Unit Plan Megan Hoots

UNIT PLAN
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Subject: Art Grade Level: High School (10 -12 grade)
Estimated Time: 12 Days
UNIT TITLE: Stories in Art
Enduring Idea or Theme: Narrative Art
National Core Art Standards:

Students will: VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.1.llla:
Visualize and hypothesize to generate plans for ideas and directions for creating art and design that
can effect social change. VA: Cr1.2.IIIa: Choose from a range of materials and methods of traditional
and contemporary artistic practices, following or breaking established conventions, to plan the making
of multiple works of art and design based on a theme, idea, or concept. VA:Pr4.1.llla: Critique, justify,
and present choices in the process of analyzing, selecting, curating, and presenting artwork for a
specific exhibit or event. VA:Cn11.1.lla: Compare uses of art in a variety of societal, cultural, and
historical contexts and make connections to uses of art in contemporary and local contexts.
VA:Cn10.1.la: Document the process of developing ideas from early stages to fully elaborated ideas.
VA:Cr3.1.lla: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine
works of art and design in response to personal artistic vision.
New Generation Sunshine State Learning Standards

Students will: VA.912.S.1.3: Interpret and reflect on cultural and historical events to create art.
VA.912.S.1.7: Describe processes and techniques used to record visual imagery. VA.12.H1.1:
Analyze the impact of social, ecological, economic, religious, and/or political issues on the function or
meaning of the artwork. VA.912.C.2.1: Examine and revise artwork throughout the art making process
to refine and achieve the objective.
What broad, overarching understandings are desired of students?

• Lesson 1 – Art elements and design principles can be used intentionally to elicit a specific
response from the viewer.
• Lesson 2 – Art reflects the time period, culture, geography, and status of a region’s
inhabitants.
• Lesson 3 – Artists get inspiration from many sources. Art is a personal or individual response
to their environment.
What are the overarching “essential” questions that this unit is based on?
• Lesson 1 - How are art elements and design principles used to organize and express ideas?
How are they used to organize a narrative?
• Lesson 2 - What can artworks tell us about a culture or society?
• Lesson 3 - How do one’s experiences influence artwork?
As a result of this unit, students will be expected to demonstrate an understanding of:

• How to leverage design elements and principles compose a piece of narrative art that viewers
can “read”.
• How to identify the key elements of culture and society in narrative art; 1) the time period, 2)
culture, 3) geography, and 4) status of the inhabitants of the region.
• How to identify the personal experiences of an artist as it is reflected in their art. How to
incorporate your own experiences in your art.
What “essential” and unit questions will focus the activities of this unit?
• Lesson 1 - How does the composition of narrative art effect how the viewer “reads” and
interprets it?
• Lesson 2 – How does the moralizing genre comment on culture and society? Why is a
moralizing narrative important in narrative art?
• Lesson 3 – How do artists leverage their own experiences to address gender/race/class in art?
Key Vocabulary or Concepts: What vocabulary terms do students need to explicitly learn for this
unit?
• Narrative Art (Monoscenic Narrative, Continuous Narrative, Synoptic Narrative, Progressive
Narrative, Panoptic Narrative, Sequential Narrative)
• Moralizing Genre
Major Learning Activities:

This unit will use a series of lessons to help students recognize the stories that are illustrated in the
visual media arts. This skill is important because it will help them become better artists, and art
viewers. My goal for students is to understand the many ways that art can tell a story. Lesson one will
include (3) handouts and will detail the types of narrative art and historical examples of narrative art.
Lesson two will unpack the moralizing narrative, and how art can inform and reflect a culture with (2)
handouts. Lesson three includes (2) handouts and will exemplify how narrative art can effectively
address race/ gender / class issue within a society. Each lesson requires student reflection, and
sketches in their personal sketchbooks. All three lessons will lead to a final art project. Students will
assimilate their knowledge of narrative art, moralizing genre, and the societal responsibilities of an
artist to create a piece of narrative art that experiments will multimedia, and respond to the final pieces
with a peer review.
Lesson 1 Title: What is Narrative Art?
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Grade Level: High School (10 -12 grade)
Estimated Completion Time: 4 Days
Overview
Narrative art is an essential part of art history and the tradition of telling stories. There are many types
of narrative art, knowing each type will help students recognize the stories that are illustrated in the
visual media arts. This skill is important because it will help them become better artists, and art
viewers.
Enduring Ideas/Essential Questions

Art elements and design principles can be used intentionally to elicit a specific response from the
viewer. How are art elements and design principles used to organize and express ideas? How are they
used to organize a narrative? How does the composition of narrative art effect how the viewer “reads”
and interprets it?
National Learning Standards

Students will: VA:Re8.1.lla: Identify types of contextual information useful in the process of
constructing interpretations of an artwork or collection of works. VA:re9.1.lla: Determine the relevance
of criteria used by others to evaluate a work of art or collection of works.
New Generation Sunshine State Standards

