A narrative remembrance after five years: Eve Anderson's class (and our evolution toward a CM methodology)
When we began integrating Art Studies into our home education curriculum, I had not heard of Charlotte Mason methods. We hung a large framed picture in our living room and sat for an hour reading a biography before trying to imitate the artist's technique or copy the picture. We would then do a unit study around it all with the lessons all laid out with worksheets and projects. Kinda fun for me as the teacher, but I am not sure the kids got much appreciation for the art or artist out of all the activity. One good thing - they did view some great art works!
After we began a more CM education approach, I wanted to bring Picture Study into our lives with the thought of introducing us to beauty and an appreciation of art. We began to follow the AmblesideOnline rotation. I used our lunchtime lesson to fit it in (I still saw it as an extra at that point); a 15 minute time slot was a perfect fit. I had already been adapting our methods in composer study and just alternated weeks between Picture Study and Composer Study. As this began to be part of our routine, I wondered why I thought it would be such a big struggle to add Fine Art Appreciation to our days. We followed the "How-To" mostly as described below; it took a little while to go from the "name a detail" game to thoughtful observation and narration. For display, I draped a small cotton craft rope between two hooks and clothe-pinned each new picture in a row. We have evolved to using picture matting for our current picture (shown above 3M'ed to the kitchen wall). I move them to the great room where I now have a collage of six frames for our current term's artist; I insert the last print studied and continue until all are displayed. (The photos are my daughters and are background until I replace them with our next print).
We just started Term 3 - Giotto |
“But there must
be knowledge and, in the first place, not the technical knowledge of how to produce,
but some reverent knowledge of what has been produced; that is, children should
learn pictures, line by line, group by group, by reading, not books, but
pictures themselves.”
In this chapter, the
steps of picture study are laid out for a lesson. A single artist is studied over a term using
around six pieces for study – a new one to be introduced every couple of weeks
throughout the term. For the beginning lesson, a short biography may be offered
as well a word or two about a technique that exemplifies the artist’s work
(i.e., his use of light, the brush strokes, his landscapes). Each student has his own quality copy of the
specified picture to study. The picture
is placed faced down in front of the
student during the introductory talk then turned over at the given time so
everyone is quietly studying the picture at the same time. For about 3-5 minutes the student looks at
the work purposefully noticing details – of the overall picture, then in
detail. The child is asked to close his
eyes and try to “see” the picture in his mind’s eye. “Can you see it?” Open your eyes and look again trying to
capture the image. This is developing
the skill of visualization (btw, this same technique is used for spelling
too). It is a skill that requires
practice! At this point, everyone turns
the picture face down and then a group narration begins. Each student takes a turn telling about the
picture, moving from the overall impression and idea to the detailed sections
(the sky, the bottom right corner, describing the clothing or the items on the
table, etc.). When the narration is exhausted, the picture is then turned back
over and briefly reviewed for any additional thoughts or corrections. The piece is displayed prominently somewhere that
it can be viewed as often as it draws the child’s attention or even a quick
appreciation in passing. As with literature, the artist and the art acts
directly with the child without interference or lectures from a teacher.
“The most
important thing is to know the pictures themselves.”