# data[].attributes.body
DIRECTIONS

1. Print a grid paper for each students.

2. Students chose one of two color groups: light / dark or warm / cool.

3. They start by filling in each square in the center with an assortment of one group of colors. Example: either light or warm.

4. When a center ring is looking full, they switch to the other color in their chosen group, and color the outside colors randomly with those.

# data[].attributes.body
Water colours / oil crayon Castle lesson plan

# data[].attributes.attachment_link.readable_text
Paul Klee has quickly become one of my favorite artists to showcase in my art room. Purchasing The Cat and the Bird by Geraldine Elschner and Peggy Nille is a big reason for this excitement. It's so much easier holding up an exquisitely illustrated picture book than coming up with my own powerpoint or dry explanation of an artist.

Although the story is best for children ages 5-8 (and is the most perfect companion book to Klee's Cat and Bird painting), I emphasized the warm and cool castle drawings in the book for my fifth grade students (10-11 years).

After thumbing through the illustrations (I didn't read the story to this age group), I brought out some of Klee's works and spoke about warm and cool colors. I passed out watercolor paints, scraps of watercolor paper and a waterproof marker. The students practiced drawing quick rectangular shapes and then painted warm or cool colors into those shapes. It's tricky painting small areas and it takes a lot of practice to do well. I don't often do a watercolor lesson with a pen drawing as it's very hard to contain the watercolors. That's why I use oil pastel in most lessons. It's way easier for children to be "successful".

After the practice session, the children were given a 9 x 12 sheet of 90 lb watercolor paper and a thin-tip waterproof black pen. Starting from the bottom of the paper, they drew tall structures topped with triangle roofs. I used cardboard templates to assist with drawing the rectangular shapes. I prefer templates to rulers as I don't want the children measuring and getting to caught up in making things perfect. Once the structures were in place, the children drew a moon or sun freehand.

Using trays of watercolor paint, the children painted their structures with cool colors. Was this easy? No. My students still have a really hard time distinguishing warm and cool colors or at least they find it hard to stick with a color group. I don't blame them. It takes discipline. I don't see a problem with allowing the children to use their own color choices unless you needed to grade a child's ability to distinguish between warm and cool colors.

It is important to note that after the watercolor application, I had hoped to be finished with this project but as the children were handing me back their "finished" artwork, I knew that the project needed one more step to complete their Paul Klee art....

Although the students followed my project instructions, I sensed that they really didn't enjoy this project or that they didn't particularly like the outcome of their efforts. To remedy this, I decided that a stronger outline and a few patterns inside the structures would make the project more appealing. I set trays of Crayola Metallic crayons and thick waterproof Sharpie markers on each table and demonstrated how to trace over the marker lines and add interesting details with the crayons. After the children completed this last step, the project went from ho-hum to wow! I could see how this extra step made the art process fun for this group of kids.

Didn't they do an amazing job on their Paul Klee art?

Total class time: 2 1/2 50-minute classes.
For more Paul Klee art lessons, check out our shop HERE for the Paul Klee Artist Bundle

# data[].attributes.attachment_link.title
Paul Klee Art Lesson | Deep Space Sparkle

# data[].attributes.attachment_link.description
Students learn how to practice drawing quick rectangular shapes and paint warm and cool colors into those shapes using Paul Klee art inspiration and

# data[].attributes.body
Factifile, background info, pics, final quiz

# data[].attributes.body
Mati and Dada

# data[].attributes.attachment_link.title
Art with Mati and Dada –  Paul Klee | Kids Animated Short Stories in English

# data[].attributes.body
summertime

# data[].attributes.headline
Birch painting with tape and credit cards

# data[].attributes.subject
Birch painting with tape and credit cards

# data[].attributes.attachment_link.title
DIY Plant Fossils 🌿 Plaster Flowers | How to Cast Flowers / Plants | Craft Ideas by Fluffy Hedgehog

# data[].attributes.body
How to use a sauna whisk. Everything you need to know about sauna whisks – ExpertSauna.com - Online Shopping for Sauna Accessories

In Celtic mythology is a symbol of purification and Renovation 

# data[].attributes.attachment_link.provider_name
ExpertSauna.com - Online Shopping for Sauna Accessories

# data[].attributes.attachment_link.readable_text
About sauna whisks

Sauna whisk, called vihta in Finland and venik inRussia, is a special accessory. To many sauna bathers it is a compulsory item. A whisk is a
bunch of young tree twigs which are used to give a special massage in sauna. Using sauna whisk during massage promotes better blood circulation, cleans the skin and enriches it with health. During the course of massage, the bather lashes or slaps the other bather with whisk after dipping it in warm water. Whisks release pleasant aroma in the air adding a bit of aroma therapy. Whisks are made of different tree species. The most popular of them are birch, oak and eucalyptus. We sell different types of whisks including the mixed ones.

Types of sauna whisks

Birch sauna whisk helps to relieve pain in muscles and joints after physical exercises, cleans the skin
prone to rash, promotes healing of wounds and scratches, has soothing and calming effect and improves mood. The main benefit of birch whisk is that it widens the bronchus, which promotes ventilation of lungs and discharge of sputum. It is especially beneficial for smokers and those suffering from asthma. Birch leaves contain ethereal oils, tanning agents, vitamin C and A. After bathing, the skin will look smooth and elastic. Birch whisk infusion is good for scalp and hair.

Oak sauna whisk is particularly suitable for people with oily skin. Oak whisk will make it elastic and smooth. Oak leaves have powerful anti-inflammatory effect and help reduce blood pressure. Oak essence calms nervous system after intense mental and physical activity.

Linden (lime-tree) sauna whisk helps to relieve headache and has mild diuretic effect. Linden leaves fasten sweating and have calming, wound healing and anti-fever action.

Eucalyptus sauna whisk has powerful healing effect. Eucalyptus leaves contain up to 3% of essence oils
which makes it extremely efficient. Eucalyptus whisk is recommended in case of rhinitis and sore throat. As eucalyptus whisk has very thing and flexible twigs it may be too harsh for gentle skin. In this case we recommend using mixed birch and eucalyptus whisks which combine healing properties of those trees.

Check out the collection of handmade sauna whisks from ExpertSauna professionals.

How to prepare a sauna whisk for using it

Dried sauna whisks have to be prepared for using in sauna. Preparing a sauna whisk means soaking it in water, so the leaves would become soft. There are numerous ways to do it, but here we will explain the most popular ones.

Long method:
1. Prepare a tank of cold water big enough to accommodate a sauna whisk. Put your whisk in the water for 30 minutes. Check that all leaves are under the water.

2. Put the whisk out and put it back so that the handle is in the water, but the leafy part is up (same as you would put a flower bouquet in a vase). Let is stand that way for another 30 minutes.

3. In the sauna prepare a pail or bucket of warm water. Put whisk into it and you are ready to go!

Classical method:
If you have only 20 minutes before taking a sauna, use the method describe above, but with the hot water and 10 + 10 minutes for soaking and standing in the water.

# data[].attributes.attachment_link.title
How to use a sauna whisk. Everything you need to know about sauna whisks

# data[].attributes.attachment_link.description
About sauna whisks Sauna whisk, called vihta in Finland and venik inRussia, is a special accessory. To many sauna bathers it is a compulsory item. A whisk is abunch of young tree twigs which are used to give a special massage in sauna.

# data[].attributes.body
Mati  and Dada

# data[].attributes.attachment_link.title
Art with Mati and Dada – Jackson Pollock | Kids Animated Short Stories in English

# data[].attributes.body
Cartoon

# data[].attributes.attachment_link.title
Vincent van Gogh for Children: Biography for Kids - FreeSchool

# data[].attributes.body
https://youtu.be/qv8TANh8djI

# data[].attributes.body
Chopin Prelude

# data[].attributes.body
Van Gog musical slide show

# data[].attributes.attachment_link.title
Vincent Van Gogh  - Starry Starry Night with Don Mclean

# data[].attributes.body
Bedroom 3D

# data[].attributes.attachment_link.description
#videoadarte 🎥

Un viaggio nelle opere di Vincent van Gogh che magicamente prendono vita grazie alla grafica 3D.
Suggestivo ed emozionante!

# data[].attributes.body
Sunflower song <(Spiderman)

# data[].attributes.body
Animated landscape paintings

# data[].attributes.attachment_link.description
Un bellissimo video fa rivivere alcune opere di Vincent Van Gogh con animazioni 3D (by Luca Agnani Studio).

# data[].attributes.body
http://englishinart.blogspot.com/2011/03/picture-dictation.html

# data[].attributes.attachment_link.title
🔴Peaceful Relaxing Music LIVE 24/7: Music for Deep Sleep. Music for Spa and Massage. Yoga Music

# data[].attributes.body
Van Gogh  museum

# data[].attributes.attachment_link.readable_text
Currently on view

Vincent van Gogh (1853 - 1890), Arles, January 1889

oil on canvas, 95 cm x 73 cm

Credits (obliged to state): Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Van Gogh's paintings of Sunflowers are among his most famous. He did them in Arles, in the south of France, in 1888 and 1889. Vincent painted a total of five large canvases with sunflowers in a vase, with three shades of yellow 'and nothing else'. In this way, he demonstrated that it was possible to create an image with numerous variations of a single colour, without any loss of eloquence.

The sunflower paintings had a special significance for Van Gogh: they communicated 'gratitude', he wrote. He hung the first two in the room of his friend, the painter Paul Gauguin, who came to live with him for a while in the Yellow House. Gauguin was impressed by the sunflowers, which he thought were 'completely Vincent'. Van Gogh had already painted a new version during his friend's stay and Gauguin later asked for one as a gift, which Vincent was reluctant to give him. He later produced two loose copies, however, one of which is now in the Van Gogh Museum.