Students will: VA.912.F.3.2: Examine the rationale for using procedural, analytical and divergent
thinking to achieve visual literacy.
Lesson Objectives
In this lesson students will: (1) review the different types of narrative art (2) How to leverage design
elements and principles compose a piece of narrative art that viewers can “read” (3) Examine the
narrative art of ancient Greek ceramics (4) Examine the narrative sequencing of the Sistine Ceiling
Tools and Materials

• Sketchbook
• Pencils
• Chalk pastels
Handouts / Worksheets
• 6 Types of Narrative Art Handout (see resource sheet)
• Ancient Greek Pottery Handout (see resource sheet)
• Sistine Ceiling Handout (see resource sheet)
• Multiple Choice Quiz (see resource sheet)
• Short Answer Response (see resource sheet)
Introduction
This lesson will review the types of narrative art, and will teach the student how to properly identify
these narratives in art as viewers of art. Students will examine how narrative art are illustrated in two
distinct moments in art history: first, in the tradition of ancient Greek ceramic, and second, in the
Sistine Chapel Ceiling. Students will utilize their sketchbook to analyze each tradition by rendering
interpretations of the art. Through the unpacking of narrative art and its rich history, students will in turn
learn how to be engaging and thoughtful storytellers with their own art.
Procedure
Day 1: 6 Types of Narrative Art
• Distribute 6 Types of Narrative Art Handout
• Briefly introduce the 6 Types of Narrative Art;
Ask the students, if they know the differences of these types of narratives, or if they are willing
to speculate. Define each type of narrative as a class.
1) Each image will have title, artist, date and medium. Have students discuss each piece, and as
a group, determine what type of narrative each work of art falls under, and why. Allow the
students time and space to collectively unpack how each narrative is organized, and to
translate the story as a group. Students should take notes under the response portion of each
page.
2) Using a simple stock narrative “The Quick Brown Fox Jumps over the Lazy Dog” have
students render in their sketchbooks this story in all 6 forms of Narrative Art. Each narrative
should be distinct, easy to identify the type of narrative, and tell the story of a fox jumping over
a dog. (Scale, when applicable, can be indicated in the sketches)
3) Pair students up for peer review of these 6 studies. Allow for peer and self-expressed
feedback. Students should note feed back in sketchbook.
4) Have the students reflect in their sketchbook / journal what mode of narrative is most effective
for story telling, in their opinion, and why.
Day 2: Ancient Greek Pottery

• Distribute Ancient Greek Pottery Handout
1) Review the history of ceramic vessels in Greek History and ask the students to contribute to
the conversation. Review the types of ceramic vessels that are detailed in this handout, and
how the ancient Greeks used them. Discuss the functions of each as a class.
2) Each of the 5 types of vessels is exemplified in this hand out with a work of art, title, artist and
date. Have students discuss each piece as a group. Students should take notes and respond
to the questions listed under the response portion of each page.
3) In their sketchbook, have students sketch each type of the 5 vessels reviewed in the handout.
Included should be hallmark traits of each type of vessel. Students are encouraged to take
their time, and attempt accuracy in proportions, show volume, and attempt some detail. Label
each vessel.
4) Pair students up for peer review of the vessel sketches. Allow for peer and self-expressed
feedback. Students should note feedback in sketchbook.
Day 3: Sistine Chapel Ceiling

• Distribute Sistine Chapel Ceiling Handout
1) Review the history of the Sistine Chapel and ask the students to contribute to the
conversation.
2) Discuss the questions prompted on page 2 of the Sistine Chapel handout. Students should
take notes and respond to the questions listed under the response portion of each page.
3) Have the students select one of the 9 main images from the Sistine Ceiling. Have the students
sketch their selection in their sketchbook, with a focus on recreating; scale, composition, figure
form, shading, and architectural elements. Incorporate chalk pastels so students can mimic
Michelangelo’s vivid color palette. This should take most of Day 3.
4) Pair students up for peer review of Sistine Ceiling image sketch. Allow for peer and self-
expressed feedback. Students should note feed back in sketchbook
Day 4: Multiple Choice Quiz and Short Answer Response

