Baroque Art and Gian Lorenzo Bernini Sentences which I

Progetto in rete Reading Circles for CLIL -­‐ History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria prof. Roberta Filardi CLIL UNIT PLAN Core Concept: Baroque Art and Gian Lorenzo Bernini
Sentences which I would love to hear from my students
1. Baroque Art
After the idealism of the Renaissance and the virtuosism of Mannerism, Baroque art reflected the religious tensions of the age -­‐ the desire of the Catholic Church in Rome to reassert itself against the Protestant Reformation. Baroque paintings illustrated key elements of Catholic dogma, either directly in Biblical works or indirectly in mythological or allegorical compositions. Painters typically portrayed a strong sense of movement, using swirling spirals and intersecting
diagonals, and sumptuous, strong colour schemes. They used a strong chiaroscuro, the contrast between light and shadow, to emphasize the drama of the scenes. Baroque sculptors of the 17th century too reacted against the idealized forms from classical models and the trends of Mannerism to recapture realism in their works. Sculptors wanted to give their works a sense of dynamism and energy in order to involve the viewer. 2. David created by Bernini
The “David” created by Bernini is a full-­‐round sculpture in white marble and represents the hero in biblical history who beat the giant Goliath. The statue seems to move out of its space interacting with the viewer's space. The figure is represented with a violent contrapposto and a dynamic shape following the diagonal scheme of the composition. Bernini presents the hero while he is throwing a stone from a slingshot against his enemy; his torso is twisted producing a spiralling posture of his body. Also the facial expression, concentrated and tense, shows his strength during the action. Bernini used a sense of dynamism and energy in order to involve the viewer. According to many critics the statue could represent the triumph of the Roman church against Protestantism. Compared to the previous masterpieces by Donatello and Michelangelo, Bernini’s David seems more realistic and expressive, even though the perfect anatomy and muscles of the hero recall some classical and Renaissance features. The statue was commissioned by Cardinal Scipione Borghese for his residence, Villa Borghese in Rome, where it is still housed. 3. The Ecstasy of St Theresa by Bernini
The composition of the Ecstasy of St Theresa is complex because it also involves architectural elements.
The full-­‐round sculpted figures in the middle of the scene appear to be on a stage framed by a broken
pediment, two dark columns and coloured marbles panels (like a proscenium). St Theresa, struck by the
golden rain of rays, reclines on a cloud. The volume of her body is soft in the anatomical and naturalistic
parts. The heavy drapery of her clothing adds the scene movement and drama, and contrasts with her delicate
face. The Angel's wings and the clouds are just rough-hewn, to emphasize their immaterial nature. Bernini’s
sculptural group shows a cupid-like angel holding an arrow. He stands in front of St Theresa. In her diary
Theresa wrote: “The angel plunged it into my heart several times, so that it penetrated to my very soul. When
he pulled it out I was left utterly consumed by the great love of God”. Theresa is shown with her head thrown
back and eyes closed, she collapses, overcome by God’s immense love. The dark marble columns and
convex niche in which the Ecstasy is framed, enhance the dynamic composition, giving the sense that the
wall has opened up to reveal St. Teresa’s vision. 1 Progetto in rete Reading Circles for CLIL -­‐ History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria prof. Roberta Filardi School
Liceo Artistico of
Reggio Calabria
Class and age of learners
Class 4 C - 25 students
Age 17-18
Extra notes
English level B1/2
Unit Topic
Baroque Art and Gian Lorenzo Bernini
Pre- requisite
knowledge
Knowledge about famous sculptures of the Italian
Renaissance period
Students learn
the core concept
Knowledge about
the style and
composition of
Italian Renaissance
art;
First step
Researching online resources
Warming up
Baroque Art
Ex. 1a Reading activity
Focus on content
Baroque aesthetics
M. STOKSTAD, M. W. COTHREN, Pearson- Bruno Mondadori
2014, pp.68-77 and online resources
Ex. 1b Listening and reading activity and
Baroque Art Quiz online
https://www.khanacademy.org/humanities/monarchy-­‐
enlightenment/baroque-­‐art1/beginners-­‐guide-­‐baroque1/e/a-­‐
beginner-­‐s-­‐guide-­‐to-­‐the-­‐baroque Second step
David
Ex.2
Comprehension
and learning terminology
Focus on content
and terminology
about sculpture
materials and
techniques
Ex. 3 – Ex.4
Compare and analyse the stylistic characteristics of
Bernini sculpture through other masterpieces of the
same subject
Support for learning/scaffolding
Improving
students’ abilty to
see deeply
artworks
Composition and
relationship
between previous
masterpieces
Focus better on
David as a subject
of Bernini’s
sculpture
Focus on stylistic
features of Bernini.
Learning about
Bernini’s David
Ex. 5- Ex.6- Ex. 7a-7b- Ex.8
Writing tasks (haptics of writing)
Language learning and content learning
(Ex. 5-­‐6: vd.TERESA TING, CLIL Materials and Methods,
Università della Calabria, 2015, pp. 28-30.)
