landscape painting: artists who love the · pdf fileart to zoo landscape painting: artists who...

T E A C H I N G W I T H T H E P O W E R O F O B J E C T SSmithsonian Institution March/April 1996

Inside

Lesson Plan

Take-Home Page in English/Spanish

Subjects

Art

Geography

Language Arts

U.S. History

Grades

4–9

Publication of Art toZoo is made possiblethrough the generoussupport of the PacificMutual Foundation.

LANDSCAPE PAINTING:Artists Who Love the Land

CONTENTS

Introduction page 3

Lesson Plan Step 1 page 5

Activity Page 1A page 7

Activity Page 1B page 8

Activity Page 1C page 9

Activity Page 1D page 10

Lesson Plan Step 2 page 11

Activity page 12

Take-Home Page page 13

Take-Home Page in Spanish page 14

Resources page 15

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hill, he can leave some ofthem out of his picture. If hethinks the trees are in thewrong place, he can movethem around. If a riverbanklooks too empty, he can add a few rocks that aren’treally there.

A landscape artist also has to decide what she wants us to see. If she ispainting a field, she has todecide whether she wants usto see each blade of grass orwhether she wants us to seethe field as a smear of color.She can paint her landscapeso that we see the field fromabove, as if we were lookingdown from an airplane, orfrom the ground, as if wewere lying flat on a picnicblanket.

Before making any ofthese decisions, the land-scape artist must decidewhether to work outdoors on the land or indoors in thestudio. Working outdoorsallows him to observe the

Air is an important part of any landscape as well,although we seldom give itmuch thought. An artist hasto paint the air so skillfullythat we seem to feel the heatof the sun and the rush of thewind. He or she has to makeus believe that it might takehours for a bird to fly fromone side of the picture frameto the other. All of this ishard to do. There are nopaint tubes for sale labeled“sunshine,” “frosty air,”“gentle breeze,” or “gloomyday.” An artist has to createthe wind, the sunshine, andthe mist with the paint at theend of the brush.

It is important to remem-ber that a landscape artist isnot a camera that recordswhatever happens to be infront of the lens. He is notrequired to paint exactlywhat he sees. If he feels thatthere are too many trees on a

colors of nature—the soil,the clouds, and the reflec-tions on water. He can studythe patterns of sunlight andshadow that change withevery passing moment. Onthe other hand, if he choosesto paint inside his studio, he can work more slowly,rearrange the composition,and adjust the colors andshapes to his own way ofseeing. Many artists findboth methods useful. Theymake sketches outdoors andthen do the actual paintingback in their studio.

CREATING ILLUSIONS

No matter where the land-scape artist chooses to set up his easel, he will have toconfront the central problemposed by all landscapes—creating the illusion of deepspace on a flat canvas. Whendone well, the effect can bespellbinding. We feel that we

can enter the painting andcontinue walking for miles.

Landscape artists knowthat there are certain tech-niques that work. Five “spacetricks” that students can tryout for themselves aredescribed in this Art to Zoo:

1. A winding path. A path or river that windsthrough the landscape fromforeground to backgroundcan make us believe that thepicture describes a deepspace.

2. Changes in size. A tree that is close to usappears much larger than atree of the same size that isfar away.

3. Overlap. A boulder that is close to usoverlaps and partially hides amuch larger cliff behind it.

LANDSCAPE PAINTING: Artists Who Love the Land

How does an artist create a landscape? A landscape artist is a sort of magicianwho can create a whole world on a piece of flat canvas. This world, of course, ismade of paint. Trees that seem thick with foliage are made with a few flicks of apaintbrush. Lakes that shine, waterfalls that splash, grasses that bend in the wind,and dark clouds that promise rain are all made of colors squeezed out of a painttube. How amazing it is that small dabs and smears of color can create places forus to go in our imagination: a placid river winding around hills, a rocky shorelinewhere we can almost hear the crashing waves, an enormous canyon that seems tostretch miles deep into the distance.