• Briefly review the material from days 1-3 with the students. Allow time for any constructive questions
the students may have. Distribute Multiple Choice Quiz and Short Answer Response (see resource
sheet). Allow students to complete the quiz with the remaining class time. Both should be turned into
the teacher as soon as they are completed.
Distribution and Clean-Up
Each handout will be distributed at the beginning of the lesson. Supplies will be distributed when the
sketchbook potion of each lesson begins. The teacher will give students their own set of supplies.
Clean up begins 10 min prior to the end of class. Handouts and sketchbooks will be collected at the
end of the lesson; both should have the student’s name written clearly on them, for grading purposes.
Supplies should be placed back in the supply closet at the end of each lesson, and work surfaces
should be wiped clean. The Multiple Choice Quiz and Short Answer Response will be distributed on
the final day, and should be turned into the teacher as soon as the student completes the assignment.
Closure
The Handouts, Sketchbooks, Multiple-Choice Quiz, and short answer will all be graded and distributed
back to the student. The teacher will provide valuable feed back under the student responses in the
Handouts, and in the margins of the student’s Sketchbook. The Multiple-Choice Quiz will be graded,
and handed back for the student to review. The Short Answer Response will be graded, and returned
to the student with comments. All feedback should inform the student on ways to improve, and
celebrate the student’s success.
Formative Assessment
The assignment will be graded on participation, and proficiency within the 3 major components of the
assignment:
1) Handout Response Content (notes, and reflection)
2) Sketchbook Contents (notes, reflection and revisions)
3) Multiple Choice Quiz
4) Short Answer Response
Handout Response (worth 60 points total) Multiple-choice Quiz (worth 20 points total) Sketchbook
Contents (worth 15 points total) and Short Answer Response (worth 5 points total) will be combined
to reflect a final formative assessment (out of 100 points) for Lesson 1.
Handout Response Content
This lesson will be graded 20 points (lowest) to 60 points (highest possible)
20 pt. - To receive an “unsatisfactory” a student must:
• Have few, or no notes taken under the response portion of the “6 Types of Narrative Art”
handout
• Have few, or no notes taken under the response portion of the “Ancient Greek Pottery”
handout
• Have few, or no notes taken under the response portion of the “Sistine Chapel” handout
40 pts. - To receive a “satisfactory” a student must:
• Have few notes, or bullet points, taken under the response portion of the “6 Types of Narrative
Art” handout
• Have few notes, or bullet points, taken under the response portion of the “Ancient Greek
Pottery” handout
• Have few notes, or bullet points, taken under the response portion of the “Sistine Chapel”
handout
60 pts. - To receive an “outstanding” a student must:
• Have strong notes, or complete sentences, taken under the response portion of the “6 Types
of Narrative Art” handout
• Have strong notes, or complete sentences, taken under the response portion of the “Ancient
Greek Pottery” handout
• Have strong notes, or complete sentences, taken under the response portion of the “Sistine
Chapel” handout
Multiple-Choice Quiz
20 points - Will consist of 5 questions, worth 4 points apiece.
• See resource sheet for Quiz
Sketchbook Contents
• Have an incomplete sketches of the 6 narrative art types from Day 1
• Have little or no opinion on the most effective narrative type from Day 1
• Show little or no effort in sketching the ancient Greek vessels from Day 2
• Have little or no feedback/notes taken on ancient Greek vessels from Day 2
• Show little or no effort in sketching the Sistine Chapel from Day 3
• Have fair sketches of the 6 narrative art types, Day 1
• Have a short opinion on the most effective narrative type from Day 1
• Show some effort in sketching the ancient Greek vessels from Day 2
• Have some feedback/notes taken on ancient Greek vessels from Day 2
• Show some effort in sketching the Sistine Chapel from Day 3
• Have strong sketches of the 6 narrative art types, Day 1
• Have a thorough and concise opinion on the most effective narrative type from Day 1
• Show skill and effort, including shading, in sketching the ancient Greek vessels from Day 2
• Have thorough feedback/notes taken on ancient Greek vessels from Day 2
• Show skill and effort, including drawing figures, in sketching the Sistine Chapel from Day 3
Short Answer Response
Answer the question, in 3-5 sentences. This quiz will be graded 1 point (lowest) to 5 points (highest)
1 pt. – To receive 1 point a student must:
• Show little understanding of the question
• Have fewer then 3 sentences
2 pt. – To receive 2 points a student must:
• Show a fair understanding of the question
• Have 3 complete sentences
• Show a satisfactory understanding of the question
• Use key words from the lesson in the response
• Show a sound understanding of the question
• Have 3 or more complete sentences
• Show a strong understanding of the question
Artists or Works of Art Studied

In ancient Greece, vases were mostly functional objects made to be used, not simply admired.
The ancient Greeks used ceramic vessels in every aspect of their daily lives. Some were used for
storage, carrying, mixing, serving and drinking. Each vessel has a specific and distinct shape for its
function.
Between the beginning of the sixth and the end of the fourth century B.C., black and red-figure
techniques were used in Athens to decorate ceramics. All of the ancient Greek communities produced
ceramic vessels, but some areas produced exceptionally fine art. Athens was especially famous for its
fine pottery. Potting skills were often handed down from father to son, and some artists became quite
famous for their work.
The Ancient Greeks had a rich history of story telling. The stories and myths of heroes, gods,
goddess and monsters were very popular. Many of these stories can be viewed, and “read”, on the
vases and vessels of ancient Greece.
Most of the vessels used in this lesson are from the Metropolitan Museum of Art’s Department
of Greek and Roman Art. More on the museum’s collection can be found here:
https://www.metmuseum.org/toah/hd/vase/hd_vase.htm
The ceiling of the Sistine Chapel (located in Vatican City) might be one of the most
recognizable works of art in history. Michelangelo began painting it in 1508, at the request of Pope
Julius II. He used scaffolding, which spanned across the width of the building, to paint the fresco and
worked tirelessly to complete the project for the Vatican, and finished in 1512. The ceiling tells the
story of creation from the book of Genesis in a linier fashion. Michelangelo was heavily influenced by
Greek sculpture, most notably by Loacoon and His Sons, which was unearthed in 1506 and admired
by Michelangelo. The impeccable muscles of the Greek tradition are reflected in the abundance of
musculature that Michelangelo paints in his figures.
Today, the Sistine Chapel is one of the most visited places in the world, with thousands of
tourists moving through the chapel each day gazing above to view the Genesis story of Creation.
References
Lucas Museum of Narrative Art. Celebrating Narrative Art Throughout the Ages. Retrieved from:
http://lucasmuseum.org/collection/narrative-art
Metropolitan Museum of Art. Athenian Vase Painting: Black and Red-Figure Techniques. Retrieved
from: https://www.metmuseum.org/toah/hd/vase/hd_vase.htm
Museum of Fine Arts Boston. Daily Life in Ancient Greece. Retrieved from:
https://www.mfa.org/collections/object/high-handled-drinking-cup-kantharos-153643
Paoletti, J., Radke, G. (2005). Art in Renaissance Italy. Upper Saddle River, New Jersey: Pearson
Education.
Curriculum Resources:
See resource sheet (PDF)
Lesson 2 Title: Moralizing Narrative Art
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Overview
Narrative art can illuminate a particular culture and society, with visual cues that indicate time period,
geography, social class and sociological perspective. Narrative art can also be leveraged by social
commentary and used to criticize culture and society. Both William Hogarth and Norman Rockwell
painted moralizing narratives, crafting scenes that aimed to guide the viewers’ moral compass and
warn citizens of the dangers of immorality.

