AmblesideOnline Artist Rotation Schedule

AO's Terms: * Term 1: Sep-Nov     ** Term 2: Jan-Mar     *** Term 3: Apr-Jun

Click here for resources such as pictures study helps, artist books, and websites to search for art work.

2019-2020 TERM 1 Pieter Bruegel the Elder (pronounced BROY-guhl; 1525-1569; Flemish Northern Renaissance)


2019-2020 TERM 2 Gustave Courbet (1819-1877; French Realism)


2019-2020 TERM 3 J.M.W. Turner (1775-1851; English Romanticist)




2020-2021 TERM 1 Titian (1485-1576; Italian High Renaissance)


2020-2021 TERM 2 Leonardo Da Vinci (1452-1519; Italian High Renaissance)


2020-2021 TERM 3 Rembrandt van Rijn (1606-1669; Dutch Baroque)




2021-2022 TERM 1 Jan Van Eyck (1395-1441; Flemish Northern Renaissance)


2021-2022 TERM 2 Sandro Botticelli (1445-1510; Florentine Renaissance)


2021-2022 TERM 3 Caspar David Friedrich (1774-1840; German Romantic)




2022-2023 TERM 1 Vincent Van Gogh (1853-1890; Dutch Post-Impressionist)


2022-2023 TERM 2 Raphael Sanzio (1483-1520; Italian Renaissance)


2022-2023 TERM 3 John Singer Sargent (1856-1925; American)




2023-2024 TERM 1 Tintoretto (1518-1594; Renaissance)


2023-2024 TERM 2 Claude Monet (1840-1926; French Impressionist)


2023-2024 TERM 3 Georges Seurat (1859-1891; French Post-impressionist)




2024-2025 TERM 1 Albrecht Dürer (1471-1528; German Renaissance)


2024-2025 TERM 2 Caravaggio (1571-1610; Italian Baroque)


2024-2025 TERM 3 Eugène Delacroix (1798-1863; Romantic)




2025-2026 TERM 1 Camille Pissarro (1830-1903; French Impressionist)


2025-2026 TERM 2 Jean Honoré Fragonard (1732-1806; French Rococo)


2025-2026 TERM 3 Albert Bierstadt (1830-1902; American; Hudson River School)




2026-2027 TERM 1 Norman Rockwell (1894-1978; American Illustrator)


2026-2027 TERM 2 Pierre-Auguste Renoir (1841-1919; French Impressionist)


2026-2027 TERM 3 Jacob van Ruisdael (1628/9-1682) and Pieter de Hooch (1629-1684)




2027-2028 TERM 1 John Singleton Copley (American, 1738-1815)


2027-2028 TERM 2 Édouard Manet (man-AY; 1832-1883; French Impressionism)


2027-2028 TERM 3 The Hudson River School: Cole, Church, Cropsey, Durand (American)




2028-2029 TERM 1 Fra Angelico (1395-1455; Italian Renaissance)


2028-2029 TERM 2 Diego Velázquez (1599-1660; Spanish Baroque)


2028-2029 TERM 3 Edgar Degas (day-GAH; 1834-1917; French Impressionism)




2029-2030 TERM 1 Jean-Baptiste Camille Corot (1796-1875; French Realism)


2029-2030 TERM 2 Jacques-Louis David (ZHOCK lu-WEE dah-VEED; 1748-1825; French)


2029-2030 TERM 3 Hans Holbein the Younger (1497-1543; Northern Renaissance)




2030-2031 TERM 1 Mary Cassatt (1844-1926; American Impressionist)


2030-2031 TERM 2 Giotto di Bondone (1267-1337; Italian, Renaissance)


2030-2031 TERM 3 James McNeill Whistler (1834-1903; American born)




2031-2032 TERM 1 Peter Paul Rubens (1577-1640; Belgian Baroque)


2031-2032 TERM 2 Winslow Homer (1836-1910; American)


2031-2032 TERM 3 Michelangelo Buonarroti (1475-1564; Italian Renaissance)




2032-2033 TERM 1 John Constable (1776-1837; English landscape)


2032-2033 TERM 2 Jan Vermeer (1632-1675; Dutch Baroque)

2032-2033 TERM 3 John William Waterhouse (1849-1917; Pre-Raphaelite)




Picture Study Resources

We are compiling additional art, music, and poetry suggestions for those who would like to supplement or alternate works by a more diverse group of artists. You can view this work in progress here.

