E D U C ATO R GU I D E

This Educator

Guide was

designed for

use in

conjunction

with field trips

to the Romantic

Spirits

exhibition, or

for use as a

stand‐alone

classroom

resource. The

materials

included here

contain

curriculum

connections

aligned with

Common Core

and Georgia

Professional

Standards for

8th grade

Visual Arts,

Language Arts,

and Social

Studies, but are

adaptable for

use at other

grade levels.

Falls of Tamahaka, Cherokee County, North Carolina, William Charles Anthony Frerichs,

after 1855. Oil on canvas. Johnson Collection.

Romantic Spirits captures the ideals of the romantic movement through the

lens of Southern artists. Tracing its origins to literature, art and music in early

19th century France and Britain, the movement eventually made its way to

America. In it, artists emphasized the tenets of imagination and emotion, as a

reaction to the rationalism of the Enlightenment. The results are sweeping

landscapes and dramatic imagery—often exemplified in the paintings of the

Hudson River school.

The works in this exhibition range from 1810-1896 and display a wide array of

genres under the heading of romantic. Brought together here are

landscapes, portraits, still lifes, genre paintings and history paintings—all with

some connection to the Southern United States, whether in subject, artist‟s

origins, or both. In them we can collectively see the story of the South in the

turbulent 19th century as told through multiple perspectives.

The Romantic Spirits exhibition brings together works of art from various genres. As you go through the exhibition (or the online slideshow, found in the resources section), discuss the variety of subjects you see. The handout (on the following page) shows a sampling of works from the exhibition, highlighting landscape, portraiture, still lifes and history paintings. As a class or in small groups, have students discuss what we can learn about the setting (time and place) of a work of art from various genres.

Georgia Performance Standards for Social Studies SS8H3 The student will analyze the role of Georgia in the American Revolution. SS8H5 The student will explain significant factors that affected the development of Georgia as part of the growth of the United States between 1789 and 1840. SS8H6 The student will analyze the impact of the Civil War and Reconstruction on Georgia. SS8H7 The student will evaluate key political, social, and economic changes that occurred in Georgia between 1877 and 1918. SS8H8 The student will analyze the important events that occurred after World War I and their impact on Georgia. SS8H10 The student will evaluate key post-World War II developments of Georgia from 1945 to 1970. SS8H11 The student will evaluate the role of Georgia in the modern civil rights movement. SS8H12 The student will explain the importance of significant social, economic, and political developments in Georgia since 1970. SS8G1 The student will describe Georgia with regard to physical features and location. b. Describe the five geographic regions of Georgia; include the Blue Ridge Mountains, Valley and Ridge, Appalachian Plateau, Piedmont, and Coastal Plain. c. Locate and evaluate the importance of key physical features on the development of Georgia; include the Fall Line, Okefenokee Swamp, Appalachian Mountains, Chattahoochee and Savannah Rivers, and barrier islands. SS8E1 The student will give examples of the kinds of goods and services produced in Georgia in different historical periods. SS8E2 The student will explain the benefits of free trade. a. Describe how Georgians have engaged in trade in different historical time periods. b. Explain how the four transportation systems from SS8G2 contribute to Georgia‟s role in trade. SS8E3 The student will evaluate the influence of Georgia‟s economic growth and development+ Georgia Performance Standards for Fine Arts Education

VA8C.1 Applies information from other disciplines to enhance the understanding and production of artworks. a. Makes connections to other subjects that help expand art knowledge and/or skills. c. Integrates themes, ideas and concepts from variety of disciplines as inspiration for artwork.

The following activity can serve as a useful wrap-up for particular social studies units or an effective

review of social students united touched on throughout the year (potentially before exams).

After discussing different genres with students, have students use the following handout as a

framework for a discussion of what art can tell us as viewers about the work‟s particular time and

place. Then ask students to create works of art that convey some of these same ideas about

Georgia—including its history, geography and economics. These could focus on a particular era the

class has studied or could encompass a wider range to create a “Museum of Georgia History”+ Be

sure to allow students time to research their works of art. If possible, display their works together as

an exhibition, complete with wall labels and text panels that explain each work of art. Let us know if

you do—we‟d love to see your classroom museum! (Email barlowg@telfair.org)

Consider

the

geographic

features of

Georgia.

How can

you capture

them in a

picture?

Remember

your image

could be

from the

past or

from the

present

day. Now that you‟ve determined the different genres of paintings, determine what

we can learn from each one. For each painting, discuss the following:

What does this painting tell you about the place in which it was created?

