Dr.

Debrah Sickler-Voigt’s Art Education Lesson Plan Template with Content from the Tennessee Benchmark Lesson Plan: First Grade
www.arted.us
ORIGINAL LESSON PLAN BY: LESSON TIME (CLASS SESSIONS):
GRADE LEVEL: First Grade
Abigail Carter Four-15 minute class periods

LESSON TITLE: What do I do when I feel blue?

BIG IDEA: Expressing Emotion in Art MATERIALS: Paint, paper,

children’s book, brushes,
aprons, papertowels, plastic
ESSENTIAL QUESTIONS FOR HIGHER ORDER THINKING:
cups, wipes, colored pencils
1. Why is it important to learn to express emotion calmly? How do people express their emotions in
INSTRUCTIONAL
a calm way? Why is this important?
RESOURCES:
2. What times have you felt strong emotion and how did you deal with it then?
Starry Night – Vincent Van Gogh
3. How have artists dealt with strong emotion in their lives? Dreaming Horse – Franz Marc
4. Does using art for emotion expression make it more or less valuable? Do artists life you feel better No 5 1948 – Jackson Pollock
making art based on emotions? Do their artworks have special meaning? Dobra Stefan – Arted Website
Bakosova Antonie – Art ed website
The Scream – Edvard Munch
I am a Rainbow – Dolly Parton
RATIONALE (LESSON OVERVIEW & GOALS): Every child has had a time in their life where they’ve felt strong
ELEMENTS OF ART: Color
emotion and not known how to cope with it. Some have dealt with traumatic experiences, and some just day to
and Line
day life is something that challenges them. Art can be used both to have the viewer feel an emotive response and
for the artist to express and channel an emotive response in themselves. Art can and should be used as a means PRINCIPLES OF DESIGN:
of coping in children, as it can help them express feelings and experiences they don’t know how to vocalize Emphasis Balance and Unity
(Anonymous, n.d.). Through the reading of I am a Rainbow by Dolly Parton, which gives a short break down of OTHER VOCABULARY:
common connotations of colors and a discussion about Vincent Van Gogh’s life, this lesson will teach students Aesthetics, color theory,
about using art to conductively express strong emotion in their lives and the additional value of art beyond making painting, reading, art criticism,
pleasing images. emotion, feelings, art history

As part of this lesson, students will learn that art as a coping mechanism has been used throughout history and
by some of the most famous artists to this day. They will learn that art has many more uses than decoration or
simply making pretty pictures, though those uses are not diminished. For Vincent van Gogh, who spent time in
and out of asylums in his life, art was something he used to express his ideas and himself (Wikipedia
contributors, 2012). He frequently painted during his stay in the asylum and after. Van Gogh was also depressed,
something that showed as his work shifted into darker and cooler colors (Van Gogh Gallery, n.d.). Similarly,
Munch used his works to express emotion as well. He is quoted as saying “it is not the chair which is to be
painted, but what the human being has felt in relation to it” (Paulson, n.d.) This lesson embodies that statement.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 OBJECTIVES ASSESSMENT
STUDIO ART OBJECTIVE: Given the reading from I am a Rainbow, the student will create an artwork FORMATIVE ASSESSMENT
expressing a strong emotion, either abstractly or using figures, they have felt in the past using either colored (CHECKING FOR
pencils or paint on a sheet of 11.5 x 14 paper. The work will show effective craftspersonship and meaningful UNDERSTANDING): The teacher
color, it will demonstrate unity and balance. will observe students and make
sure they are on-task and safely
AESTHETICS OBJECTIVE: The student will answer 3 of the 6 aesthetic questions about Starry Night by Vincent
using the materials. Teacher will
van Gogh in short written sentences. The student will use at least two vocabulary words during their response. be available for questions
Responses may have some errors, but will show appropriate spelling. throughout the project work.
ART CRITICISM OBJECTIVE: Given a class discussion on Munch’s The Scream, the student will answer one FORMAL SUMMATIVE
art criticism question and tell their feelings about the work and its value. The student will demonstrate appropriate ASSESSMENT: The painting is
classroom behaviors while other students are speaking and be respectful of differing opinions. worth 100 points based on the
expectations stated to the class at
the beginning of the project. The
aesthetic handout is worth 50
points and the criticism discussion
participation is worth 50 points to
be graded on the stated
requirements in the objective.

