What happens when you introduce a group of fourth-graders to the work of French artist Edgar Degas (...

1. In the Studio with Degas.
What happens when you introduce a group of fourth-graders to the work of French artist Edgar
Degas (1843-1917) and then take them back in time, through an interesting visualization and role-
playing activity, to 19th-century Paris for a visit to the Degas studio?
This journey through time took place when 29 fourth-graders closed their eyes and listened as I
described a Parisian scene from around 1870. The students pretended that they were artists walking
to the studio of Edgar Degas. When they opened their eyes, a live ballerina was standing in the
middle of their classroom, while the walls held various pictures of ballerinas to enhance the studio
scene. The classroom ambiance became quite Parisian when the young ballerina struck a pose so
familiar to the Degas ballerinas we see in art books and museums.
The ballerina was introduced, and the students were given more information about Degas' interest
in making pastel drawings of dancers, riders and musicians. The class was given a brief presentation
about the Impressionist artists living in Paris during the 1800s and the subsequent impact they had
on contemporary art.
Students were shown posters of various works by Degas, Monet, Cassatt, Renoir and several other
artists from the same time period. It was important to show the students a variety of subject matter
produced by these artists and let them know that this imagery was not publicly accepted at the time.
These artists were considered rebels since they were not drawing and painting what the "academy,"
or public art institution, was promoting as valuable and worthy art.
Following this introduction, the students were given individual cups of chalk pastels. Each student
also received a 12" x 14" sheet of dark construction paper. The dark paper was selected as a means
of visually enhancing the images, making the colors appear more vibrant than if the drawings were
created on whim paper. It was suggested that students begin their drawing with white chalk so early
corrections could be made before a variety of colors had been applied.
A brief demonstration on positioning a figure vertically on the sheet helped the students place their
ballerinas on the papers, while leaving enough room for legs, feet and stage lighting to be added, if
the artists wanted to include that dramatic touch. Some students decided to make their ballerinas
smaller in order to make room for a larger background area, providing an appropriate environment
for their dancers. Since the main focus of the project was on figure drawing, however, other
students made their dancers so large that only the top halves of the figures fit on the paper. This
opportunity for individualized creativity yielded great results.
While their classroom teacher, Jana Hukriede, gave each student a damp paper towel for clean-up
between colors used on the drawing, graduate student/assistant Renee Jones and I visited with
students, discussing their individual choices for the ballerina's hair, costume and background. It was
important for the students to create their own interpretation of the dancer and even change the pose
or visual characteristics of the model if it suited their personal mode of expression.
These young artists were intrigued with having a live ballerina in the classroom and by pretending to
be real artists living in the Paris of the 1800s. They took their roles seriously and would look at the
model with determination as they worked on their pictures. The dancer, sixth-grader Malory Cashel,
enjoyed her role as a Degas model, as well as the opportunity to observe the development of 29
individualized portraits of her.

2. In order to create the ambiance of a studio setting, a group of medium-sized posters depicting
dancers in a variety of costumes were placed around the room. As an added feature to the room
display, a 20" x 30" pencil drawing of a ballerina that I created was placed next to the model.
Several students were curious about the image and wondered how long it took to draw. Naturally,
because the artist was present, they were able to ask me a multitude of questions, which I answered
immediately.
Throughout this observational-drawing process, it was obvious that the students were definitely
inspired by the role-playing activity and were using considerable imagination in pretending hair
chalk to be artists from this time frame. As it turned out, the class became involved in a very casual
group discussion on aesthetics as they talked about the "art values" of the 19th century in contrast
to those of the 21st century.
In connecting the past with the present, students talked about how people hair chalking have
different "likes and dislikes" about art and how styles change throughout time and throughout
different cultures. It surprised the class to learn that some of the Impressionists were even criticized
for going outside to paint. Other artists were ostracized for painting everyday people and landscape
scenes as ordinary as "haystacks in a field."
In addition to learning about the life and times of the artist Degas, Mrs. Hukriede's fourth-graders
were thrilled with their work as it developed from sketchy outlines in white chalk to the full-color
pastel drawings that were displayed in the "Young Artist Gallery" at Southwestern Missouri State
University.
What is fascinating and remarkable about this particular drawing experience is that no two pastel
drawings look alike. The group appeared to be so engrossed in the role-playing mode of being
"Parisian artists" that the natural instinct for some to emulate other students, or to claim that they
"couldn't draw a real person" just wasn't a part of their concern. Looking intently at the model and
asking if they could change the color of the dress, shoes or hair seemed to be their immediate
response.
As they worked deeper into the drawings and individual details began to emerge, creating a
personal expression became their goal. One student added a tree to his background in order to let
his dancer "enjoy the outside." Another student added details of small hearts to enhance his dancer's
environment, while others created a variety of borders and backgrounds that enclosed the dancer in
a splash of energized color.
After the drawings were completed and signed by each artist, students were asked to again close
their eyes so that they could return to the 21st century and their regular classroom. At this time, Ms.
Jones collected the pictures for the "Young Artist Gallery" and gathered supplies for cleanup. As the
visualization and story about traveling through two centuries continued, the ballerina quietly left
"the studio," and the room was returned to its normal condition. Although several of the students
knew the model, it was still exciting to pretend that she was from another time period. Our "little
dancer" did a wonderful job and was as charming as a true Degas ballerina throughout the
afternoon.
As a follow-up to the drawing experience, students were given several photocopies of Degas'
drawings of dancers, riders, musicians and portraits for a small bookmaking project. They were then
asked to write a story, poem or song about the images and what it might have been like to live in the
Paris of the 1800s and to know the Parisian artists.