What does it tell you about the time period in which it was painted?

These paintings all represent some aspect of the South. Your task is to create a

work of art that expresses not the South but GeorgiaGeorgia. Choose a genre and be

sure your piece conveys at least two of the following: the geographic regions of

Georgia, key physical features of the state, Georgia‟s history, key historical

figure(s) from Georgia, and the goods and services produced in Georgia.

Segovia, Spain

Still Life

with

Peach

es, E

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Bran

son, 1

89

5. Jo

hn

son co

llectio

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The Burial of Latané, William Dickinson Washington, 1864. Johnson collection.

The paintings below represent several different kinds of paintings, sometimes

called genres. A landscape is a work that shows an outdoor scene. History

paintings capture a particular moment in history—they are usually a way for the

artist to tell a particular moral or message. A portrait shows one or more person

and explains something about who they are or were. A still life includes objects

that don‟t typically move—usually fruit, flowers, table settings, and sometimes

even dead animals. Look at the paintings below

and identify the genre of each one.

Bayou Teche, Joseph Rusling Meeker, 1874. Johnson collection

Jose

ph F

airfax Lapsle

y, Ge

org

e C

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John

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Romance might make you think of cheesy movies and love songs. But the actual Romantic movement wasn‟t quite the same+ It

started in England and France in the early 1800s with art and literature that moved away from the so-called rationalism of the Enlightenment (which focused on order and reason) and toward ideas like emotion and imagination. When romanticism came to

American art, the result was dramatic landscapes that showed the vast American countryside, sometimes with ruins, but not yet

full of houses or people. Romantic books and poems had a similar sense of drama, which sometimes included the dark or mysterious. Read this excerpt of a poem by Edgar Allen Poe, one of the most famous American (and Southern) romantic writers. See what images it forms in your mind as you read it: Dream-Land [excerpt], 1844 Edgar Allen Poe

Bottomless vales and boundless floods, And chasms, and caves, and Titan woods, With forms that no man can discover For the dews that drip all over; Mountains toppling evermore Into seas without a shore; Seas that restlessly aspire, Surging, unto skies of fire; Lakes that endlessly outspread Their lone waters -- lone and dead, -- Their still waters -- still and chilly With the snows of the lolling lily. … By the dismal tarns and pools Where dwell the Ghouls, -- By each spot the most unholy -- In each nook most melancholy, -- There the traveller meets aghast Sheeted Memories of the Past -- Shrouded forms that start and sigh As they pass the wanderer by -- White-robed forms of friends long given, In agony, to the Earth -- and Heaven.

Full poem available at: http://

poestories.com/read/dreamland

▪What is the tone

of this poem?

What sort of

mood does it put

you in?

▪What do you

picture as you‟re

reading the

poem? What kind

of setting do you

imagine?

▪Look again at

the lines in blue.

What do you they

make you think

of? Describe

what you see

when you read

each one.

Untitled (Landscape with Mossy Trees and Distant Ruins), Charles Fraser, 1840.

“To say the word

Romanticism is to

say modern art -

that is, intimacy,

spirituality, color,

aspiration towards

the infinite,

expressed by

every means

available to the

arts+”

— Charles

Baudelaire

c. 1850

Romanticism was a movement that shaped

the art, music and literature of the 19th

century. The overall emphasis was on

emotion and drama, rather than logic and

reason (valued during the Enlightenment).

Romantic paintings and poems often had a

sense of drama, mystery or even the

macabre. This is best exemplified in gothic

paintings with crumbling ruins and brooding

skies or the writing of Edgar Allen Poe, with

frequent references to eerie places and

mysterious spirits.

The Romantic period perfectly encompasses both writing and art+ It‟s also a

great way to inspire your students and get them thinking about tone, setting,

and voice. First introduce the idea of romanticism within the context of the

1800s in Europe and America. (See the Resources section for further info.)

Read the poem excerpted in the previous page (designed to work as a stand-

alone handout, if desired) as a class. You may want to discuss some of the

more unfamiliar terms (in bold). Use the questions at left or your own to

generate discussion. Focus on the imagery Poe creates and how he establishes

a certain tone with the words and phrases he chooses. Then transition to art,

looking at Romantic paintings (see the Resources section for slideshows online)

and try to see whether any fit with your students‟ descriptions of the setting of

Poe‟s poem+ As a final activity ask students to choose one of the Romantic

landscape paintings as a source for their own work of „Romantic‟ writing+ Be

sure to focus on strategies to achieve a certain tone, as Poe and others have.

