The Heckscher Museum of Art EXHIBITION RESOURCE GUIDE FOR TEACHERS

WHAT’S INSIDE About the Exhibitions.......................................1 Exhibition-Related Materials............................4 Exhibition-Related Vocabulary..........................5 Elements and Principles of Art.........................6 Pre- and Post-Visit Activity Ideas.....................8 Select Images...............................................10 Explore the Collection...................................20 Everything You Need @ www.heckscher.org.....21

2 Prime Avenue Huntington, NY 11743 631.351.3250 www.heckscher.org Education Department 631.351.3214

BRODSKY, Stan (American, b. 1925) Santa Barbara #5, 2002 Oil on canvas Euclidian Capital LLC From the exhibition Stan Brodsky: Retrospective

ABOUT THE EXHIBITIONS

August 17 - December 1, 2013 This retrospective celebrates the career of Stan Brodsky, one of Long Island’s most prominent contemporary artists. For 50 years, Brodsky has created abstract works of lyrical beauty inspired by the Long Island landscape and his travels in the United States and abroad. His multilayered paintings exude dynamic energy and reveal an elegant sensitivity to color rare among his contemporaries. The exhibition traces the artist’s evolution from Stan Brodsky in his Long Island studio. early representational works that focus on architectonic city structures, through the minimalist landscapes executed during the artist’s early years on the Island, to the Abstract Expressionist works that manifest Brodsky’s deepest engagement with the painting process itself. Stan Brodsky is Professor Emeritus at LIU Post and his work is included in many public and private collections. He will be honored at the Museum’s Celebrate Achievement Benefit on November 15, 2013 for his significant contributions to the arts on Long Island.

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MOSS, Ben (American, b. 1925) Landscape State 139, n.d, Oil on paper. Gift of the Artist in memory of Dr. B. Frank Moss, Jr.

SANCHEZ, Emilio (American, b. Cuba, 1921 - 1999) En el Souk, 1973/1974/1975, Lithograph. Gift of the Emilio Sanchez Foundation.

August 17 - November 24, 2013 This installation features more than two dozen works that have been acquired by the Museum since 2010, representing a broad range of style and subject matter. Highlights include an early Montauk scene by the Hudson River School painter Thomas Moran, as well as later Long Island landscapes by Max Weber, Bruce Lieberman, and Darragh Park. Also on display are abstract works by Theodore Stamos, Nicolas Carone, and Stanley Twardowicz, as well as photographs by Joe Constantino, N. Jay Jaffee, and Neil Scholl. Of special interest is a group of lithographs focusing on light and the geometry of architecture by the Cuban-American painter Emilio Sanchez, and abstracted, textural landscapes by contemporary American painter Ben Frank Moss. Artists in the Exhibition Richard Buswell Eugene Louis Boudin Nicolas Carone Joe Constantino Mauritz Frederick Hendrick De Haas Miriam Dougenis N. Jay Jaffee Robert Kipness Jiří Kolář

Bruce Lieberman Thomas Moran Ben Moss Darragh Oark Emilio Sanchez Neil Scholl Theodoros Stamos Stanley Twardowicz Max Weber

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HENNESSY, Richard (American. b. 1941) Speeding Light, 1995, Oil on board. Gift of the Artist.

GREEN, George D. (American. b. 1943) Minding Dog Rag, 1987, Mixed media. Gift of the Children of Stanley Stein

Ongoing In conjunction with the Public Art Initiative Teen Poetry Project, Poetry for the HART, sponsored by the Town of Huntington, this exhibition showcases a wide range of works of art. Brightly colored, energetic paintings by Stuart Davis, George D. Green, Richard Hennessy, and Wayne Gonzales provide vibrant contrast to evocative landscapes by Ralph Albert Blakelock, Jerome Blum, and Matthew Spender. Also on view are figure paintings and portraits by George Grosz, Adolphe Alexandre Lesrel, and Florine Stettheimer.

Artists in the Exhibition Ralph Albert Blakelock Jerome Blum Stuart Davis Wayne Gonzales Cleve Gray George D. Green George Grosz

Richard Hennessy Adolphe Alexander Lesrel Charlotte Nasmyth Ce Roser Matthew Spender Penrhyn Stanlaws Florine Stettheimer

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EXHIBITION-RELATED MATERIALS STAN BRODSKY: RETROSPECTIVE Websites Stan Brodsky http://stanbrodsky.com Films* Where I Need to Go, 2011 film by Alexandra Brodsky Infusion, Portrait, Stan Brodsky, 1982 film by Peter Scheer *Films will be screened at Voices & Visions: Stan Brodsky, The Man and His Work Friday, October 25, 7:00 - 8:30 pm. Call 631.351.3250 for details.