Art reflects the time period, culture, geography, and status of a region’s inhabitants. What can artworks
tell us about a culture or society? How does the moralizing genre comment on culture and society?
Why is a moralizing narrative important in narrative art?
National or State Learning Standards

Students will: VA:Cn11.1.llla: Appraise the impact of an artist or a group of artists on the beliefs,
values, and behaviors of a society. VA:Re.7.1.llla: Determine the commonalities within a group of
artists or visual images attributed to a particular type of art, timeframe, or culture. VA:Cr1.1.lla:
Visualize and
hypothesize to generate plans for ideas and directions for creating art and design that can affect social
change.

Students will: VA.912.C.1.4: Apply art knowledge and contextual information to analyze how content
and ideas are used in works of art. VA.912.H.1.10: Describe and analyze the characteristics of a
culture and its people to create personal art reflecting daily life and/or the specified environment.
Lesson Objectives
In this lesson students will: (1) examine the works of William Hogarth (2) examine the works of Norman
Rockwell (3) learn how to identify the key elements of culture and society in narrative art; A) the time
period, B) culture, C) geography, and D) status of the inhabitants of the region (4) Discuss the
moralizing genre art narrative. (5) Sketch a personal lesson or moral
Tools and Materials

• Sketchbook
• Pencil
• Hogarth Handout (see resource sheet)
• Norman Rockwell Handout (see resource sheet)
Introduction
This lesson will review how Hogarth and Rockwell instill a moral compass onto the viewer, and reflect
in their handouts. Students will utilize their sketchbook to outline their own lesson or moralizing
narrative. Through the unpacking of the moralizing narrative and its history, students will learn how to
incorporate principled themes and lessons reflective of culture in their own art.
Procedure
Day 1: William Hogarth
• Distribute William Hogarth Handout
1) Review the rise in popularity of “Hogarthian” illustrations in the eighteenth century. As a class,
discuss the six images in the Marriage A-la-Mode series. Have students follow along in the
handout provided and contribute to the conversation. Students should take notes under the
response portion of each page.
2) Have the students pull one element from one of the six images from Marriage A-la-Mode that
they really enjoyed and they felt contributed to the over all narrative. Have them draw this
element in their sketchbook. In the margin, make note of why you chose this element.
Day 2: Norman Rockwell

• Distribute Norman Rockwell Handout
1) Review the art of Norman Rockwell in the handout. Have students follow along in the handout
provided, contribute to the conversation and answer the questions. Students should take notes
under the response portion of each page.
2) Write the following prompt(s) on the blackboard for reference:
What is a major lesson that you have learned in life?
Perhaps you learned a valuable lesson with family, friends, or at school?
Is there a principal that you follow and believe deeply in?
Have the students write down a few ideas, and scenarios, in their sketchbook.
3) Have the students pair up. With peer feedback, have each student decide on one lesson that
they wish to illustrate, taking into consideration, scope, composition, and clarity of the
narrative.
4) Have students work independently sketching their lesson/moralizing narrative in their
sketchbook.

