[student working on portrait]

Divisionism:
An Introduction to Color Theory in Studio Art.


Page Under Construction 4/14/99, Several Links disabled/incomplete.


Learning Standards For the Arts Related Learning Experience
Art Education

Commencement General Education Level, grade 9-12-Mixed Ability Levels.

See alsoNew York State Education Department Arts Resource Guide.




A Secondary Level, Studio in Art Foundation Drawing Project,

Ellen H., Art Teacher
Art Webmaster
Fayetteville Manlius High School
Manlius, New York 13104


1. Learning Context
[student example]
 Student work.

Arts Standard 1: Creating and Performing.


  • Students create a painting by observing the color and value content of a still life and practicing the process of dividing an observed image into the primary and secondary colors contained in it. A process which the artist George Seurat called divisionism. This demonstrates the complexity of color in observed reality and helps the students to become more sophisticated in their use of color.


    • [example] Arts Standard 2: Knowing and Using Materials and Resources.
    Students use a variety of print reference material, videotapes, the internet, and the National Gallery of Art laserdisc for examples of Divisionism.
  • (a). The students use a variety of resources including print, laserdisc, and video to research the use of divisionism in George Seurat's paintings. They also are shown how book illustrations as well as television images are created using a similar method..

    • Arts Standard 3: Responding and Analyzing Works of Art.

  • The students are encouraged to observe and discuss the effects produced by Seurat use of divisionism in his paintings. The effects of optical mixing and the vibrant effects produced by the use of complementary colors are explored. The students also compare the scientific theory presented by the artist with the actual effect of the work.

    Throughout the process the students are encouraged and assisted ito self analyze their works in progress.


    • Arts Standard 4: Understanding Cultural Dimensions and Contributions of the Arts.

  • The students use the aforementioned resources to discover the ways in which scientific-technological discoveries inform artists and their work and how they in turn inform the material-technological cultures with which they connect.
    .


    • [student example]
    2. Procedure:

  • Introduce to the students color as the next logical step in their study of art elements.
    (a)Discuss the difference between "Coloring" and drawing with color.
    (b)Introduce them to the color wheel, primary and secondary color concepts and complementary pairs.
    (c) Discuss the use of complements in pairs, to create vibrancy using Joseph Albers' color studies.
    (d)Look at student examples of complementary use and discuss the effects of neutralization and its use for shadows and shading.

  • Introduce the work of George Seurat. Show examples of his work and give brief information about his life and theories. Discuss the effects of divisionism and observe the effects. Students will then se a short clip from a film which illustrates a high school student's experience looking at Seurat's most famous work.
  • Demonstrate the 4 part color separation process used in printing a color book and the use of optical color mixing in television pixels.



    • 3. Instructional / Environmental Modifications:

    The project introduces painting the still life through an examination of examples from art history, and through examining color theory, guided by the technique/method of a artist.

    Some modifications are necessary, to adapt this experience to other levels.


    4. Materials and Supplies:
    The Students and Teacher will need:
  • (a). Reference material.
  • (b). Artist Reproduction.
  • (c). Heavy Paper or Matt Board Scraps
  • (d). Paint (tempera or acrylic (I use Utrecht brand acrylic paint)
  • (e). Paintbrushes


    • 5. Assessment Tools and Techniques:
  • (A). Formative Assessment
    Students and the teacher engage in performance assessment at different stages throughout the duration of the project.
    1. 1. discussion of constraints:
      [student example] Student Example.


    2. 1. discussion of constraints:
      (a).
      Only primary and secondary colors are used in pure form. (b).
      Brush mark size is to remain constant. (c). the scale of the painting is limited to a life size or smaller - preferably on 12"x18" ground.
    3. 2. Observing approach to work:
      (a). exercising care with tools and supplies.
      (b). cleaning up and maintaining organized work space.
      (c).Composing format is widely considered.
      (d). Analyzing color is closely considered.
    4. 3. Observations reflected in the work.
      (a). initial class and sketchbook sketches provide valuable information which is transferred to long term project.
      (b). Ability to analyze subtle colors for their base components.
      (c). pacing the work, making slow but steady progress which requires patience, and persistence.
    5. 4. Maintaining a consciousness of craft.
      (a). taking pride in work with teacher support and encouragement.
      (b). care of tools.
      (c). preparing finished work for exhibit.
    6. 5. Documentation.
      (a). photographing or computer digitizing students work (preferably by student).
      (b). using computer to assemble research and process notes, along with image. Students used SimpleText on a Macintosh to enter data. Teacher (or student webmaster) added html tags for our web page.
  • (B). Summative Evaluation:
    The student evaluation will be based on effort and understanding of color theory as demonstrated in the painting as well as quality of work and student documentation.


    • 6. Time Required:
    The learning experience required16-20 fourty minute class periods, over five weeks.


    7. Student Work:


    		 Examples of student work are displayed in school, the community, and here on our web page.



    8. Reflection:

    Student Suggestions:



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