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.