• Briefly review the material from days 1-3 with the students. Allow time for any constructive questions
the teacher as soon as they are completed.

the final day, and should be turned into the teacher as soon as the student completes the assignment
Closure
assignment:
• Have few, or no notes taken under the response portion of the “William Hogarth” handout
• Have few, or no notes taken under the response portion of the “Norman Rockwell” handout
• Have few notes, or bullet points, taken under the response portion of the “William Hogarth”
handout
• Have few notes, or bullet points, taken under the response portion of the “Norman Rockwell”
handout
• Have strong notes, or complete sentences, taken under the response portion of the “William
Hogarth” handout
• Have strong notes, or complete sentences, taken under the response portion of the “Norman
Rockwell” handout
Multiple-Choice Quiz
Sketchbook Contents
• Have an incomplete sketch of the selection from a Hogarth scene from Day 1
• Show little or no effort in sketching their lesson / moralizing narrative from Day 2
• Have fair sketches of the selection from a Hogarth scene from Day 1
• Show some effort in sketching their lesson / moralizing narrative from Day 2
• Have strong sketches of the selection from a Hogarth scene from Day 1
• Show skill and effort, with sound layout and composition, in sketching their lesson / moralizing
narrative from Day 2

William Hogarth is considered the father of satirical caricatures and moralizing paintings. The
moralizing genre would later evolve into political cartoons that we see today. Hogarth championed
middle class values while chastising the corrupt upper class, believing that art should have a moral
quality, not just an aesthetic one.
Marital ethics and practices were hotly debated in eighteenth century England. Arranged
marriages for money often lead to unhappy unions, and infidelity was rampant. Critics of the practice
promoted love as the base of strong and healthy marriages.
Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745.
The series harshly critiques upper class 18th century society. This moralistic warning shows the
disastrous results of an arranged marriage for financial gain, instead of love.
1. The Marriage Settlement. This piece shows the arranged marriage between the son of a
bankrupt nobleman and the daughter of a wealthy businessman. The daughter is distraught
over the arrangement while the son admires himself in a mirror, totally detached.
2. The Tête à Tête. This piece is of a disheveled household from the previous nights
overindulgences. The couple ignores one another in the middle of a disorderly and
dysfunctional household.
3. The Inspection. This piece depicts a visit to the quack doctor to treat syphilis in both the newly
married son, and a young prostitute.
4. The Toilette. This piece indicates that the old earl has died, and the young couple is now earl
and countess. They host a lavish party while the countess is utterly distracted by another man,
oblivious to her guests.
5. The Bagnio. This piece illustrates the murder of the earl by the countess’ lover. The earl
caught the couple together and a fight leads to the death of the earl. The murderous lover flees
through the window.
6. The Lady’s Death. The countess is grief stricken after the murder of her husband and
subsequent hanging of her lover. She commits suicide by poison; a child kisses her lifeless
cheek, while her father in law slips her wedding ring off of her finger.
The entire series is housed at the National Gallery, London and more information about the works can
be found at: www.nationalgallery.org.uk/paintings/william-hogarth
Norman Rockwell (1894-1978) is an American born painter who gained popularity depicting
American life and culture, and created more then 4,000 works of art in his lifetime.
Rockwell is famous for his idealistic or sentimentalized portrayals of American life. This style
of overly sweet and sentimental imagery is sometimes known as “Rockwellesque”. Many of
Rockwell’s illustrations were created for the cover of “The Saturday Evening Post” editions, and made
their way into thousands of American homes. However, Rockwell’s tender images are not without
important moral lessons.
The handout includes the following works by Rockwell:

1. After the Prom appeared on the cover of The Saturday Evening Post on May 25, 1957 and is one of
his best-known images. The scene depicts two adolescents sitting at the counter of a typical American
diner. Still dressed for an occasion, the couple has just arrived from their prom. Both are grinning, and
it is obvious that they are enjoying the night. A uniformed worker sits to their immediate left. Keeping a
watchful eye on the two teenagers, while reminiscing about being young and in love. This image
reminds Americans to value innocence, and to keep it safe.
2. In The Gossips, Rockwell illustrates 16 figures, depicting a chain of communication, receiving and
passing on a morsel of gossip. Each character is distinct, with unmistakable personalities. The
interactions of the gossipers are not faltering; the expressions are exaggerated and unseemly. Here,
Rockwell shines a light on the pettiness of gossip.
3. The Problem We All Live With is an iconic image of the Civil Rights movement. It depicts Ruby
Bridges, one of the first black students to attend an integrated school system. After Brown vs. the
Board of Education ruled to desegregate schools, Bridges, and five other black children integrated into
the previously all white William Frantz Elementary School on November 14, 1960. Integration was
heavily protested. This painting is from the protester’s point of view; we see a young, yet determined,
Bridges walk with armed guards to school, textbooks in hand. The crowd throws tomatoes at Bridges,
and a racial slur is written on the wall behind her. Rockwell painted this image to outline the horrors of
racism in America, and to demonstrate the incorruptibility of children.
References
Bomford, D., Roy, A. ‘Hogarth’s “Marriage a la Mode”. National Gallery Bulletin Vol 6, p 44-67.
http://www.nationalgallery.org.uk/technical-bulletin/bomford_roy1982b
Cutler, J., Cutler L., Norman Rockwell’s America, Newport, Rhode Island, 2010, illustrated in color p.
203
Lesson 3 Title: Race/Gender/Class in Narrative Art
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Overview
Narrative art often reflects the environment of the artist, and depicts societal issues. Lawrence tells the
story of African American life in Harlem, New York, while Walker recreates the nightmarish history of
slavery in America with stark figures fashioned from black paper cutouts. Both artists tell the
uncensored and raw story of the black experience but ways that are both similar and different. Both
artists pioneered the representation of race, and the black experience in art.