Rubric Essay
Portfolio Test/Quiz
Checklist Peer/Group
Self-Assessment
Interview Authentic
Other      

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 PROCEDURES
SET (HOOK): The teacher will read Dolly Parton’s I am a Rainbow, show a couple examples of art in a powerpoint and ask kids when they’ve felt
angry or sad or jealous before.

INSTRUCTIONAL STRATEGIES (LECTURE, DISCUSSIONS, DEMONSTRATIONS, & MODELING): (1) The teacher will have gathered paint
and colored pencils for the lesson. (2) The teacher will demonstrate appropriate safety measures for the materials and the necessary care of
materials and artworks throughout the project. (3) The teacher will discuss the lesson’s objectives, small vocabulary words and assessment criteria
(at an appropriate developmental level). (4) The teacher will lead a short discussion on when kids have felt strong emotions in their own lives,
when they felt mad or sad or jealous. (5) The teacher will demonstrate how to use paint cleanly, how to mix two colors, and how to clean brushes.
The teacher will discuss safety measures and appropriate class behavior. (6) The teacher will explain the procedures for the aesthetic and criticism
questions after the lesson. (6) The teacher will show kids where to put their artwork to dry. (7) The teacher will close the class and praise students
who held on task behavior and desirable behaviors.

GUIDED PRACTICE (GROUP WORK; CLASS/LAB ACTIVITIES): (1) The teacher will repeat the objectives of the lesson and students will ask
questions or confirm that they understand what is required. (2) The students will actively engage in the and make judgments they can back up with
vocabulary and opinions about The Scream. (3) The students will discuss (a) the formal technique of the artwork: use of color, form, elements and
principles of design (b) the context of the work and the meaning behind it (c) and their final judgement of the artwork backed by why they have that
judgment.

INDEPENDENT PRACTICE (CLASS/LAB ACTIVITIES): (1) Students will complete three of the six provided aesthetic questions on Starry Night.
(2) Students will use two art vocabulary terms in their aesthetic questions (3) Students will create a work of art in either colored pencil or paint that
depicts an emotion they felt strongly in the past.

ADAPTATIONS TO MEET INDIVIDUAL NEEDS (ACCOMMODATIONS, EXTRA & ALTERNATIVE ACTIVITIES): The teacher will break
down the vocabulary words involved in the project and the steps for how to get full credit in the art production, the aesthetic question handout and
the class discussion on art criticism. The teacher will provide a demonstration on color mixing, paintbrush cleaning, where to put away supplies,
where to put drying works and will include handouts and a powerpoint with information on the project. The teacher will observe students as they
work and be available for questions and feedback while the works are in progress. If any students are finishing before the time is up for the project
completion additional work will be provided for them to learn, a second painting or perhaps advice on enhancing their final piece with the time
remaining.

CLOSURE & CLEANUP: (1) Students will be guided by the teacher in appropriate cleaning measures and keeping their projects and supplies in
good order. (2) In small groups and individually, students will review (a) the big idea of expressing emotion in artwork and its purpose (b) the life of
Vincent van Gogh (c) their clean up and care procedures for their supplies and projects (d) how art interacts with feelings on both sides of
production and how literature can also link with art. (3) Students will reflect on how they can use this lesson in their homes and everyday lives. (4)
Students will, in a group discussion, present their work and what they thought they did well and what emotion they portrayed in their work.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 AESTHETIC QUESTIONS (BASED ON SALLY MCRORIE’S MODEL, 1996)

Name of Artist, Artwork & Date: Starry Night, Vincent van Gogh - 1889

1. Definitions of Art: This artwork does not look like a photograph. Do you think that makes it a better or worse artwork?