4. Changes in clarity. A distant mountain rangeappears more hazy and lessdistinct than a mountain thatis closer.

5. Diagonal composition. Land that moves away fromus on the diagonal appears tomove back into space.

George Catlin, ThomasMoran, Albert Bierstadt, andWinslow Homer were fourAmerican artists who usedthese techniques well. Theirultimate purpose was not somuch to impress us withtheir ability to fool our eyesbut to create pictures thatportray the great size andsplendor of the Americanlandscape.

Catlin, Moran, andBierstadt were artist/explor-ers who were lured west bythe raw power of unexploredrivers, mountains, andcanyons. They joined geolog-ical and surveying expedi-tions into our nation’s then-unexplored territories, mak-ing a visual record of theland with their paintings.Homer, on the other hand,preferred the East; his pas-sion was the rocky Atlantic

seacoast of Maine. All fourpainters helped Americanssee and love their land in atime when photography wasstill in its infancy and travelfilms did not exist. Todaytelevision floods us withimages, and we can easilytravel by car, train, or planeto whatever river, mountain,canyon, or seacoast we wishto visit. Yet the silent paint-ings of these artists stillspeak to us of the majesty of our land.

Through the study of several works of art, thisissue of Art to Zoo exploresthe way that Americans feltabout their growing nationduring the period of west-ward expansion until the endof the nineteenth century. Itintroduces students to somebasic principles of landscapepainting and has them prac-tice geography skills to gainappreciation for the physicalcharacteristics of differentregions of the United States. All of the paintingsdiscussed in this issue are in the collections of theSmithsonian’s NationalMuseum of American Art.

ABOUT THE ARTISTS

George CatlinGeorge Catlin was an east-erner who had been fascinat-ed with Native Americanssince boyhood. When he was thirty-four years old, hedecided that painting picturesof Native Americans wouldbe far more interesting thanbeing a lawyer. So, in 1830he headed west. For sixyears, he moved from villageto village, using the MissouriRiver as a means of travel.He painted portraits of tribalchiefs and scenes of buffalohunts, dances, and otherNative American ceremonies.

Thomas MoranThomas Moran was an eastern artist who enjoyedgoing on geological expeditions, although he was not the rugged type. He joined an expedition tothe remote headwaters of the Yellowstone River inWyoming and, two yearslater, went to the GrandCanyon, which he sketchedmany times from an overlookcalled “Powell’s Plateau.”When he returned to his studio in the East, he combined ideas from hissmall sketches to produceenormous paintings. By then he had established a finereputation as an artist, andhis glorious watercolors ofYellowstone had encouragedCongress in 1872 to designate it as the nation’sfirst national park.

Albert BierstadtAlbert Bierstadt went toCalifornia in 1859 with aland-surveying team after thegold rush had aroused thecuriosity of the entire nation.At that time, easterners hadto learn about the magnifi-cent California wildernessfrom small black-and-whitephotographs brought homeby land surveyors. ButBierstadt was an artist with a shrewd businesssense. He knew that if he produced impressive,panoramic “great pictures” of California, easternerswould pay money to see them.

Winslow HomerIn 1893, Winslow Homer lefthis busy life in New Yorkand built a studio in an oldstable on the high shore ofProut’s Neck in Maine, onlya few hundred feet from theocean. He loved walking onthe cliffs during fierce stormsto study the way the surf didbattle with the rocks. Onmore pleasant days, he hadlittle interest in the water.When the ocean was calm,he thought it looked like “a duck pond.”

4 Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996

Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996 5

VIEWS OF THE AMERICANWEST: TRUE OR FALSE?

Objectives■ To understand that a landscape painting may ormay not accurately representa specific place.■ To identify techniques that create the illusion ofthree-dimensional space on a flat surface.

Materials■ Copies of Activity Pages1A–D.■ Pens or pencils.■ Map of the western United States.

SubjectsArt, geography, U.S. history

Procedure1. Give each student a

photocopy of Activity PageslA–C, which show threeviews of the American West.After they have studied theimages for a few minutes,ask students the followingquestions: Which paintingwas painted outdoors? Whichpainting was painted in anindoor studio from sketchesmade outdoors? Which painting was painted outsideof the United States?

