Development of Sculpture,” by Claire Golomb. The article emphasizes the need to focus on evolving student’s three dimensional representations of objects accurately using clay.

Student’s will:

-Examine Kiel Johnson’s sculptures in explore how he uses antique machinery and dying technological machines as his subject matter to communicate the role of technology in contemporary society.

-Explore the advancing age of technology, its importance as a tool for communication and the differences between form of technology throughout history, and those that we have now

-Create a ceramic piece that contrasts with one of Johnson’s sculptures.

twin lens reflex camera 2009 cardboard and mixed mediums
“Twin Lens Reflex Camera.” 2009. Cardboard and mixed mediums.

Assemblage video:


przemek matecki media criticism
PrzemekMateckiMedia Criticism


Statement of Origin

This lesson plan originated by class discussions on the role of imagery in the media and “Chapter 11: Art Analysis: Looking at and Responding to Art,” from the book Art in the Elementary School by Linderman. I wanted to incorporate a media criticism into a lesson by using Linderman’s model of analyzing artworks to teach students how to describe, analyze, interpret and judge a work of art.Linderman defends the importance of art analysis by saying, “To have a dialogue with an artwork means to enter into and interact with the work…to experience it by looking at it, responding to it, and comprehending it…perception of just what is art,” (Linderman, p. 215, 1997).

Student’s will

-Examine the role of images in the media and how PrzemekMatecki uses and reassembles magazine imagery to create works of art

-Explore art criticism and answer the question, “what makes something a work of art”

-Understand the differences between mass produced imagery and authentic artwork in a media analysis and critique


Annie, (2009). “Publish or Perish: Kiel Johnson,” Hi Fructose Magazine: Contemporary Art,

Retrieved October 23, 2010, from: http://www.hifructose.com/index.php?option=com_content&task=view&id=410.

Bluffton, (N/D). “Juane Quick to See Smith,” Retrieved October 21, 2010, from:


Brown, P.L. (2010). “Art & Design: Sweet Home California,” The New York Times, Retrieved

October 19, 2010, from: http://www.nga.gov/education/classroom/counting_on_art/act_fractions.shtm.

Breuer, K., Fine, R.E. & Nash, S. (1997). Thirty-Five Years of Crown Point Press: Making

Prints and Doing Art. Fine Arts Museum of San Francisco; Berkeley; University of California Press: San Francisco, CA.

Catherine Clark Gallery. (2003). “Lisa Kokin,” Retrieved October 19, 2010, from:


Crown Point Press, (2008). “Wayne Thiebaud,” Retrieved October 19, 2010, from:


Giles, A. (1999). “School Art Versus Meaningful Artistically Authentic Art Education,” NAEA

Advisory, Ed. Davis, C., National Art Education.

Golomb, C. (1996). “Representational Concepts in Clay: The Development of Sculpture,”

Child Development in Art, National Art Education Association. Pp. 45-58.

references continued
References Continued

Gude, O. (2007). “Principles and Possibilities: Considerations for a 21st Century Art & Culture

Curriculum. Art Education, 60(1), Pp. 6-17.

Johnson, K. (2010). “Kiel Johnson,” Retrieved November 1, 2010, from:


Kokin, L. (2010). “Lisa Kokin Portfolio”, Retrieved October 20, 2010 , from:


Koplos, J. (2010). “Kiel Johnson,” Art in America, Retrieved October 30, 2010, from:


Linderman, M. (1997). “Chapter 8: Art Production: Ideas and Techniques.” Art in the

Elementary School. Dubuque, IA: Wm.C.Brown Publishers. Pp 108-118, 120-130.

Linderman, M. (1997). “Chapter 11, Art Analysis.” Art in the Elementary School. Dubuque, IA:

Wm. C. Brown Publishers, Pp. 215-228.

Nash, S. (2000). Wayne Thiebaud: A Paintings Retrospective. Thames and Hudson: New York.

references continued31
References Continued

National Museum of Women in the Arts, (2010). “The Permanent Collection: Juane Quick-to-

See Smith,” Retrieved October 20, 2010, from: http://www.nmwa.org/collection/profile.asp?LinkID=421.

National Gallery of Art, (2010). “Counting on Art,” Retrieved October 1, 2010,

from: http://www.nga.gov/education/classroom/counting_on_art/act_fractions.shtm.

Pescovitz, D. (2009). “Kiel Johnson: Cardboard Sculptures of Media Machines,” Retrieved

November 1, 2010, from: http://boingboing.net/2009/10/12/kiel-johnson-cardboa.html.

Raster. (2007). “PrzemekMatecki – Works,” Retrieved November 10, 2010, from:


San Jose Museum of Art, (2010). “Wayne Thiebaud: Seventy Years of Painting,” Retrieved

October 20, 2010, from: http://www.sjmusart.org/content/wayne-thiebaud-seventy-years painting.

Tremblay, G. (N/D). “Juane Quick-to-See Smith: Flathead Contemporary Artist,” Retrieved

October 21, 2010, from: http://www.missoulaartmuseum.org/files/documents/collection/Montana%20Connections_Smith/TremblayEssay.pdf.

Women’s Action Network. (2007). “Lisa Kokin,” Retrieved October 20, 2010, from: