The document provides instructions for students to create a painting depicting a human figure that expresses a particular emotion. Students must choose a theme such as bliss or despair and ensure both the figure and background reinforce this emotion through gesture and composition. The painting will be assessed based on effective expression of concept, use of materials and techniques, and evidence of planning through process work.

1. Name : ________________________
Choose one sculpture from the plates below and describe the emotion Rodin was trying to portray.
(Must be answered through written sentences, will not accept dot points)
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How were these emotions represented in his sculpture? Think of the form, shape and texture Rodin has
used in his hands. (Must be answered through written sentences, will not accept dot points)
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What emotion are you going to portray in your sculpture? How are you going to represent these
emotions so that your audience is able to understand what you are trying to convey? (Must be
answered through written sentences, will not accept dot points)
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Plate 1 Plate 2 Plate 3 Plate 4

2. Task: Working in the style of August Rodin you will create a ceramic hand, slightly
larger than life size. The hand can be in any appropriate position or posture and
should express a particular emotion.
This emotion will be communicated through the gesture of the hand as well as
the handling of materials. The texture of the sculpture will be important as well as
the use of techniques such as exaggeration, detailing and finishing of the artwork.

3. Marking Criteria
Human Gesture, Human Expression
MATERIALS and TECHNIQUES
 Gesture of the hand is appropriate and clearly communicates an emotion
 Use of materials reflects and strengthens the emotion communicated by the gesture
 Sophisticated, judicious and controlled handling of materials
 Aesthetically pleasing and powerful final work /20
CONCEPT / IDEA
 The ideas and emotion/s expressed are complex and sophisticated
 Final piece demonstrates a knowledge and understanding of the work of Rodin /20
PLANNING/ RESEARCH / EVALUATION
 Be accompanied by proposal, preliminary drawings, reference photos, experimentation
and ideas documented in Visual Art Process Diary.
 Be accompanied by a written evaluation of the painting, including problems, changes and
experiences throughout the artmaking process /10
STUDENT NAME: Yr 10 VA Average: TOTAL : /50
Weighting: /25%
TEACHER’S COMMENT:

4. ART CRITICISM
PECHAKUCHA PRESENTATION
The FIGURE
Year 8 Visual Arts Art Historical and Critical Assessment Task 1
KEY LEARNING AREA: Critical and Historical Study
DATE DUE: Week 6, Term 3. 2012
CONTEXT: This task concentrates on a critical and historical analysis of an artists‟ practice.
You are to explore the ideas, emotions and techniques displayed in the artwork of the artist.
TASK DESCRIPTION: In pairs you are to create a “PechaKucha” presentation on artist
assigned to you by your teacher. This short, succinct style requires you to present for 1 minute 40
seconds consisting of a total of 5 images for every student. Each image must relate to the
information you are discussing at the time. The 5 images must be of 5 different artworks that
represent the figure. For every student you must discuss in your 1st image the background of the
artist as well as about the artwork in that image. It is up to you and your partner who will discuss
what part of the artist‟s background you will present in your speech. By the end of the
presentation you and your partner will have addressed every point in the rubric sheet listed under
the “artist‟s background”. For all 5 images you must discuss in detail the information written in
the rubric sheet.
Originally, Pechakucha 20x20 is a simple presentation format where you show 20 images each
for 20 seconds. The images advance automatically and you talk along to the images. FOR THIS
ASSESSMENT TASK YOU WILL USE ONLY 5 IMAGES PER STUDENT AND
DISPLAY THEM FOR 20 SECONDS EACH.
Every student must present, both will talk for 5 images. Therefore there will be a total of 10
images in your „Pechakucha‟ presentation together with you and your partner.
Students must hand in a written copy each of their speech to the teacher as well as a copy of the
5 images they will be using in their presentation.
Read the Marking Criteria to know what to include in your PECHAKUCHA presentation

5. ART CRITICISM
PECHAKUCHA PRESENTATION
The FIGURE
Marking Rubric (Outcomes)
4.7 explores aspects of practice in critical and historical interpretations of
art
Very Very
Limited Adequate High
4.9 begins to acknowledge that art can be interpreted from different points Weighting Limited High
D C B
of view E A
4.10 recognises that art criticism and art history construct meanings
Presentation:
a) Each image of high quality and shown for 20 seconds each
advancing automatically on the slideshow
b) 5 different images used in the „PechaKucha‟ presentation. 5
different artworks by the artist, representing the figure.
c) Each image is directly related to the content discussed at that
/2
time.
d) Each student presented and no overlapping in content was made.
Artist‟s background:
a) Talk about when they were born.
b) Discuss where the artist is from.
c) What was happening at the time they were alive, any significant /5
events or people in their lives that affected their art making?
d) What kind of art do/did they make?
e) How do they go about this process?
All 5 Images:
a) The title of the artwork, the year it was made.
b) The story or message they were trying to convey was stated and
discussed in depth.
c) The student‟s personal interpretation of the emotions and feelings
the artist was trying to convey in the art work in relation to the
figure was stated and discussed in depth. /13
d) Stated and explained what in the art work influenced their
personal interpretation. Describing in depth the physical elements
of the artwork including the subject matter, the figure, the colour,
tones, brushstrokes, shape, lines and the emotive theme.
Total: /20