RECENT ACQUISITIONS Emilio Sanchez Foundation http://www.emiliosanchezfoundation.org/index.html Ben Moss http://www.sedersgallery.com/Artists/093/MOSSres.htm Stanley Twardowicz http://www.thedeeparchives.com/portfolio/biography_text.php

PICTURE PERFECT: SELECTIONS FROM THE PERMANENT COLLECTION George D. Green http://georgedgreen.com Richard Hennessy http://www.richardhennessy.org Cleve Gray http://www.clevegray.com Ce Roser http://www.thepaintingcenter.org/art-file/ce-roser

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EXHIBITION-RELATED VOCABULARY retrospective: An art exhibit showing an entire phase or representative examples of an artist’s lifework. landscape: A work of art depicting the outdoor environment. abstract: A work of art that does not show a real person, place, or thing; abstract art focuses on colors, shapes, and lines. color theory: A body of practical guidance to color mixing and the visual impacts of specific color combinations. There are also definitions (or categories) of colors based on the color wheel: primary color, secondary color, and tertiary color. monotype: The only print made from a metal or glass plate on which a picture is painted in oil color, printing ink, or the like. paint sticks: Oil paints stiffened with wax. They provide the oil painter an opportunity to lay down color without a brush. gestural: A movement or position of the hand, arm, body, head, or face that is expressive of an idea, opinion, emotion, etc. rhythm: See page 7. mood: A distinctive emotional quality or character of a work of art. movement: See page 7. depth: The apparent distance from front to back or near to far in an artwork. texture: See page 6. implied texture: The surface quality or “feel” of an object that is suggested or inferred, rather than directly apparent, or actual texture. perspective: Technique artists use to project an illusion of the three-dimensional world onto a two-dimensional surface (depth and space). trompe l’oeil: French for deceive the eye. An art technique that uses realistic imagery to create the optical illusion that depicted objects exist in three dimensions.

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ELEMENTS and PRINCIPLES of ART The Elements and Principles of Art are the “building blocks” or language of art. They are intended as guidance in discussing artwork in which one or more particular element or principle is demonstrated.

ELEMENTS OF ART LINE refers to the continuous mark made on a surface by a moving point. It may be two-dimensional, like a pencil mark on paper, three-dimensional, like wire in space, or implied, like the edge of a shape/form. SHAPE is an enclosed space defined by a line or edge. Shapes may be geometric, meaning they have set rules for construction (ex: a square is comprised of four equal sides) or organic (ex: a flowing, natural edge that cannot be “defined” by any set rules). COLOR has 3 properties: 1. Hue is the name of the color (ex. red, yellow) 2. Intensity is the purity or strength of the color (ex. brightness, dullness) 3. Value is the lightness or darkness of the color. Primary Colors are the colors from which all colors are mixed. (red, yellow blue) Secondary Colors are colors created by mixing the primary colors. (orange, green, purple) Tertiary Colors are colors created by mixing one primary and one secondary color. (ex: blue + green = blue-green) Complementary Colors are colors that are across from one another on the color wheel (red and green, yellow and purple) Analagous Colors are colors that are side-by-side on the color wheel. (ex: red, orange, and yellow)

FORM is three-dimensional and encloses volume. (ex: cubes, spheres, and cylinders) TEXTURE is the surface quality or “feel” of an object (ex: roughness, smoothness, or softness). Texture may be implied or actual.

SPACE refers to the distance or area between, around, above, or within things. It can be both two-dimensional and threedimensional. Positive space refers to the space occupied by the subject of a work of art. Negative space refers to the space not occupied by the subject of a work of art, or the “empty” space.

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PRINCIPLES OF ART EMPHASIS Emphasis refers to the point(s) of interest that pull(s) the viewer’s eye to important parts of a work of art.

In the painting The Circus Tent shown below, EMPHASIS is placed on the open doorway of the tent by the bright light in contrast to the dark sky. Also, the figures and their dark shadows create diagonal lines directed to the doorway, creating MOVEMENT and leading the eye toward this point of emphasis.

