Learning Objectives• To understand the role of portraiture in art in ahistorical and contemporary context• To explore the techniques of others in making selfportraits• To understand the anatomy of the face, starting withthe skull• To create a variety of work using observationaldrawing skills• To create a self portrait• To evaluate your own work and the work of others
PROJECT MAPPINGTASK ASSESSMENT HOMEWORK1 TITLE PAGE Create 1Explore 11 Complete the title page using photographs andimages you collect2 WHAT IS A PORTRAIT /SELFPORTRAIT?Understand 1 Extension TasksFind examples of portraits of people you admire3 RESEARCH Understand 2 2. Research the artist you have chosen to study4 DRAWING THE FEATURES Explore 2Create 2Extension TasksPicasso Portrait on the WebsiteDrawings of the Artists Self Portraits5 COPY THE WORK OF OTHERSSTANLEY SPENCER SELFPORTRAITExplore 3Create 3Understand 33. Research the work of Stanley Spencer andmake a fact file/ power point6 CREATE HALF A PORTRAIT Create 4 Extension TasksDraw a diagram to show students how a face isdivided up7 DRAWING A SELF PORTRAIT Create 4Evaluate 14. Complete the self portraits8 CREATE YOUR OWNRESPONSE(S)Create 5 Extension TasksContinuous Line Drawing9 EVALUATION Evaluate 2
PORTRAITUREWho made this picture?Context and links to the POPART PROJECT
What is a PORTRAIT?an artistic representation of a person, inwhich the face and its expression is thefocus
Me!Find a picture ofyourself and printit out.Place it on the page inyour book. You can putit anywhere.Add images, colours,objects, drawings andpaper collage to thepage to decorate itusing your words tohelp you.Write down a list ofthings you like and makeyou who you are. Usethese for the next bit.TallMumLoudArtyBig SisterWifeCookCatDragonYorkshireBooksCountryside
4 You use a range of practical skills to makeartwork5 You use your knowledge and skills to makeyour artwork and use materialsAPPROPRIATELY6 You apply your knowledge and skills tomake artwork and use EFFECTIVELYAssess your: Homework PA/SA/VF/TA CREATE 1CREATE 1
EXPLORE 14 You use a variety of materials to make the titlepage exploring the idea of self portraits.5 You make selection of resources yourself and usethe materials, taking creative risks when makingyour title page.6 You use a range of resources imaginatively todesign and make the title page. You experiment andaccept the risks you take with your workindependently.Assess your: Homework PA/SA/VF/TA EXPLORE 1
TASK 2 - SELF-PORTRAITUREUNDERSTAND 1 – SA/VF/TA• What is the difference between a portrait and aself-portrait?A portrait is…A self-portrait is…BOARDWORKS PORTRAITURE SLIDES RESOURCES ON STAFF AREA
Play the PORTRAIT GAME• Match the Portrait to the description, details of theperson described in the text. – see packExtension Task - From the matching game - Copy aportrait using black felt tip pen, black coloured pencil,pencil, biro, Guess the picture from the originals.Starter Task - Play blind portraits. Take a piece of paperfold in to parts of the face. Draw the hair and eyes thenthe nose then the mouth and finally the chin and neck.
1013161131215945147 28Which Portrait was painted first?