Dimensions

95 cm x 73 cm, 123.6 cm x 101.2 cm

Provenance

Sent by the artist from Arles to his brother Theo van Gogh, Paris, at the end of April 1889; after his death on 25 January 1891, inherited by his widow, Jo van Gogh-Bonger, and their son, Vincent Willem van Gogh, Paris; administered until her death on 2 September 1925 by Jo van Gogh-Bonger, Bussum/Amsterdam/Laren; given on loan by Jo van Gogh-Bonger to the Rijksmuseum, Amsterdam, from 1917 to 1919; transferred by Vincent Willem van Gogh, Laren, on 10 July 1962 to the Vincent van Gogh Foundation, Amsterdam; agreement concluded between the Vincent van Gogh Foundation and the State of the Netherlands, in which the preservation and management of the collection, and its placing in the Rijksmuseum Vincent van Gogh, to be realized in Amsterdam, is entrusted to the State, 21 July 1962; given on loan until the opening of the museum on 2 June 1973 to the Stedelijk Museum, Amsterdam; on permanent loan to the Rijksmuseum Vincent van Gogh from 2 June 1973 and at the Van Gogh Museum, Amsterdam, since 1 July 1994.

Credits (obliged to state)

Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Amsterdam, Van Gogh Museum, Van Gogh en de Zonnebloemen, 21 June-1 September 2019

Amsterdam, Van Gogh Museum, Munch : Van Gogh, 24 September 2015-17 January 2016

London, National Gallery (London), The Sunflowers, 25 January-27 April 2014

Amsterdam, Van Gogh Museum, Van Gogh aan het werk, 1 May 2013-13 January 2014

Amsterdam, Hermitage Amsterdam, Vincent. Het Van Gogh Museum in de Hermitage Amsterdam, 29 September 2012-25 April 2013

Amsterdam, Van Gogh Museum, Van Goghs brieven. De kunstenaar aan het woord, 9 October 2009-3 January 2010

Amsterdam, Van Gogh Museum, Van Gogh en het expressionisme, 24 November 2006-4 March 2007

Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Van Gogh and his contemporaries. Van Gogh and flowers. With special focus on his 'Sunflowers', 20 September-14 December 2003

Amsterdam, Van Gogh Museum, Van Gogh en Gauguin. Het atelier van het zuiden, 9 February-2 June 2002, no. 110

Chicago, Art Institute of Chicago, Van Gogh and Gauguin. The Studio of the South, 22 September 2001-13 January 2002, no. 110

Amsterdam, Rijksmuseum Amsterdam, Van Gogh te gast in het Rijksmuseum. Meesterwerken van het Van Gogh Museum, 19 September 1998-2 May 1999

Amsterdam, Rijksmuseum Vincent van Gogh, Vincent van Gogh en de moderne kunst 1890-1914, 16 November 1990-18 February 1991

Essen, Museum Folkwang, Vincent van Gogh und die Moderne 1890-1914, 11 August-4 November 1990

Amsterdam, Rijksmuseum Vincent van Gogh, Vincent van Gogh. Schilderijen, 30 March-29 July 1990, no. 81

Amsterdam, Rijksmuseum Vincent van Gogh, Van Gogh en zijn Franse vrienden. Het cloisonisme als stijl 1886-1891, 9 April-14 June 1981

Toronto, Art Gallery of Ontario, Vincent van Gogh and the Birth of Cloisonism, 24 January-22 March 1981

The Hague, Gemeentemuseum Den Haag, Kunstenaren der idee. Symbolistische tendenzen in Nederland, ca. 1880-1930, 15 September-27 November 1978

Bern, Kunstmuseum Bern, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 25 January-15 April 1973, no. 26

Strasbourg, Musée d'Art Moderne et Contemporain Strasbourg, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 22 October 1972-15 January 1973

Bordeaux, Musée des Beaux-Arts (Bordeaux), Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 21 April-20 June 1972

Paris, Orangerie des Tuileries, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 21 December 1971-10 April 1972, no. 72

New York, Brooklyn Museum of Art, Vincent van Gogh. Paintings and Drawings, 14 February-4 April 1971, no. 37

San Francisco, M.H. de Young Memorial Museum, Vincent van Gogh. Paintings and Drawings, 11 December 1970-31 January 1971, no. 37

Baltimore, Baltimore Museum of Art, Vincent van Gogh. Paintings and Drawings, 11 October-29 November 1970, no. 37

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh. Paintings and Drawings, 28 February-5 April 1970

Saint Louis, City Art Museum of Saint Louis, Vincent van Gogh. Paintings and Drawings, 20 December 1969-1 February 1970

Los Angeles, Los Angeles County Museum of Art, Vincent van Gogh. Paintings and Drawings, 14 October-1 December 1969

London, Hayward Gallery, Vincent van Gogh. Paintings and Drawings of the Vincent van Gogh Foundation Amsterdam, 23 October 1968-12 January 1969, no. 133

Wolfsburg, Stadthalle Wolfsburg, Vincent van Gogh. Gemälde, Aquarelle, Zeichnungen, 18 February-2 April 1967, no. 56

Gothenburg, Göteborgs Konstmuseum, Vincent van Gogh. Målningar, akvareller, teckningar, 30 December 1965-20 February 1966

Stockholm, Moderna Museet, Vincent van Gogh. Målningar, akvareller, teckningar, 23 October-19 December 1965, no. 36

Ghent, Museum voor Schone Kunsten (Gent), Vincent van Gogh. Schilderijen, aquarellen, tekeningen, 19 February-28 March 1965, no. 26

Charleroi, Palais des Beaux-Arts (Charleroi), Vincent van Gogh. Schilderijen, aquarellen, tekeningen, 9 January-9 February 1965, no. 26

New York, Solomon R. Guggenheim Museum, Vincent van Gogh. Paintings, Watercolors and Drawings, 2 April-28 June 1964, no. 38

Washington, Washington Gallery of Modern Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 2 February-19 March 1964, no. 38

Humlebaek, Louisiana Museum of Modern Art, Vincent van Gogh. Malerier og tegninger, 24 October-15 December 1963, no. 38

Kansas City, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Vincent van Gogh. Paintings, Watercolors and Drawings, 7 February-26 March 1963

Detroit, Detroit Institute of Arts, Vincent van Gogh. Paintings, Watercolors and Drawings, 11 December 1962-29 January 1963

Pittsburgh (Pennsylvania), Carnegie Institute, Vincent van Gogh. Paintings, Watercolors and Drawings, 18 October-4 November 1962

Boston, Museum of Fine Arts Boston, Vincent van Gogh. Paintings, Watercolors and Drawings, 22 March-29 April 1962, no. 52

Buffalo (New York), Albright Art Gallery, Vincent van Gogh. Paintings, Watercolors and Drawings, 30 January-11 March 1962, no. 52

Cleveland, Cleveland Museum of Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 5 December 1961-14 January 1962, no. 52

Baltimore, Baltimore Museum of Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 18 October-26 November 1961, no. 52

Toronto, The Art Gallery of Toronto, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 10 February-12 March 1961, no. 54

Winnipeg, Winnipeg Art Gallery, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 29 December 1960-31 January 1961, no. 54

Ottawa, National Gallery of Canada, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 17 November-18 December 1960, no. 54

Montréal, Montreal Museum of Fine Arts, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 6 October-6 November 1960, no. 54

Utrecht, Centraal Museum, Vincent van Gogh schilderijen en tekeningen, verzameling Ir. V.W. van Gogh, 18 December 1959-1 February 1960, no. 41

Aix-en-Provence, Pavillon de Vendôme, Vincent van Gogh en Provence, 3 October-30 November 1959, no. 24

Seattle, Seattle Art Museum, Vincent van Gogh. Paintings and Drawings, 7 March-19 April 1959, no. 55

Portland (Oregon), Portland Art Museum (Oregon), Vincent van Gogh. Paintings and Drawings, 28 January-1 March 1959, no. 55

Los Angeles, Los Angeles County Museum of Art, Vincent van Gogh. Paintings and Drawings, 10 December 1958-18 January 1959, no. 55

San Francisco, M.H. de Young Memorial Museum, Vincent van Gogh. Paintings and Drawings, 6 October-30 November 1958, no. 55

Deventer, De Muntentoren, Schilderijen van Vincent van Gogh, 31 January-20 February 1958

Schiedam, Stedelijk Museum Schiedam, Vincent van Gogh, 21 December 1957-27 January 1958

Leiden, Museum De Lakenhal, Vincent van Gogh, 9 November-16 December 1957

Marseille, Musée Cantini, Vincent van Gogh, 12 March-28 April 1957, no. 54

Breda, Cultureel Centrum De Beyerd, Vincent van Gogh, 2-24 February 1957

Rotterdam, Volksuniversiteit (Rotterdam), Vincent van Gogh in Arles. Collection Ir. V.W. van Gogh, 21 December 1956-3 January 1957

Breda, Cultureel Centrum, Confrontatie noord/zuid, 30 June-29 July 1956

Newcastle upon Tyne, Laing Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 11 February-24 March 1956, no. 47

Manchester (England), Manchester City Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 17 December 1955-4 February 1956, no. 47

Liverpool, Walker Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 29 October-10 December 1955, no. 47

Antwerp, Zaal Comité voor Artistieke Werking, Vincent van Gogh, 7 May-19 June 1955, no. 265

Bern, Kunstmuseum Bern, Vincent van Gogh, 27 November 1954-30 January 1955, no. 43

Zurich, Kunsthaus Zürich, Vincent van Gogh, 9 October-21 November 1954, no. 45

Toledo (Ohio), Toledo Museum of Art, Vincent van Gogh 1853-1890, 7 March-30 April 1954, no. 102

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh 1853-1890, 2 January-28 February 1954, no. 102

Saint Louis, City Art Museum of Saint Louis, Vincent van Gogh 1853-1890, 17 October-13 December 1953, no. 102