2. Artist-centered Issues: Van Gogh had a series of episodes where he felt bad sometimes. When he was depressed and felt very, very sad. Even
when he was sad, he still painted a lot. Why do you think he may have continued to paint even though he felt bad?

3. Audience-centered Issues: Is the Starry Night more or less pretty because it doesn’t look like a photograph? The stars are bigger than they
should be and the town isn’t exactly how it would look if you took a picture of the same scene? Explain your answer.

4. Cultural Context: Do you think understanding the story behind Starry Night makes it a prettier work? How might it look different if van Gogh
painted it today?

5. Criticism and Interpretation: Do you think Starry Night is liked more by people who also have felt really sad?

6. Values in Art: Do you think the Starry Night would be a better painting if van Gogh painted it to look like real life? Why?

ART CRITICISM QUESTIONS (BASED ON TOM ANDERSON’S MODEL, 2005)

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 Name of Artist, Artwork & Date: Edvard Munch, The Scream 1893

1. General Reaction: What is the first thing you think when you see The Scream?

2. Description Obvious Thematic, Formal, and Technical Qualities: What colors do you see? What do you think of the use of color, what about
the person? Does he look good or bad?

3. Description Formal Relationships of Shapes and Images: What lines do you see? Where is the ground? Where the sky is? How do you
know?

4. Description Formal Characterization: How does this make you feel?

5. Description Contextual Examination: Why do you think Munch made this? Do you think it’s an actual scream? Or a way to paint that he felt like
he needed to scream?
6. Interpretation: If you were in this painting, what would you be screaming about?

7. Evaluation: Do you like The Scream? If you were asked to take it home, would you?

8. Aesthetic Judgment: Do you think other people liked The Scream? Is it different than other famous artworks you have seen?

9. Contextual Judgment: Do you think this was a good way to show emotion? Do you think it helped Munch in his life to paint this image?
Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us
For Educational Purposes Only.
10. Final Judgment: Do you think he should have painted it? What would you change if you were painting this?

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 TENNESSEE VISUAL ARTS STANDARDS: 1ST GRADE

Create
1.VA.Cr1.A Explore and experiment imaginatively with ideas and materials through collaboration.
1.VA.Cr1.B Use observation and investigation in preparation for making a work of art.
1.VA.Cr2.A Explore uses of materials and tools to create works of art or design, using developmentally appropriate craftsmanship.
1.VA.Cr2.B Demonstrate safe and proper procedures for using materials, tools, and equipment.
1.VA.Cr2.C Identify and classify uses of everyday objects through diverse visual art media.
1.VA.Cr3.A Use art vocabulary to describe choices while creating art.

Present
1.VA.P1.A Explain why some objects, artifacts, and artwork are valued over others.
1.VA.P2.A Ask and answer questions such as where, when, why, and how artwork should be prepared for presentation or preservation.
1.VA.P3.A Identify the roles and responsibilities of people who work in and visit traditional and emerging presentation spaces.

Respond
1.VA.R1.A Compare images that represent the same subject.
1.VA.R1.B Select and describe works of art that illustrate daily life experiences.
1.VA.R2.A Interpret art by categorizing subject matter and describing relevant details while using appropriate art vocabulary.
1.VA.R3.A Classify artwork based on different reasons for preferences.