TASK 3 - Explore Portraiture from the PAST• Artists from the PAST1. Jan van Eyck2. Albrecht Durer3. Leonardo da Vinci4. Sir Peter Paul Rubens5. Frans Hals6. Sir Joshua Reynolds7. Thomas Gainsborough8. Edgar Degas9. Pablo Picasso10. Frida Kahlo11. Sir Peter Blake12. Andy Warhol13. Lucian FreudContemporary Artists – these artists are stillpracticing today14. David Hockney15. Marlene Dumas
TASK 3 - RESEARCH• Choose one artist from the PAST to discover more examples of theirPortraiture work and answer the questions on the slide you are .• (Your teacher may distribute the slides equally in the class for you to explorethe portraits by one of the artists in teams.)• TASK• To produce a slide show using Power Point of 4 slides expanding on theslide information you have been given about the artist.• You record your understanding of the Portraiture work of the artist you arelooking at.• Use the books in the Art Department Library• Use the following websites to help you when you search for informationabout their PORTRAITURE artwork.• http://www.nationalgallery.org.uk• http://www.ibiblio.org/wm/• http://www.tate.org.uk• Use the FORMAL ELEMENTS TO DESCRIBE,EXPLAIN andANALYSE the painting(s) you find.• COLOUR LINE SHAPE FORM TONE TEXTURE COMPOSITION
UNDERSTAND 2You comment on the work of the artist you study.You acknowledge the context in which the artwork was made byrecording the dates and what was going on in society at the time.You find out about a range of work, discuss ideas and techniques thatare used by the artist you research.You relate these ideas to the context and purpose of making theportrait(s).You interpret and explain how ideas and meanings are shown bythe artists in their portraits.You recognise characteristics in artwork of different historical, socialand cultural contexts.456Assess your: Homework PA/SA/VF/TA UNDERSTAND 2
Jan van Eyck‘Arnolfini Marriage’1434 oil on wood(81.8 x59.7cm)This painting celebrates a marriage.Jan van Eyck has chosen to paint thecouple in their house………WHY?The man in this painting is GiovanniArnolfini. We know that Giovanniwas an Italian merchant who exportedbeautifully made cloth from Bruges inBelgium where he lived, to Italy.WHY has the artist painted thedifferent types and textures ofcloth?Hidden within the painting are manyclues that reinforce the theme of thepainting.
Albrecht Durer‘Self –Portraits’aged132226281484 - 1500Can you match the age to the portrait?Do they all look like the same person toyou?Can you spot what looks the same in allfour pictures?If you made a picture of yourself howwould you sit?
Leonardo da Vinci‘Mona Lisa’1503 -6The most famous portrait in the worldbut why?Perhaps because the artist did not give itto the person who had commissioned it.Leonardo kept it until his death.Who is she?Her name is Lisa del Giocondo.Mona is short for Madonna which ‘mylady’ in Italian. So the title means ‘Mylady Lisa’.Where is she?What is she thinking?Is she happy or sad?
Sir Peter PaulRubens‘Childs Head’1616Who do you think Rubens haspainted in this picture?How old do you think this childis?What do you think Rubens wasfocusing on?
Sir Peter PaulRubens‘Childs Head’1616The Portrait of Clara Serena Rubens, painted c.1616, is one of the most touching childportraits in the history of European art.It shows Rubens’s five-year-old daughter fromhis marriage to Isabella Brant. Her resemblanceto her mother is clear. The disarming directnesswith which the child looks at the viewer is nottypical of contemporary portrait painting, butexpresses the intimate relationship betweenfather and daughter. Rubens uses colour withgreat skill to capture her face. The warmcolouring of the flesh tones makes a particularimpact against the grey-green ground and thechild’s clothing. The strong red of the cheeksand the highlights on her nose and foreheadconvey an impression of intense life. Thepainting is trimmed on all four sides, and looksincomplete at first because the clothing ishastily painted. Detailed work on these parts,however, cannot have been his intention as theportrait was probably destined for private useand not for sale. Rubens obviouslyconcentrated on the key aspect of the portrayal,his daughter’s face.
Frans Hals‘The Laughing Cavalier’1624"one of the most brilliant of all Baroque portraits"In general, commissioned portraits, which thiswork is, rarely showed adults smiling until thelate 18th century, though smiling is often seenin small portrait images. Often Hals showed hissitters with broader smiles than here, and ininformal poses that bring an impression ofmovement and spontaneity to his paintings.The effect of the eyes appearing to follow theviewer from every angle is a result of thesubject being depicted as looking directlyforward, toward the artists point of view,combined with being a static two dimensionalrepresentation of this from whichever angle thepainting itself is viewed.What is he laughing at?How has the artist created this‘happy’ image?