Artists get inspiration from many sources. Art is a personal or individual response to their environment.
How do one’s experiences influence artwork? How do artists leverage their own experiences to
address gender/race/class in art?
National Learning Standards

Students will: VA:Re8.1.HSIII: Analyze differing interpretations of an artwork or collection of works in
order to select and defend a plausible critical analysis. VA:Pr6.1.lla: Make, explain, and justify
connections between artists or artwork and social, cultural, and political history. VA:Re.7.1.la:
Hypothesize ways in which art influences perception and understanding of human experiences.
VA:Cn10.1.lla: Synthesize knowledge of social, cultural, historical, and personal life with art-making
approaches to create meaningful works or art or design

Students will: VA.12.H1.1: Analyze the impact of social, ecological, economic, religious, and/or political
issues on the function or meaning of the artwork. VA.912.H.1.8: Analyze and compare works in
context, considering economic, social, cultural, and political issues, to define the significance and
purpose of art
Lesson Objectives
In this lesson, students will: (1) examine and discuss the works of Jacob Lawrence (2) examine and
interpret the “silhouette works” by Kara Walker (2) Analyze how artists leverage their own experiences
to address gender/race/class in art? (3) finalize the final project and execute a finished work of art over
a 2 day period.
Tools and Materials

• Sketchbook
• Pencil(s)
• Illustration Pens
• Chalk pastels
• Mars plastic eraser
• Construction paper in a variety of colors
• Arches white 400 lb cold pressed paper (or similar) 22x30
• Gouache paints
• Paint brushes
• Elmer’s glue stick
• Self-healing cutting board
• Exacto knife
NOTE: depending on the maturity of the class, the teacher may opt to use scissors instead. This will
yield less detail in the cutouts, and the lesson standard should be adjusted accordingly.
• Jacob Lawrence Handout (see resource sheet)
• Kara Walker Handout (see resource sheet)
• Example of Final Project Handout (see resource sheet)
• Exacto Safety Handout (see resource sheet)
Introduction
Students will examine the cubist works of Jacob Lawrence and the “silhouette works” by contemporary
artists Kara Walker. After examining both artists, students are asked to start planning their final project,
based on the sketches from Lesson 2. Student will consider addressing social issues from his or her
own environment in their final work, and use construction paper cut outs for the baseline of their
project. A summative assessment will follow on the final day of Lesson 3.
Procedure
Day 1: Jacob Lawrence
• Distribute Jacob Lawrence Handout
1) Each image will have a title, date, and medium. Determine what type of narrative is
exemplified in each work as a group. Students should take notes under the response
portion of each page.
2) Call on individual students to ask for an interpretation of a selected piece. Refer to the
Enduring Idea/ Essential question(s):
• “How do you (the viewer) read this work of art?”
• “Is this piece a response to Lawrence’s environment? How or why?”
• “How does the piece address race and / or class?”
Students should take notes under the response portion of each page
3) As a group, discuss how Lawrence’s body of work comments on race, and class relations.
Day 2: Kara Walk and Planning the Final Project

• Distribute Kara Walker Handout
1) Each image will have a title, date, and medium. Determine what type of narrative is
exemplified in each work as a group. Students should take notes under the response
portion of each page.
2) Call on individual students to ask for an interpretation of a selected piece. Refer to the
Enduring Idea/ Essential question(s):
• “How do you (the viewer) read this work of art?”
• “What story is Walker trying to tell?”
• “How does the piece address race and / or gender?”
Students should take notes under the response portion of each page
3) As a group, discuss how Walker’s body of work comments on race, gender, and power
relations.
4) Have the student revisit their moralizing sketch from Day 2 of Lesson 2. Is there any
issues with gender / race / social class that your moralizing narrative does not depict? Do
you feel compelled, based on personal experience or personal responsibility to include a
statement on gender / race / social class? Modify your sketch as you see fit, based on
your perspective. Begin to consider the use of color and detail.

Briefly review the material from days 1-3 with the students. Allow time for any constructive questions
the teacher as soon as they are completed
the final day, and should be turned into the teacher as soon as the student completes the assignment
Closure
assignment:
• Have few, or no notes taken under the response portion of the “Jacob Lawrence” handout
• Have few, or no notes taken under the response portion of the “Kara Walker” handout
• Have few notes, or bullet points, taken under the response portion of the “Jacob Lawrence”
handout
• Have few notes, or bullet points, taken under the response portion of the “Kara Walker”
handout
• Have strong notes, or complete sentences, taken under the response portion of the “Jacob
Lawrence” handout
• Have strong notes, or complete sentences, taken under the response portion of the “Kara
Walker” handout
Multiple Choice Quiz
Sketchbook Contents
• Show little planning and little to no revisions from the planning process on Day 2
• Show sound planning and some revisions from the planning process, Day 2
• Show strong planning and multiple revisions from the planning process, Day 2

