Visual Arts

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Applications of Knowledge

Competency 3
(Cycle One) : Appreciates works of art and cultural objects from the world’s artistic heritage, personal images and media images
(Cycle Two) : Appreciates images

Competency 1 – Creates personal images
Competency 2 – Creates media images

Cycle Two: Compulsory program
Cycle Two: Visual Arts optional program
Cycle Two: Visual Arts and Multimedia optional program

Student constructs knowledge with teacher guidance.

Student applies knowledge by the end of the school year.

 

Student reinvests knowledge.

E: The letter E indicates knowledge from the elementary-level Visual Arts program which is developed in greater depth or applied in Secondary Cycle One.

Elementary

Secondary
Cycle
One
Cycle
Two
  1. Analyzes a work or production (Cycle One)
    Analyzes an image (Cycle Two)
  1 2 3 4 5
    1. Observes some subject-specific elements in student productions, in works of art past and present, from here and elsewhere
E          
    1. Picks out elements that are represented from various artistic movements and periods (e.g. portrait, self-portrait, landscape, still life, scenes)
       
    1. Makes connections between the elements represented, the historical and sociocultural aspects present in the art work (e.g. ancient Greek sculpture of an athlete, children playing in an urban scene, a WWII-era sign calling on young people to enlist)
       
    1. Makes connections between the elements represented, the historical and sociocultural aspects and the symbolic elements (e.g. scenes depicting portaging or hunting, sugar shacks and toboggan runs; form and colour of road signs)
     
    1. Makes connections between the elements represented, the historical and sociocultural aspects and the symbolic elements (e.g. characters in a silent film, an interactive video, a combination of still images projected onto an installation and looped sound tracks citing verses from a poem)
     
    1. Places an image in its production context, taking into account elements of content and information gathered from various sources on different artistic periods and movements (e.g. prehistoric cave paintings, Ancient Egyptian frescos, old Québec architecture, the expressiveness of street art)
       
    1. Places a spatiotemporal image in its production context, taking into account elements of content and information gathered from various sources (e.g. a poster announcing a consumer good, documentary photos for information purposes, a video to promote a product, a videoclip for entertainment purposes)
     
  1. Visual arts and multimedia language (elements)
    1. Locates the elements of visual arts language related to the proposed appreciation criteria
E          
    1. Picks out elements of visual arts language (e.g. primary colours, straight lines and purged forms in an abstract piece)
       
    1. Differentiates between the elements of visual arts language that make up the figurative and non-figurative forms (e.g. the vibrant colours and contrasts of Les Fauves, the clean lines and pure colours used by the Plasticiens)
       
    1. Compares the elements of visual arts language used in an image (e.g. organization of space in in situ art, representation of space in Renaissance works)
     
    1. Compares the elements of visual arts and multimedia language used in an image (e.g. the coloured pigment in paint and the colours in the transmitted light used in a virtual image)
     
    1. Locates the visual effects obtained by using elements of visual arts language
E          
    1. Picks out the visual effects that result from the treatment of elements of visual arts language (e.g. the texture obtained through the repetition of short lines, the repetition of tasks to create values or shading)
       
    1. Differentiates the visual effects that result from the treatment of elements of visual arts language (e.g. rhythm expressed through the repetition of forms; values produced by superimposing straight and oblique lines)
       
    1. Compares the visual effects that result from the treatment of elements of visual arts language (e.g. colour shading, movement produced by curved lines, patterns and motifs created by alternating forms)
     
    1. Compares the visual and symbolic effects that result from the treatment of the elements of visual arts language and the choice of visual codes (e.g. choice of forms and colours that characterize the art of a people [Scottish tartan, Maori tatoos, arrow sashes])
       
    1. Compares the characteristics of the visual effects that result from elements of visual arts and multimedia (e.g. use of complementary colours to create contrast, fast forwarding through images to produce movement or express emotion, integration of video within a performance)
     
  1. Visual arts and multimedia language (space)
    1. Locates the organization of elements in a two- or three-dimensional space
E          
    1. Picks out methods of organize elements in two- or three-dimensional space: enumeration, juxtaposition, repetition, alternation, superimposition, symmetry and asymmetry (e.g. alternation of elements to create rhythm, the dimensions of forms to highlight the elements)
       
    1. Differentiates the methods of organize space in two- or three-dimensional space (e.g. place elements in symmetry to create balance in space; for sculpture, volumes are balanced vertically or horizontally)
       
    1. Compares the organization of elements in the two- or three-dimensional space of the image being studied with the organization in other images (e.g. the quality of the lines, the superimposition of forms or volumes, the dynamic organization of space)
     
    1. Compares the organization of elements in virtual, two- or three-dimensional space of the image being studied with the organization in other images (e.g. the positioning of elements in a painting, a video or an installation)
     