Amsterdam, Stedelijk Museum Amsterdam, Eeuwfeest Vincent van Gogh, 23 July-20 September 1953, no. 107

Otterlo, Kröller-Müller Museum, Eeuwfeest Vincent van Gogh, 24 May-19 July 1953, no. 107

The Hague, Gemeentemuseum Den Haag, Vincent van Gogh, 30 March-17 May 1953, no. 130

Eindhoven, Van Abbemuseum, Vincent van Gogh, 22 March-4 May 1952

Enschede, Rijksmuseum Twenthe, Vincent van Gogh, 20 February-16 March 1952

Arles, Musée Réattu, Vincent van Gogh en Provence, 5-27 May 1951, no. 41

Grenoble, Musée de Grenoble, Vincent van Gogh, 30 March-2 May 1951

Lyon, Musée de Lyon, Vincent van Gogh, 5 February-27 March 1951, no. 41

Hilversum, Raadhuis Hilversum, Tentoonstelling Vincent van Gogh, 7 October-5 November 1950

Chicago, Art Institute of Chicago, Vincent van Gogh Paintings and Drawings. A Special Loan Exhibition, 1 February-16 April 1950, no. 78

New York, Metropolitan Museum of Art, Vincent van Gogh Paintings and Drawings. A Special Loan Exhibition, 21 October 1949-15 January 1950

The Hague, Gemeentemuseum Den Haag, Vincent van Gogh. Collectie ir. V.W. van Gogh, 12 October 1948-10 January 1949

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh en zijn Nederlandse tijdgenoten, 25 June-30 September 1948

Oslo, Kunstnernes Hus, Vincent van Gogh, 24 April-15 May 1948, no. 33

Bergen (Norway), Kunstforening, Vincent van Gogh, 23 March-18 April 1948, no. 33

Glasgow, City Art Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 21 February-14 March 1948, no. 47

Birmingham (England), City Art Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 24 January-14 February 1948, no. 47

London, Tate Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 10 December 1947-14 January 1948, no. 47

Groningen, Museum van Oudheden, Vincent van Gogh, 18 October-16 November 1947

Haarlem, Frans Hals Museum, In de bloemhof der schilderkunst. Tentoonstelling van bloemstillevens uit vier eeuwen, 1 August-16 September 1947, no. 11

Geneva, Musée Rath, 172 oeuvres de Vincent van Gogh (1852-1890), 22 March-20 April 1947, no. 113

Paris, Musée de l'Orangerie, Vincent van Gogh, 24 January-15 March 1947, no. 113

Mons, Museum voor Schoone Kunsten, Vincent van Gogh, 27 December 1946-January 1947, no. 110

Brussels, Paleis voor Schoone Kunsten, Vincent van Gogh, 9 November-19 December 1946, no. 110

Liege, Museum voor Schoone Kunsten, Vincent van Gogh, 12 October-3 November 1946, no. 110

Copenhagen, Charlottenborg, Vincent van Gogh. Udstilling af malerier og tegninger, 22 June-14 July 1946

Malmö, Malmö Museum, Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 29 May-16 June 1946, no. 65

Gothenburg, Göteborgs Konstmuseum, Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 3-26 May 1946, no. 65

Stockholm, Nationalmuseum (Stockholm), Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 8 March-28 April 1946, no. 65

Heerlen, Raadhuis Heerlen, Vincent van Gogh, 8-24 February 1946

Maastricht, Bonnefantenmuseum, Vincent van Gogh, 12-28 January 1946

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh, 14 September-1 December 1945, no. zonder nr.

Paris, Les nouveaux musées, Quai de Tokio, La vie et l'oeuvre de Van Gogh, June-October 1937, no. 38

San Francisco, California Palace of the Legion of Honor, Vincent van Gogh, 28 April-24 May 1936, no. 32

Cleveland, Cleveland Museum of Art, Vincent van Gogh, 25 March-19 April 1936, no. 32

Boston, Museum of Fine Arts Boston, Vincent van Gogh, 19 February-15 March 1936, no. 32

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh, 11 January-10 February 1936, no. 32

New York, Museum of Modern Art (New York), Vincent van Gogh, 5 November 1935-5 January 1936, no. 32

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh en zijn tijdgenooten, 6 September-2 November 1930, no. 56

Utrecht, Centraal Museum, Tentoonstelling van bloemstillevens van Hollandsche schilders, August-September 1925

The Hague, Pulchri Studio, Tentoonstelling Vincent van Gogh, 21 March-26 April 1925, no. 28

Paris, Galerie Marcel Bernheim, Exposition rétrospective d'oeuvres de Vincent van Gogh (1853-1890), 5-24 January 1925, no. 26

Stuttgart, Württembergischer Kunstverein, Ausstellung Vincent van Gogh 1853-1890, 12 October-30 November 1924, no. 16

Zurich, Kunsthaus Zürich, Vincent van Gogh, 3 July-10 August 1924, no. 35

Basel, Kunsthalle Basel, Vincent van Gogh, 27 March-4 May 1924, no. 40

Amsterdam, Genootschap van kunstenaren Moderne Kunstkring, Vincent van Gogh. Werken van genooten, 27 September-30 November 1915, no. 10 of 11

Cologne, Städtische Ausstellungshalle am Aachener Tor, Internationale Kunstausstellung des Sonderbundes westdeutscher Kunstfreunde und Künstler zu Cöln 1912, 25 May-30 September 1912, no. 28

Amsterdam, Stedelijk Museum Amsterdam, Tentoonstelling Vincent van Gogh, 15 July-1 September 1905, no. 104

Paris, Woonhuis Julien Leclercq, 6 rue Vercingétorix, Zonder titel [Presentatie in appartement Julien Leclercq], June 1906

Copenhagen, Den Frie Udstilling, Den Frie Udstilling, 26 March-May 1893, no. 182

Luijten, Hans, Alles voor Vincent : het leven van Jo van Gogh-Bonger, 2019, p. 216, 270, 284, 314, 415, 429, 431, 439-440, 455-458, 461, 470, 521, 531, 544, 558, 560, 563, 571

Feilchenfeldt, Walter, Jr., By appointment only : Cézanne, Van Gogh and some secrets of art dealing, 2006, p. 51

Monneret, J., Catalogue raisonné du Salon des Indépendants, 1884-2000 : les Indépendants dans l'histoire de l'art, [2000], p. 63

Hulsker, Jan, The complete works of Vincent van Gogh, 1978, vol. 2, pl. 193

Dorn, Roland, Décoration : Vincent van Goghs Werkreihe für das Gelbe Haus in Arles, 1985, p. 652-653

Segal, S., Flowers and nature : netherlandish flower painting of four centuries, Amsterdam, 1990, p. 258

Sgarbi, V., Gli immortali, 1999, p. 191

Koldehoff, Stefan, Das Glück, das aus der Tube kam : Vincent van Gogh in Amsterdam, [unpaged]

Bourgeois, Georges, Spurling, Hilary, Henri Matisse : homme du Nord, sur les pas du maître dans sa région natale, 1999, p. 82

Hartog Jager, Hans den, Hockney - Van Gogh : the joy of nature, 2019, p. 44

Koldehoff, Stefan, Ich und Van Gogh : Bilder, Sammler und ihre abenteuerlichen Geschichten, 2015, p. 48-53

Impressionist & modern art, 2019, p. 176

Fell, C., Fell, D., Impressionist bouquets : 24 exquisite arrangements inspired by the impressionist masters, 1998, p. 58-59

Guzzoni, Mariella, In viaggio con Vincent, 2010

Baard, H.P., Kunst in schuilkelders : de odyssee der nationale kunstschatten gedurende de oorlogsjaren 1939-1945, 1946, p. 17

Darley, Esther, Suijver, Renske, Masterpieces in the Van Gogh Museum, 2019, p. 111

Darley, Esther, Suijver, Renske, Meesterwerken in het Van Gogh Museum, 2019, p. 111

Reynaerts, Jenny, Mirror of reality : 19th-century painting in the Netherlands, 2019, p. 304, 307

Dijk, Maite van, Bruteig, Magne, Jansen, Leo, Heller, Reinhold, Lloyd, Jill, Schneede, Uwe M., Munch : Van Gogh, 2015, p. 152-154, 158

Hulsker, Jan, The new complete Van Gogh : paintings, drawings, sketches, 1996, p. 385

Welsh-Ovcharov, Bogomila, The ownership of Vincent van Gogh's "Sunflowers", p. 184-192

Lemonedes, Heather, Thomson, Belinda, Juszczak, Agnieszka, Stolwijk, Chris, Stanton, M., Paul Gauguin : de doorbraak naar moderniteit, 2009, p. 114-116, 229

Lemonedes, Heather, Thomson, Belinda, Juszczak, Agnieszka, Stolwijk, Chris, Stanton, M., Paul Gauguin : the breakthrough into modernity, 2009, p. 115-116, 229, 231, 241

Liu, Hailong, Dong, Weiling, Wang, Hao, Lu, Li, Ruan, Qifeng, Tan, You Sin, Simpson, Robert E., Yang, Joel K. W., Rewritable color nanoprints in antimony trisulfide films, [unpaged]

Uitert, Evert van, Hoyle, Michael, Crimpen, Han van, The Rijksmuseum Vincent van Gogh, 1987, p. 244-245, 343

Ryback, Timithy W., The so-called Van Goghs, p. 190

Reynaerts, Jenny, Spiegel van de werkelijkheid : 19de-eeuwse schilderkunst in Nederland, 2019, p. 304, 307

Coyle, Laura, The Still-life paintings of Vincent van Gogh and their context, 2007, p. 454-455, 567

Bailey, Martin, The sunflowers are mine : the story of Van Gogh's masterpiece, 2013, p. 90-95