Georgia Performance Standards for Fine Arts Education VA8MC.3 Demonstrates how artists create and communicate meaning in artworks. a. Identifies, discusses, and analyzes aspects (e.g., common themes, symbols, values, and/or intentions) found in a variety of art works through spoken, written, or visual presentations. English Language Arts Common Core Georgia Performance Standards ELACC8RI4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the impact of specific word choices on meaning and tone. ELACC8W3: Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences. d. Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

Wanderer in the Storm, Carl Julius von Leypold, 1835, Metropolitan Museum of Art.

Photography was a brand new technology whose advent really coincided with the Civil War. It was a useful (though problematic) means of capturing the history of the war but a far more widespread tool was that of painting. This exhibition includes imagery from the beginnings, outbreak, battles and aftermath of the war. It can be used as a visual timeline to trace the events of the war as well as to showcase differing perspectives which affected how these stories were presented.

Georgia Performance Standards for Social Studies SS8H5 The student will explain significant factors that affected the development of Georgia as part of the growth of the United States between 1789 and 1840. b. Evaluate the impact of land policies pursued by Georgia; include the headright system, land lotteries, and the Yazoo land fraud. c. Explain how technological developments, including the cotton gin and railroads, had an impact on Georgia‟s growth+ SS8H6 The student will analyze the impact of the Civil War and Reconstruction on Georgia. a. Explain the importance of key issues and events that led to the Civil War; include slavery, states‟ rights, nullification, Missouri Compromise, Compromise of 1850 and the Georgia Platform, Kansas-Nebraska Act, Dred Scott case, election of 1860, the debate over secession in Georgia, and the role of Alexander Stephens. b. State the importance of key events of the Civil War. c. Analyze the impact of Reconstruction on Georgia and other southern states, emphasizing Freedmen‟s Bureau; sharecropping and tenant farming; Reconstruction plans; 13th, 14th, and 15th amendments to the constitution; Henry McNeal Turner and black legislators; and the Ku Klux Klan. Georgia Performance Standards for Fine Arts Education VA8CU.1 Discovers how the creative process relates to art history. a. Identifies and analyzes universal themes, symbols, and ideas from diverse past and present cultures and interprets how factors of time and place (climate, resources, ideas, politics, and technology) influence meaning of artworks. c. Recognizes the varied reasons for making art throughout history, how history and culture have influenced art, and how art has shaped culture/history. d. Recognizes the unique contributions of past and/or present artists, art periods and movements, including but not limited to contemporary/historical art forms and Georgia artists.

After beginning a discussion of the Civil War, introduce the idea of images as primary and

secondary sources. If desired, make lists or show examples of visual and written materials

that can serve as either primary or secondary sources from which to draw information.

Introduce the images (on the following page) to your students (the following page is

designed to work either as a stand-alone or double-sided handout; though if the latter,

advise your students not to turn it over until your direction). In small groups or as a class, ask

students to engage in a discussion, guided by the questions listed. Eventually have students

determine the chronological order for these images; be sure to ask for their rationale.

Finally, look at the „Glimpses of the Civil War‟ sheet to learn more about each work and the

artist who created it. Discuss the different ideas and perspectives they illustrate.

These paintings span the years 1853 to 1868, thus encompassing the Civil War plus its

beginnings and aftereffects. Examine these images closely. As you do, try to answer some of

these questions:

What is happening in each picture? What do see that might make you think that?

What details do you notice?

How do they relate to the overall

message of the painting? What is

that message?

Who do you think might have

painted this – what can you guess

about them?

Once you‟ve answered these

questions, try to put the images in

chronological order. Explain your

rationale for these choices.

Segovia, Spain

Here you have the titles and further information about each piece (listed chronologically). Did

anything surprise you? Why do you think that is? Discuss the unique perspective of each artist

and how it influences their subject and choices they made in representing them.

The Fugitive Slave, John Adam Plimmer Houston (Scottish),1853.

Here a runaway slave looks up hopefully toward the heavens. It was likely influenced by Uncle Tom‟s Cabin, which was released just one year earlier+ This artist wasn‟t from the South himself but his treatment of this Southern subject seems to hint at the Civil War to come.

The Letter, Junius Brutus Stearns (American), 1865.