BALANCE Balance is a sense of equal weight. It may be created by repeating shapes, lines or colors. MOVEMENT Movement adds excitement to artwork by showing action and directing the viewer’s eye throughout the artwork. RHYTHM Rhythm is a type of movement in drawing and painting. It is seen in repeating shapes and colors or alternating lights and darks. PROPORTION/SCALE refers to the the size relationships in a work of art. For example, it gives a sense of smallness versus largeness. UNITY is when all the parts equal a whole. This is achieved by making sure your artwork is not disjointed or confusing. HARMONY is achieved by using similar, but not identical, elements throughout a work of art.

In the photograph above, RHYTHM is created by the repeating shapes and light and shadows cast by the leaves. The leaf pattern creates a TEXTURE.

In Nightblooms above, BALANCE is created through reflection, a type of symmetry. The line of symmetry runs vertically, dividing the composition in half. The paths of dots forming the vines create MOVEMENT, directing the viewer’s eye up and down through the composition. RHYTHM is also created by the regular undulation of the vines.

Artwork in The Heckscher Museum Permanent Collection (clockwise from top right): George Luks (American, 1867-1933), The Circus Tent, c. 1928-30, Oil on canvas, 18 x 22 in., Museum Purchase: Heckscher Trust Fund. Grace Degennaro, Nightblooms, N. Jay Jaffee (American, 1921-1999), Ivy - Boston, Ma., 1974, Selenium toned gelatin silver photograph, Gift of Natasha and Noah Brenner.

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PRE- and POST-VISIT ACTIVITY IDEAS “Breaking Borders” mixed media collage Grades K - 6:

MOTIVATION: Look carefully at Minding Dog Rag by George D. Green (see page 16). Review his website to see other examples of his work (http://georgedgreen.com). What is unusual about Green’s paintings? (They do not have regular borders, and are not entirely flat or two-dimensional). Introduce the terms hard edge, geometric, and organic. Have the class identify the shapes that he or she sees and categorize them. Have each member of the class name a color that he or she sees. Next, ask students why they only see some parts of certain shapes. Through guided questioning, lead students to understand the concepts of shapes overlapping and layering. How do we know which shapes are closer than others? How does the artist get us to believe that the shapes are popping out? Demonstrate how and why an artist will add a shadow to make a shape look three – dimensional. Discuss how the different shapes and colors move your eyes through the painting. Ask students to describe the surface of the painting. How has Green applied the paint to the canvas? Encourage students to use descriptive words such as smooth, rough, and thick. In some parts of the painting the artist has used a palette knife and applied a very thick layer of paint. In other places he has copied the way the thick paint looks, but the canvas is actually flat, creating implied texture. The artist is rying to trick the viewer!

PROCEDURE: Students will create a colorful abstract construction paper collage. Begin with a square of black tag board to use as the base for this project. Pre-cut shapes can be supplied for younger children. Have students cut or trace their own shapes out of colored construction paper. Students should use between seven and nine shapes that are different sizes, as well as geometric and organic. Encourage students to spend time arranging the shapes to create interesting compositions. Collages should demonstrate an understanding of overlapping and layering. Each side must also have its own unique irregular shape. As a final step, encourage each young artist to add implied texture, shadows, and designs using oil pastels. Display finished artwork. Have students compare and contrast their work with Green’s.

George D. Green, Minding Dog Rag 1987, Mixed media.

George D. Green, Magician 1993, Acrylic on wood.

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Trompe - l’oeil Relief Sculpture Grades 7 - 12:

MOTIVATION: Look carefully at Minding Dog Rag by George D. Green (see page 16). Review his website to see other examples of his work (http://georgedgreen.com). Have students also research the work of Wassily Kandinsky and Elizabeth Murray, both of whom inspired George D. Green. Discuss elements of Green’s paintings. What similarities can students find as they compare and contrast Green with Kandinsky and Murray? Students should observe the irregular shape, texture and color in Green’s paintings. Compare his older work with his newer compositions. How has his work changed over the years? What elements remain the same? Minding Dog Rag is an excellent work of art to introduce and discuss optical illusion and trompe - l’oeil. Using persective, texture, and implied texture, Green tricks us and makes us question what we think we see. Discuss how color can also affect perception (warm colors appear to “advance” and cool colors “recede”).