Gether, Christian, Rugaard, Dorthe Juul, Helle, Merete Pryds, Veen, Wouter van der, Hartnack, Line, Van Gogh, 2018, p. 34-35

Bumpus, J., Van Gogh's flowers, 1989, p. 54-55

Rathbone, Eliza E., Robinson, W.H., Steele, E., Albro, Sylvia, Travers Newton, H., Olmsted, Galina K., Van Gogh's repetitions, 2013, p. 80-81

Vellekoop, Marije, Hendriks, Ella, Jansen, Leo, Meedendorp, Teio, Bakker, Nienke, Dijk, Maite van, Van Gogh's studio practice, 2013, p. 89, 184-185, 194, 238, 240, 245, 297-298

Van Gogh's sunflowers : the property of the late Mrs. Helen Chester Beatty, 1987, p. 18

Hendriks, Ella, Vellekoop, Marije, Van Gogh's Sunflowers illuminated : art meets science, 2019, p. 35, 38, 84-123, 124-157, 158-173, 174-205

Dorn, Roland, Van Gogh's sunflowers series : the fifth toile de 30, p. 42-61

Westheider, Ortrud, Philipp, Michael, Heugten, Sjraar van, Hortolani, Valerie, Koldehoff, Stefan, Rathbone, Eliza E., Tostmann, Oliver, Vellekoop, Marije, Zimmermann, Michael F., Van Gogh : still lifes, 2019, p. 22, 66, 86, 90, 100, 117, 156, 182, 198, 219

Mullins, Edwin, Van Gogh : the asylum year, 2015, p. 22, 65, 121

Vellekoop, Marije, Bakker, Nienke, Dijk, Maite van, Hendriks, Ella, Van Gogh aan het werk, 2013, p. 191-192

Bakker, Nienke, Van Gogh aan het werk : hoogtepunten, 2013, p. 24-29

Silverman, Debora, Van Gogh and Gauguin : the search for sacred art, 2000, p. 368

Bakker, Nienke, Hendriks, Ella, Van Gogh and the Sunflowers : a masterpiece examined, 2019, p. 37, 39, 43, 77

Vellekoop, Marije, Bakker, Nienke, Dijk, Maite van, Geldof, Muriel, Hendriks, Ella, Reissland, Birgit, Van Gogh at work, 2019, p. 191-192

Voskuil, Piet, Van Gogh en de hoge gele noot, p. 202-203

Bakker, Nienke, Hendriks, Ella, Van Gogh en de Zonnebloemen : een meesterwerk onderzocht, 2019, p. 37, 39, 43, 77

Veen, Wouter van der, Knapp, P., Van Gogh in Auvers : his last days, 2010, p. 33-34, 293

Heugten, Sjraar van, Vellekoop, Marije, Jansen, Leo, Moens, Bart G., Van Gogh in de Borinage : de geboorte van een kunstenaar, 2015, p. 195, 198-199

Leeuw, Ronald de, Van Gogh Museum : schilderijen en pastels, 1993, p. 191

Thomson, Belinda, Van Gogh paintings : the masterpieces, 2018, p. 123, 128, 189

Van Gogh publikaties (18): Vincent van Gogh's zonnebloemen, p. 310-312

Thomson, Belinda, Van Gogh schilder : de meesterwerken, 2016, p. 123, 125, 189

Roskill, Mark W., Van Gogh, Gauguin and French painting of the 1880s : a catalogue raisonné of key works, 1970, p. 46

Vial, M.P., Garibaldi, M., Fowle, F., Van Gogh, Monticelli, 2008, p. 27, 31

Jansen, Leo, Suijver, Renske, Blokland, Ann, Vincent, 2012, p. 71-73

Gogh, Vincent Willem van, Vincent in Arles

Feilchenfeldt, Walter, Jr., Vincent van Gogh : Die Gemälde 1886-1890 : Händler, Sammler, Ausstellungen : Die Frühen Provenienzen, 2009, p. 128

Feilchenfeldt, Walter, Jr., Vincent van Gogh : die Gemälde 1886-1890 : Händler, Sammler, Ausstellungen : die Frühen Provenienzen, 2009, p. 128

Feilchenfeldt, Walter, Jr., Vincent van Gogh : the years in France : complete paintings 1886-1890 : dealers, collectors, exhibitions, provenance, 2013, p. 130

Veen, Wouter van der, Knapp, P., Vincent van Gogh à Auvers, 2009, p. 34, 293

Dorn, Roland, Költzsch, G.W., Leeman, Fred, Leeuw, Ronald de, Vincent van Gogh and early modern art = Vincent van Gogh and the modern movement : 1890-1914, 1990, p. 115-120

Welsh-Ovcharov, Bogomila, Vincent van Gogh and the birth of Cloisonism, 1981, p. 147

Blotkamp, Carel, Vincent van Gogh between earth and heaven : the landscapes, 2009, p. 108, 110, 116

Dorn, Roland, Feilchenfeldt, Walter, Jr., Leeman, Fred, Vincent van Gogh en de moderne kunst : 1890-1914, 1990, p. 89-93

Blotkamp, Carel, Vincent van Gogh entre terre et ciel : les paysages, 2009, p. 108, 110, 116

Dorn, Roland, Leeman, Fred, Vincent van Gogh und die Moderne : 1890-1914, 1990, p. 115-120

Blotkamp, Carel, Vincent van Gogh zwischen Erde und Himmel : die Landschaften, 2009, p. 108, 110, 116

Vincent Willem van Gogh (1853-1890) ; la Berceuse (Madame Roulin), 1888-1889, p. 188

Tilborgh, Louis van, Meedendorp, Teio, Hendriks, Ella, Johnson, Don H., Johnson jr., C. Richard, Erdmann, R.G., Weave matching and dating of Van Gogh's painting : an interdisciplinary approach, p. 112-122

Liao, Shuting, Koehl, Patrice, Schultens, Jennifer, Hsieh, Fushing, What RGB geometries hidden in Van Gogh's sunﬂower paintings say?, 23 p.

Faille, Jacob Baart de la, Gelder, Jan Gerrit van, Hammacher, A.M., The works of Vincent van Gogh : his paintings and drawings, 1970, p. 208, 629

The world of Van Gogh, 1989, p. 22-23

Kawase, Yusuke, Avery-Quash, Susanna, Campbell, Caroline, Cornelis, Bart, Masterpieces from the National Gallery of London, 2020, pp. 218-221, 309-310

Tas, Sara, Fattal, Simone, Etel Adnan / Vincent Van Gogh : colour as language = Etel Adnan / Vincent Van Gogh : kleur als taal, 2022, p.p. 92-93, 99-100

Naifeh, Steven, Van Gogh and the artists he loved, 2021, p. 211, 374

# data[].attributes.attachment_link.description
Sunflowers by Vincent van Gogh. Zoom in, read about this famous painting, view Vincent for scale

# data[].attributes.body
366 works by Kandinsky

# data[].attributes.attachment_link.title
Wassily Kandinsky: A collection of 366 works (HD)

# data[].attributes.attachment_link.title
"Lines & Patterns" | patternz | Pinterest | Patterns, Doodles and Art lessons

# data[].attributes.attachment_link.description
This Pin was discovered by Haly Chapman. Discover (and save!) your own Pins on Pinterest.

# data[].attributes.attachment_link.title
Pic Candle | 30 Doodle Patterns. #doodles #doodling ... | Doodles | Pinterest | Doodle patterns, Doodles and 30th

# data[].attributes.attachment_link.description
Pic Candle | 30 Doodle Patterns. #doodles #doodling More

# data[].attributes.attachment_link.readable_text
Wassily Wassilyevich Kandinsky ( ; Russian: Василий Васильевич Кандинский , tr. Vasiliy Vasilyevich Kandinskiy, IPA: [vɐˈsʲilʲɪjvɐˈsʲilʲjɪvʲɪtɕkɐnʲˈdʲinskʲɪj]; 16 December [O.S. 4 December] 1866 - 13 December 1944) was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odesa, where he graduated from Odesa Art School. He enrolled at the University of Moscow, studying law and economics. Successful in his profession, he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Estonia). Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.

In 1896 Kandinsky settled in Munich, studying first at Anton Ažbe's private school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky" and helped establish the Museum of the Culture of Painting. However, by then "his spiritual outlook... was foreign to the argumentative materialism of Soviet society", and opportunities beckoned in Germany, to which he returned in 1920. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944, three days before his 78th birthday.

# data[].attributes.attachment_link.description
Artist page for Wassily Kandinsky (1866-1944)

# data[].attributes.attachment_link.readable_text
Wassily Wassilyevich Kandinsky ( ; Russian: Василий Васильевич Кандинский , tr. Vasiliy Vasilyevich Kandinskiy, IPA: [vɐˈsʲilʲɪjvɐˈsʲilʲjɪvʲɪtɕkɐnʲˈdʲinskʲɪj]; 16 December [O.S. 4 December] 1866 - 13 December 1944) was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odesa, where he graduated from Odesa Art School. He enrolled at the University of Moscow, studying law and economics. Successful in his profession, he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Estonia). Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.

In 1896 Kandinsky settled in Munich, studying first at Anton Ažbe's private school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky" and helped establish the Museum of the Culture of Painting. However, by then "his spiritual outlook... was foreign to the argumentative materialism of Soviet society", and opportunities beckoned in Germany, to which he returned in 1920. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944, three days before his 78th birthday.

# data[].attributes.attachment_link.description
Artist page for Wassily Kandinsky (1866-1944)

# data[].attributes.attachment_link.readable_text
Level: K-2 Art Education Lesson Plan

Art Elements: Color

Art Skills: Painting, Color Mixing

Art History: Kandinsky
* Get more free lessons like this, on our Lessons Page
This highly-customizable lesson will keep your students engaged from the moment they walk through the door. It's a wonderful way to review the primary and secondary colors with your younger students. To adapt it for older grades, you could push the color theory further, asking them to mix tertiary or neutral colors or to use a specific color scheme. Of course, letting students of any age invent their own colors is another fun way to go. When finished, these look fantastic displayed in one, enormous grid. If you're looking for a less messy take on Kandinsky, check out Jessica's cut paper version here!