Pdf files for AO's picture study are being made available for you to download and print yourself from "A Humble Place"; you can access the pdf files of pictures by clicking the "Individual Artworks Only" link by each artist's name. The "Picture Study aid" link is an additional optional resource and may require you to submit your email address or make a purchase, but the "Artworks Only" link is provided with no strings attached. Images from previous terms may be available from this Yahoo Group, but that group is no longer maintained. If your local copy store asks for proof that you're not violating copyright restrictions when making prints from these works, printing and showing this page might help: Copyright Law for Teachers. This blog post discusses the status of historic paintings, especially in England, where copyright laws are stricter than in the U.S.:- Public Domain Painting and its Image.

Art sites: WikiArt's Alphabetical Listings; Olga's Gallery also has a great collection.
Classic art coloring pages (Beware searching this site; searching for Bruegel brings up horror coloring pages!)
Pronunciation guide for Dutch names
Picture Study Ideas from List Members

Books

If you own one of these and wish to use it to supplement, you can view their Table of Contents for help in planning.
Great Pictures and Their Stories by Katharine Morris Lester (graded readers in an 8-volume set) Table of Contents here
A Child's History of Art by Virgil Hillyer: chapters listed with dates/historical periods here.

Online Texts

Little Journeys to the Homes of the Great, by Elbert Hubbard: A rambling discourse on what the artists were like; probably most suitable for Years 6-12. Two of the volumes are about artists.
Volume 4: Michelangelo, Rembrandt, Rubens, Meissonier, Titian, Van Dyck, Fortuny, Ary Scheffer, Millet, Reynolds, Landseer, Gustave Dore.
Volume 6: Raphael, Da Vinci, Botticelli, Thorwaldsen, Gainsborough, Velasquez, Corot, Correggio, Bellini, Cellini, Abbey, Whistler. (Other volumes)

Lives of the Artists 10 Volumes written in the 1500's by Giorgio Vasari. [Volume 1 2 3 4 5 6 7 8 9 10] "The world is debtor to Vasari. He was not much of a painter and he failed at architecture, but he made up for lack of skill by telling all about what others were doing; and if his facts ever faltered, his imagination bridged the break. He is as interesting as Plutarch, as gossipy as Pepys, and as luring as Boswell." (Elbert Hubbard). Also here. Suitable for older students. Also Stories of the Italian Artists from Vasari by EL Seeley.

Great Artists series by Jennie Ellis Keysor; suitable for younger children
--Volume 1: Raphael Santi, Murillo and Spanish Art, Peter Paul Rubens, Albrecht Durer (online at Project Gutenberg)
--Volume 2: Antony van Dyck, Rembrandt van Ryn, Sir Joshua Reynolds, Rosa Bonheur
--Volume 3: Michael Angelo Buonarroti, Leonardo da Vinci, Venice the City of Titian, Early Venetian Art, Titian, Antonio Allegri da Correggio
--Volume 4: Joseph Mallord William Turner, Jean-Bapiste-Camille Corot, Sir John Everett Millais, Sir Frederick Leighton
--Volume 5: Giotto Bondone, Fra Angelico, The Beginning of Realism in Italian Painting, Andrea Mantegna, Guido Reni (online at Google Books)

Knights of Art by Amy Steedman (for fairly young children) has chapters on Giotto, Fra Angelico, Masaccio, Fra Filippo Lippi, Sandro Botticelli, Domenico Ghirlandaio, Filippino Lippi, Pietro Perugino, Leonardo da Vinci, Raphael, Michelangelo, Andrea del Sarto, Giovanni Bellini, Vittore Carpaccio, Giorgione, Titian, Tintoretto, Paul Veronese

Search Project Gutenberg's online collection of books on art and artists.




Parents' Review articles that discuss art appreciation:
On Exhibitions; read quote below from this article about our purpose in picture study, and what to avoid.
Art and Literature in the Parents' Union School
Picture Talks
Thoughts on Flemish Painting
The Story of an Old Picture
How to Show Children Our National Gallery
Music and Art in PNEU Schools

AmblesideOnline Term Schedule:
Term 1: Sept-Nov -- Term 2: Jan-March -- Term 3 April-June

We encourage AmblesideOnline listmembers to follow this term calendar as a group for Artists, Composers, Plutarch, Shakespeare, Folksongs and Hymns. Staying on schedule together for these subjects is voluntary, but greatly enriches our studies as it enables us to share timely and topical resources and experiences on the list.