6. Egon Schiele
1st Slide- “Self-Portrait with Arm Twisting above Head”, 1910
Egon Schiele was an Austrian figurative painter who was born in 1890. He paints portraits and
figures using himself and people close to him as his subject matter. He’s known for the twisted
body shapes and expressive lines within his work. For example in this self portrait Schiele has
focused on the distortion of the body. The strong angular lines make him appear angry whilst
the yellowish tones of green and pink make him appear sickly looking.
2nd Slide- “Cardinal and Nun”, 1912
Schiele preferred drawing and used paint, lead pencil, crayon and watercolour in his
work. The emotions and feelings portrayed in this artwork are of embarrassment, love
and intimacy. You can see this as the two figures are embracing each other, the woman
looks towards the audience with a face of shock and humiliation that she has been
caught in an incident act. The dark tones of brown and deep reds add to the feeling of
the figures indecency, romance and love .
3rd slide- “Standing Male Nude with Arm Raised, Back View”, 1910
With the man in this painting facing away from the audience I feel as though we are peering
in on a private moment. The almost sickly colours and the sharp angular definition of his
bones give a sense of unease and possibly sickness. His nudity could suggest feelings of
vulnerability and the absence of detail in the background implies this sense of loneliness.
4th slide-“Edith Schiele in a Striped Dress, Sitting”, 1915
The female in this artwork sits just off center of the painting and her dress which takes up
majority of the artwork seems overbearing and makes the woman look very small creating a
feeling of helplessness. The delicate lines that shape her face as well as the white pale
tones of pinks and blues make her appear fragile. Her gaze appears to look off the canvas in
to another world producing a state of contemplation.
5th slide- “Seated Woman with Bent Knee”, 1917
This painting depicts a young female with bright red hair sitting down and slouched over
her bent knee. Schiele has used painterly brushstrokes as well as bright tones of red and
green portraying feelings of youthfulness and vibrancy. However the face of the young girl
contradicts these feelings of happiness as the strong straight lines of her eyebrows point
inwards to create a stern gaze where she seems to be contemplating negative feelings of
anger.

7. Year 8
In class Assessment Task – 30 minutes
“There is an emotion in every gesture”
Using the two artworks below make a convincing argument that agrees with the statement written
above.
Some ideas for your written response
Referring to plates 1 and 2 analyse the emotions portrayed in the two artworks.
Identify the gesture that exemplifies that emotion
Explain how the handling of the materials and the process used by the artist (Such as tone, colour,
brushstrokes, forms) influence your interpretation.
Your written response must be at least a page long. (½ a page for each artwork)
Plate 1
Plate 2
Artist: Keith Edmier Artist: Marc Chagall
Title: “Beverly Edmier 1967” Title: “Birthday”
Date: 1998 Date: 1915

8. ART CRITICISM
IN CLASS ASSESSMENT
The FIGURE
Marking Rubric (Outcomes)
4.7 explores aspects of practice in critical and historical interpretations of art
Very
4.9 begins to acknowledge that art can be interpreted from different points of Limited Adequate High Very High
Limited
view D C B A
E
4.10 recognises that art criticism and art history construct meanings
Plate 1:
a) Made a convincing argument that agreed with the statement “There is
an emotion in every gesture”. /2
b) The student‟s personal interpretation of the emotions and feelings the
artist was trying to convey in the art work in relation to the figure was
stated and discussed in depth. /3
c) Identified and described in depth the gesture that exemplified that
emotion. /2
d) Stated and explained what in the art work influenced their personal
interpretation. Describing in depth the physical elements of the
artwork including the subject matter, the figure, the colour, tones,
brushstrokes, shape, lines and the emotive theme. /3
/10
Plate 2:
e) Made a convincing argument that agreed with the statement “There is
an emotion in every gesture”. /2
f) The student‟s personal interpretation of the emotions and feelings the
artist was trying to convey in the art work in relation to the figure was
stated and discussed in depth. /3
g) Identified and described in depth the gesture that exemplified that
emotion. /2
h) Stated and explained what in the art work influenced their personal
interpretation. Describing in depth the physical elements of the
artwork including the subject matter, the figure, the colour, tones,
brushstrokes, shape, lines and the emotive theme. /3
/10
/20

9. Task: You are to make a painting of a full human figure using one of the drawings you have sketched in class. The
painting will be centred on a particular emotion which will be the theme of your painting. The background of the
painting will need to reinforce your theme and must be a gesture of that emotion. In other words the background
does not have to be an exact copy of a landscape but it must compliment your theme and exemplify that emotion. It
may be advisable to incorporate elements of abstraction in your background
Various themes you could incorporate in your painting are:
Bliss, Romance, Despair, Melancholy, Horror, Rage, Contentment, Fatigue.
I encourage you to choose another theme of your choice however you will need to first approach the teacher with
what theme you would like to use.
Examples of a few emotive theme related paintings

10. Marking Criteria
Th e G e s t u r e o f t h e F i g u r e , T h e G e s t u r e o f t h e A r t i s t
MATERIALS and TECHNIQUES
 Sophisticated, judicious and controlled handling of materials
 Creative decisions are appropriate for ideas expressed eg, proportions, composition, colours
 Both figure and landscape express an emotion in a sensitive and articulate manner
 Aesthetically pleasing and powerful final work /20
CONCEPT / IDEA
 The intended emotion/s expressed is stated, identifiable and reflected in the artwork
 Communicates clear and complex emotions through the gesture of the figure and the artistic gestures /20
 Infers an informed point of view of how other artists approach similar subject matter
PLANNING/ RESEARCH / EVALUATION
 Be accompanied by proposal, preliminary drawings, reference photos, experimentation and ideas
documented in Visual Art Process Diary.
 Be accompanied by a written evaluation of the painting, including problems, changes and experiences
throughout the artmaking process /10
STUDENT NAME: Yr 10 VA Average: TOTAL :
/50
Weighting:
/25 %
TEACHER’S COMMENT: