capturing_the_moment_in_3-d_(education_at_the_getty)
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School
Mirpur University of Science and Technology, AJ&K *
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Course
10
Subject
Arts Humanities
Date
Nov 24, 2024
Type
Pages
4
Uploaded by sixcanada
Capturing the Moment in 3-D
Grades/Level:
Upper Elementary (3–5), Middle School (6–8)
Subjects:
Visual Arts, History–Social Science
Time Required:
3–5–Part Lesson
Three to four class periods
Author:
J. Paul Getty Museum Education Staff
For the Classroom
Curriculum Home
Lesson Plans
Image Bank
About Sculpture in
Western Art
4 Basic Sculpture
Techniques
Glossary (RTF-147KB)
Lesson Overview
Students will examine the sculpture Rearing Horse
by Adriaen de Vries.
They will then draw and sculpt animals from life, trying to capture motion
frozen in a moment.
Learning Objectives
Students will be able to:
• examine and analyze how Adriaen de Vries depicted arrested motion in
his sculpture Rearing Horse
.
• consider how Adriaen de Vries balanced his sculpture Rearing Horse
.
• observe and sketch live animals in motion.
• create a three-dimensional sculpture showing an animal in arrested
motion.
Materials
• Image of Rearing Horse
by Adriaen de Vries
• Paper and pencils
• Sculpting tools
• Modeling clay or self-hardening clay, i.e., Crayola® Model Magic®
Download this
lesson
(RTF, 241KB)
Rearing Horse,
de Vries
(PDF, 297KB)
Lesson Steps
1. Begin by asking students the suggested "Questions for Teaching" for
Rearing Horse
, found in the Image Bank, or by clicking the image in the
Materials section above.
2. After examining the sculpture, ask students to explain what they think
the term "arrested motion" means and have a discussion about the
The J. Paul Getty Museum
The J. Paul Getty Museum
Rearing Horse
, Adriaen de
Vries, 1610
the term "arrested motion" means and have a discussion about the
concept.
3. Ask students to consider what the artist went through to depict arrested
motion in this sculpture. (Explain to students that de Vries lived in a time
before cameras, so he would not have been able to take a picture of a
horse as a model to work from.) What would de Vries have had to know
and understand about horses and their anatomy to capture the form of
this rearing horse? (Anatomy and musculature. He would also have had to
observe a horse rearing up on its hind legs many times to get a feel for the
pose. We know that de Vries made preliminary sketches to jot down his
ideas before executing them in three dimensions.)
4. What would de Vries have needed to know about the weight of the
materials he used in order to balance the sculpture, so that he could
create a horse balanced on two legs? (The artist would have had to
consider the weight of the bronze sculpture and its base in order to keep
the sculpture from toppling over. Bronze, which is very durable, can also
be very lightweight due to the fact that it is usually cast into hollow
sculptures.)
5. Watch the video about Adriaen de Vries' casting techniques.
6. Next, have students try to draw a sketch that depicts an animal in
arrested motion. Over a weekend students should draw their pet, or a
friend's pet, (i.e., a dog or cat), trying to capture the animal while it is
running or walking. Have students create at least four quick sketches of
their animal in motion from different points of view. These drawings should
be quick gesture drawings. Instruct students to spend only 3–4 minutes on
each drawing, quickly sketching the basic forms of the animal, and
concentrating on depicting the arrested motion.
7. When students return to class with their drawings, have them discuss
what they found challenging about this activity. Have them share some of
the techniques they came up with in order to record the arrested motion of
the pet they were drawing.
8. Next have the students create a sculpture of an animal in arrested
motion in clay or self-hardening clay, using their sketches and
observations. Students can use a variety of tools to carve or model their
animal—from toothpicks and pencils to artists' carving and sculpting tools.
Have students be mindful of the details that portray an illusion of
movement, such as the position of each limb and joint. Some students
may create very complex animal poses in motion. These students will need
to create an armature, or wire skeleton, so that the sculptures will hold
their poses and be durable. Students can also create supportive bases to
hold the sculptures' weight. Discuss with each student whether their
sculpture would need support if it were created in hollow bronze, as
opposed to air-drying clay.
9. Once students have completed their sculptures, have them come
together and discuss the successes in their work, and the places where
they might improve upon their work. How closely did the final sculpture
follow the sketches each student made of their animal?
Assessment
Students will be assessed on their participation in discussion, their
completion of at least four sketches, and completion of their sculpted
animal in arrested motion.
Extensions
Have students examine the work of Eadweard Muybridge
, a photographer
who used the camera to study the movements of animals and humans.
Look at the image The Attitudes of Animals in Motion and read the
information about the image to students.
Have students compare their techniques for capturing motion in their
drawings and sculptures to the techniques Muybridge used to capture
motion in this image of a man and a dog.
Standards Addressed
Common Core Standards for English Language Arts
Grades 3–5
SPEAKING AND LISTENING
3.1 Engage effectively in a range of collaborative discussions (one-on-one,
in groups, and teacher-led) with diverse partners on grade 3 topics and
texts, building on others' ideas and expressing their own clearly.
3.4 Report on a topic or text, tell a story, or recount an experience with
appropriate facts and relevant, descriptive details, speaking clearly at an
understandable pace.
4.1 Engage effectively in a range of collaborative discussions (one-on-one,
in groups, and teacher-led) with diverse partners on grade 4 topics and
texts, building on others' ideas and expressing their own clearly.
4.3 Identify the reasons and evidence a speaker or media source provides
to support particular points. 5.3 Summarize the points a speaker or media source makes and explain
how each claim is supported by reasons and evidence, and identify and
analyze any logical fallacies.
5.6 Adapt speech to a variety of contexts and tasks, using formal English
when appropriate to task and situation. (See grade 5 Language standards
1 and 3 for specific expectations.)
Grades 6–8
SPEAKING AND LISTENING
1. Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others' ideas and
expressing their own clearly and persuasively.
2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally. Presentation of Knowledge and Ideas
4. Present information, findings, and supporting evidence such that
listeners can follow the line of reasoning and the organization,
development, and style are appropriate to task, purpose, and audience. Visual Arts Content Standards for California Public Schools
Grade 3
4.0 Aesthetic Valuing
Make Informed Judgments
4.2 Identify successful and less successful compositional and expressive
qualities of their own works of art and describe what might be done to
improve them.
Grade 4
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Grade 4
2.0 Creative Expression
2.3 Use additive and subtractive processes in making simple sculptural
forms.
Grade 5
2.0 Creative Expression
2.2 Create gesture and contour observational drawings.
4.0 Aesthetic Valuing
4.4 Assess their own works of art, using specific criteria, and describe
what changes they would make for improvement.
Grade 6
2.0 Creative Expression
Creating, Performing, and Participating in the Visual Arts
2.4 Create increasingly complex original works of art reflecting personal
choices and increased technical skill.
Grade 8
2.0 Creative Expression
2.2 Design and create maquettes for three-dimensional sculptures.
2.6 Design and create both additive and subtractive sculptures.