This great Art Ed lesson plan is 100% FREE to download! Use it in your classroom and share with your colleagues. For more free lessons like this one, visit our Lessons Page and download them all!

# data[].attributes.attachment_link.title
Kandinsky Color Study: Free Lesson Plan Download - The Art of Ed

# data[].attributes.attachment_link.description
Level: K-2 Art Education Lesson Plan Art Elements: Color Art Skills: Painting, Color Mixing Art History: Kandinsky * Get more free lessons like this, on our Lessons Page This highly-customizable lesson will keep your students engaged from the moment they walk through the door.

# data[].attributes.attachment_link.title
Kandinsky Circles: Free Lesson Plan Download

# data[].attributes.attachment_link.description
Level: K-2 Art Education Lesson Plan Art Elements: Shape Art Skills: Cutting, Gluing Art History: Kandinsky * Get more free lessons like this, on our Lessons Pa

# data[].attributes.attachment_link.readable_text
This Kandinsky circles for kids art project is a practice in random tearing of shapes, and then drawing of circles that need not follow any lines.

Sometimes just making irregular shapes with color can produce beautiful results. These circles are created in the style of Kandinsky' s "Farstudie Quadrate".

Drawing paper, 9″ x 12″

Construction paper, cut to 4.5″ x 4″ squares

Scrap construction paper

Glue sticks

Oil pastels

1. Students start with a horizontal 9″ x 12″ sheet of drawing paper. They glue down six colored rectangles in two rows of three to make a grid.

2. Extra rectangles are used to tear into concentric circles. As the pieces are torn, about three circles per box, they are glued down with a glue stick. Continue until all the rectangles are filled.

3. When the glue is dried, students use oil pastels in contrasting colors to draw 2-3 ovals in each rectangle.

# data[].attributes.attachment_link.title
Torn Paper Kandinsky Art Circles · Art Projects for Kids

# data[].attributes.attachment_link.description
This Kandinsky circles for kids art project is a practice in random tearing of shapes, and then drawing of circles that need not follow any lines. Sometimes just making irregular shapes with color can produce beautiful results. These circles are created in the style of Kandinsky' s "Farstudie Quadrate".

# data[].attributes.body
Doodle collage

# data[].attributes.attachment_link.readable_text
Here's another line art project, this time with Van Gogh's amazing self-portrait.

And if you get a break in your busy schedule (hello summer!) you might realize that some of those products could really be improved, with just a few changes.

This photoshopped face of Van Gogh was originally posted quite awhile ago, but only with the one main page to draw on. When I taught this project, I realized students needed more references to "fill in the blanks". They needed to see basically how the suit might look (as a starting point), some finished examples for inspiration, and the original painting for a little art history.

Shown here is the content of my new PDF file. If you subscribe to my email list you can immediately download this file, and be sure to receive future links right in your inbox. Please feel free to shoot me any feedback, and stay tuned for more DELUXE PDF giveaways. Summer has just begun, and I am on a new mission!

MATERIALS
* Deluxe Line Art Van Gogh PDF template
* Color Printer
* Drawing paper
* Sharpie marker, fine point and ultra fine point

DIRECTIONS
PREP: Print face with blank background for each student.
1. Students use a pencil to draw a new body and background for Van Gogh's painting.
2. The main edges are traced with a fine point Sharpie marker.
3. Lots of detailed lines are added with an ultra fine point marker.

# data[].attributes.attachment_link.title
Van Gogh Line Drawings · Art Projects for Kids

# data[].attributes.attachment_link.description
Here's another line art project, this time with Van Gogh's amazing self-portrait. And if you get a break in your busy schedule (hello summer!) you might realize that some of those products could really be improved, with just a few changes.

# data[].attributes.attachment_link.title
10 Amazing Facts about Wassily Kandinsky - Art History School

# data[].attributes.body
Draw concentric circles

# data[].attributes.body
We are listening to a painting

# data[].attributes.attachment_link.title
Wassily Kandinsky cover by Mozart Piano concerto No.23 A major 1st. movement

# data[].attributes.body
Video

# data[].attributes.attachment_link.readable_text
1913

Watercolor, gouache and crayon on paper

9.4 × 12.4" (23.8 × 31.4 cm)

Munich, The St?dtische Galerie im Lenbachhaus

Squares with Concentric Circles (Farbstudie - Quadrate und konzentrische Ringe), perhaps, Kandinsky's most recognizable work, is not actually a full-fledged picture. This drawing is a small study on how different colour combinations are perceived that the painter used in his creative process as a support material.

For Kandinsky, colour meant more than just a visual component of a picture. Colour is its soul. In his books, he described his own perspective on how colours interacted with each other and with the spectator in detail and very poetically. Moreover, Kandinsky was a synaesthete, i.e. he could 'hear colours' and 'see sounds.'

So, this is probably righteous that after a century, it is not one of his compositions - which he himself considered as his main achievements - but this small drawing that has become one of Kandinsky's most popular works.

PS: Interestingly, by arranging circles in such manner, the painter unconsciously created a piece of art in the Serial Imagery technique (e.g. Andy Warhol's famous Marilyn Diptych).

More from 1913

59 comments

nolan : I like how all the circles are different, and i think they all stand for something different. i also like how he used his own ideas and put the in to a panting.

Nadia: first of all, to everyone who is saying things like "This is not art" or "A child did this" you are all fools. Art doesn't have to be detailed and mouth dropping. Art comes from the heart, not from other peoples opinions. like the original painter Kandinsky says "Everything starts with a dot." Art is amazing, and I know if it WAS a kid who did this, it would be a VERY different state of opinion.So, all in all, I love it. And if the creator sees this, don't give up on showing your side of life.

im mister carrot: i love his art its amazing

tessie: Like it, hate it, doesn't matter, someone just purchased this for $25 million.

Anne: For all those who do not understand the purpose of a "study" please do not undertake to judge the quick watercolor sketches/studies JMW Turner painted to catch a landscape.

Bob from kindle: Amazing art

Eamo lad legend : Its a color study not an intended finished piece, I don't like the appearance but you cannot deny his studies involving the literal fact he can HEAR colors,, of course hes gonna play with that.

joe: I have read the comments about this artist and I am sad that anyone would say this is childs art. Yes, it has a child like play yet the artist shares his reason and communicates through color. If you are wise and knowledgable about art you can find his reasoning through each painting. Ignorance is when someone speculates without investigation and not to understand this artist lets me think that the person doesn't know the color wheel. If you know the color wheel and you look at these studies you can see clearly that he has an agenda. He wanted to know how colors worked together and how they effected the eyes or a persons mood. He was a master of his art and brave to focus on just color and its effects. .

Julian: Why are people getting mad and insulting this man's art? His art is very unique and should not be treated poorly.

JENNY: this is a great website to study colours and learn about them too.

Carmelo: The important thing of this tipe a paintings is that they are made from within....... nothing else really matters....

Lilli: I like it. A lot. Haters just arent getting lost in the color theory and abstract magic of it all! I say to you

James: This is rubbish, it doesn't make sense. I don't understand the liking in this.

erin: its funny how people are so mad at a color study

A schoolboy who has no public name: I am doing an artist study on Kandinsky and, to all the commenters who say "a child could do this" or something, I am a child and I appreciate this colour study. I am doing something that you don't seem to have done: realise that a) Kandinsky made this originally for private use so it is to some extent made to be messy and b) it is a colour study not a full piece of art. Maybe you should rethink your mindset.

chanya: All of the pictures make me feel joyfull.

Bralyn Wiswell: Love the different colors in the picture

Ted tong: I'm doing this for homeschooling coz of lockdown and it is really hard can someone tell me what tools and techniques he used.

Montarop Yamabhai: Hey I am the one who drew this picture! I copy from the original just for fun, then I think I posted in on my fb and many other places. Interesting that it is ended up here. Can you really make money out of it? Maybe I can have a new career out of this kind of art :).

sok linda vatanak: the circle make me feel happy

Cath: Anyone saying this looks like a child did it needs to sit down and recreate just one of Kandinsky's squares with paint. I've been doing that with acrylic, and each square takes about an hour to finish. Until you try it, you have no idea how much goes into blending colors, shading and composition. Making things look simple/easy is one of the hallmarks of a real artist.

artist @ skool: i dont understand why you have to be mean. yea a child could have drawn a bunch of circles but its not just a bunch of circles and its still art and i think that its wonderful. goodbye xx

Frankie: His work is just amazing!

X: I absolutely adore this art. I am currently doing a project in art class to copy the style of him. I am not recreating one of his works. I'm going to be making a picture from his style.

Caryn: What's wrong with art done by children? Using that as an insult is ridiculous.

someone gone unmentioned: this is beautiful but it hurts my eyes ;.;

Karen: Saying a child could have done this is missing the point. Kandinsky did it for himself as a visual reference.

Imagine that when planning out her first book, J K Rowling wrote a list of Harry Potter's features eg black hair, glasses, and a list of adjectives. That list would probably sell for a fair bit of money, and be prized by its owner. To say "A child could have written that list" would be true but the list is special not because it's an amazing list in itself, but because it shows the inner mind workings of a master, who created something incredible.

If you hate this painting and think it is talentless then fair enough... Just don't ever go on a trip to a modern art gallery as you will see things far simpler than this.

