Rowman & Littlefield Publishers
Pages: 232
•
Trim: 9 x 11½
978-1-4758-4214-2 • Hardback • October 2020 • $117.00 • (£90.00)
978-1-4758-4215-9 • Paperback • October 2020 • $59.00 • (£45.00)
978-1-4758-4216-6 • eBook • October 2020 • $56.00 • (£43.00)
Frances Flicker is a writer, artist, and teacher of art and humanities.
Jacqueline G. Van Schooneveld is a professor of teacher education.
Jeanne Richins is a lifelong educator and mixed-media artist.
AcknowledgementsBook OverviewUnit 1- The Industrial Revolution: The Beginning of the Modern AgeChapter 1- Rococo, Neoclassicism, Romanticism, and Realism: Enlightened Visions and DifferencesLesson 1- Storytelling and Introduction: “A Visit to the Prado”Lesson 2- Getting Good with Composition: Configured in Three PartsLesson 3- Seen from a Scene, an Allegorical Narrative CollageChapter 2- Finding Art in Science: Technology and Nature in the 19th CenturyLesson 1- Storytelling: “A Budding Imagination”Lesson 2- Brave New Balloons: Steampunk DesignLesson 3- Biomimicry in Art: Designing from NatureLesson 4- Photography: Postcards from the HeartChapter 3- Impressionism: Bringing in the LightLesson 1- Storytelling: “Monet’s Japanese Bridge”Lesson 2- Inspired by Nature: Monet’s Bridge in Mixed-MediaLesson 3- Cultural Links: Making Japanese Lanterns with an Impressionistic FlairLesson 4- Dancing Degas: Creating a Pastel Painting with a Close-up View of NatureUnit 2- The World at Conflict: Art RespondsChapter 4-Pointillism and Post-Impressionism: Defining Shape DifferentlyLesson 1- Storytelling: Paintings to Posters, An Art of the Industrial AgeLesson 2- Getting the Point with Pointillism: Making a Pointillist PaintingLesson 3- Vincent Van Gogh, Post-Impressionism: A Variation on Starry NightLesson 4- Setting the Table with Cezanne: Creating a DioramaChapter 5- Fauvism, Cubism and Expressionism: A Voice of ArtLesson 1- Storytelling: “Guernica!” Yelled PicassoLesson 2- Fauvism: The Wild Side of Shape and ColorLesson 3- Cubism: Putting Together the Pieces, Making a Cubist Still LifeLesson 4- ExpressionismChapter 6- Surrealism and Abstract-Expressionism: Get Real!Lesson 1- Storytelling: Art is a Symphony in Colors, Lines and ShapesLesson 2- Abstract-Expressionism: Feeling with Colors, Lines, Shapes and TexturesLesson 3- Dada Makes No Sense: Making a Dada ImageLesson 4- Beyond Reality: Making Surrealistic ArtworkLesson 5- Abstract-Expressionism: What’s Art Got to Do with It Anyway?Unit 3- What is Art? Art Makes Us HumanChapter 7-Cartoon Characters and “POP” Goes the ArtLesson 1- Storytelling: What Makes Art Go “POP”?Lesson 2- Making a Pop Art Combined Painting CollageLesson 3- Say it with a Cartoon: Crafting a Cartoon NameChapter 8-Post WWII through Contemporary Era: Constructing EnvironmentsLesson 1- Storytelling: “A Special Place”Lesson 2- Envision a Building of your own Design: Activity on Two-Point PerspectiveLesson 3- Color Field Paintings: An Intuitive ArtLesson 4- Shadow Box DesignChapter 9- Art is EverywhereLesson 1- Storytelling: Art is for EveryoneLesson 2- Making the Most of Minimal Art: Creating a CollageLesson 3- Installation Art: Transforming ArtLesson 4- A Banquet for All Ages: Connecting CivilizationsAppendix A: Handouts for Chapters 1-9Appendix B: Foundation Lessons and Technical Reference SheetsLesson 1: Concepts in Art (Elements of Art and Principles of Design)Lesson 2: Basics in Visual CompositionLesson 3: Exploring the Emotional Impact of ColorLesson 4: Designing with TexturesLesson 5: Building Blocks of ShapesLesson 6: The Value of ValuesLesson 7: Basics for Graphite Pencil DrawingLesson 8: Basics for Colored Pencil DrawingLesson 9: Basics in Charcoal DrawingLesson 10: Basics on Pastels (Hard and Soft)Lesson 11: Basics on Oil PastelsLesson 12: Basics on Watercolor PaintingLesson 13: Acrylic and Tempera PaintingLesson 14: Basics on Mixed Media and CollageLesson 15: Basics on Clay Hand-BuildingLesson 16: Basics in CartooningAppendix C: Handouts for Book Overview, Foundation Lessons and Technical Reference SheetsAppendix D: Figures for Chapters 1-9BibliographyAbout the Authors
As a secondary Language Arts teacher, I found Creating Arts for All Ages to be an invaluable tool for planning cross-curricular, multi-cultural lessons. It has inspired me to integrate more meaningful art and history connections into my multi-cultural literature units. I found the text to be so useful in explaining the student art project ideas, that even non-art teachers could incorporate them as extension lessons in any classroom. The methods in this book enhance student engagement and learning and truly are accessible to students of all ages.
— Patricia Marshall, language arts teacher, Riverton High School, Riverton, Utah
Creating Arts for All Ages does a masterful job integrating all core subjects. This book is teacher friendly and does a great job allowing for multiple entry points to meet all diverse learning needs. Research has shown that meaningful learning occurs when we make connections across disciplines for students. Creating Art for All Ages does just that. It helps students connect with the content, while supporting teachers in creating meaningful learning experiences.
— Summer Snyder, Cherry Creek School District
Fran has a knack for making history come alive. Fran has a passion for art and has coupled her passion with history. Fran knows today’s student and understands the importance of diversifying school curriculum to meet the needs of all learners. She uses art as the tool to meet the needs of those diverse learners and she uses history as the avenue to deliver the learning.
— Greg Ganguli, middle school social studies teacher
Frances Flicker and I have been colleagues in Cherry Creek School District for many years. During that time, I have admired her intellect and erudite knowledge of art history, theory, and practice. In 2019, I had the distinct pleasure of sharing an office with her for a semester at Cherry Creek High School where I teach and am the Fine Arts Department Coordinator. We spend many planning periods in dialogue sharing our thoughts about art history, theory, and teaching practices in the visual arts. Frances’ ideas about using essential questions to drive students’ artistic inquiry and practice are not only on the mark, they are prophetic. Just this year, the College Board has introduced a redesign of the Advanced Placement art curriculum to be driven by essential questions. Her books place art practice, process, and materials in a historical and cultural context that helps students understand that artistic ideas are driven by these three components. I encourage every art educator to include this series of books in their library and use it to help them design engaging historical and culturally relevant art curriculum.
— David Stallings, high school art teacher