3. When Ms. Jones and I said our good-byes to the class, one of the students responded by calling out,
"Au revoir."
LESSON OBJECTIVES
* The students will develop an appreciation of the life and artworks of 19th-century Impressionist
artist Edgar Degas.
* Art History: Students will learn about Degas' life in Paris during the Impressionist period and
about his technique of using pastels to draw ballerinas.
* Art Production: Students will explore the pastel drawing process and use critical-thinking skills to
create a portrait of a live ballerina.
* Aesthetics with Young Children: Using large reproductions of the Degas ballerinas students will
discuss the elements and principles of design used in each picture to express Degas' impression of
the dancers. They will also discuss their own responses to the pastel medium and the drawing of a
live dancer.
* Art Criticism with Young Children: After looking at their own pastel portraits of the dancer, and
the pastel drawings of their classmates, students will discuss and write about their drawing lesson
and their new knowledge of Edgar Degas.
LESSON GOALS
Students will ...
* learn about the Impressionist period in art and
about the artist Edgar Degas.
* explore observational drawing through the use of
a live ballerina as a model.
* draw a full-sized image of a dancer on colored
construction paper.
* complete their drawings by making a border
around the edge of the picture.
* write a story about their picture to be displayed
with their pastel drawings.
HELPFUL HINTS
* Ask students to write their names on the backs of their papers before drawing begins.
* Drawings are to be placed on a vertical format, with the model's head toward the top of the page.
The head will be approximately the size of the student's fist or slightly larger.

4. * When beginning the drawing session, ask students to spend a few minutes looking at the model
and thinking about how they will fit the entire figure on the page. I usually take them through a little
"placement game," asking them if the head should be at the bottom, the side or the corner of the
page. I then ask them if the upper center of the page (paper) would be the best location. They enjoy
this placement game.
* In drawing the face, I suggest they begin with the eyes. With a younger group, I play the
placement game again, asking them if I should put the eyes at the bottom of the oval or circle that
indicates the head, and so on. The nose comes next, then the mouth. We then talk about
"embellishments," or details such as hair, eyebrows, etc.
* By the time the students begin working on the neck and upper body, they are usually drawing in
their own individual ways, and they are excited about the continuation of the activity. I never expect
adult drawing standards or realism far this project, and always allow for individual expression. Allow
the students to explore the media and design their own version or perception of the model.
* I suggest drawing a pastel border around the picture to resemble a frame for the image. This
enhances the final presentation at the piece, and the drawings are ready for display.
MATERIALS
* 11" x 14" colored construction paper (dark colors: blue, purple, black, etc.)
* Chalk pastels (various flesh colors, primary and secondary colors, black and white)
* Cups or small boxes to hold 7 to 8 pastels
* One damp and one dry paper towel for each child
* Model or still life. (For our model, we used an older student who had been taking ballet for several
years. The dancer was given several postcard pictures of Degas' dancers and asked to imitate one of
the poses.)
Judith Fowler is assistant professor of art at Southwest Missouri State University in Springfield, Mo.
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Copyright 2001 Gale, Cengage Learning. All rights reserved.