Just as a small point of interest, our policy of only using works of art that are available online for picture study means that our rotation is subject to change--in the early days when we chose further ahead, we found that we had to do the search work all over again at term time, because the websites we had chosen had moved their pictures around, so the links didn't work anymore. ;-/




Wendi's notes on Picture Study With Charlotte Mason

Though it isn't always possible or practical, if you want to choose your own artist for picture study, it often works well to look first at the artists who worked during the time period you are studying for history. However, keep in mind that if this is your only criteria for every selection, you will find some eras offer sparse options, and others have an embarassment of riches. Once you have a list of artists to choose from, apply these principles to the artworks and narrow your selection to abut six works by a single artist.

In selecting our pictures, we should keep these things in mind (these are either quotes from, or adapted from, Charlotte Mason's works):

1. The pictures should have a refining, elevating influence.

2. They should express great ideas, and this is more important than the technique.

3. The great ideas our art prints express might include "the great human relationships, relationships of love and service, of authority and obedience, of reverence and pity and neighbourly kindness; relationships to kin and friend and neighbour, to 'cause' and country and kind, to the past and the present."

4. Our art prints ought to put "our children in touch with the great thoughts by which the world has been educated in the past, and to keep . . . them in the right attitude towards the great ideas of the present" -- And bring us into the "world of beauty created for us by those whose Beauty Sense enables them not only to see and take joy in all the Beauty there is, but whose souls become so filled with the Beauty they gather through eye and ear that they produce for us new forms of Beauty."

Do our choices expose the children to those works of art which seek to "interpret to us some of the meanings of life?"
" . . . Fra Angelico will tell us of the beauty of holiness, that Giotto will confide his interpretation of the meaning of life, that Millet will tell us of the simplicity and dignity that belong to labour on the soil, that Rembrandt will show us the sweetness of humanity in many a commonplace countenance.

The artist -- " Reaching, that heaven might so replenish him, Above and through his art ," -- has indispensable lessons to give us . . . the outward and visible sign is of less moment than the inward and spiritual grace." Technique, no matter how brilliant, is not a substitute for expression of beauty, or one of those 'meanings of life' interpretations.

Let us choose pictures using this as a guideline: "Nothing can be a work of art which is not useful, that is to say, which does not minister to the body when well under the command of the mind, or which does not amuse, soothe, or elevate the mind in a healthy state." -- CM quoting William Morris

The works of art we choose should represent 'master ideas,' which the painter "works out, not in a single piece, but here a little and there a little, in a series of studies." The artist is "a teacher, who is to have a refining, elevating effect upon our coarser nature."

Our prints can also be chosen to help the children develop a love for the commonplace beauty of every day things -- "For it is true as Browning told us, -- For, don't you mark, we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see . . . . we learn to see things when we see them painted."

Our art prints should help our children develop an affinity for, an attraction to, the beautiful, the lovely, the pure, the refining -- because "education is concerned to teach him what pictures to delight in."

To go to the source, and you should go to the source, please see Charlotte Mason's own books, in particular:
Vol 1 pg 308-311
Vol 2, page 262
Vol 3 pg 77, page 209, page 239, page 353ff
Vol. 4, pages 2-3, page 42, page 44, 48-49
Vol 5 pg 231-236
Vol. 5 p 312-315
Vol. 6, pages 213-217
Vol. 6, page 275
Vol. 6 328-329
Picture Talk, Parents Review, Vol 17, 1906
Picture Talk, Parents Review, Vol. 12, 1901
Impressions of Conference Work with Class II (scroll down for two paragraphs about a specific picture talk given) A similar explanation and example is offered here.
Art and Literature in the Parents' Union School (the art/picture study section is midway down the page)

Thank You!

The Advisory wishes to express our gratitude to artist/musician Tom Root and his wife, artist Peggy Root, and to Lee Anne Penny for their invaluable contributions to the compilation of the Artist Schedule. We also wish to thank Lee Anne Penny for providing lessons for some of the Art terms.