Anyone COULD have done this -- but they didn't.

coolkid001: woah! thats some art right there! so many circles!
truly a revelation!
its like ive never seen a circle like this before!
woah!

bsllileieiih: He must have been a genius

Amy: I have read the comments about this artist and I am sad that anyone would say this is childs art. Yes, it has a child like play yet the artist shares his reason and communicates through color. If you are wise and knowledgable about art you can find his reasoning through each painting. Ignorance is when someone speculates without investigation and not to understand this artist lets me think that the person doesn't know the color wheel. If you know the color wheel and you look at these studies you can see clearly that he has an agenda. He wanted to know how colors worked together and how they effected the eyes or a persons mood. He was a master of his art and brave to focus on just color and its effects. .

Charlie: This is great art never seen anything like this!

potato: i dont like it to be honest. it is really simple and anyone can draw different coloured circles

Leone Brennan: I am completely drawn to this painting. Maybe because it is so childlike, but I just love the colours.

AR: Many people are commenting on the fact that a child could have done this. This is, to anyone with eyes, true however it is not for the aesthetics that this colour study is so famous, but for its significance. This study was an essential element of Kardinsky's creative process: and it gives us as those who still view his work today an interesting and unique insight into the head of such an incredible man.That is why it's famous.

SD: Terrible Painting, nothing that a kid can do an art project on. Study DaVinci instead.

Robert Paige: TOTAL WORK OF ART...6

Natalie: He is my favorite. His work is absolutely mind boggling to me.

Samanthalouise Nunn: great picture

D. E.: How about those of us with a great knowledge of art who realize that a child COULD have done this? It's a colour study. It is not a complete work. It is not a great composition, and was likely done on the fly. A sketch or doodle playing with colour. It is a simple study, done for himself. You or I or a child or anyone CAN do this exact same thing, and it will be just as valid and meaningful.
You may love the work, and you may instill your own meanings connected to it, but that doesn't make anyone else ignorant, or mean that their opinion is less valid. That's the beauty of art, it connects (or not) to each person on their own level. It is not yours (or mine) to define for others. If it is that to you? Then you're missing the point of art completely. And please don't try to teach children that it should mean whatever you see in it. Teach them how colors go together, sure, but don't ruin them by insisting things must be one way, or that their own work and experiments are any less valid than a color study by a dead guy with a name that you personally like. That would be offensive.
If a work has to be explained to be understood? Then the work itself fails. If you have to insist that a work has a certain meaning because you think it does? Then you fail.

Liza: I do wish people who have no knowledge of art would refrain from making stupid comments like, "a child could have done this." Educate yourselves people and if you don't have anything positive or enlightening to say then just don't.

Kandinsky was an amazing colourist. His compositions are simply inspired. Personally he is one of my favourite artists and I have referenced his work when teaching my primary and secondary school students so that they too can be inspired by a master.

Some body: This is NOT art, in my opinion. If I had to guess the age that someone drew this, I would say 7.

Justin Tanner from Latta: Why this is just circules ive got to do an art project on this

bob from kit: amazing art wish i had some of it

Tyler Jeffers from New Jersey: This looks like a 2 year old made this

Anastasia from Yugoslavia: breathtaking

lola garcia from mexico: what´s mean the colors and the figures to this picture?

Someone from somwhere: I like the piece

MangaQueen02 from Luffyland: What is this art piec by Kandinsky called? Please help.

Chad: Is this oil on canvas?

Morgan Mquire from Southampton: I agree with you adam i would love to create a piece like this

Adam Comber from Southampton: Like the use of harmonious colours within certain squares and contrast in others.

Your comment

# data[].attributes.attachment_link.title
Wassily Kandinsky - Color Study. Squares with Concentric Circles, 1913

# data[].attributes.attachment_link.description
Squares with Concentric Circles (Farbstudie - Quadrate und konzentrische Ringe), perhaps, Kandinsky's most recognizable work, is not actually a full-fledged picture. This drawing is a small study on how different colour combinations are perceived that

# data[].attributes.body
Running painting stations music Allegretto by Bond

# data[].attributes.body
The positive space is the focus of the image, the object itself, but the negative space is just as important. It shares edges with the positive space, defining the outline of the object and creating proportion.

# data[].attributes.body
Lesson plan black white and water colours

# data[].attributes.attachment_link.title
Positive & Negative Space in Art for Kids, Teachers and Parents

# data[].attributes.headline
Kandinsky follow up neg/positive tu paint

# data[].attributes.subject
Kandinsky follow up neg/positive tu paint

# data[].attributes.attachment_link.title
What is positive and negative space? - ART THEORY

# data[].attributes.headline
Key words Realistic Abstract Profile perspective cubism

# data[].attributes.subject
Key words Realistic Abstract Profile perspective cubism

# data[].attributes.attachment_link.readable_text
JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.

Time: 2-3 Class Periods
Difficulty: Moderate to Advanced
Cleanup: Soap & Water

Materials:

Acrylic or Tempera Paints

Steps

Products Used

Chat with us, powered by LiveChat

# data[].attributes.attachment_link.title
Picasso-Inspired Cardboard Portrait - Project #210

# data[].attributes.attachment_link.description
JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser. Time: 2-3 Class Periods Difficulty: Moderate to Advanced Cleanup: Soap & Water Materials: Acrylic or Tempera Paints Chat with us, powered by LiveChat

# data[].attributes.attachment_link.title
Pablo Picasso: A collection of 855 works (HD)

# data[].attributes.body
Part 2

# data[].attributes.attachment_link.title
Pablo Picasso: A collection of 855 works (HD)

# data[].attributes.headline
Teachers background info 10 facts about Picasso

# data[].attributes.subject
Teachers background info 10 facts about Picasso

# data[].attributes.attachment_link.title
10 Amazing Facts about Spanish Artist Pablo Picasso - Art History School

# data[].attributes.attachment_link.description
Our goals can only be reached through a vehicle of a plan, in which we must fervently believe, and upon which we must vigorously act. There is no other route to success."

# data[].attributes.attachment_link.readable_text
Picasso Style Self-Portraits

Curtis, Grade Six *** Mikaela, Grade Six *** L.D., Grade Six *** Jimmy, Grade Six

Vocabulary Words: Picasso, Cubism, Profile, Self-Portrait, Symbolism

Materials: 12x18" white paper, sharpies, markers, oil pastels, colored paper, glue, scissors

I begin this lesson with some Picasso visuals. We talk about how you can see several viewpoints at the same time. Then we begin drawing our self-portraits. Draw a face in profile. Then, draw the remainder of the face from a frontal view. Using symbolism, draw a self-portrait on the profile viewpoint. This symbolism should represent the students interests. Color with markers. Color the frontal view with oil pastels. Color first with a flesh color, then use every color to add shadow by adding small slashes of color. Color the hair and the shirt with whichever medium will work best with their artwork. Cut out and place on colored paper.

Back

# data[].attributes.attachment_link.description
Picasso Style Self-Portraits Curtis, Grade Six *** Mikaela, Grade Six *** L.D., Grade Six *** Jimmy, Grade Six Vocabulary Words: Picasso, Cubism, Profile, Self-Portrait, Symbolism Materials: 12x18" white paper, sharpies, markers, oil pastels, colored paper, glue, scissors I begin this lesson with some Picasso visuals.

# data[].attributes.body
Wrapping decorating inside memory cards ppt laminates, augmented reality presentation id cicle

# data[].attributes.attachment_link.readable_text
Biography >> Art History

Occupation: Artist, Painter

Born: March 30, 1853 in Zundert, Netherlands

Died: July 29, 1890 in Auvers-sur-Oise, France age 37

Famous works: Starry Night, The Bedroom, Irises, Sunflowers

Style/Period: Post-impressionist, Modern Art

Biography:

Where did Vincent van Gogh grow up?

Vincent van Gogh was born in theNetherlands in 1853. His father and grandfather were ministers, but others in his family worked in the art world. Vincent had two brothers and three sisters. He was closest to his younger brother Theo.

Although he enjoyed drawing from the time he was a young boy, Vincent had a number of other jobs before he decided to work as an artist full time. He worked as a teacher in London and then as a minister. He also worked in a book store, an art gallery, and as a missionary. At around the age of 27, van Gogh decided to devote himself completely to art.

Early Years

When Vincent first started drawing he sketched pictures using pencils or charcoal sticks. He used some watercolors as well. He liked to draw pictures of poor hardworking people. Eventually he began to paint using oil paints.

In this early part of his career, van Gogh used a lot of dark colors such as browns and dark greens. His pictures were often somber or sad. His most famous early painting was calledThe Potato Eaters. It was a dark picture of a peasant family eating potatoes for dinner.

The Potato Eaters - Click for larger view

Letters to His Brother

Much of what we know about van Gogh comes from letters he wrote to his brother Theo. Theo worked in an art gallery in Paris and supported Vincent's art career. He sent Vincent money and encouraged him. Theo tried to sell Vincent's paintings, but no one wanted to buy them.

Years in Paris

Theo wrote to Vincent to tell him about a new style of painting in Paris calledImpressionism. In 1886 Vincent moved to Paris to learn from these new painters. His art became influenced by painters such as Claude Monet, Edgar Degas, and Camille Pissarro. He also became good friends with artist Paul Gauguin.

During this time van Gogh began to use brighter colors. His brushwork also became more broken. He painted subjects from the streets and cafes of Paris as well as the countryside. Van Gogh also became interested in painting portraits of people. When he couldn't find models, he would paint himself for practice. He painted over twenty self portraits during this time.

Self Portrait of van Gogh - Click for larger view

Arles, France

In 1888 van Gogh moved south to Arles, France to start up an artist's commune. He rented out a yellow house to live in and invited artist Paul Gauguin to join him. He loved the vibrant colors and the bright sun of Arles.

Van Gogh began painting with intensity and emotion. The colors in his paintings became more vibrant and bright. He would sometimes apply the paint directly onto the canvas from the tubes leaving the paint thick with rough brush strokes. Sometimes it would take weeks for his paintings to dry because the paint was so thick.