Joshua Reynolds‘Self Portrait’1749Joshua Reynolds was a portrait painter to 18thCentury London society. In 1749 Reynoldstravelled to Italy to study classical painting andsculpture, which is where he developed his style.Inspired by Michelangelo, he painted in theGrand Style, making his sitters seem perfect anddignified. With his rival Thomas Gainsboroughhe became the most influential London portraitpainter of his age. Politicians, actors, aristocratsand royalty all sat for him.How does he portray the‘status’of his subjects?
Thomas Gainsborough‘Mr and Mrs Andrews’ 175069.8 x 119.4cm Oil on CanvasWhat do these photoshave in common with thepainting?Why do you think Mrand Mrs Andrews werepainted in a field and notinside?In 1748 Frances Carter married Robert Andrews but what timeof year did they get married?Can you see that Gainsborough didn’t finish this picture ?Was he going to paint another dog or perhaps some flowers?
Edgar Degas‘Self Portrait’1857-58How do we relate to the subjects ofthese portraits?Are they all portraits?Are they formal or informal?
Pablo Picasso‘Self Portrait’1907The pictures child-like air issignificant. It looks simple and harshlydrawn with the emphasis on the staring,almost vacant appearance of the eyes.There is a passionate sensuality aboutthis younger, happier face compared toearlier self-portraits, though anintensity of look is palpable due to thehatching and harshly contrastingcolours, which combine to create avivid consolidation of energy.www.picassohead.com/create.htmlUse this website to create yourOwn Picasso style portrait.
Who made these images of women? They are all different, why?
Frida Kahlo‘Self-portrait with Thorn Necklace andHummingbird’1940Of her 143 paintings, 55 are self-portraitswhich often incorporate symbolic portrayals ofphysical and psychological wounds. Sheinsisted, "I never painted dreams. I painted myown reality."[Kahlo was influenced by indigenous Mexicanculture, which is apparent in her use of brightcolours, dramatic symbolism and primitivestyle. She frequently included the symbolicmonkey. In Mexican mythology, monkeys aresymbols of lust, but Kahlo portrayed them astender and protective symbols. Christian andJewish themes are often depicted in her work.What is she trying to tell us about herself?
Sir Peter Blake‘Self Portrait with Badges’1961Blake’s self-portrait shows his equalrespect for historical tradition andmodern popular culture. He may havebased this image on ThomasGainsborough’s famous portrait TheBlue Boy (illustrated to the left). ButBlake’s blue fabric is not silk butdenim – a material associated at thetime with American youth culture.How does he show that he wasfascinated by American popularculture?Blake uses these objects like atraditional portrait painter, to suggesthis interests or achievements.
Andy Warhol‘Marilyn’1967Andy Warhol was a big fan of famouspeople such as glamorous film starMarilyn Monroe. He made over 70portraits of her, all slightly different.Warhol liked Marilyn but why?He loved making pictures of peoplewho were easy to recognise – whowould you make a portrait of?Why did he change the colours onthe prints?
Lucian Freud‘Man’s Head, Self-Portrait’1963‘My work is purely autobiographical... It isabout myself and my surroundings’Ive always wanted to create drama in mypictures, which is why I paint people. Itspeople who have brought drama to picturesfrom the beginning. The simplest humangestures tell stories.Lucian Freud (1922 – 2011)was one of the mostimportant and influentialartists of his generation.Paintings of people werecentral to his work, spanningover seventy years.What can you learn about his character from these images?
David Hockney‘My Family’1977What is going on in this portrait of theartist’s parents?How does this artist change the picture fromthe photograph to the painting above?His mother poses, attentive and graceful,while his father, who fidgeted duringsittings, was painted reading AaronScharfs book Art and Photography.In this work, painted a yearbefore his fathers death,Hockneys style has shiftedtowards a closer study ofhuman behaviour.
