Art History and Appreciation

Title: Mainie Jellett-an introduction to Cubism and Picassos Guernica. Group: 5th year No. of lessons: 3 (1 S per week) Pupils: 22 Time: 120 mins - 40 mins per week

Aims: - Explore the work of Mainie Jellett and formulate an opinion of the context in which she practiced as a female artist in Ireland. - To explore the art movement with which Jellett is associated and gain an understanding of the theories and concepts of it. - The practice of assessments pertaining to the subject matter concerned in order to successfully prepare for related Leaving Cert exam questions. Overall Learning Outcomes: - Gain a deeper understanding of art-its symbolism and themes, its fuction and purposefrom evaluating, analysing and describing Jelletts work in an small essay question. - By appraising examples of Jelletts work as well as a prominent example of Cubist painting-Picassos Guernica-come to assess the symbolism and nature of this movement and demonstrate personal knowledge of this through an in-class assessment. - Recognise the functioning and layout of the History and Appreciation of Art and Design section in the Leaving Cert examination in terms of how questions relating to Mainie Jellett could come up, what is required to successfully answer these variety of questions and what other information might be requested.

Composition with Three Elements c 1935

Investigating: Life and work of artist Mainie Jellett as introduction to Cubist painting. Also with brief introduction to Picasso as founder of Cubist movement with Guernica. In particular to understand the context in which Jellett painted in Ireland and the journey her work underwent in terms of influence and style so that a deeper assimilation and appreciation for art can be gained. The link from personal expression in her work to making a statement of the times can be seen in Picassos work, culminating in Guernica.

Abstract Composition 1935

History/CCS: Mainie Jellett was born in Dublin at the end of the 19th century. She was the pioneer of the modern art movement in Ireland. Her early training was at the Metropolitan School in Dublin and with Walter Sickert at the Westminster School of Art. Sickert encouraged her and Evie Hone to visit Andre Lhotes studio in Paris. Lhote was an advocate of a form of Cubism that was based not on rejecting what had gone before, but on extending the Western European tradition of painting. After a year of attending classes in Lhotes studio, Jellett and Hone were ready to move on to pursue their exploration of non-representational art. They sought out Albert Gleizes for his advice and tuition.

In the early twentieth century, Irish artists and critics had limited exposure to art movements that were explorative and avant-garde in their focus and direction. Therefore, Jellett endured endless dismissive and severe criticism from her peers and critics in Ireland, who did not understand the histories, theories and rationales that underpinned her work Jellett believed that the artist was, first and foremost, a crafts person whose skill and creative talents could be utilised for the benefit of society. She was a prolific artist influenced by the Arts and Crafts Movement. Her creative talents and skills diversified into many areas.

Guernica 1937

Picasso, as one of the key players in the Cubist Movement, fought against old ideas and habits of traditional painting. He strove to reinvent concepts of art through using specific techniques such as the use of collage and materials in Synthetic Cubism-an experimental, decorative and textural exponent of the movement. In analytical cubism, the artist views a subject from multiple angles and records each angle, as if you were to rotate around a head, documenting it from every position, placing each viewpoint side by side. Guernica is noteworthy for the statement it makes of the time, defending the innocent and condemning the bloodshed of war. Although incomparable in moral severity, similar to Jellett striving to educate and break the long-held boundaries of art in Ireland. Materials/Facilities: Visiting an exhibition (Analysing Cubism: Mainie Jellett, Evie Hone, Mary Swanzy and masters of European Modernism. 20 February - 19 May 2013 IMMA), art book (Appreciating Art, Ni Charthaigh, O Sullivan), handouts (InColour, Fingal Arts Office), documentary film (Schamas Power of Art-Picasso). Verbal and written comprehension for essay writing and class discussions. Literacy: Analytical, synthetic, rococo (stages of Cubism). Modern art, non-representational, figurative, prolific, rhythm and movement in terms of visual art, conservative, European art, abstraction of formal elements of a painting. Numeracy: Dates of Cubism 1907-1914, and stages of different influences in Jelletts work to relate to ongoing movements of the time. Use of digital media: Presentation of Jelletts work and film. Teaching/Learning Strategy: whole class learning, direct teacher-led research in classroom, group discussions. Differenciation: For G.L.D. The reiteration and positive reinforcement of concepts of Cubism and symbolism in Jelletts work, through use of onscreen cues. Breaking down how to analyse imagery and answer questions pertaining to artwork into short stages-emphasise the process of this.

Timeline: 1st lesson - project introduction with recap. of exhibition visited in particular work of Jellett seen, referring to book on set curriculum for information on Cubism, then use of handout on 19th century artists to link Jelletts work in to the movement. 2nd lesson - Closer look at Jelletts life and work in the Cubist stage, how to analyse a painting for understanding of symbolism and ability to discuss the work. 3rd lesson - Continuation of Cubism, moving into book again to introduce Picasso as one of the movements founders. Looking specifically at Guernia through documentary film to provide two artists and two works with which to answer a possible exam question on this movement.

Assessment rubric: (see overleaf)