Vincent painted hundreds of pictures during this time, sometimes painting masterpieces in a single day. He became fully obsessed with art. Paul Gauguin came to visit for a time, but the two artists had an argument and Gauguin soon left.

Mental Hospital

In 1889 van Gogh committed himself to a mental hospital. He could barely take care of himself. He still continued to paint and painted one of his most famous paintingsStarry Night. Many of his paintings during this time featured cypress trees and lots of swirling colors.

Starry Night by van Gogh - Click for larger view

Van Gogh's mental state continued to deteriorate. On July 29, 1890 he died from a self-inflicted bullet wound to the chest.

Legacy

Although he wasn't famous during his lifetime, today he is considered one of the greatest and most influential artists of his time. Many of his paintings sell for millions of dollars today. There are over 800 surviving oil paintings as well as over a thousand water colors and sketches of his work.

Did he really cut off his ear?

Yes. After an argument with painter Paul Gauguin, van Gogh went home and cut off part of his left ear with a razor blade. He then wrapped up the ear in a cloth and presented it to a woman as a "present".

Interesting Facts about Vincent van Gogh

He would get so obsessed with painting that he often wouldn't eat. He had poor health as a result.

Van Gogh was influenced by Japanese prints and woodcuts which he studied intensely.

Some people think that he may have only sold one work during his lifetime. It was called The Red Vineyard.

His brother Theo died six months after Vincent and was buried next to him.

In some of his self portraits his ear is bandaged from when he cut it. It looks like his right ear in the pictures because he was using a mirror to paint himself.

You can see the painting Starry Night at the New York Museum of Modern Art.

More examples of Vincent Van Gogh's Art:

Cafe Terrace at Night
(Click to see larger version)

Sunflowers
(Click to see larger version)

Bedroom in Arles
(Click to see larger version)

Activities

Listen to a recorded reading of this page:

Your browser does not support the audio element.

Works Cited

Biography >> Art History

# data[].attributes.attachment_link.description
Biography >> Art History Occupation: Artist, Painter Born: March 30, 1853 in Zundert, Netherlands Died: July 29, 1890 in Auvers-sur-Oise, France age 37 Famous works: Starry Night, The Bedroom, Irises, Sunflowers Style/Period: Post-impressionist, Modern Art Biography: Where did Vincent van Gogh grow up? Vincent van Gogh was born in theNetherlands in 1853.

# data[].attributes.attachment_link.title
Pablo Picasso Archives | Arty Crafty Kids

# data[].attributes.attachment_link.description
DIY art & craft projects and printable templates, activities, how-to-draw guides, colouring pages and more in the Arty Crafty Kids Members Area!

# data[].attributes.attachment_link.readable_text
In this famous artist lesson for children we'll meet Pablo Picasso and learn about cubism. We'll look at the way Picasso painted faces and try creating our own Picasso-inspired portraits.

Pablo Picasso faces art lesson for children

In this lesson you will:

:: learn about Pablo Picasso and Cubism

:: look at and talk about some of his paintings, focussing on his cubist faces paintings

:: use paints or marker pens to create your own cubist-style face

Famous artist in focus :: Pablo Picasso

Pablo Picasso is one of the most famous and influential artists of the 20th century.

He was born in Spain on 25th October 1881. He lived most of his life in France, where he died on 8th April 1973 at the age of 91.

Picasso was most famous for his paintings but was also a sculptor, printmaker and ceramicist.

Along with the artist George Braque, Picasso founded the art style called Cubism.

Cubism was a revolutionary new approach to representing things and people in paintings. The subject of the painting was show from different angles and perspectives in the one painting (straight on, from the side), giving it a fragmented or abstract appearance. You can see some cubist paintings here.

You can learn more about Picasso here.

Picasso's faces paintings

Picasso was famous for his paintings of faces. Click through on these links to see examples of this.

As you look at the artworks, answer these questions:

What can you see?

What words would you use to describe the artwork?

Why do you think Picasso has painted the faces in this way?

Weeping Woman, 1937 Bust of a Woman, 1944 Head of a Woman, 1924 Marie-Thérèse, Face and Profile, 1931 Seated Woman (Marie-Therese),1937
Notice how Picasso splits the face into different views, so we see the person looking straight at us, and we see a view of them from the side.

Notice too the colours Picasso used.

ART PROJECT :: PICASSO FACE PROJECT

Let's take inspiration from Pablo Picasso's style of painting faces to create our own.

Materials needed

:: paper or card

:: paint or coloured marker pens/pencils

:: pencil

:: black marker pen

Decide whether you are going to create a self-portrait (a picture of you) or a portrait of someone else.

Do you want to use one of Picasso's paintings as your inspiration, or will you base your cubist art on someone you know?

You might like to look in the mirror and think about the shapes that make up your face.

Begin by drawing an outline of a face on you paper or card, using a pencil.

You can split your face in half, following Picasso's style, to show your person looking straight at you AND in profile (looking to the side).

Then use paint, coloured pencils or marker pens to add colour.

Break up your picture into blocks, in the cubist style.

You might like to use bold colours, perhaps using the same colours you have seen in the Picasso paintings we looked at.

You might like to only paint a face, or you might also draw the person's body.

Add texture to your picture by using a black marker pen to add lines across your blocks of colour, as Picasso did in this painting and in this one.

Share your art with the NurtureStore community!

We would love to see the art you create! Share a photograph on Instagram with the hashtag #ideasfromnurturestore and join our community gallery.

# data[].attributes.attachment_link.title
Pablo Picasso faces art lesson for children - NurtureStore

# data[].attributes.attachment_link.description
In this famous artist lesson for children we'll meet Pablo Picasso and learn about cubism. We'll look at the way Picasso painted faces and try creating our own Picasso-inspired portraits. Pablo Picasso faces art lesson for children In this lesson you will: :: learn about Pablo Picasso and Cubism :: look at and ...

# data[].attributes.body
siskins, greenfinches and redpolls.

Mythology and symbolism

In early Celtic mythology, the birch symbolised renewal and purification. Bundles of birch twigs were used to drive out the spirits of the old year, and gardeners still use the birch besom, or broom, to 'purify' their gardens. It is also used as a symbol of love and fertility. In Scottish Highland folklore, a barren cow herded with a birch stick would become fertile, and a pregnant cow would bear a healthy calf.

How we use birch

Birch wood is tough and heavy, making it suitable for making furniture, handles and toys. 

# data[].attributes.headline
Picasso water olour black outline Portrait 

# data[].attributes.subject
Picasso water olour black outline Portrait 

# data[].attributes.attachment_link.title
E Learning with Trowbridge: How to make a Picasso portrait

# data[].attributes.body
1. Watch the pictures of dandelions and the tutorial
https://youtu.be/8he5L-ZWBSI
2. You need: thin paintbrush, a straw, A3 sheet of paper, a set of watercolours
3. After painting wait until it's dry
4. Add this:
ART IS HOW WE DECORATE SPACE,
MUSIC IS HOW WE DECORATE TIME

# data[].attributes.attachment_link.title
Simple Christmas Card Ideas for Beginners! 🎄

# data[].attributes.attachment_link.title
🎄🎅🦌 5 Minutes ONLY 10 Easiest Christmas Cards WATERCOLORS for Beginners ~ ✂️ Maremi's Small Art

# data[].attributes.attachment_link.readable_text
Archivi

Privacy e cookie: Questo sito utilizza cookie. Continuando a utilizzare questo sito web, si accetta l'utilizzo dei cookie.
Per ulteriori informazioni, anche su controllo dei cookie, leggi qui: Informativa sui cookie

# data[].attributes.attachment_link.description
Archivi Privacy e cookie: Questo sito utilizza cookie. Continuando a utilizzare questo sito web, si accetta l'utilizzo dei cookie. Per ulteriori informazioni, anche su controllo dei cookie, leggi qui: Informativa sui cookie

# data[].attributes.attachment_link.title
How to Marble Paper with shaving cream & craft paint

# data[].attributes.attachment_link.title
Henri Matisse for Kids, Teachers and Parents

# data[].attributes.attachment_link.title
Art with Mati and Dada – Henri Matisse | Kids Animated Short Stories in English

# data[].attributes.body
Matisse listened to a number of the musicians in the playlist and the rest is Matisse-inspired! The music really adds to the atmosphere of the class but you're of course welcome to play your own music or have some quiet time with no music - It's completely up to you :)

# data[].attributes.attachment_link.description
Music to accompany tutor, Frances Stanfield's Matisse: Painting With Scissors class!

# data[].attributes.body
Some Scissors!

*Paper - 10/11 sheets would be ideal but if you don't have enough then you can make your cut outs smaller so you can get a few out of one sheet. You can use colour paper or you can paint/colour in paper prior to the class - Matisse painted his paper with Gouche if you want to really get your Matisse game on!

*A collection of organic matter such as leaves and flowers

*Optional, but handy - pins and a piece of cardboard as big as your paper

*Also Optional - Bluetak OR Masking Tape/Sticky Tape

# data[].attributes.body
http://www.londondrawinggroup.com/
https://us02web.zoom.us/rec/share/T8TxTZnKi1OtrWKxHsYYfLwXcGKH_Y7dF8WrN8NsY0q-1wp2q0s9wFgry3JvKpyQ.qgI0EcAoxlbOSA2u

Access Passcode:

D?8d!4HG

# data[].attributes.attachment_link.readable_text
I LOVE these flowers!!! I also think this may be my new favorite art lesson to teach!

2nd Graders did such a fabulous job creating them- SO proud of their work!!

Step-by-step directions with photos below! As well as a YouTube Tutorial (listed under menu drop down) and you can download a free printable water lily petal tracing template. Read more below!