PROCEDURE: Students will create an abstract mixed media foam core relief. Begin by sketching a trompel’oeil abstract design. Students should create designs that contain both geometric and organic shapes of varying sizes. (It may also be helpful to set up a still life of simple cardboard geometric shapes that can be lit, so that the class will have reference for cast shadows). Distribute a large piece of foam core, ruler, exacto knife, and oil pastels to each student. Special care and instruction should always be given when working with knives. Once the sketches are final, begin creating the relief sculptures. Encourage students to work in two or three layers/ levels. Cut the background layer the largest and have several shapes drawn on. Irregular edges can be cut to follow the shapes. The next step is to cut two or three additional large shapes to layer over the background creating a relief. Each shape should be colored with oil pastel, or paint, if desired, to create implied or real texture. Shadows can also be added as implied or real perspective. Students should consider their placement of color remembering that warm colors advance and cool colors recede.

LANGUAGE ARTS EXTENSION: Write a paragraph making observations and connections between Wassily Kandinsky, and Elizabeth Murray. How was Green inspired by their art? How has Green inspired each student?

Clockwise (from top): Wassily Kandinsky, Composition VIII, 1923; Oil on canvas. George D. Green, Marooned in Dreaming: A Path of Song and Mind, 2011, Acrylic on birch. Elizabeth Murray, Clock, 1993, Screenprint

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SELECT IMAGES

BRODSKY, Stan (American, b. 1925) Towards the Shore, 1970 Oil on linen Collection of the Artist From the exhibition Stan Brodsky: Retrospective

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BRODSKY, Stan (American, b. 1925) Green Flow, 1976 Oil on canvas Collection of the Artist From the exhibition Stan Brodsky: Retrospective

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BRODSKY, Stan (American, b. 1925) Around Yellow, 2000 Monotype Collection of the Artist From the exhibition Stan Brodsky: Retrospective

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BRODSKY, Stan (American, b. 1925) Santa Barbara #5, 2002 Oil on canvas Euclidian Capital LLC From the exhibition Stan Brodsky: Retrospective

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GONZALES, Wayne (American) Untitled (Pool Table Abstraction), 1998 Gouache on paper Gift of Deborah Davidson From the exhibition Picture Perfect: Selections from the Permanent Collection

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HENNESSY, Richard (American. b. 1941) Speeding Light, 1995 Oil on board Gift of the Artist From the exhibition Picture Perfect: Selections from the Permanent Collection

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GREEN, George D. (American. b. 1943) Minding Dog Rag, 1987 Mixed Media Gift of the Children of Stanley Stein From the exhibition Picture Perfect: Selections from the Permanent Collection

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MOSS, Ben (American, b. 1925) Landscape State 139. n.d. Oil on paper From the exhibition Recent Acquisitions

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BUSWELL, Richard (American, b. 1945) Silo, 1996 Gelatin Silver Print Heckscher Museum Collection From the exhibition: Recent Acquisitions

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SANCHEZ, Emilio (American, b. Cuba, 1921 - 1999) The Shadow of the Brooklyn Bridge, 1987/1988 Lithograph Heckscher Museum Collection From the exhibition Recent Acquisitions

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EXPLORE THE COLLECTION @ www.heckscher.org Your Key to the Museum’s Permanent Collection

Learn about COLLECTION HIGHLIGHTS. George Grosz’s Eclipse of the Sun and much more!

SEARCH THE COLLECTION of more than 2,200 works by artist, classification, or date.

See artwork that is CURRENTLY ON VIEW.

Click thumbnails for large images and detailed information.

Select works of art have Huey’s Kid-Friendly Information. These guided questions are designed for children to learn along with a grown-up. Huey makes it fun for everyone to look and learn together!

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Everything you need

@

www.heckscher.org

SPECIAL EXHIBITION RESOURCE GUIDES for TEACHERS Prepare your students before their Museum Discovery Program! Guides are developed on a rolling basis and are available free of charge at www.heckscher.org. Guides may include exhibition-specific information such as: • Artist biographies • Exhibition summaries • Full-color artwork images • Vocabulary words • Pre- and post-visit activities

“KIDS CORNER” The Museum displays artwork by young artists in this online gallery. HOW TO ENTER: Please send a jpg of student artwork to [email protected]. All entries must include first name, title of the artwork, and artist’s age.

SHARE LESSONS and STUDENT ARTWORK Have you taught your students a lesson inspired by an exhibition on view in the Museum? Share it with us and fellow art teachers at www.heckscher.org. Please send a description of your lesson along with jpg files of student work to [email protected]. All submissions must include teacher’s full name, school name, district, and grade level.

QUESTIONS? 2 Prime Avenue Huntington, NY 11743 631.351.3250 www.heckscher.org

Call the Museum’s Education Department 631.351.3214 - Monday through Friday, 10:00 am - 5:00 pm, or e-mail [email protected].

Education Department 631.351.3214

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