Born in 1917 Atlantic City, New Jersey, Jacob Lawrence is an African-American painter known
for his portrayal of African American life. Lawrence was heavily influenced by the Cuban traditional and
by living in Harlem, New York. Many of Lawrence’s works show the everyday reality in the vibrant,
colorful Harlem streets. His powerful narrative images chronicle the afflictions endured by African
Americans.
Flowing the cubist tradition, much of Lawrence’s figures are flat, with bright highlights of
tempera that add volume to the forms.
The student handout includes the flowing works by Lawrence:

1. This is Harlem depicts the improvised and often innovative lifestyles of African Americans during the
convergence of the great migration, birth of the jazz age, and coming of the Harlem Renaissance.
2. Catfish Row is a seafood feast, depicted from above, as the viewer looks down onto a joyful spread
while people eat unaware of the viewer’s presence. Lawrence perfectly captures the communal activity
of sharing a meal, over this incredible amount of seafood.
3. New York Transit is a crowded and chaotic narrative – much like the commuter life in New York.
People hang on to rails as they head to or from work, while city life teems through the window.
Kara Walker was born is Stockton California in 1969 and at the age of 13 moved to Georgia. It
was during her time in the Deep South that Walker became interested in race relations and the history
of the black experience in America. After receiving a bachelor’s degree from the Atlanta College of Art,
Walker received her masters at the prestigious Rhode Island School of Design.
Walker burst onto the New York art scene and made big waves with her controversial and
graphic imagery. Her large-scale, life sized paper cuts outs, depicted the horrifying and shocking life of
African American slaves in the antebellum south addressing social class, race relations and gender
roles. Her limited color palette is deliberate; the stark contrast of black against bright white is jarring.
This contrast echoes the vast difference between the two worlds she depicts; the world of wealthy
whites and experiences of the slaves they owned. Walker manages to capture exquisite detail in her
cutouts, making these silhouettes very expressive.
The student handout includes the following works by Walker:
1) Gone: an Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One
Negress and Her Heart (1994) is a plantation scene, drawing from the novel Gone with the Wind. A
well-dressed white couple embraces while a black child with braids holds a duck above the water.
2) The Jubilant Martyrs of Obsolescence and Ruin (2015) is a scene straight out of the Civil War. The
image is gruesome, with swords, bucking horses, severed heads and immanent death.
3) The Means to an End… a Shadow Drama in Five Acts (1995) confronts the atrocities of slavery in
American history. An oppressive figure strangles a young slave while a young woman tries to run
away, leaping across heads of fellow slaves. This piece is not a cutout, but rather an aquatint, yet it still
depicts Walker’s hallmark silhouettes.
Note:
Walker’s art attracts controversy; fellow African American artists have accused her of perpetuating
negative stereotypes surrounding African Americans. Works with titles that contain racially charged
language have been omitted from this lesson plan. At times, Walker’s art can be sexually explicit and
violent; these works have been omitted for the purposes of this lesson plan. Gone: an Historical
Romance of a Civil War as It Occurred Between the Dusky Thighs of One Negress and Her Heart was
cropped in the handout to omit such an explicit scene.
For more information on Kara Walker, visit her website to read her complete biography and see a full
list of her works: http://www.karawalkerstudio.com/
References
Diamond, Anna. (2017, September) Why the Works of Visionary Artist Jacob Lawrence Still Resonate
a Century After His Birth. Retrieved from the Smithsonian Website:
https://www.smithsonianmag.com/smithsonian-institution/why-works-visionary-artist-jacob-
lawrence-still-resonate-century-after-his-birth-180964706/
Cotter, Holland. (2003, May). Art Review: A Nightmare of Antebellum Life That Sets Off Sparks.
Retrieved from The New York Times website: https://www.nytimes.com/2003/05/09/arts/art-review-
a-nightmare-view-of-antebellum-life-that-sets-off-sparks.html
Greenberger, Alex. (2017, June). High Museum of Art Acquires 58-Foot-Long Kara Walker Silhouette.
Retrieved from ArtNews website: http://www.artnews.com/2017/06/27/high-museum-of-art-
acquires-58-foot-long-kara-walker-work/
Kara Walker American Artist. (2007). In Encyclopedia Britannica. Retrieved September 24, 2018, from
https://www.britannica.com/biography/Kara-Walker
Final Assignment and Summative Assessment
Estimated Completion Time: 2 days
Students will create a final project based on the knowledge gained from the units’ 3 main lessons. This
final project should touch on at least one, or many of the following elements:
• Storytelling, with a clear narrative
• A lesson or moralizing tale
• Addresses issue of race / gender / class
Procedure
Day 1 - Final Assignment
• Begin working on the students’ Final Project
1) Share Example of Final Project Handout- this piece of narrative art depicts the election of
President Donald Trump, the after math of the election, including the rise of activist groups
like the Women’s March, and the 2018 midterm elections. Construction paper cutouts and
multimedia is used to tell the story of the 2016 political landscape and address gender and
race issues The image on the handout is a continuous narrative of this story, using cutouts
from construction paper.
2) After reviewing the handout, students will begin to translate their sketch onto Arches paper
to prepare their final product. The following questions should be considered at this stage:
• How many colors do you want to use?
• What elements should be what color and why?
How much detail do I need to incorporate? How much detail can be attained with
the tools at hand?
• Will overlapping of the elements occur? To what degree?
Considering the size of the paper, how large will my cutouts be? Consider scale.
(These questions will be on a black board for reference and answers, should be
noted in sketchbook)
3) The class will pause and take a moment to pair up for peer review of their plan and draft.
Students will receive peer and self-expressed feedback and have the opportunity to
rework the composition on the Arches paper. Any revisions should be noted in the
student’s sketchbook.
4) After the plan has been carefully considered and finalized, students should begin
producing the cutouts.
5) All students will stop what they are doing and gather around the instructor for an Exacto
safety lesson. Students will also receive a handout on Exacto safety that they should
follow closely. Each student will demo proper usage of the knife. Students will not receive
an Exacto knife or self healing cutting board until they have demonstrated to the an
instructor a clear understanding of the safety guidelines.
Note: Teacher may opt to use scissors.
6) Students will return to their desks and begin cutting their key images out of construction
paper. If an element is cut, and is unsatisfactory, students are encouraged to repeat the
process until the desired result is achieved.
7) After all pieces have been cut, students will begin arranging the elements onto the Arches
paper. Students will be paired, once more, with a fellow student to review the
arrangement of the elements. Using feedback to make any changes to the composition or
cutout elements. Note changes (if any) in sketchbook.
8) After the elements and arrangement is finalized, the students will use Elmer’s glue stick to
adhere the cutouts to the Arches paper.
9) Students will use other media they to embellish their work as they see fit– pen and ink,
gouache or chalk pastels.
10) Students will sign, date and title their finished piece on the back right corner of the paper
Day 2 - Final Assignment