Marlene Dumas‘Jule-die Vrou’1985Jule-die Vrou is a brightlycoloured and ghostly portraitpainting, framed in extremeclose-up; only the models eyesand lips are fully painted. The restof the painting is obliterated by acorpulent fleshy pink, suggestiveof femininity, sin, violence andwomanhood. The contrastbetween realism and abstractionsuggests something is not right?
TASK 4 - CREATE A DRAWING OF ANEYE, A NOSE, A MOUTH and AN EAR• You will develop your understanding of the shapes of thefeatures and how to shade the shapes in to make the featuresappear look 3D and realistic.TASK• Classwork and the Date• Divide the A4 page in to 4 using a ruler and a pencil• Using the guide sheet and from a demonstration from yourteacher, create a drawing of the facial features, one in eachbox.• How can you check your drawings? Who could you ask?• What could you do?Assess your: Homework PA/SA/VF/TA EXPLORE 2 CREATE 2
Drawing EyesThis is the line ofproportion thatthe eye rests on.Notice the top of the eye is more arched than the bottom curveTear ductAt this stage the eye looks a little like a squashed lemon!Use the Guide sheets to help you to draw an eye using PENCIL
Add the pupil and irisNotice the top of the iris is covered by the eyelidThe pupil should be placed right in the centre of the iris
Rub out your guideline and add tone to make the eye look more realisticThe iris should have a variety of tones and tends to get darker towards theouter ring. Even the white part of the eye has tone towards the edges,giving the eye form.
Drawing Mouths1 - Draw a straight line to indicate where the lips should be. You maycurve the lines up or down to indicate your expression.2 - Draw a circle in the centre with only a slight bit of the circle below the line.3 - Draw secondary circles on the side of, and slightly above the centre circle.4 - Draw the lines as show in the image; these lines have formed lips.Follow the four circles when drawing your lines.
Draw the "wrinkle lines." These lines give your lips a realistic look.As indicated, the upper parts of the lips should be drawn as curved lines going upward
Rub out your guide lines and add toneIn general the top lip tends to be darker in tone than the bottom lipNotice that by adding highlight to the bottom lip and tone underneath,it defines the shape of the bottom lip and gives it the appearance ofsticking out. This is more natural looking than drawing a solid line aroundthe mouth
Drawing NosesThis is the shape that the nostrils make at the bottom of the noseAt this stage it looks a little like a seagull flying into the distance!How big, small, flat or curved you decide to draw the wings will helpto determine the shape of your nose.
Complete the nostrils by adding lines (like brackets) around them.The curve in the middle helps to indicate where the tip of the nose is
Add tone to give your nose more formThe top of the nose will be the part of the face that sticks up the mosttherefore catches the light more. You can add highlight here by usingan eraser.
To draw the ear on a forward facing portrait it mustfit between the eye and bottom of the noseIt should overlap the edge of the egg (head) shape andis a little like a long, narrow oval shape.The line representing the inside of the ear follows thesame shape as the outside and then near the bottom ofThe oval, it loops back up and goes wiggly!Drawing Ears
Add tone to give the ear more formThe inside of the ear will generally be darkeras it is less exposed to the lightWhen applying the hair you will observe that it goes pastthe outer edge of the ear
Stanley Spencer 1891 - 19591959 1914 1936Which date above applies to which portrait?Discuss the artists use of colour and engaging outward stare?You will copy the portrait on the far left using watercolour.
