ISTITUTO TECNICO STATALE PER IL TURISMO “Marco Polo“ Rimini
ISTITUTO TECNICO STATALE PER IL TURISMO “Marco Polo“ Rimini Progetto interregionale CLIL Anno scolastico 2010/2011 Classe VE Prima parte THE PRE-RAPHAELITE BROTHERHOOD Discipline:Arte e Territorio (prof. Giovanna Gaspari) Lingua inglese ( prof. Lucia Stringhini) FINALITA' EDUCATIVE Contribuire a considerare l'acquisizione di conoscenze in un'esperienza multidisciplinare Sviluppare spirito collaborativo OBIETTIVI Acquisire nuove conoscenze di arte (utilizzo della lingua inglese come mezzo) Acquisire una terminologia specifica per l'analisi di opere d'arte Rinforzare competenze linguistiche ed arricchire il lessico in inglese (arte come mezzo) • METODOLOGIA lezioni frontali lavori a coppie compresenza delle insegnanti di Arte e Inglese coinvolgimento attivo degli studenti verifica finale TEMPI DI ATTUAZIONE n.1 modulo di 5 ore da svolgersi in compresenza STRUMENTI/ MATERIALE Computer, videoproiettore, internet, fotocopie, repertorio di immagini PIANO DEL PROGETTO WARM UP ACTIVITIES: Introduzione del lessico usato in Arte per commentare un'opera in Lingua Inglese attraverso esercizi di collegamento (nome/ definizione) e fill-in (completamento di diagrammi) INTRODUZIONE DELL'ARGOMENTO The Pre-Raphaelite Brotherhood PRESENTAZIONE DEGLI ARTISTI: William Holman Hunt Dante Gabriel Rossetti John Everett Millais ANALISI DELLE OPERE Ecce Ancilla Domini (The annunciation ) La Ghirlandata The Awakening Conscience Ophelia TEST DI VERIFICA Il test verificherà sia le conoscenze acquisite che la competenza linguistica. Si effettuerà attraverso una visita virtuale alle gallerie d'arte di Londra in cui sono conservate le opere in oggetto e gli studenti, fungendo da guida , presenteranno i dipinti in lingua italiana ed inglese. Vocabulary Match the words in column A with the right definition in column B A B 1. BACKGROUND a. It is a major component in painting together with colour and can suggest feelings and ideas.In this case it is commonly used to express anexplosion of feelings, speed and disturbance of the mind. 2. CANVAS b. It refers to a painting having varying shades of one colour only. Shades of a single colour can be for example: dark red, light red, opaque red , blend together. 3. COMPLEMENTARY COLOURS c. It is the part of the painting which appears farthest away from the viewer. 4. JAGGED LINE d. It is the arrangement of the various parts in a work of art. To describe a painting and underst and its composition one should draw imaginary lines connecting its various parts or trace the median lines and/or the diagonal lines of the canvas. 5. WARM COLOURS e. It is the painting of a person who is refered to as the subject or sitter. It cam be head only, bust length,half length, three-quarter length,full length. 6. PORTRAIT f. They are on opposite sides of the wheel of colours (e.g.yellow and purple;green and red; blue and orange).When placed next to one another, they create the strongest contrast. They are also callled opposite colours. 7.MONOCHROMATIC g. In general it can emphasise objects and people in a paiting; it can produce sharp contrasts, brightly illuminating some parts and throwing others into darkness. It can derive from different sources. If it derives from a lamp or a candle it is said so. 8. COMPOSITION h. They represent the range of colours from yellow to red and orange reminding us of things which are hot. 9. ARTIFICIAL LIGHT which to paint. i. It is a tightly stretched cloth surface on DIAGRAMMI - FILL-IN Put the words sharing the same semantic area in the balloons in order to have the basic vocabulary to describe paintings Fate clic per aggiungere testo To paint Watercolours Portrait Natural light Completamento di diagrammi Straight line Colour scheme Background To portray - long/short line – tempera – to showforeground – monochromatic – artificial light – secondary colors – still life – prospective – diagonal line – diffused light – warm colours – self portrait – oil painting – dotted line – seascape- cool colours – real light – vertical line landscape – to represent – shades of light – polychromatic – horizontal line – bright light – complementary colours – curvy line – outline. The Pre-Raphaelite Brotherhood Who inspired them? In the middle of the 19thcentury, the Royal Academy of Arts in London reigned supreme as the centre of the English art world and taught students the fundamentals of anatomy, painting, perspective, geometry and sculpture. A group of them rebelled and rejected the academic taste and the accepted style of painting which idealized nature and beauty to the detriment of truth and it seemed to lack vigour, seriousness and sincerity and relied too heavily on academic conventions. They formed a secret society called “the Pre-Raphaelite Brotherhood” through which they hoped to revitalize painting in Britain. They reacted against the dull, unimaginative art of the period by returning to the aesthetic values of the Italian painters of the Quattrocento who lived before Raphael and were closer to nature and less artificial than the Victorian artists. They thought that all art from Raphael onwards had degenerated into conventionalism and academicism, so they were determined to “do battle against the frivolous art of the day” and looked back for inspiration to early medieval Italian painters, Raphael’s predecessors, who, they said were “simple, sincere and religious”. Who were the original members of the Pre-Raphaelite Brotherhood? The Pre-Raphaelite society was to be secret, and accordingly they became a “Brotherhood”. The initials “PRB” appeared somewhere on their work in order to give strength to their union: The initial group was formed in 1848 by seven artists, poets and painters, including in particular Dante Gabriel Rossetti( 1828 -1882), William Holman Hunt( 1827-1910) and John EverettMillais( 18291896). Hunt was the main theorist of the group, and was responsible for their guiding principles: the depiction of simple rather than grand subjects, with a serious and moralistic theme, an honest rendition of nature based on direct observation and an adherence to Christian spirituality. He said that their aim was to achieve “ a serious and elevated intention of a subject, along witearnest scrutiny of visible facts” Rossetti, the son of an Italian political refugee, was the charismatic force behind the group, the founder and leader of the pre-Raphaelite Brotherhood. He was also a poet and he wished to develop the links between poetry and art. His paintings are noted both for their religious symbolism and for their atmosphere of languorous beauty and sensuality. Millais was the most artistically talented of the three. He represented natural appearances down to the minutest detail and for this he was often criticized. The movement influenced the work of many later British artists. Rossetti, in particular is seen as a precursor of the wider European symbolist movement. The group split up in 1854. What did they paint? They insisted that paintings must be done from direct observation of nature , in terms of clarity, brightness and detailed first-hand observation of flora. For example when Millais painted Ophelia (1852) he spent four months outside painting the bakground. They used very strong colours, which at the time they seemed garish, and for this reason they were criticized and devalued by many painters and critics. For this reason, in 1850, they started a periodical of their own, “The Germ”, which, though limited to only four numbers, publicized their theories and also published some of their poems. The subjects that they chose were biblical or inspired by the artists and writers they admired. Symbolism was an important component of their paintings Believing that art must have a message to convey, they often filled their paintings with symbols but at the same time they tried to “adhere to the simplicity of nature”, i.e. to represent reality in minute detail though beautifying and idealizing it. For example flowers represented qualities such as innocence, youth, purity. What then, do we see in the early Pre-Raphaelite pictures? Firstly, they are generally bright - much more so than contemporary academic pictures - painted on a white ground. This gives them an instant impact when seeing them in a gallery among contemporary Victorian art. Secondly, the "truth to nature" apparent in attention to minute detail, to colour, and sometimes a lack of grace in composition. Thirdly, a taste for significant subjects - from mediaeval tales, from poetry, from religion.