Quote about art from Parents' Review article "On Exhibitions:"Probably all agree that exhibitions of ostentatious vulgarity are better avoided, and should not be encouraged, and all will be unanimous in feeling that children should, as little as possible, be brought into contact with pictures wherein the desire of the eyes and the pride of life are flaunted in their native brutality. And so it is to be regretted that the contemplation of works devoted to the celebration of these things is usually unavoidable for those who enter exhibitions of modern pictures. For a number of the ablest portrait painters become fashionable, and their works are certain to be prominently placed in any representative exhibition, so that there is no avoiding them. All the seduction of admirable painter-craft is employed to capture our attention for the expensive jewels and costly millinery of the last new millionaire's wife and family, for the sporting magnate himself with his top boots or his guns, his hounds, his hunters, and all that is his. It is all thrust upon us life-size, trampling over our humbler aspirations, to leave us breathless with amazement at its magnitude, and disheartened by its dulness. There is no escaping these things now; they are upon us, even as his motor car is, with a whirlwind of dust, discomfort, and distraction. There is not much we can do, save beware of these things. We can turn away our eyes from viewing vanity. We must recognize that the powers of poetry are here in bondage--hewers of wood and drawers of water for the Philistines, and so pass by. But we must point out the deplorable fact to the children so that they may identify it for what it is when they behold a display of ostentatious vulgarity.

There is prettiness, too, to be avoided. We have to be on our guard against the insidious rose-watery weakening of emotion, the sugaring down of knowledge to meet the taste of such as prefer to be fed with a spoon, and dare not see without blinkers. Whatever is pretty is pretty bad. Whatever life may be, it is not pretty. Whatever breathes has some force, some conviction; all that is real has some title to respect, some claim for sympathy. Manliness, temperance, sincerity, wear no blinkers. What they see they needs must see clearly, and there is not time for trifling. Distrust the pretty pictures, and do what you can to prevent your children from forming a taste for them.

It is often said to us, "We do not really require the works of artists; we like them, and admire them, but we can quite well do without them; they are superfluous things." In the phrase often heard, the meaning is concisely stated thus: Art is a luxury. The proposition commends itself as a true one to most people, who really do feel that they could quite well do without any pictures. They are conscious of desiring to have such things as give them pleasure, and of their need to be pleased, or rather amused. For in so far as good pictures are not found to answer these ends, they are liable to be relegated to the category of superfluities. Not being pretty, they do not please. If they are not gay, which they are seldom, or funny, which they never can be, they are not found entertaining or amusing. The idea is based on a conception widely prevailing, wherein the function of art is considered to be that of a public entertainer or purveyor of diversions. We are apt to think that our life is dull, and are ready to welcome brave shows to take us out of ourselves. The aspiration is natural, for, to many, life is dull. But there are agencies better adapted to enliven it than are the fine arts, and it is good for us to be taken out of ourselves, provided the chosen vehicle does not rush with us violently down a steep place. Various arts may minister to the amusement of the vacuous, but not fine arts. These can indeed take us out of ourselves, but only on condition that we permit them to take us beyond ourselves, and higher. This they have always done, and can always do. Demand, therefore, from fine art no more, nor less, than you have been accustomed to demand from fine literature, from poetry--the widening and refining of your experience. Life is not amusing, any more than it is pretty, and we know how true it is that our singers learn in sorrow what they teach in song.

From the Parents' Review article "On Exhibitions;" read the full article here


We don't want all our children to be artists, while we do want them to feel after and appreciate what is beautiful, and let us frankly acknowledge that it is not everyone that can be taught even that much. At least then we can lose no opportunity of showing them really beautiful things, examples of great masters in painting, sculpture or craftsmanship (of which there are increasing numbers within reach)--at least we can teach them something of the beauty of nature and common things, something of the grandeur of simplicity and truth. And we can encourage them in drawing, modeling, needlework, carpentering, and a score of other things which will help them to use their eyes and hands accurately, both for their own pleasure and for the advantage of their generation.

From the Parents' Review article "Educating the Artistic Feeling;" read the full article here

". . . great national collections are a sign of the decadence of modern times. If art were alive, pictures would be in our houses, churches, and public buildings. The art sense is a birthright of all, which the race cannot afford to lose, yet we are passing through an inartistic phase. Artistic interest is mixed with antiquarian interest, and few dare controvert the accepted standard of taste. The collections have been made representative, and not educative. A knowledge of the history of art is confused with a knowledge of art, whereas the latter is hindered by bookish study." from this Parents' Review article