Curriculum Area: Writing
Explore a Dream
Sigmund Freud founded psychoanalysis in the early twentieth century. Many Surrealists were influenced by Freud to explore dreams and their own subconscious thoughts. Write about a "scene" from one of your dreams.
Describe in detail the landscape or the environment where the dream took place. Were the things you saw in your dreams "normal looking" or were they unusual in appearance? What time of day was it? What was in the distance? What was up close to you? What were you experiencing? What did you learn about your likes and dislikes from your dreams? Once you have written about your dream, you may like to draw it or map it out using a raised-line drawing board.
Live Inside a Work of Art
If you were there . . .
It's late on a Saturday night. You're sitting at home reading a book when you start to doze off. When you wake up, you are not at home anymore. You've traveled back in time, and you've become part of the scene in your favorite painting from this volume.
You don't see a way out right away, so you decide to make the most of it and explore your new surroundings. Write a story about yourself in the painting. Base your story on what you saw in the work of art. Use your memory and imagination to picture the scene. Describe a typical day in this place and what life might have been like.
Curriculum Area: Geography and Map-Reading
Tour Artists' Homes
The artists studied in this volume are natives of different countries in Europe. Look at a map of Europe and find the countries where these artists lived: Matisse, France; Dali, Spain; and Mondrian, Holland. Using the Internet or other library resources to learn more, find out about the regions where these artists lived.
(Special thanks to the Whitney Museum of American Art for generously permitting publication of excerpts from their materials for educators, 1998-1999.)
Texts by Artists
Breton, Andre. Surrealism and Painting. New York: Harper and Row, 1972.
Dali, Salvador. The Secret Life of Salvador Dali. Dover, 1993 (reprint of 1942 edition.
Dali, Salvador. Diary of a Genius. Creation Books, 1998 (reprint of 1965 edition).
Gropius, Walter. Scope of Total Architecture. New York: Collier Books, 1962.
Kandinsky, Wassily. Sadler, M.T. H., tr. Concerning the Spiritual in Art. New York: Dover Publications, 1977.
Mondrian, Pieter Cornelius. Plastic Art and Pure Plastic Art . 3rd ed. New York: Wittenborn, Schultz, 1952.
General Texts About Twentieth-Century Art
Ades, Dawn. Dali and Surrealism. New York: Harper and Row, 1982.
Arnason, H. Harvard, and Marla F. Prather. History of Modern Art: Painting, Sculpture, Architecture and Photography. 4th ed. New York:Abrams, 1997.
Curtis, William J.R. Modern Architecture Since 1900. Englewood Cliffs, NJ: Prentice Hall, 1987.
Gay, Peter. The Bourgeois Experience: Victoria to Freud. New York: Oxford University Press, 1984.
Overy, Paul. De Stijl. London: Thames and Hudson, 1991.
Richter, Hans. Dada: Art and Anti-Art. Oxford: Oxford University Press, 1978.
Rubin, William S. Dada and Surrealist Art. New York: Harry N. Abrams, 1968.
Rubin, William S. ed. Pablo Picasso: A Retrospective. New York: Museum of Modern Art/Boston: New York Graphic Society, 1980.
____. "Primitivism" in 20th-Cenutry Art: Affinity of the Tribal and the Modern. 2 Vols. New York: Museum of Modern Art, 1973.
Russell, John. The Meanings of Modern Art. New York: Museum of Modern Art/HarperCollins, 1981 and 1991.
Schwarz, Arturo. The Complete Works of Marcel Duchamp. London: Thames and Hudson, 1965.
Seuphor, Michel. Piet Mondrian: Life and Work. New York: Harry N. Abrams, 1956.
Shapiro, Theda. Painters and Politics: The European Avant-Garde and Society, 1900 - 1925. New York and Amsterdam: Greenwood Press, 1976.
Taylor, Joshua C. Futurism. New York: Museum of Modern Art, 1961.
Teed, Peter. Dictionary of Twentieth-Century History. Oxford: Oxford University Press, 1992.
Thomson, David. World History from 1914 to 1968. Oxford: Oxford University Press, 1969.
Winter, J.M. The Experience of World War I. New York: Oxford University Press, 1988.
Technology and the Emergence of Modern Art
Hauser, Arnold. "The Film Age." The Social History of Art. Volume Four. New York: Vintage Books, 1958. (Reissued 1985).
Hughes, Robert. The Shock of the New. New York: Rahdom House, 1980.
Kern, Stephen. The Culture of Time and Space. 1880 - 1918. Cambridge: Harvard University Press, 1983.
Rosenblum, Robert. Cubism and Twentieth-Century Art. New York: Harry Abrams, 1959.
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art. New York: Museum of Modern Art, 1990.
In the basic process of creating tactile diagrams, a black and white flat print version of the raised line drawing is transferred onto swell paper (either using a low temperature photocopier or other means). The black areas of lines and patterns will rise when the swell paper is fed through a fuser.
So to create tactile diagrams you need Microcapsule or Swell Paper and access to a heat diffusing machine or tactile fuser.
Then follow these instructions:
What is Swell Paper?
Swell Paper is paper that has a coating of "micro-capsules" or very small beads of plastic that, when exposed to heat, "swell" or expand in width and height. Black ink should be used when transferring a flat print copy of a raised line drawing to swell paper. The Black areas of lines and patterns will attract the most heat and thus rise while the areas without lines and patterns will remain flat.
Sources of Swell Paper and Tactile Fusers
|© Art Beyond Sight