This painting illustrates a common scene that would have been found during the war. This family, like so many during the Civil War, received a letter telling them that their son had died in battle. While this artist had earlier created works with more patriotic themes, he, like so many others, had grown weary of the high death toll the war was taking.

The Lost Cause, Gustave Henry Mosler (American), 1868.

The artist behind this piece was himself a loyal Unionist, but this particular work of art was commissioned (or ordered) by a Kentuckian and Confederate veteran. It demonstrates the bitterness of defeat and also an uncertainness of the future. Where would you go if you came home from war to this empty, broken-down house? The Lost Cause came to be a movement in the South the memorialized the old way of life (before the war broke out).

Noon Day Pause in the Cotton Field, William Aiken Walker (American), circa 1885.

This image may have been hard to place because, based on the subject, it could date to almost any time during the 19th century. The painting shows African American cotton pickers working in the fields, much as they would have done when they were enslaved. Though the people shown here are free, there are still bound to the field and their landowners through the widespread system of sharecropping.

Major Anderson Raising the Flag on the Morning of His Taking Possession of Fort Sumter, Dec. 27, 1860, Edwin D. White (American), 1862.

This image shows a scene that took place before the start of the Civil War. Major Anderson pre-emptively took control of Fort Sumter, where the first shots of the war were to be fired just months later. Anderson looks up in prayer, likely hopeful that there will be no war.

All of the works of art seen above are from the Johnson Collection.

Create your own work of art that demonstrates a particular view. Based on your

assigned role, create an image that illustrates some aspect of the Civil War (this

includes periods before and after). Be able to explain how your artwork evokes

that person‟s particular outlook and justify the choice you make+

Title:

Role/Perspective:

In this section you will find resources referred to in earlier materials as well as additional

reference materials for you and your students.

Metropolitan Museum of Art: Romanticism

http://www.metmuseum.org/toah/hd/roma/hd_roma.htm

An invaluable resource for summaries of artistic movements, the Met‟s website provides a succinct explanation of Romanticism, along with many images from its extensive collections. There is also a sizeable slideshow with a variety of paintings from the movement.

Garden and Gun: Romantic Spirits Exhibition

http://gardenandgun.com/gallery/romantic-spirits-exhibition

This website includes a slideshow of 16 images that are all drawn from the exhibition. Another useful tool to be used as a preview of the exhibition or in place of a museum visit.

The Johnson Collection: Romantic Spirits

http://thejohnsoncollection.org/pages/exhibitions/detail/0/6

This page includes some basic information on the exhibition as well as a small sampling of paintings included therein. It can be a useful tool for those who are unable to visit the museum or for those who are interested in previewing the exhibition.

PBS: Romanticism

http://www.pbs.org/wnet/americannovel/timeline/romanticism.html

In its look at the American Novel, PBS offers an easy to understand introduction to Romanticism in America, including its origins and principal characteristics.

The Learning Network: What‟s Going on in this Picture?

http://learning.blogs.nytimes.com/category/lesson-plans/whats-going-on-in-this-picture/

This blog, part of the New York Times‟ Teaching & Learning section, offers visual rich images that are ideal for practicing students‟ critical analysis skills with VTS (visual thinking strategies)+ Each week the blog adds a new image and encourages classes to use it as a starting point.

Georgia Historical Society: Explore Georgia History

http://georgiahistory.com/education-outreach/online-exhibits/

The Georgia Historical Society website offers a wealth of information on Georgia history, including separate pages for key historical figures as well as online exhibitions. Each page features primary sources like paintings, maps, documents, and photographs for you and your students to learn more about Georgia‟s historical figures, geography and history+

Visual Thinking Strategies

http://www.vtshome.org/

As the name suggests, this website is focused on the basics and advantages of visual thinking strategies and particularly how to incorporate them into the classroom. It is full of invaluable resources to be used in many areas of the curriculum.

Georgia Encyclopedia: Geographic Regions of Georgia

http://www.georgiaencyclopedia.org/articles/geography-environment/geographic-regions-georgia-overview

This website is a wonderful resource for learning about many aspects of Georgia, to include history, art as well as geography. A great reference for you as well as your students.

Have your students done amazing work inspired by our museums or exhibitions? We want to

hear about it! The education department works to promote the use of arts in all areas of the

classroom; we‟d love to hear from you about what you‟re working on+ Your class‟s work may

even be featured on Telfair Museums‟ facebook page+ Email Glenna at barlowg@telfair+org+

The Educator Guide will prepare you for tour content, but what about tour procedures?

