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Preparation:
Introduction and Motivation:
When we examine the mural Detroit Industry by Diego Rivera, we observe an endless number of figures. Some of the figures are laborers who build the automobiles; others are managers or foreman who ensure the smooth assembly of production. Still others are spectators who marvel at the massive and complex operation.
It is easy for us to identify the characters in the mural by their size, shape, and position. It is not, however, easy for us to know the inner workings of any of these characters.
Understanding their inner thoughts or feelings, provides us the opportunity to make associations with people in our lives who can teach us about:- laborers in the factory.
- managers in the Ford foundry.
- visitors to the monumental industry.
Perhaps we might interview one of these people. Perhaps we might make inferences from our observation. We could examine these abstract ideas and then use symbols to create a portrait of a person or an object (such as an automobile).
- How would we symbolize the strength of a man's torso?
- How would we symbolize the dignity of labor?
- How would we symbolize the hopes and dreams of the future?
- How would we symbolize the constant movements of the production line?
- How can we demonstrate the hopes and dreams of a person or the people in a city, a country, or industry?
- How can we demonstrate faith in our world of work?
Students may address these questions using a series of objects in their collagraph that symbolize these ideas.
Making Inferences
Using "Feldman's Model" for aesthetic scanning will help students understand that there are many ideas that can be gleaned from studying a work of art.
Inferring an artist's intent provides opportunities to engage in higher order thinking skills. An example of the guidelines for aesthetic perception might be:
Workers at lunch, predella panel, detail, Detroit Industry north wall.
Click the image for more information. |
- What are the main expressive qualities - sensation, mood, ideas - that are communicated to you?
- What expressive language can you use to explain these qualities?
- Is the mural related to other ideas or events that you know about (the artist's culture, feelings, history, ideas of beauty or other ideas)?
- What kind of experience does the artist want you to have when you view the mural?
Before the activity, we discussed the theme that artists communicate what people are thinking and feeling in works of art, by using facial expression, posture, and objects.
We discussed specific characters in the mural and described their possible emotions. Students will make inferences about the characters of interest and describe their impressions. Possible responses include:
"I think the two men in the central part of the mural are hard
workers. They appear to be working together. It seems as though
they are serious about their work. They are not smiling. They are
tense and their movements are deliberate." or
"I think the powerful machines transformed the raw materials from
the earth into automobile parts. I think Rivera wanted us to know it
was a powerful and monumental time in the history of Detroit and
the automotive industry."
Ask students to bring in photographs from home, demonstrating family members doing things together.
- This will encourage a personal awareness of family or friends who work together toward a common goal.
- Additionally, students will be able to examine familiar images and compare and contrast them with images they view in the mural.
"In my family picture I see my father and mother assembling
our swing set. They are working together to put it up. My Dad is
smiling, I think he is excited and happy. In the mural most of the
workers are not smiling. They seem serious and focused on their
first job."
Make inferences about their schoolmates (the people in their working world).
"Pedro is very quiet but he has a lot of good ideas. All of his
feelings show in his drawings."
or
"Crystal gets very talkative and bubbly during art class. I think her artwork stirs up her feelings and they all come out!"
Vocabulary
Discuss and list vocabulary words at the beginning of the lesson. Click here to see the vocabulary list.
Resources:
A Visual Dictionary of Art. Greenwich, CT: New York Graphic Society, 1974.
This book is a helpful guide for teachers who do not have a text series in their classroom. It is especially helpful for making a comparison study.
Larger, S. Mind: An Essay on Human Feelings Vol. 1. Baltimore, MD: Johns Hopkins University Press, 1967
This paper helps to focus on the importance of recognizing that images are symbolic, they reflect human feelings.
Mayor, A. Hyatt. Print and People: A Social History of Printed Pictures. Princeton, NJ: Princeton University Press, 1980
This reference provides additional examples of the artist's contributions to the record of Social History in the United States.
Anderson, Yvonne. Teaching Film and Animation to Children. New York: Van Nostrand Reinhold, 1970.
Students can compare and contrast animated to fine art cartoon.
Craven, George. Object and Image. Englewood Cliffs, New Jersey Prentice Hall, 1990.
This book explores images and meaning in works of art. It is a helpful resource that focuses on objects both literal and symbolic.
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