2. Introduce students toRiver Bluffs, 1,320 Milesabove St. Louis by GeorgeCatlin on Activity Page lA.

A. Ask them to describethe painting, making surethat they notice the windingriver with occasional islands;the conical hills, or “bluffs”;the Native American man;the scarcity of trees; the lackof buildings and roads; andthe wide-open sky.

B. Use a map of the west-ern United States to locatethe two-thousand–milestretch of the Missouri Riverbetween Fort Union, NorthDakota, and Saint Louis,Missouri. Estimate where1,320 miles above SaintLouis would be. Explain that during the years beforetrains and cars were invent-ed, traveling by boat alongthe Missouri River was oneof the only ways to reach the

West. Indian villages, fur-trading posts, and fortswere built along its banks.

C. Refer to the “About theartists” section on page 4 tointroduce students to GeorgeCatlin. Have them readCatlin’s description onActivity Page 1A of how hepainted River Bluffs, 1,320Miles above St. Louis. Askthem what they can learnfrom his words that theymight not be able to see from the black-and-whitereproduction of his painting.

D. Read space trick 1 to students:

SPACE TRICK 1Catlin uses a winding riverto lead into space.

Ask students to put a fin-ger on the river at the lowerleft corner of the picture.This part of the river, closestto the front, is in the fore-ground. Ask them to movetheir fingers along the riveruntil they reach the islands.This is the middleground.When they have moved theirfingers as far back as theycan go along the river, theyare in the background. Askstudents to run their fingersalong the bumpy line wherethe top of the bluffs meetsthe sky. This line, called thehorizon line, is the farthestpoint that the eye can see.

E. Read space trick 2 tostudents:

SPACE TRICK 2Catlin makes foregroundforms larger than background forms.

Tell students to comparethe height of the bluffs in theforeground with the height ofthe bluffs in the background.Explain that Catlin had tomake them different sizes to create the illusion of deep space. Ask students tomeasure the height of theman and then draw a secondperson exactly the same sizeon one of the islands in themiddle ground and on one ofthe bluffs on the horizon line.Discuss why the results areso comical.

3. Introduce The Chasm of the Colorado by ThomasMoran on Activity Page 1B.

A. Ask students todescribe this place, makingsure that they notice the mas-sive rock cliffs, the smallpatch of grass (the only veg-etation), the mighty stormbreaking over part of thecanyon, and the steam risingbetween the rocks.

B. Use a map of the west-ern United States to locatethe Colorado River, whichcuts through the GrandCanyon in northern Arizona.

C. Use the “About theartists” section on page 4 tointroduce Thomas Moran.Explain that, although he had

LESSON PLANStep 1


never before spent muchtime in the outdoors, duringhis first few expeditions hequickly became used to traveling by horse throughunknown territory. Ask students if they have eversucceeded in doing some-thing for which they felt ill-equipped at first.

D. Have students look atMoran’s painting and readhis description of the GrandCanyon on Activity Page 1B.Have them list words thatwould describe his view ofthe Grand Canyon.

E. Read space trick 3to students:

SPACE TRICK 3Moran overlaps the rocks.

Ask students to put one oftheir hands in front of theother to see how the closerhand overlaps and partiallyhides the hand behind it.Explain that Moran arrangedrocks and cliffs in the sameway. The rocks that you seein full appear closest. Thosethat are partially obscuredappear farther back.

4. Introduce Among theSierra Nevada Mountains,California by AlbertBierstadt on Activity Page 1C.

A. Ask students to locatethe alpine peak, waterfall,herd of deer, and flock ofducks among the grasses inBierstadt’s painting.

B. Use a map of the west-ern United States to locatethe Sierra Nevada Mountainsin eastern California. Theseare the highest and steepestmountains in the UnitedStates. They includeYosemite National Park.

C. Refer to the “About theartists” section on page 4 tointroduce Albert Bierstadt.Tell students two facts aboutAmong the Sierra NevadaMountains, California:

n Although the scene looksextraordinarily realistic,nobody has ever found aplace in the Sierra Nevadasthat looks exactly like it.n Bierstadt painted Among the Sierra NevadaMountains, California whilehe was in Europe, nine yearsafter leaving California.