Keep things running smoothly with this list.

Don‟t worry, we will go over these again on your arrival, but it does help if students have heard them from you first. Explore with your eyes, not your hands. Telfair Museums was created in order to share art and knowledge. We take special care of the art in our collections so that it can be shared for a long, long time. Even the gentlest touches can add up to harmful results. Point with your words, not your finger. Even if you know not to touch, if you point too closely to a part of a painting or sculpture, you might accidentally touch it. Instead of pointing, describe what you want to point out using words like “in the center,” “at the bottom,” “next to the corner,” “to the right,” “above,” and “below+” Walk and move carefully. Follow your docent. Take your time, watch where you are going, and hold onto handrails while using the stairs.

Listen carefully, raise your hand, speak clearly but quietly. The museum is a place for thinking and learning. The same rules that make learning easier in a classroom are used here too.

Eating, drinking, and chewing gum are not allowed. Photography is not allowed.

Our docents are dedicated volunteers. Your prompt notification regarding cancellations or late arrival helps prevent mismanagement of the time they so generously donate.

To cancel a tour, please call 912.790.8827 If you will be more than 10 minutes late, or are cancelling the day of the tour, please inform the Telfair Academy museum receptionist at 912.790.8871 or the Jepson Center receptionist at 912.790.8802.

Before you enter the museum/get off the bus, divide into groups with an adult in each. When you check in at the admission desk, please provide the number of students and chaperones to the front desk staff and check backpacks, lunches, and jackets.

Stay with the group you have been assigned to. Maintain discipline without interrupting the docent. Proximal control works great! Bathroom Breaks: Academy bathrooms are located in the basement level. There is a bathroom on the third floor in the touring area, but its use during tours interferes with

student attentiveness. Reserve it for emergency use only.

Please let us know about your experience. We are constantly evaluating and improving our programs. Your observations and ideas are a valuable resource. Please share them at 912.790.8827.

Lovell designed this installation specifically for the Jepson Center, including a projected images of a flowing river, the sounds of chirping birds and the river‟s rushing currents, and a massive mound of dirt, strewn with everyday objects seemingly abandoned by past inhabitants of the space. The exhibition also features life-sized charcoal portraits on wooden objects. He juxtaposes these drawings with everyday found objects—including clocks, irons, frying pans, and bed frames+ The pairings, filtered through the artist‟s personal history and memories, create intriguing narratives that are left open for the viewer‟s interpretation. Our featured tours for this exhibition are geared towards grades 4, 11 and 12, but can be adapted for any age group.

This exhibition, Port City, traces the history of the Savannah River and Savannah‟s ports through etchings, maps, paintings, and photographs over the course of nearly 300 years. From the earliest uses of the river by Tomochichi and Oglethorpe, up through the tourist vessels on River street and big ships on the river, this exhibition traces that story through art. There are a wide range of works on view which give a comprehensive view of our beloved river and its complex history. Our featured tour for this exhibition are geared towards grade 8, but can be adapted for any age group.

Savannah Collects is a unique exhibition with an eclectic mix of objects each acquired by a local Savannah household. The works of art provide insight into the people of Savannah while also showcasing art with a wide range of styles, subjects, and media. This variety of artwork provides an ideal forum to discuss larger ideas of art, such as how we value art and what universal themes appeal to both the artist and the viewer. Our featured tours for this exhibition are geared towards grades 5 and 6, but can be adapted for any age group.

As an educator, you are eligible for a special membership rate.

Our $35 Educator‟s Membership entitles you to all of the following:

Unlimited free admission to the Telfair Museums three sites for one year

[Telfair Academy, Jepson Center for the Arts, and Owens Thomas House]

Invitations to special members-only events and lectures

Discounted rates for art classes (for all ages) and children‟s summer camps

10* discount at the Telfair Museums‟ three stores and the Jepson Café

Eligibility to join museum member groups

A one-time use guest pass

It pays to join! Visit www.telfair.org or call 912.790.8866.

The works in this exhibition are drawn from the Johnson Collection, founded by George Dean Johnson, Jr. and Susan (Susu) Phifer Johnson of Spartanburg, South Carolina. The Johnsons are passionate philanthropists committed to enhancing the educational environment and cultural vibrancy of their hometown, state, and region. Their collection began as an interest in paintings by Carolina artists in 2002, and has since grown to encompass more than eight hundred objects with provenances that span the centuries and chronicle the cultural evolution of the American South.