Fernand Léger, Paysage à l’oiseau (Bird in Landscape). Oil on canvas, 25 3/4 x 36 1/4 inches. Collection of the Nasher Museum of Art at Duke University.
Eve Sussman, The Wolf in Tempelhof. Chromogenic print, 39 1/2 x 49 inches. Collection of the Nasher Museum of Art at Duke University.
Mickalene Thomas, Lovely Six Foota. Chromogenic print, 56 5/16 x 67 3/8 inches. Collection of the Nasher Museum of Art at Duke University.
David Parrish, Kayo. Oil on canvas, 51 7/8 x 76 3/4 inches. Collection of the Nasher Museum of Art at Duke University.
Romare Bearden, In the Garden from American Portfolio. Lithograph on paper, 28 3/4 x 21 1/4 inches. Collection of the Nasher Museum of Art at Duke University.
Thomas Hart Benton, First Crop. Gouache on paper, 21 x 29 3/4 inches. Collection of the Nasher Museum of Art at Duke University.
John Sloan, Maid Cutting Ice. Oil with tempera and oil-varnish glazes on canvas, 24 x 20 inches. Collection of the Nasher Museum of Art at Duke University.
Adalbert Waagen, Hunting in the Alps. Oil on canvas, 52 x 41 1/2 inches. Collection of the Nasher Museum of Art at Duke University.
Earl Bliss, American (1947-1998), Indians in the Greasy Grass c. 1977. Oil on canvas, 26” X 36”. Collection of the Carlsbad Museum & Art Center, Carlsbad, NM, USA.
English Language Arts
Grade 1
2: The Amazing Animal World
3-4 30-minute lessons
Informative Writing
How can paintings illustrate that living things are connected?
I can use artwork to explain how living things are connected.
I can explain how living things represented in artwork are connected through informational/explanatory writing.
I can illustrate how living things are connected through my own artwork.
Display Nasher artworks where students can view all images.
Review art images discussed in the previous lesson on primary and secondary colors. Explain that now we will look at how living things are connected.
Explain the difference between living and non-living things. Explain how living things rely on each other for basic needs (explain basic needs, if they have not been covered).
Direct student attention back to the art images. Focus on one image. Ask the students to help you identify how the living things in the artwork are connected to each other.
Place several art images on student tables. Divide students into small groups. Have the small groups analyze the paintings at their table. Student discussions should focus on living things in the artwork. Have students identify all of the living things in the pieces of art at their table. Encourage students to discuss the connectivity of living things through basic needs.
If time allows, small groups may rotate to other tables to discuss additional art images.
As a group, discuss the students’ findings and observations. Ask students to support their observations with details from the artworks. What other examples of connectivity do we see in our environment?
Review the connectivity activity from the previous day. Have students share examples from the previous day.
Discuss the components of an information piece of writing: name the topic, supply facts/details, closure. Create a chart with these headings and use it to record details of the discussion so that there will be something to refer to later during writing.
Explain that name the topic should be a brief description of the piece (content). Remind students that facts about the artwork should include subject, setting, and examples of connected living things. Closure should include at least one thought about the piece of art related to connectivity.
As a class, select one piece of artwork. Model the writing process with the class. Have students provide input for the shared writing piece. Conclude the session with a whole group read and any additional comments about the writing process.
Display shared writing from the previous day. Review components of an informational piece of writing.
Have students select one piece of art to write about in their informational writing piece. Have students write about their selected artwork while you monitor the writing process and provide support as necessary.
Review lessons from the previous three days; connectivity activity, shared writing, and independent writing. Have students share their writing with the class.
Explain to students that they will create their own artwork that illustrates at least one way that living things are connected to each other. Review proper use of art materials.
Have students create their artwork. Have them title their piece and write a brief description of the connectivity that they illustrated. Attach this paper to their artwork.
Students share their artwork with the class.
Beyond Grade Level: Students compare and contrast connectivity in two or more pieces of art.
At Grade Level: Student identify connectivity in two or more pieces of art.
Below Grade Level: Students identify connectivity in a single piece of art.
Modification: Rather than independently selecting artwork to write about, all students independently write about the same work of art.
paper, pencils, erasers, crayons, markers, paint, paint brushes, drawing paper
medium, artist, structure, movement, information, details, opinion, facts, explain, connection, living, non-living, nature, create, creative, subjects, setting, landscape
Fernand Léger, Paysage à l’oiseau (Bird in Landscape), 1952. Oil on canvas, 25 3/4 x 36 1/4 inches (65.4 x 92.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Bequest of Louise and Alvin Myerberg, 2010.3.9. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo by Peter Paul Geoffrion.
Reproduction of this Fernand Léger image is prohibited by copyright laws and international conventions without the express written permission of the Artists Rights Society (ARS), New York.
Eve Sussman, The Wolf in Tempelhof from the film The Rape of the Sabine Women, 2005. Chromogenic print, 39 1/2 x 49 inches (100.3 x 124.5 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Museum purchase, 2006.11.1. © Eve Sussman and The Rufus Corporation. Photo by Benedikt Partenheimer.
Mickalene Thomas, Lovely Six Foota, 2007. Chromogenic print, 56 5/16 x 67 3/8 inches (143 x 171.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Gift of Christen and Derek Wilson, 2010.12.1. © 2013 Mickalene Thomas and Mickalene Thomas Studios, Inc.
David Parrish, Kayo, 1976. Oil on canvas, 51 7/8 x 76 3/4 inches (131.8 x 194.9 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Gift of Louis K. and Susan P. Meisel, New York; 2001.24.6. © David Parrish. Photo by Peter Paul Geoffrion.
Romare Bearden, In the Garden from American Portfolio, 1979. Lithograph on paper, 28 3/4 x 21 1/4 inches (73 x 54 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Gift of Mr. and Mrs. Daniel and Carolyn Klein, 1980.81.5. Art © Romare Bearden Foundation/Licensed by VAGA, New York, NY. Photo by Peter Paul Geoffrion.
Thomas Hart Benton, First Crop, 1944. Gouache on paper, 21 x 29 3/4 inches (53.3 x 75.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Bequest of Louise and Alvin Myerberg, 2010.3.1. ©T.H. Benton and R.P. Benton Testamentary Trusts / UMB Bank Trustee / Licensed by VAGA, New York, NY. Photo by Peter Paul Geoffrion.
John Sloan, Maid Cutting Ice, 1918. Oil with tempera and oil-varnish glazes on canvas, 24 x 20 inches (61 x 50.8 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Gift of Sarah and Kenneth Harris in honor of Dr. & Mrs. James Semans, 1976.70.1. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York. Photo by Peter Paul Geoffrion.
Reproduction of this John Sloan image is prohibited by copyright laws and international conventions without the express written permission of the Artists Rights Society (ARS), New York.
Adalbert Waagen, German, Hunting in the Alps, 1865. Oil on canvas, 52 x 41 1/2 inches (132.1 x 105.4 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC, USA. Museum purchase, 2002.16.2. Photo by Peter Paul Geoffrion.
Earl Bliss, American (1947-1998), Indians in the Greasy Grass c. 1977. Oil on canvas, 26” X 36”. Collection of the Carlsbad Museum & Art Center, Carlsbad, NM, USA.