Self-Portraitby Stanley SpencerDate painted: 1914Oil on canvas, 63 x 51 cmCollection: TATE LONDONTASK 5 – PaintingYou will copy this Self Portrait by Stanley Spencer using1. Observational drawing skills2. Applying watercolour painting skills.Assess your: PA/SA/VF/TA EXPLORE 3 CREATE 3UNDERSTAND 3
HOMEWORK 3 – RESEARCH• You will research the work of Stanley Spencerand his self portraits.• You compare his style and technique to the workof the artist(s) you investigated in TASK 3.• You record your thoughts on comparing theirwork- SPOT the DIFFERENCE• Use the formal elements to describe the paintings• What do you think about them?
WHERE ARE THE FACIALFEATURES ON THE HEAD?INVESTIGATION
When we draw a face, we need to beaware of the mathematicalcalculations that will allow us to drawit in proportionEyes – halfwaybetween crown andchinBottom of nose– halfwaybetween eyeline and chinMouth – halfwaybetween nose lineand chinWidth of mouth – in linewith pupilsWidth of nose – in line withcorners of eyes
MeasurementsEXTENSION TASK – DRAW YOUR OWN DIAGRAM TO REMEMBER THERULES
Step 3 Step 4Draw a mark in the middle of thevertical guideline and each side of theface. This mark represents the top ofthe eye / pupil.Now draw a guideline downvertically from each eye dash thatyou drew. Then draw the mouth inbetween those 2 lines
Now draw the eyes. Notice that the iris iscentered on the red line and the eye lid is on themiddle horizontal middle guideline. Put the topof the eyebrow about one eye’s height above theeye.Step 5
Now draw the other eye the way that youdid with the other eye. Notice that the eyesare about an eye’s width apart. Also draw aline down from one of the eye brows.Draw the nose above the 2nd horizontalline down.Step 6Nose
Now notice the ears are placed between thetops of the eyes and the bottom of the nose.Also, put in more details to the nose and startdrawing in details, such as the pupils to theeyes.Step 7Step 8Add in hair!
Objectives:Helping the student to see and understandcorrect facial placement.What You Need:plain paperpencil (color pencils if you choose)photographic image of facetapedesk or drawing boardWhat You Do:Find a photograph of a persons face/head.Student cuts the face in half the long way. (oneeye, half nose and half mouth)Student tapes photo onto a sheet of paper,leaving room beside it.Student finishes the drawing of the face (theycan keep the cut off portion for reference, asneeded).TASK 6 - CREATE A PORTRAIT
TASK 7 – USING A MIRROR, DRAW A SELF PORTRAITUSING A PENCIL
Remember• These are onlyguidelines!• Your face may notfollow these rules –that’s what makesyou individual• Look really carefullyat the shapes of yourface – don’t try andguess, it neverworks!
Portraiture: MY SELF PORTRAITAll artists need to practice the skill of observation to improve and understand how to draw. Between now and the due date ofthis sheet practice drawing 3 self portraits (Spend 20mins on each). Evaluate your drawing and Try to improve on the next one.CONSIDERDetail: Sketch theoutline, then add lightand texture.Tone: The human face is a 3dForm. Adding tonal blendinghelps to make the features standout.Emotion: Pull different faces in themirror. See how your features changeshape.Brag (What are you proudof?).....................................Wish (what would youimprove?).................................Brag (What are you proudof?).....................................Wish (what would youimprove?).................................Brag (What are you proudof?).....................................Wish (what would youimprove?).................................
CHARCOALPENCILPASTELSINKYou can use different materials
Which parts of the face express emotion?EYESMOUTHEXPRESSIONS
• CAN YOU MAKE FACES AND PHOTOGRAPH THEM?• CAN YOU CHANGE THE LIGHTING EFFECTS WHEN TAKING THEPICTURES TO ADD A SENSE OF DRAMA?•HOMEWORK TASK – TAKE 4 PHOTOGRAPHSOF YOURSELF AND PRINT THEM OFF TO USE INLESSONS
TASK 8 –MAKE A PERSONAL RESPONSE TO THESELF PORTRAIT PHOTOGRAPHS AND/ORFROM OBSERVATION A PICTURE OFYOURSELF.