    1. Locates the representation of elements in a two-dimensional space: perspective with overlapping
E          
    1. Picks out methods of representing space, including perspective with overlapping and diminishing perspective (e.g. superimposition of forms to create overlapping perspective, variation of the size of elements in accordance with their distance)
       
    1. Picks out methods of representing space and more particularly isometric perspective (e.g. representation of a volume using parallel lines)
       
    1. Picks out methods of representing space, including aerial perspective (e.g. a sharp and dark foreground against a blurred and pale background) and perspective with one or more vanishing points (e.g. representation of a street, a river or a path)
     
  1. Transforming gestures
    1. Observes evidence of gestures used to produce the image
E          
    1. Picks out manners to create traces of gestures using various materials and tools (e.g. the expressive brushstrokes in Japanese works, paint applied using palette knives in certain works of the Automatists, the juxtaposition of random objects in Dadaist works)
       
    1. Differentiates ways to produce evidence of gestures from various materials and tools (e.g. the movements created with gouache and a dry or wet paintbrush, the refined gestures of Renaissance painters, the dynamic gestures of the American abstract art movement)
       
    1. Compares the visual evidence of gestures produced by various traditional and technological materials and tools (e.g. lines etched in clay Phoenician masks, notches made by chisel on a low relief wood carving)
     
    1. Compares the visual evidence of gestures produced by technological methods and tools; and traditional materials and tools (e.g. in contemporary art, the use of texts and photocopies, the integration of sound elements, the recording of a live performance)
     
  1. Interprets the meaning of the work or production (Cycle One)
    Constructs his/her interpretation of the image (Cycle Two)
  1 2 3 4 5
    1. Explains why this element elicited a reaction
E          
    1. Makes connections between the elements observed and the meaning perceived (e.g. colour contrasts that can produce dramatic effects, a scene from the everyday lives of explorers that can allow the viewer to understand their wretchedness)
       
    1. Makes connections between the elements observed, the meaning perceived and the information gathered regarding artistic periods and movements (e.g. information on the funeral rites practised in Ancient Egypt, such as the functions of sarcophagi and the symbolic meaning of their decorative ornaments; information on the influence of the Refus global on the procedures used by Québec artists of that time)
       
    1. Makes connections between the elements observed, the meaning perceived and the information gathered regarding the characteristics of artistic periods and movements (e.g. use of contrasting colours to draw attention to a particular element, the colours on a coat of arms to show affiliation to a family)
     
    1. Makes connections between the elements observed, the meaning perceived and the information gathered regarding works from various artistic periods and movements, and the purpose of the symbolism of the image (e.g. high contrasts to create opposition, transparency to communicate ephemeral qualities, the use of patterns and motifs in Islamic art, the unusual and poetic universe of the surrealists, the shapes and colours of road signs)
     
  1. Makes critical and aesthetic judgments
  1 2 3 4 5
    1. Uses subject-specific vocabulary
E          
    1. Uses subject-specific vocabulary in accordance with the prescribed terminology in the program
       
    1. Uses subject-specific terminology in accordance with the prescribed terminology in each of the programs
       
    1. Justifies his/her point of view based on his/her observations
E          
    1. Justifies his/her point of view based on observations and information gathered (e.g. gestures used by the artist, impact of the colours in a media image, characteristics of the artistic period to which the art work belongs)
       
    1. Justifies his/her point of view based on information gathered from the image content, the meaning perceived, the appreciation criteria and the research accomplished
       
    1. Compares his/her point of view with the points of view of others (e.g. the symbolic meaning of the forms on a totem pole, the symbolic meaning of colours for Les Fauves, the symbolic meaning of lines in a media image)
     
  1. Shares his/her appreciation experience
  1 2 3 4 5
    1. Uses subject-specific vocabulary
E          
    1. Uses subject-specific vocabulary in accordance with the prescribed terminology in the program
       
    1. Uses subject-specific vocabulary in accordance with the prescribed terminology in each of the programs
       
    1. Describes important aspects that are related to the appreciation of transforming gestures and elements of visual arts language
E          
    1. Describes aspects of his/her experience that are related to the procedure for appreciation, and more particularly to the strategies used (e.g. ability to reflect and make connections, to identify expressive elements, to make keen observations)
       
    1. Describes aspects of his/her experience that are related to the procedures for appreciation and the strategies used (e.g. recognizing the knowledge acquired , focusing on the task, making active observations, adopting a positive attitude)
       
    1. Picks out elements that have contributed to formulating an appreciation that he/she could apply in subsequent projects (e.g. use of various sources of information, methods of reflexion using a journal and portfolio)
     

Competency 1 – Creates personal images
Competency 2 – Creates media images

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