Grade 2 - Visual Art (2022)

Visual Art

Foundational Elements and Principles: Visual arts literacy is developed through knowledge and application of foundational elements and principles.

Creating and Presenting: Ideas can be represented through artworks that draw upon foundational visual arts knowledge.

Appreciation: Recognizing beauty, goodness, and truth in visual arts can be developed by understanding the complexity and richness of great artworks, the artists who create them, and the historical and cultural contexts from which they originate

Students examine how line and shape can communicate meaning in artworks.

Students experiment with how messages can be communicated in and through visual arts.

Students investigate culture in relation to artworks from ancient Greece and present day.

Students investigate culture in relation to artworks from ancient Greece and present day.

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Skills & Procedures

Emphasis (principle of design) can lead the eye to a focal point in artworks

A line can be sloping

A line can emerge when there is contrast between other lines, shapes, or colours, as seen in Jacob Lawrence, Parade, c. 1960 Leonardo da Vinci, Mona Lisa, c. 1503

Direction of a line in artworks, including where and how it moves, can indicate a sense of depth or distance

Linear perspective can create an illusion of space, depending on where lines appear

Location of a line in an artwork can enhance or diminish its visual weight depending on where it is in the picture plane.

One-point perspective contains vertical or horizontal lines that recede to a vanishing point on the horizon, as seen in drawings of railroad tracks or roads that appear to vanish in the distance

Lines can create various effects when combined, including three-dimensional forms

Cross-hatching is a technique that can create shading and textured effects when parallel lines are layered at right angles to each other

Physical characteristics of line can convey emotion or character: Blurred lines may convey uncertainty. Jagged lines may convey anger. Bouncy or curvy lines may convey joyfulness.

Artworks that emphasize physical characteristics of line can include A. Y. Jackson, Winter Morning, Charlevoix County, 1933 Emily Carr, SelfPortrait, 1938 Julie Mehretu, Refuge, 2007 Vincent van Gogh, The Starry Night, c. 1889

Direction of a line can convey a message, including the following: A horizontal line may imply serenity or stability. A diagonal line may imply agitation, motion, or instability. A vertical line may imply poise or aspiration.

Lines can be used to represent subject matter as realistically as possible, as seen in Leonardo da Vinci, Portrait of a Man in Red Chalk, 1512 Rembrandt van Rijn, Cottages before a Stormy Sky, c. 1641 Rembrandt van Rijn, Self Portrait, Wide-Eyed, 1630 The Qingming Scroll, c. 1100

A mural is a painting on a wall? examples can include Diego Rivera, The History of Medicine in Mexico, c. 1953 Lance Cardinal, Love of Nations, c. 2019

Shape is an enclosed space that stands out from its surroundings.

Shape can create space in artworks, including positive-referring to the shape itself negative-referring to the space surrounding the shape

The use of positive and negative space in artworks can be seen in Alexander Calder, Lobster Trap and Fish Tail, c. 1939 André Kertész, Self-Portrait, c. 1926 Kenojuak Ashevak, Enchanted Owl, 1960 Seed Jar, Anasazi culture, c. 1150

The same shape can appear to be either stable (static) or moving (dynamic) depending on how it is arranged within artworks? examples can include static: -David Smith, Cubi IX, c. 1961 dynamic: -Albert Gleizes, Brooklyn Bridge, 1915 -Bridget Riley, Amnesia, c. 1964 -Christi Belcourt, The Conversation, 2002

Architecture in various parts of the world can depict shape, as seen Basilica de la Sagrada Familia by Antoni Gaudi, under construction since 1882 Great Stupa at Sanchi, India,built in the 3rd century BCE The Mahabodhi Temple at Bodh Gaya, built in the 7th and 8th century CE

A two-dimensional shape can be changed into a threedimensional shape known as a form.

A two-dimensional shape can be given a three-dimensional appearance by adding lines and shading to give the illusion of mass or volume.