Connect
1.VA.Cn1.A Identify times, places, and reasons students make art outside of school.
1.VA.Cn2.A Express how people from different places and times have made art for a variety of reasons.
Integrated Subjects Standards:
1.FL.VA.7c Use words and phrases acquired through conversations, reading and being read to, and responding to texts, including using frequently
occurring conjunctions to signal simple relationships
1.RL.KID.1 Ask and answer questions about key details in a text.
1.RL.RRTC.10 With prompting and support, read stories and poems of appropriate complexity for grade 1.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 REFERENCES

Anonymous. (n.d.). It Lets the Sad Out: Using Children's Art to Express Emotions. Retrieved from

http://www.earlychildhoodnews.com/earlychildhood/article_view.aspx?ArticleID=588

Paulson, N. (n.d.). Munch, The Scream (article). Retrieved from https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-

americas/modernity-ap/a/munch-the-scream

The Van gogh gallery. (n.d.). Van Gogh Starry Night: Van Gogh Gallery. Retrieved from https://www.vangoghgallery.com/painting/starry-

night.html

Wikipedia contributors. (2020, April 16). The Starry Night. In Wikipedia, The Free Encyclopedia. Retrieved 12:30, April 16, 2020,

from https://en.wikipedia.org/w/index.php?title=The_Starry_Night&oldid=951199192

REFLECTIONS FOR FUTURE MODIFICATION: It would be very interesting to be able to teach this lesson through the grade levels. To see how
expressing emotion in art can change as the art techniques and thinking skills get more advanced. I think it’s a really useful tool for children to have
and one that you never really outgrow needing. I would like to find more artworks with really on mark stories, like Van gogh, to go along with this
Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us
For Educational Purposes Only.
lesson. Maybe if I taught it at a higher grade level researching the story and meaning of an artwork could be part of the project. There’s a lot of
malleability with this lesson. A lot of ways to alter and adapt it.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
 COMPREHENSIVE LESSON PLAN TEMPLATE DIRECTIONS

 Select the appropriate document template for the grade level for which you wish to teach your lesson.
 Use the given space the document provides. DO NOT DELETE ANY PARTS OF THE TEMPLATE. ALL PARTS ARE REQUIRED FOR YOU
TO COMPLETE AND WILL BE GRADED.
 Type in required information in the gray shaded areas.      
 Double click on the check box. When the check box form field options box opens click checked and click ok. You can also highlight this
information as an alternative option.

ORIGINAL LESSON PLAN BY & LESSON TITLE: Type your name and the lesson’s title in the spaces provided.

GRADE LEVEL: Type the grade level in the space provided.

LESSON TIME/CLASS SESSIONS: Type in the number of class sessions and the length of class time needed to complete this lesson.

BIG IDEA: A big idea is a broad topic that addresses significant life issues that are relevant to humankind regardless of the time periods and
cultures in which people live.

ESSENTIAL QUESTIONS FOR HIGHER ORDER THINKING: Essential questions are broad-based questions that assist students in acquiring
knowledge about enduring understandings. They include students’ multiple and varied responses to questions. Enduring understandings: “Are
statements summarizing important ideas and core processes that are central to a discipline and have lasting value beyond the classroom;” they
identify “what students should value about the content area over the course of their lifetimes” (National Coalition for Core Arts Standards, 2014; p.
14). Through enduring understandings, students revisit topics to build on prior knowledge, contemplate varying perspectives, and transfer new
information to other situations. Reference: National Coalition for Core Arts Standards (2014). National Core Arts Standards: A conceptual framework for arts learning. Retrieved from
http://www.nationalartsstandards.org/sites/default/files/NCCAS%20%20Conceptual%20Framework_4.pdf

RATIONALE (LESSON OVERVIEW & GOALS): In approximately 100 words describe the importance of your lesson and why children need to
learn about it. Include references/citations. Describe your big idea. Include the task students will accomplish. Identify specific content such as a
challenge, scenario, global/community concept, 21st century learning skill, etc.

MATERIALS: List the art supplies and found objects you will need to implement this lesson.

INSTRUCTIONAL RESOURCES: List the resources you will need to teach this lesson such as books, posters, art images, charts, PowerPoint
presentations, and handouts.

ELEMENTS OF ART: Incorporate the elements of art that drive student creations and responses to art. The elements include line, shape, color,
form, space, value, and texture.