Ask students if they canexplain the first fact by thesecond. If they cannot, askthem to make a small sketchof an outdoor place they vis-ited a long time ago. Whenthey are finished, ask them todescribe what they remem-bered about the place. Pressthem for details, such as theexact shape of the tree or theprecise position of the sun. Ifthey are unable to rememberall the details, ask them howthey were able to draw theirpicture. When they admitthat they made up many ofthe details, tell them thatBierstadt did the same thing.

D. Tell students thatBierstadt also changed theshape of the Sierra NevadaMountains because he knewthat Americans wanted tothink that their native moun-tains were more majesticthan those of Europe. Giveeach student a photocopy ofActivity Page 1D. Have themcompare these photographsof actual mountains—MountMatterhorn in the Swiss Alps and the Sierra Nevadas in California—with themountains in Bierstadt’spainting (Activity Page 1C).Have students guess whichmountains Bierstadt used asa model for the highestsnow-covered peak in hispainting. Ask them if they

approve of Bierstadt’smethod of combining andmanipulating sketches frommany locations to compose ascene that looks realistic.

E. Read space trick 4 to students:

SPACE TRICK 4Bierstadt makes the distant mountains hazy and indistinct.

Ask students to use theirfingers to trace the outline ofthe cliff on the left side ofthe painting. Then ask themto use their fingers to tracethe outline of the most distant mountain they canfind in the picture. Ask themwhy Bierstadt made the outline of the closer cliff so much clearer than the outline of the distant moun-tain. Explain that when weare outdoors, the atmospherebetween our eye and a distant mountain (not tomention the imperfections of human vision) makes itsoutline appear less distinct.

LESSON PLANStep 1 (continued)


In the artist’s words: “I took my easel and canvas and brushes tothe top of the bluff, and painted two views from the same spot.These hills [were] five or six hundred feet high and every foot ofthem, as far as they can be discovered in distance, covered with avivid green turf. From this enchanting spot there was nothing toarrest the eye from ranging over [the Missouri’s] waters for thedistance of twenty or thirty miles.”

William H. Truettner, The Natural Man Observed: A Study of Catlin’s Indian Gallery(Washington, D.C.: Smithsonian Institution Press, 1979), p. 247.

ACTIVITY PAGE 1A

George Catlin, River Bluffs,1,320 Miles above St. Louis


ACTIVITY PAGE 1B

In the artist’s words: “I was completelycarried away by its [the Grand Canyon’s]magnificence. I will not attempt to sayanything about it as no words can expressthe faintest notion of it.”

Ron Tyler, Visions of America: Pioneer Artists in a NewLand (New York: Thames and Hudson, 1983), p. 58.

Thomas MoranThe Chasm of the Colorado


ACTIVITY PAGE 1C

Albert BierstadtAmong the Sierra NevadaMountains, California


ACTIVITY PAGE 1D

Mount Matterhorn, southern Switzerland

Ansel AdamsYosemite Valley, winter, from Inspiration Point


THE ROCKY SHORE

Objectives■ To compare a realisticlandscape painting with aphotograph of the sameplace.■ To use space tricks to create a landscape painting.

Materials■ Copies of Activity Page 2.■ Map of Maine.■ Take-Home Page.

Subjects■ Art, geography

Procedure1. Introduce Winslow

Homer’s High Cliff, Coast ofMaine by giving each studenta photocopy of Activity Page2. Ask students to describethe cliff that slopes down tomeet the ocean. Is it smoothor rough? How steep is it? Ifthey went for a walk on thelower part of this cliff, wouldthey want to wear shoes?

2. Use a map of Maine topoint out Prout’s Neck, arocky peninsula jutting outinto the Atlantic Ocean justsouth of Portland. High Cliff,the subject of Homer’s paint-ing, is the steepest rock wallon Prout’s Neck. Duringstorms, the waves crash upagainst it.

3. Use the “About theartists” section on page 4 totell students about WinslowHomer. Ask them to imaginethat they are standing closeenough to the bottom of thepainting to get their feet wet.How long would it take themto walk to the top of thepainting? Make sure theylook closely at the upperright-hand corner—they willfind a surprising clue.