1) Allow students time on day 2 to finish their final projects. Revisiting any materials from Day 1
to refine, or polish their art.
2) End Day 2 with Peer Review (see below)
Closure
Peer Review - All final pieces will be displayed in the classroom or hallway for peer review and
discussion. As a group, each of the student works will be analyzed. The following questions will be
considered for each:
• Did the artist tell a story?
• Can you identify the visual narrative?
• What type of narrative was used as a framework?
• Did the artist demonstrate one of, (or a blend of) following themes: society, class, culture,
history, or personal experience?
Summative Assessment Rubric:

The Final Assignment will be graded on participation, and proficiency within the 2 major components of
the assignment:
1) Final Product
2) Peer Review
Final Product (worth 30 points total) Peer Review (worth 20 points total) will be combined to reflect a
final summative assessment (out of 50 points) for Final Assignment.
Final Product
10 pt - To receive an “unsatisfactory” a student must:
• Have poor quality cutouts, including jagged edges and rips in construction paper
• Have very unclear story or narrative
• Have weak composition
• Have poor application and tidiness of glue
20 pts - To receive a “satisfactory” a student must:
• Have well cut cutouts with no jagged edges or rips in construction paper
• Have a clear story or narrative
• Have a sound composition
• Have neat application and be tidy with the glue
30 pts - To receive an “outstanding” a student must:
• Have clean cutouts with an attention to detail
• Have a well-defined story or narrative
• Have a strong composition
• Have a spotless application and no trace of glue marks
Peer Review
0 pt -To receive an “unsatisfactory” a student must:
• Not offer any peer feedback in the group discussion
10 pts -To receive a “satisfactory” a student must:
• Offer some feedback, even if it lacks direction and cohesion
20 pts -To receive an “outstanding” a student must:
• Offer well thought-out, clear and productive feedback for the group
After assessing each component, add up the total points earned for this lesson (3pts – 9pts)
Unit Rubric:
• Lessons 1-3 are each worth 100 points. The totals earned by the student will be averaged, to
create a Lesson Average.
• The Lesson Average will represent 50% of the final unit grade.
(Multiply .50 with the average lesson score to reflect 50%)
• The Final Assignment is worth 50 points and will represent 50% of the final unit grade.

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UNIT PLAN

Enduring Idea or Theme: Narrative Art

National Core Art Standards:

New Generation Sunshine State Learning Standards

What broad, overarching understandings are desired of students?

As a result of this unit, students will be expected to demonstrate an understanding of:

Major Learning Activities:

Enduring Ideas/Essential Questions

National Learning Standards

New Generation Sunshine State Standards

Tools and Materials

Day 2: Ancient Greek Pottery

Day 3: Sistine Chapel Ceiling

Day 4: Multiple Choice Quiz and Short Answer Response

Artists or Works of Art Studied

Enduring Ideas/Essential Questions

National or State Learning Standards

New Generation Sunshine State Standards

Tools and Materials

Day 2: Norman Rockwell

Day 3: Multiple Choice Quiz and Short Answer Response

Distribution and Clean-Up

Artists or Works of Art Studied

The handout includes the following works by Rockwell:

Enduring Ideas/Essential Questions

National Learning Standards

New Generation Sunshine State Standards

Tools and Materials

Day 2: Kara Walk and Planning the Final Project

Day 3: Multiple Choice Quiz and Short Answer Response

Artists or Works of Art Studied

The student handout includes the flowing works by Lawrence:

Day 2 - Final Assignment

Summative Assessment Rubric:

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