PRINCIPLES OF DESIGN: Incorporate the principles of art that drive student creations and responses to art. The principles include balance,
pattern, rhythm, repetition, emphasis, variety, proportion, movement, and unity.
Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us
For Educational Purposes Only.
OTHER VOCABULARY: List art and other subject academic vocabulary as applicable to your lesson. Examples may include Renaissance, fresco,
cumulous, stratus, and cirrus.

OBJECTIVES (STUDIO ART, AESTHETICS & ART CRITICISM): Write ONE (1) objective EACH for studio art, aesthetics, & art criticism.
Objectives are measurable and observable student behaviors/actions that identify learning goals and expectations. Use your objectives to
analyze and interpret the key concepts (the ideas) that makeup the standards to set your curricular plan into action. Objectives “unpack” (break
down) the standards.

 Step 1: Measurable Student Behavior: Begin by identifying a measurable student behavior using an action verb that describes a
specific student performance. State “who” (the student, the learner, the class, the group) and “what action” (select a measurable verb
such as: will sculpt, will critique, will paint, will design, will analyze, will compare, or will respond). Avoid non-measurable verbs such as
learn, understand, and like, as well as weak verbs such as “do.” An example of a measurable student behavior includes: “The students will
(+ action verb and activity).” The student will create….

 Step 2: Circumstance(s). The circumstances identify “how” specific events (such as a class reading, an artist’s visit, or a fieldtrip),
materials (such as paint, paper, and markers), and instructional resources (such as books, multimedia presentations, handouts, etc.)
drive the objective. Examples include: (a) “Given a class reading on an artist’s biography…”; (b) “Given a wire bending demonstration by a
local artist…”; and, (c) “Using recycled materials…”

 Step 3: Criteria. A measurable objective includes set criteria that state “to what extent” students will accomplish the objective. The criteria
involve the measurable skills students are expected to master—such as responding to a particular big idea in an artwork, demonstrating
craftspersonship, applying lesson vocabulary, and presenting specific design qualities. Criteria often include quantifiable data. The
following is a drawing objective’s criteria: “…a composition that represents big idea community, shows overlapping objects, contains objects
running off at least three sides of the page, and has a unified design.”

ASSESSMENT: Assessment is the range of tools to measure learning outcomes. It provides an ongoing measurement of student learning
outcomes. Its effectiveness correlates with your lesson objectives, curricular goals, and authentic teaching practices. Select the appropriate
check boxes to identify the different forms of assessment in your lesson. All lesson plans will include formative and formal-summative
assessments. Write a narrative description that explains how you will assess students through formative and formal assessments.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
  FORMATIVE ASSESSMENT (CHECKING FOR UNDERSTANDING): Apply formative assessment to monitor the class and check for
student understanding. Listen to student discussions and watch their actions to determine if they comprehend all procedures fully. Probe
students with questions that require higher levels of learning. Reinforce key information—such as objectives and modes of assessment—as
necessary. Check that students understand their roles and responsibilities when working independently, in groups, and as part of the whole
class. If you notice student off-task behaviors—such as stalling or excessive talking—stop them immediately.
 FORMAL ASSESSMENT: In the space provided, describe how you will assess student-learners formally. Formal assessment requires a
numeric grade for art production and other activities. Make sure to include a numeric score for all art activities in your lesson plan. You may
use a checklist for primary learners. For example, students will achieve 4 out of 5 skills listed on the checklist. An art project for older
students can use numeric scoring worth 100 points or other points value. See how the sample lesson plan includes numeric scores for the
lesson’s art activities.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
  PROCEDURES: The procedures are the steps both the teacher and students take throughout the lesson. Make sure to include references to big
ideas, essential questions, studio art activities, aesthetics, art criticism, objectives, assessment, and standards in your lesson so all parts of your
lesson plan will be unified.