4. Have students readHomer’s words below hispainting on Activity Page 2.Ask them how the artisticmethods of Homer differfrom those of Bierstadt. Toextend the activity, have students stage a mock debatebetween the two artists to

argue the advantages and disadvantages of composinglandscape paintings indoorsand outdoors.

5. Ask them to compareHomer’s painting of HighCliff with a 1938 photographof High Cliff taken from thesame point of view. Discussthe weather in each picture.What was it like on the dayHomer made his painting?What was it like on the daythe photograph was taken?Ask students how Homer’spainting emphasizes the waythat the sea and land cut intoeach other.

6. Have students look for a horizon line in the photograph and in Homer’spainting. Discuss how theartist’s elimination of a horizon line allows him to fit in more of the roughocean. Read space trick 5 to students:

SPACE TRICK 5Homer makes the sceneappear to stretch far backinto space by using a diagonal line between land and sea.

Ask students to imaginethe line separating land andsea as horizontal instead ofdiagonal. How far backwould the land take them? If the land were horizontal,would the three figures looklike full-sized people orsmall dolls?

7. Hand out copies of theTake-Home Page and tellstudents that they will eachbe creating their own inter-pretation of the scene on thatpage as homework or inclass. First, have them imag-ine walking around in thephotograph, asking them-selves the following ques-tions: Where would I gofirst? Is the land hilly or flat?What is growing in thisplace? What is the weatherlike? Does anything aboutthis place puzzle or surpriseme? Remind students of thefive space tricks that land-scape artists use. Have themtry to incorporate these tricksinto their own interpretationof the picture.

8. In class, discuss andcompare students’ interpreta-tions. Refer to the Nast printon the cover, which showshow every artist sees a landscape from his or herown point of view.

LESSON PLANStep 2


ACTIVITY PAGE 2

In the artist’s words:“I prefer . . . a picture composed and painted outdoors. This making studiesand then taking themhome to use them isonly half right. Youget composition butyou lose freshness.”

Lloyd Goodrich, WinslowHomer (New York: TheWhitney Museum of American Art, 1973), p. 28.

Philip C. Beam, High Cliff,Prout’s Neck

Winslow Homer, High Cliff,Coast of Maine


Directions: Make a landscape based on the photograph on this page. As thelandscape artist, you can use colored pencils, markers, crayons, paints, pieces of cloth, or colored paper. Try to use some of the techniques used by GeorgeCatlin, Thomas Moran, Albert Bierstadt, Winslow Homer, or other landscapeartists you like.

Cumberland Island,Georgia

TAKE-HOME PAGEYou’re the Artist

Publication of Art to Zoo ismade possible through thegenerous support of thePacific Mutual Foundation.

To the teacher■ Duplicate this page for students.■ Use with LessonPlan Step 2.


TRABAJO PARA HACER EN LA CASATu Eres el o la Paisajista

Esta publicación ha sidoposible gracias al generosoaporte de la PacificMutual Foundation.

Al maestro (a)■ Copie esta página paralos alumnos.■ Usela con el segundopaso del plan de la lección.

Instrucciones: Haz un paisaje basado en la fotografía que ves. Como paisajista,puedes usar lápices de colores, marcadores, pinturas, pedacitos de papel de coloreso retazos de telas. Trata de usar algunas de las técnicas artísticas que usaron lospaisajistas George Catlin, Thomas Moran, Albert Bierstadt, Winslow Homer u otrosque te gusten.

Cumberland Island,Georgia


BOOKS

The artists and their work

Anderson, Nancy K., andLinda S. Ferber. AlbertBierstadt: Art andEnterprise. New York:Hudson Hills Press in association with theBrooklyn Museum, 1990.

Beam, Philip C., Lois HomerGraham, Patricia Junker,David Tatham, and JohnWilmerding. Winslow Homerin the l890s: Prout’s NeckObserved. New York:Hudson Hills Press, 1990.

Flexner, James Thomas. The World of WinslowHomer. New York: Time,Incorporated, 1966.