Sculpture and architecture use shapes in a threedimensional context, as seen in sculpture: � Beau Dick, Moogums, 1985 � Edgar Degas, Little FourteenYear-Old Dancer, c. 1880 � Female Pwo Mask, Chokwe peoples, early 20th century � Flying Horse of Gansu, from Wuwei, China architecture: � Baitun Nur Mosque, Naseer Ahmad, Calgary, Alberta � Habitat 67, Moshe Safdie, Montreal, Quebec � Montreal Biosphere, Richard Buckminster Fuller

Variation (principle of design) can be achieved by combining shapes with other elements of art, as seen in Sandra Brewster, From Life 3, 2015 Wassily Kandinsky, Squares with Concentric Circles, c. 1913

Basic and complex use of shapes in artworks can be seen in Antoni Gaudi, El Drac, c. 1900-1914 Laurena Fineus, Ici repose, 2019 Marc Chagall, I and the Village, c. 1911 Okon Akpan Abuje, Afaha clan, Anang artist, Funerary shrine cloth, c. late 1970s

Basic shapes can be turned into new or complex shapes by adjusting the size adjusting the contour overlapping them connecting multiple shapes to create one shape covering parts of a shape with another

Shape can create the illusion of depth and distance through techniques such as layering, overlapping, and changes in size.

Shapes can be used to represent subject matter as realistically as possible, as seen in still-life paintings? examples can include Paul C�zanne, Apples and Oranges, c. 1899 Willem van Aelst, Still Life with Flowers, c. 1665

Shapes and lines can be organized to achieve symmetrical balance in artworks and architecture, as seen in Alberta Legislature Building, Allan Merrick Jeffers and Richard Blakey,Edmonton, Alberta American 19th Century, Cutout of Animals, second quarter 19th century The Ardabil Carpet, 1539-1540

Asymmetrical balance is seen in artworks where each half of the work looks different but still has visual balance, as seen in Daphne Odjig, Tribute to the Great Chiefs of the Past, 1975 Jacques-Louis David, Oath of the Horatii, c. 1784 Ruben Komangapik, Light is Life, 2002

Location of a line in artworks affects how it is perceived.

Line can communicate meaning in the way that it is applied in artworks.

Shape can be implied when it is not defined by an outline.

Shape can be twodimensional or threedimensional.

Shapes can be combined to create new shapes or more complex shapes.

Shapes can convey meaning in the way they are organized within artworks.

Use visual arts vocabulary to describe how the direction of a line can lead the eye or indicate a sense of depth or distance in artworks.

Create linear or onepoint perspectives in artworks.

Incorporate a focal point in artworks.

Explore how lines can be used to create shading, texture, or other effects in artworks.

Interpret what message lines can communicate in artworks

Employ line as a way to communicate meaning in artworks.

Experiment with lines and shapes to draw a variety of subject matter from direct observation.

Describe how shapes can appear to be stable or moving.

Illustrate positive and negative use of shape and space.

Experiment with how shape can emerge because of contrast with other shapes, lines, values, textures, and colours.

Differentiate between two- and three-dimensional shapes.

Identify how lines and shading can be added to two-dimensional shapes to create a three-dimensional form.

Analyze how complex shapes can be broken down into basic shapes.

Experiment with ways to use basic and complex shapes in artworks.

Observe and discuss how variation with lines, shapes, or colours can appear in artworks.

Discuss how shapes are used within artworks to convey a message

Experiment with how to achieve symmetrical and asymmetrical balance in artworks.

Experiment with how shapes can be used to show depth and distance

Artists communicate messages about their artworks through writing about art titles talking about art using visual art vocabulary

The elements of art can communicate a message in artworks, including the use of colour varying the physical characteristics of line adjusting value adding shapes adjusting contour of line and shape organization of line, shape, and colour adding texture

Balance, variety, and contrast (principles of design) can help guide how a message is communicated within artworks.

The mood or emotion conveyed in an artwork can be influenced by personal experiences events memories culture the use of the elements of art

The physical characteristics of line can be used to represent subject matter realistically.