 SET (HOOK): The set is a brief activity or event at the beginning of a lesson that capture students’ full attention. Introduce your lessons’
big idea and essential question(s) during the set to spark children’s interest in the subject matter and assist them in making personal
connections to the lesson. Set activities include, but are not limited to: (a) responding to art; (b) making authentic connections to prior life
and learning experiences; (c) participating in a storytelling session; (d) watching and participating in demonstrations; (e) brainstorming
ideas; (f) partaking in an interactive class reading; (g) making predictions, (h) performing reviews, and (i) engaging in self-reflective
activities.

 INSTRUCTIONAL STRATEGIES (LECTURE, DISCUSSIONS, DEMONSTRATIONS, & MODELING): Your instructional strategies
provide the means for you to impart key information to your students. Integrate the learning modalities— visual, auditory, kinesthetic, and
tactile learning—into your teaching procedures. Your modeling of instruction will change according to the content of your lesson and
students needs. The following examples identify common instructional practices. During lesson procedures teachers: (A) Inform students
about the lesson’s goals and objectives. (B) Explain academic vocabulary related to the lesson. (C) Identify how they will assess student
learning. (D) Operate as facilitators by sharing key information with students while at the same time probing students to answer
questions thoughtfully and independently through Socratic questioning methods. (E) Utilize multimedia instructional resources to engage
students in learning new material and expanding current knowledge levels. (F) Connect the standards to lifelong learning skills. During
these teacher procedures, students will actively participate in the learning process by following along and remaining engaged. They will
answer questions, take notes, model behaviors, and reflect at the appropriate moments.

 GUIDED PRACTICE (GROUP WORK; CLASS/LAB ACTIVITIES): Students collaborate during guided practice activities under the
watchful supervision of their teachers. Student activities will vary according to established learning goals and objectives. Students
commonly engage in the following guided practices. (A) Review and practice procedures before hand necessary to complete tasks. (B)
Respond to content and context related to big ideas, essential questions, and challenges in small groups or as an entire class. (C) Make
connections between disparate ideas to seek new possibilities. (D) Take alternative positions and pose “what if” questions. (E) Self-
assess their current knowledge levels and ways of knowing and apply information to set new goals. The teacher will monitor the students
during these activities to ensure that all students remain on-task. The teacher will also check for student understanding and provide
additional feedback to assist students in acquiring the necessary information.

 INDEPENDENT PRACTICE (CLASS/LAB ACTIVITIES) Students must learn how to work independently to achieve 21st century learning
skills. Independent practices include class activities and homework assignments. Teachers call upon a range of independent learning
practices so that their students can achieve learning outcomes. Students commonly engage in the following independent practices: (a)
reflecting and self-assessing in their journals; (b) assessing the works in their portfolios; (c) creating works of art while using art materials
and equipment properly and safely; (d) contemplating the best means to present their artworks; (e) utilizing books, notes, information on
the board, and other instructional resources to achieve tasks; and (f) applying problem solving skills to find solutions and overcome
challenges.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
  ADAPTATIONS TO MEET INDIVIDUAL NEEDS (ACCOMMODATIONS, EXTRA & ALTERNATIVE ACTIVITIES) Plan how you will
meet the needs of diversified learners in your classroom. Make accommodations for students with special needs, advanced learners
(gifted and talented), students with at-risk tendencies, and English language learners. Your accommodations will vary according to
specific student learning needs. Teachers regularly apply the following accommodations. (A) Break down academic vocabulary and
steps needed to complete a task so that all students understand. (B) Supplement oral descriptions with visual demonstrations, charts,
posters, images, multimedia resources, and content posted on the board. (C) Meet with students individually to review key information.
(D) Move students closer to the teacher so that they can follow along and be removed from possible distractions. (E) Assign a
knowledgeable student peer to assist fellow students. (F) Provide students with a clear list of procedures that contain both text and
images. (G) Offer students addition time to complete assignments. (H) Develop extended activities to assist students in taking learning to
the next level. (I) Check for student understanding by planning breaks at specific points during the lesson.