Kloss, William. Treasuresfrom the National Museum ofAmerican Art. Washington,D.C.: Smithsonian InstitutionPress, 1985.

Landscape painting

Gussow, Alan. A Sense ofPlace: The Artist and theAmerican Land. New York:Seabury Press, 1971.

Trenton, Patricia, and PeterH. Hassorick. The RockyMountains: A Vision forArtists in the NineteenthCentury. Norman: Universityof Oklahoma Press, 1983.

TEACHER RESOURCES

Lewis, Tony, and ThomasGoehner. Land andLandscape: Views ofAmerica’s History andCulture. National Museum ofAmerican Art, SmithsonianInstitution, 1994. This studyguide is included in themuseum’s media-basedresource kit, which also contains a video and work-book. Distributor: CrystalProductions, 1812 JohnsDrive, P.O. Box 2159,Glenview, IL 60025–6159;telephone: (800) 255-8629.

ELECTRONIC RESOURCES

Visitors to the NationalMuseum of American Art’s home page can view selections from the permanent collection as well as highlights of temporary exhibitions athttp://www.nmaa.si.edu/artdir/treasures.html.

The University of NorthCarolina at Chapel Hill’sSunSITE features aWebMuseum with images of hundreds of famous paintings. The home page, athttp://sunsite.unc.edu/wm/paint/, includes a glossary ofpainting terminology as wellas an index of painters andperiods, from thirteenth-century Gothic painting totwentieth-century pop art.

The University of MontanaMuseum of Fine Arts homepage, http://www.umt.edu/partv/famus/painting.htm,features a variety of periodpaintings by artists fromacross the United States.

Note: Because of the rapidlyevolving nature of theInternet, it is possible thatthe uniform resource locators(URLs) above may havechanged since publication.

PHOTOGRAPHS

Cover: Thomas Nast. The Artist inthe Mountains.

Page 7: George Catlin. River Bluffs,1,320 Miles above St. Louis.National Museum ofAmerican Art, SmithsonianInstitution. Gift of Mrs.Joseph Harrison, Jr.

Page 8: Thomas Moran. The Chasmof the Colorado. NationalMuseum of American Art,Smithsonian Institution. Lent by the U.S. Departmentof the Interior, Office of theSecretary.

Page 9: Albert Bierstadt. Among theSierra Nevada Mountains,California. National Museum of American Art,Smithsonian Institution.Bequest of Helen HuntingtonHull, granddaughter ofWilliam Brown Dinsmore,who acquired the painting in 1873 for “The Locusts,”the family estate in DutchessCounty, New York.

Page 10: Mount Matterhorn, southernSwitzerland.

Photograph by Ansel Adams.Copyright © 1995 by theTrustees of the Ansel AdamsPublishing Rights Trust. Allrights reserved.

Page 12: Philip C. Beam. High Cliff,Prout’s Neck. Figure 42 inBeam, Philip C. WinslowHomer at Prout’s Neck.Boston: Little, Brown andCompany, 1966.

Winslow Homer. High Cliff,Coast of Maine. NationalMuseum of American Art,Smithsonian Institution. Giftof William T. Evans.

Page 13: Saint Mary’s, CumberlandIsland, Georgia, home page,http://www.gacoast.com/navigator/stmarys.html

ACKNOWLEDGMENTS

Nora PanzerNational Museum ofAmerican ArtSmithsonian Institution

ART TO ZOO

Art to Zoo is a publication of the Office of Elementaryand Secondary Education,Smithsonian Institution,Washington, DC 20560.

WriterLinda Andre

EditorDouglas Casey

TranslatorSarita Rodriguez

DesignKarlic Design Associates, LLC

Baltimore, Maryland

Publications DirectorMichelle Knovic Smith

ART TO ZOO ONLINE

This publication is availableelectronically through theInternet via anonymous ftp to educate.si.edu. Follow the path pub/publications_for_teachers/art-to-zoo.Recent issues and supple-mentary materials are offered in hypertext formatvia the World Wide Web athttp://educate.si.edu/art-to-zoo/azindex.htm. Current and back issues(starting with spring 1993)are also available throughAmerica Online (keywordSMITHSONIAN).

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