Grade 5 - 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 analyze colour for its versatility in communicating meaning in artworks

Students represent narrative in artworks based on a variety of inspirations and through the application of artistic choices

Students investigate how changes in societies of the past have influenced the creation and sharing of artworks.

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Knowledge

Intensity indicates the purity or strength of a colour

Colours are usually most intense before they are mixed with others

A colour can appear more intense by placing it beside a complementary colour

A colour can appear more intense by placing it beside a complementary colour

When a colour is neutralized it produces neutral colours including brown or grey

Artists can use intensity within a composition to direct a viewer's gaze.

In the painting by Pablo Picasso, Le Gourmet, c. 1901, intense colours are used to create a focal point around the child eating.

Colour relationships are described as analogous, monochromatic, primary, secondary, and complementary

Primary, secondary, and complementary colours can be found on a colour wheel.

Complementary colours are those placed opposite each other on the colour wheel.

Analogous colours are groups of three colours that are next to each other on the colour wheel.

Contrast can be created by placing a secondary colour next to a primary colour

Tints and shades can be created by adding white or black to a colour, as seen in James McNeill Whistler, Arrangement in Grey and Black No. 1 (also known as Whistler's Mother), c. 1871 Pablo Picasso, The Tragedy, 1903

Warm colours can be found on the red/yellow side of the colour wheel.

Cool colours can be found on the blue/green side of the colour wheel.

The significance of colour can be reflected in cultural or symbolic associations, as seen in Jane Ash Poitras, Mikisew Spirit, 2019

Colour value can indicate meaning, including the following: Dark colours can suggest a lack of light and convey a mood of seriousness. Bright colours suggest positive energy and more light. Red can represent anger, danger, or love. Orange can represent creativity or energy.

Local colour captures the likeness of an object.

Expressive colour is used to communicate mood or artistic choice

Opaque colour blocks light and can be adjusted to suggest heaviness.

Transparent colour lets some wavelengths of light come through and suggests lightness.

Watercolour is the most transparent paint

A wash can be created by adding water to paint in order to make it more transparent.

Colours such as yellow are naturally more transparent than other colours

Colours such as red are naturally more opaque than other colours

Oil, acrylic, and gouache are the most opaque paints

Principles of design can be applied to colour to create focus

Colour can be used to create focus, as seen in Ted Harrison, Visitor from Space, 1988

Balance in artwork includes symmetrical, asymmetrical, and radial.

Radial balance creates an even pattern of image that radiates from a central point, as seen in mandalas

Warm colours tend to advance a focal point while cool colours tend to recede

Colour can be combined with line to create a focal point, including converging lines atmospheric perspective linear perspective and one-point perspective to create an illusion of space in two-dimensional works of art horizon lines

Colour when combined with other elements of art can create illusion, including a sense of depth, contour, or weight by using light and dark shades depth of field and colour value through washes of colour line and space, atmospheric perspective light and depth, colours in the foreground look brighter and more intense than colours in the background

Atmospheric perspective is the illusion of space in landscape paintings, often featuring the use of light colours in the distance, as seen in Albert Bierstadt, Among the Sierra Nevada, California, 1868

Light and shadow can create the illusion of three-dimensional forms, as seen in Willem Claesz Heda, Banquet Piece with Mince Pie, 1635

Colour has the physical property of intensity.

Intensity is the brightness or dullness of a colour.

There is a relationship between colours, which can be represented on a colour wheel

Colour is a meaningful and expressive element of art.

Colour can be represented and interpreted in a variety of ways

Colour draws the eye to focus on a point in the artwork.

Colour can create illusions in artworks

Mix colours to differentiate between value and intensity.

Apply colours with varying values and intensities to artworks

Differentiate between warm and cool colours on the colour wheel

Explore the relationships of colours

Create artworks using the colour wheel as a tool in choosing a colour palette.

Examine how colour can communicate meaning or mood in artworks

Experiment with opaque and transparent colour

Create artworks using colour symbolically

Discuss how colour can be used as a focal point or as a means to direct the eye when viewing artworks

Experiment with how to create focal points in artworks

Make artistic choices that demonstrate the use of focal points in artworks

Examine the use of perspective in various artworks

Incorporate perspective in artworks.

Explore how colour can be used to create illusions in artworks

Adjust colour to suggest an effect of light or shadow

Adjust colour and value when illustrating the illusion of space and depth in the foreground, middle ground, and background of landscape artworks.

The structure of a narrative in artworks can depict a beginning, a problem, and a resolution.

The structure of a narrative told through artworks can be similar to the structure of a narrative in text.

Narrative can be represented individually or collectively

A variety of media, including digital art, graffiti, and animation, can be used to illustrate a narrative.

Preservation of cultural and historical narratives can be achieved through the creation of artworks and artifacts

Art movements are those periods in history where artworks were created with a common goal or style and can include the Renaissance, Impressionism, and Cubism

A narrative in visual arts is represented in diverse ways across cultures

Narrative can be expressed through the spirit or life of First Nations, Métis, and Inuit artworks

Narrative in First Nations, Métis, and Inuit artworks can originate from the land, including wind water soil animals plants

The creation of a narrative can communicate personal experiences stories, legends, myths, and poetry fictional events and characters perspectives

Universal themes that can occur in narratives include survival, redemption, and quest.