 CLOSURE & CLEANUP: The closure summarizes the lesson. Teachers and students review the lesson’s big idea, essential questions,
objectives, and key content. Teachers check for understanding to ensure that the students learned the necessary material and determine
if students need to go back and revisit concepts and/or spend additional time on a particular learning activity. Students self-reflect on the
learning process and share their ideas with the class. They can also identify how they might apply what they have learned to future
situations that extend beyond the classroom. A lesson’s closure is a suitable time for students to present their in-progress and completed
works and assess their creations through class critiques. Students might also reflect on their learning and performances in their journals
during the closure. Because students will be creating with various art supplies, cleanup is a vital part of the closure. Cleaning up teaches
students responsibility and stimulates a positive learning environment.

AESTHETIC QUESTIONS: Use Sally McRorie’s Aesthetic questioning method to write aesthetic questions based on an artwork. Select 1 question
from each of the 6 categories. Adapt the questions to suit the artwork you have selected and the grade level of your lesson. For example, if the
lesson is for 5th grade students, write the question in language that 5th grade students will understand. Incorporate your big idea and context
about the artwork and artists to make questions more relevant and engaging. Include a picture of the artwork and its title information. All
information will fit neatly on 1 page. Use proper spelling, punctuation, and grammar.

ART CRITICISM QUESTIONS: Use Tom Anderson’s Art Criticism method to write art criticism questions based on an artwork. Select 1 question
from each of the 10 categories. Adapt the questions to suit the artwork you have selected and the grade level of your lesson. For example, if the
lesson is for 1st grade students, write the question in language that 5th grade students will understand. Incorporate your big idea and context
about the artwork and artists to make questions more relevant and engaging. Include a picture of the artwork and its title information. Choose a
different artwork than the one you selected for the aesthetic questions. All information will fit neatly on 1 page. Use proper spelling,
punctuation, and grammar.

TENNESSEE VISUAL ARTS STANDARDS: Teachers are required to use the state standards for each subject taught. Within a school year, each
of the grade level’s standards must be covered. For this lesson you will select at least one standard from each of the art categories. Simply
double click the check boxes (or highlight them) to show which art standards your lesson meets. In the space provided add the other subjects
and the standards that tie into your art lesson. Use an online search engine such as Google to locate grade level Tennessee State Standards’
Academic Standards. Select applicable subject standards—such as language arts, math, science & social studies.

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.
REFERENCES: References inform the reader where the author of the lesson plan acquired his/her information. Students are required to have at
least three (3) different references. Include Anderson’s art criticism and McRorie’s aesthetics in your reference section. Wikipedia references
will not be accepted. All references must be in APA format and double-spaced. References are listed alphabetically. See the following
examples.

Sample APA Reference Formats

Book
Anderson, T & Milbrandt, M. (2005). Art for life. Boston: McGraw Hill.
Reference
Book Greenwood, D. J. & Levin, M. (2000). Reconstructing the relationships between universities and society through action
Chapter
research. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (2nd ed., pp. 85-106). Thousand
Oaks, CA: Sage.
Internet McRorie, S. (1996). Questioning the work of Sandy Skoglund: Aesthetics. Retrieved from
http://www.getty.edu/artsednet/resources/Skoglund/mcrorie.html.
Article Sickler-Voigt, D. C. (2006). Carving for the soul: Life lessons from self-taught artist O.L. Samuels. Art Education, 59 (3), 25-
32.

REFLECTIONS FOR FUTURE MODIFICATION: After teaching your lesson and/or receiving feedback from your professor or administrator, apply
teacher self-reflection to assess how you will revise this lesson when you teach it in the future. This is not required when you first submit your
lesson.)

Debrah C. Sickler-Voigt, Ph.D.  http://www.arted.us

For Educational Purposes Only.