The art display (almost complete! Waiting on another 2 classes to finish then will add the rest!!)

CLICK HERE TO GO TO MY TEACHERS PAY TEACHERS PAGE TO DOWNLOAD A FREE TRACING TEMPLATE FOR THE 3 PETALS (LARGE, MEDIUM AND SMALL)

This lesson incorporates focusing on 5 of the 7 elements of art! - ( line, shape, color, form, texture) and is inspired by artist Claude Monet and his water Lilies.

This lesson took (4) 40 minute art classes.

ON DAY 1 students learned about Claude Monet and looked at a slideshow of some of his paintings- Especially ( of course ) his water lilies!

Students then painted a sheet of 10×10" heavy weight tagboard with turquoise liquid watercolors, adding salt while wet!! This becomes the water background, and the salt, (once dry), will make it look like light is reflecting off of the water.

The blue paper is set aside to dry.

Then, students painted an entire sheet of 12×18" heavyweight tagboard either fuchsia or orange using liquid watercolors.

Kids had a choice of two colors to keep clean up simple-(did I mention I don't have a sink or access to water within my art room at one school, and teach off a cart at another???)

ON DAY 2 -Create the lily pad

To create the lily pad, students glue various shades of green and yellow and light blue tissue paper (pre-cut into squares) using watered down white school glue (or watered down mod podge) on an 80# 10×10" piece of drawing paper.

I pre-draw the circles for the lily pads with sharpie to save time.

I use watered down glue (just a smidge of water per glue container) to thin it out to make it more easily spreadable. Kids apply it with a regular tempera paint brush.

Students applied a thin layer of watered down glue, then a piece of tissue, then another thin layer of watered down glue to make the tissue smooth and flat. Students repeated this process until the entire circle was filled, overlapping tissue a little as they glued.

Let dry

ON DAY 3 - Attach lily pad to blue water background, then cut out petals.

Students cut out their green lily pad and then cut out a triangle from their lily pad

Then they glued their lily pad onto their blue paper with a glue stick (using lots of glue) and pressed for 5 seconds to make sure it was flat and glued on securely.

Then after setting aside, students cut out their flower petals.

(Prior to class, I traced 6 large, 6 medium, and 6 small petals using tracers I created, on everyone's pink or orange painted sheets, to save art making time).

As kids cut EACH petal out, they wrote their names on the backs of each one with a pencil, then put it in a zip lock baggie, with their name on the baggie in sharpie, and was set aside for the following art class.

Students thought it wasn't necessary to have them write their names on the backs of their petals since the zip lock bags would have their name, but I just wanted to be extra cautious in case petals were misplaced/mixed up with someone else's or fell on the floor.... Which did happen a few times- So I'm glad I had them do that extra step!

These baggies were then set aside in a box for later. Each class had it's own box.

ON DAY 4: Assemble the flower!

Students finish cutting out petals (if needed) then glue down all the large petals first, then medium, then small.

I show students under the document camera, how to stack the fish "tail" of each petal (we talked about how the shape of the petals looked like fish) right on top of each other like when making a sandwich -stacking the next rectangular fish tail over the previous one each time.

I used "Aleene's" quick dry (and other types of Aleene's tacky glue) to attach the petals. It's important to use quick drying glue that is stronger than regular school glue in order to support the weight of the petals and it helps them pop up.

Another bonus-The glue dries clear!

I bought packs of 5 for $5 at A.C.Moore, (also sold at Michael's). Each student had their own glue bottle.
(Since the bottles are small, I re-filled the same small bottles with a larger sized one for the following classes).
Students put a dot of glue per petal's "fish tail" (about the size of a pea). I have students count to 5 for each petal, while pressing.

After applying glue and pressing the "tail" down for 5 seconds, bend the petal back at its base with one hand, while pressing the "fish tail" down securely with your other finger. This makes the petal stand up and pop out rather than laying flat. (See photo below- I think this pic explains it better)

Once all petals are attached, then add the yellow felt fringe to the flowers center!

Students roll the fringe, starting from one end -keeping it tight as they roll it up.

Glue the bottom of the rolled fringe (heavily), with the same tacky glue.

Put some glue on the center of the flower as well.

Attach fringe roll to center and hold for 20-30 seconds. Don't worry if the fringe is squished - you can adjust it once totally dry (20-30 minutes later).

I had students set the finished flowers in the hallway to dry flat for awhile- and hung later at the end of that day!

I could NOT w-a-i-t! To hang these beauties up!!

LOVE, LOVE, LOVE them!!

We haven't watched it YET, but I plan on showing my second graders one of the cutest videos on Claude Monet that I found via Pinterest, next art class. It's narrated by an 8 year old girl, a bit long (10 min.) but so stinkin cute and full of info! I might show just a portion of it

If interested check it out on my Pinterest page under "Art Videos"

Thanks for checking out my blog! I'll be posting again Thursday 12/21....STAY TUNED!

# data[].attributes.attachment_link.description
The art display (almost complete! Waiting on another 2 classes to finish then will add the rest!!) ON DAY 1 students learned about Claude Monet and looked at a slideshow of some of his paintings- Especially ( of course ) his water lilies!

# data[].attributes.attachment_link.readable_text
Archivi

Privacy e cookie: Questo sito utilizza cookie. Continuando a utilizzare questo sito web, si accetta l'utilizzo dei cookie.
Per ulteriori informazioni, anche su controllo dei cookie, leggi qui: Informativa sui cookie

# data[].attributes.attachment_link.description
Archivi Privacy e cookie: Questo sito utilizza cookie. Continuando a utilizzare questo sito web, si accetta l'utilizzo dei cookie. Per ulteriori informazioni, anche su controllo dei cookie, leggi qui: Informativa sui cookie

# data[].attributes.body
and vocab warming in https://wordwall.net/resource/14732909

# data[].attributes.attachment_link.readable_text
published on

Éric Alfred Leslie Satie (signed his name Erik Satie after 1884) (17 May 1866, Honfleur -- 1 July 1925, Paris) was a French composer and pianist. These Three Gnossiennes were composed around 1890 and first published in 1893. A revision prior to publication in 1893 is not unlikely, the 2nd Gnossienne may even have been composed in that year (it has "April 1893" as date on the manuscript). The piano solo versions of the first three Gnossiennes are without time signatures or bar lines, which is known as free time. These Gnossiennes were first published in Le Figaro musical No. 24 of September 1893 (Gnossiennes Nos. 1 and 3, the last one of these then still "No. 2") and in Le Cœur No. 6--7 of September--October 1893 (Gnossienne No. 2 printed as facsimile, then numbered "No. 6"). The first grouped publication, numbered as known henceforth, followed in 1913. By this time Satie had indicated 1890 as composition date for all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. The 1893 facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of Joséphin Péladan's Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours. Also with respect to the tempo these Gnossiennes follow the Gymnopédies line: slow tempos, respectively "Lent" (French for Lento), "avec étonnement" ("with astonishment"), and again "Lent". A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd Gnossienne.

Genre

Classical

License: all-rights-reserved

# data[].attributes.attachment_link.description
Éric Alfred Leslie Satie (signed his name Erik Satie after 1884) (17 May 1866, Honfleur -- 1 July 1925, Paris) was a French composer and pianist. These Three Gnossiennes were composed around 1890 and first published in 1893.

# data[].attributes.attachment_link.description
Atrack of classic sounds to inspire your art

# data[].attributes.attachment_link.readable_text
published on

Éric Alfred Leslie Satie (signed his name Erik Satie after 1884) (17 May 1866, Honfleur -- 1 July 1925, Paris) was a French composer and pianist. These Three Gnossiennes were composed around 1890 and first published in 1893. A revision prior to publication in 1893 is not unlikely, the 2nd Gnossienne may even have been composed in that year (it has "April 1893" as date on the manuscript). The piano solo versions of the first three Gnossiennes are without time signatures or bar lines, which is known as free time. These Gnossiennes were first published in Le Figaro musical No. 24 of September 1893 (Gnossiennes Nos. 1 and 3, the last one of these then still "No. 2") and in Le Cœur No. 6--7 of September--October 1893 (Gnossienne No. 2 printed as facsimile, then numbered "No. 6"). The first grouped publication, numbered as known henceforth, followed in 1913. By this time Satie had indicated 1890 as composition date for all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. The 1893 facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of Joséphin Péladan's Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours. Also with respect to the tempo these Gnossiennes follow the Gymnopédies line: slow tempos, respectively "Lent" (French for Lento), "avec étonnement" ("with astonishment"), and again "Lent". A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd Gnossienne.

Genre

Classical

License: all-rights-reserved

# data[].attributes.attachment_link.description
Éric Alfred Leslie Satie (signed his name Erik Satie after 1884) (17 May 1866, Honfleur -- 1 July 1925, Paris) was a French composer and pianist. These Three Gnossiennes were composed around 1890 and first published in 1893.

# data[].attributes.attachment_link.provider_name
Wordwall - Create better lessons quicker

# data[].attributes.attachment_link.readable_text
legge - law, materiali - supplies, contrariato - disappointed, introdotto - introduced, comprò - bought, debito - debt, triste - sombre, rivali - rivals, intervento - surgery, sedia a rotelle - wheelchair,

# data[].attributes.attachment_link.description
legge - law, materiali - supplies, contrariato - disappointed, introdotto - introduced, comprò - bought, debito - debt, triste - sombre, rivali - rivals, intervento - surgery, sedia a rotelle - wheelchair,

# data[].attributes.body
Music technology and Bauhaus movement

# data[].attributes.attachment_link.description
Log into Facebook to start sharing and connecting with your friends, family, and people you know.

# data[].attributes.body
Collage salad

# data[].attributes.attachment_link.title
Ella F. and Louis Armstrong - Let's Call the Whole Thing Off