Artists can choose a specific type of media to communicate how a message is revealed in artworks.

Cultures can communicate a message through the use of ideograms pictorial symbols objects sounds etters numbers musical notation

A message in visual arts can be generated, sent, received, and interpreted

Presentations of artworks can be done through informal events, such as sharing in an art class, or formal events, including art shows or art galleries.

An artwork can reflect an artist's style, which may reflect personal preferences related to creating art

Empathy and perspectives can be gained through creating, viewing, and talking about art.

Expectations for participating in visual arts, known as artistic protocols and etiquette, can change depending on the context of the experience.

Creative processes can include generating an idea giving and receiving feedback experimentation practice reflection

Generating an idea in visual arts may involve creative thinking and problem solving

Artists may step back to view their artwork and discuss it with others before considering it to be finished.

A message can be communicated through spoken and written language.

Non-verbal communication of a message in visual arts can be shared in a variety of ways.

A message conveyed through visual arts can carry a variety of emotions and experiences.

The sharing of a message involves the artist and the audience.

Audience members can have various feelings about artworks

Development of a message in visual arts can involve creative processes

Messages can be clearly communicated when elements of art are combined with purpose.

Problems related to creating art can be solved by asking for feedback and by practising.

Present a title and description for an artwork that incorporates visual arts vocabulary.

Share interpretations of artworks with others

Investigate how lines and shapes can form symbols that communicate a message.

Make artistic choices to shape the development of a message in visual arts.

Apply principles of design to artworks.

Explore how to represent mood or emotion in artworks.

Participate as an artist and audience member in various art experiences.

Share artworks with others.

Demonstrate an understanding of artistic protocols and etiquette within various visual arts experiences

Create artworks that express personal preferences.

Apply creative processes when creating artworks

Add finishing touches to an artwork.

Experiences in visual arts can include learning about artworks from the past and the people who created them.

Individual components of an artwork can communicate culture, including the use of colour, line, shapes, and media.

Ancient Greeks valued pottery as a form of art and made vases that were admired for their beauty and function

In ancient Greece, vases were commonly painted black and red using a feather or animal tail for a brush.

In ancient Greece, artists had their own style for painting vases that usually included geometric shapes pictures of humans and animals family life stories

Ancient Greeks introduced the technique of adding wrinkles in cloth to paintings.

Ancient Greeks made very realistic sculptures of people from marble and bronze, as seen in Nike, 490 BCE Winged Victory of Samothrace, 190 BCE

Ancient Greek architecture was inspired by the ancient Egyptians, as seen in Palace of Knossos The Lion Gate of the Palace of Agamemnon Athenian Acropolis The Agora

The Parthenon is a temple in Athens that highlights symmetry length and width size and spacing of columns proportions

First Nations, Métis, and Inuit artworks can reflect aspects of culture, including history relationships ways of life traditional teachings

First Nations, Métis, and Inuit artists often use materials from the natural world, including bark hide fur feathers quills sinew bones fish scales berries iron and copper roots

Traditional First Nations, Métis, and Inuit art forms can include beading fish-scale art ivory and soapstone carving wood carving sculpture textiles weaving

Making art in First Nations, Métis, and Inuit communities can be holistic in nature and have individual and collective benefits, including social well-being physical health spiritual connection emotional and mental well-being intellectual development

First Nations, Métis, and Inuit artworks are often inspired by the natural world and stories, as seen in Bill Reid, Killer Whale, Chief of the Undersea World, c. 1984 Elsie Klengenberg, Going Down River, 1989 Jason Carter, Play Grizzly, c. 2009

Culture is what people do, and is a way of thinking.

Artworks from various times and places can be representative of a culture.

Culture can be revealed through First Nations, Métis, and Inuit artworks.

A sense of community and well-being among participants can be established through First Nations, Métis, and Inuit artworks

Identify how culture may be communicated through various types of artworks.