Artistic choices related to the elements of art and principles of design can be used by an artist to revise and reimagine how a narrative is expressed

Parts of a narrative in visual arts may be excluded, leaving the audience to assume what happened before and after the narrative was presented

Titles and descriptions provide additional information about a narrative that can clarify what an artist intends to communicate

Creative processes can help solve design challenges when creating artworks.

A narrative can be structured to describe the past, the present, or the future

A narrative in visual arts can communicate knowledge and understandings about the world.

Narratives can provide connections to culture and history.

A narrative in visual arts can take the viewer on a journey by entertaining and persuading.

A narrative in visual arts may be perceived by an audience in a way that differs from what the artist intended

Create two- and three-dimensional works of art based on a narrative

Create artworks individually and collectively

Illustrate a narrative based on a variety of events, themes, or inspirations

Investigate how visual arts have contributed to the preservation of culture in local communities

Explore how narratives are expressed through First Nations, Métis, or Inuit artworks.

Create artworks inspired by art movements throughout history

Make artistic choices when revising or reimagining how a narrative can be illustrated

Evaluate the effectiveness of artistic choices in the communication of a narrative

Apply creative processes to design challenges.

The process through which cultural artworks and artifacts are restored to their rightful people or locations is known as repatriation

Repatriation of ceremonial and spiritual artifacts allows for communities to reconnect with culture

Repatriation of First Nations and Inuit ceremonial and spiritual artifacts is occurring from museums and personal collections and includes medicine bundles totem poles amulets ceremonial clothing medicine pipes bentwood boxes masks headdresses rattles thunder pipe bundles

First Nations, Métis, and Inuit artworks were influenced by Europeans in a variety of ways, including introduction of glass beads availability of new materials, such as ores not found in North America production of art for aesthetic and economic purposes

Some artists in Colonial Canada were trained by mentors or teachers in the field of art and handicrafts.

In Colonial Canada, some handicraft artists were also considered tradespeople and included blacksmiths candle makers weavers coopers printers

The Catholic Church established a school where arts and handicrafts were taught in early Colonial Canada.

The Renaissance movement was about all people bettering themselves through education, literature, science, and the arts

At the beginning of the Renaissance, artists were known Visual arts went through significant change during the Renaissance and Protestant Reformation. Discuss how the artworks of the Renaissance were different from the artworks of the Protestant Reformation. View a variety of artworks from the Renaissance and Protestant The Enlightenment period rejected the previous art movement, Rococo, which was elaborate and extravagant as profiled in the Palace of Versailles, in France. The Rococo movement was The way in which the visual arts are understood and appreciated has changed throughout history. View artworks from the Enlightenment and the French Revolution as an inspiration for talking about and creating art. Renaissance, artists were known as craftsmen? later in the Renaissance, they became known as artists

The Renaissance was a return to creating art in classical styles, inspired by ancient Greece and Rome? examples of Renaissance art and artists can include Albrecht Dürer, Young Hare, c. 1502 Leonardo da Vinci, The Last Supper, c. 1490s, and Mona Lisa, c. 1503 Michelangelo, Pietà, c. 1498-1499 Raphael (Raffaello Santi), The School of Athens, c. 1508-1511 Sandro Botticelli, Adoration of the Magi, c. 1475-1476

The Renaissance art movement featured realism and emotion in artworks by representing light through space and by using shadow and reflection in still-life paintings

Architectural styles in the Renaissance were borrowed from ancient societies and can include sgraffito: a technique using layers of plaster for wall decor or in ceramics loggia: an architectural feature where the outer wall is open to the outside and sometimes supported by columns or arches arcades-a series of arches supported by columns

Busts, sculptures of a person's head and torso, and portraiture were popular in the Renaissance and later periods, and can include Donatello, Bust of Niccolò da Uzzano, c. 1430 Hans Holbein the Younger, The Ambassadors, c. 1533 Raphael, Portrait of Baldassare Castiglione, c. 1514-1515

Linear perspective was used by many Renaissance artists and is still used today by artists to show realistic space

Artwork often depicted religious themes and subjects during the Renaissance

Artworks in the Protestant Reformation were a rejection of the religious artworks of the Catholic Church

Protestant Churches were often plain or painted white

Many northern European artists during the Protestant Reformation focused on the daily, moral life of people and explored these themes through landscapes, portraits, still lifes, and historical paintings

Religious artworks became less popular and artists began to create more non-religious (secular) artwork during the Protestant Reformation, as seen in Rachel Ruysch, Basket of Flowers, c. 1711 Rembrandt, The Night Watch, c. 1642

The invention of the printing press revolutionized the way books and images were created and shared during the Protestant Reformation

Because of the printing press, artworks during the Protestant Reformation became more available for people to purchase

In response to the Protestant Reformation, the Catholic Church prompted the Counter-Reformation (Council of Trent 1545-1563), which encouraged a return to religious artworks, as seen in St Peter's Basilica, c. 1506-1615 Caravaggio, Supper at Emmaus, c. 1601

Visual arts has changed over time as communities and cultures have evolved.

Visual arts in Colonial Canada reflected the changes that occurred in Europe at the same time.

Visual arts went through significant change during the Renaissance and Protestant Reformation

View a variety of Canadian artworks as an inspiration for talking about and creating art

Investigate community acts of repatriation and cultural revitalization

Discuss how the artworks of the Renaissance were different from the artworks of the Protestant Reformation

View a variety of artworks from the Renaissance Protestant Reformation as an inspiration for talking about and creating art