Ex. 9 Listening and reading activities
Comprehension
and learning terminology
Brief assessment
(QUIZ)
2 Progetto in rete Reading Circles for CLIL -­‐ History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria prof. Roberta Filardi David Quiz online
https://www.khanacademy.org/humanities/monarchy-­‐
enlightenment/baroque-­‐art1/baroque-­‐italy/e/bernini-­‐s-­‐
david-­‐quiz Brief Assessment
(QUIZ)
Third step
Ex. Ex.10a -10b
Writing tasks
Fourth step
Ex.11-Ex 12-13-14-15
Ecstasy of St
Theresa
Learning the masterpiece “The Ecstasy of St Theresa”
Summing up
Learning
assessment
Focus on
terminology
referring to
architectural
elements and
theatrical
composition.
Focus on The
Ecstasy of St
Theresa.
Bernini’s stylistic
features and his
relationship with
the Hellenistic
style
Analyzing the
qualities of
Bernini's sculpture
that emphasizes
drama, emotion,
and tension.
Assessment
Ex.16 Fill the gap in the text
Ex.17 a-17 b
Comparison of stylistic features with other sculptures
made in the past
Ex.18 Listening and reading activities
Comprehension
and learning terminology
Fifth step
The St. Theresa Quiz online
https://www.khanacademy.org/humanities/monarchyenlightenment/baroque-art1/baroque-italy/e/bernini-secstasy-of-saint-teresa-quiz
Ex.19 Glossary Crossword
Ex. 20 Timeline
Sixth step
Final step
Ex. 21 Assessment
Digital product
Feedback for the Ask students what they learn about content and
language through the CLIL activity
teacher Focus on
terminology
Assessment
Focus on the
competence
acquired by the
students
Focus on Bernini
and Baroque style
(Assessment )
Students organize
a Padlet and digital
materials; Video
and students’s
production
Feedback for the teacher 3 Progetto in rete Reading Circles for CLIL -­‐ History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria Tempi 4 ore: per ricerca materiali, selezione, ascolto, lettura;
2 ore: attività operative e cooperative (unità clil)
2 ore: rielaborazione dati
4 ore: riprese video
3 ore: montaggio e sistemazione materiali digitali
prof. Roberta Filardi Tot. 15 ore Baroque Art and Gian Lorenzo Bernini Bibliography
M. STOKSTAD, M. W. COTHREN, Seventeenth –Century Art in Rome, in Windows on Art,
Pearson- Bruno Mondadori, 2014, pp.68-77
L. CLEGG, G. ORLANDI, J.RAGAZZI, Sculpting today, techniques and materials, in Art Around
Us, Clitt, 2008, pp.58-59
G. NIFOSÌ, The triumph of faith and form, in CLIL History of Art, Editori Laterza, 2016, pp. 132133
E.H., GOMBRICH, Power and Glory I, Italy later seventeenth centuries, in The Story of Art,
Phaidon 2006, pp. 331-337
M. ACTON, The Ecstasy of St Theresa, in Learning to Look at Paintings, Routledge, 2009, pp.7880
P.GHERARDELLI - E.W. HARRISON, How to describe a painting and a sculpture, in Art
History. CLIL, Zanichelli, 2015, p.67
KLEINER, FRED S. GARDENER’S, The Baroque in Italy and Spain, in Art through the Ages.
Boston, Wadsworth Publisher, 2014, pp. 559-613
Online resources and pictures
The Baroque
http://www.britannica.com/art/Baroque-period
http://www.metmuseum.org/toah/hd/baro/hd_baro.htm
https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/beginners-guidebaroque1/a/baroque-art-in-europe-an-introduction
David and The Ecstasy of St Theresa by Bernini
https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-italy/v/bernini-david-162324
http://www.visual-arts-cork.com/sculpture/ecstasy-of-saint-teresa.htm
https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-italy/v/bernini-ecstasy-of-sttheresa
http://www.learner.org/courses/globalart/work/98/
http://www.learner.org/courses/globalart/work/98/expert/1/index.html Listening Edward J. Sullivan, Professor of Fine Art, New York University 4 Progetto in rete Reading Circles for CLIL -­‐ History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria prof. Roberta Filardi Baroque Rome on the Metropolitan Museum of Art's Heilbrunn Timeline of Art History
http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1620/david.html
http://www.visual-arts-cork.com/sculpture/baroque-sculpture.htm#ecstasy
http://www.pbs.org/wnet/powerofart/
http://www.theguardian.com/artanddesign/2006/sep/16/art
http://www.visualdictionaryonline.com/arts-architecture/architecture/greek-temple/greektemple_1.php#entablature11709
https://www.nationalgallery.org.uk/paintings/glossary/composition The Italian guide explains the David in English
https://www.youtube.com/watch?v=WjsbVpAzFUE&feature=youtu.be
https://www.nationalgallery.org.uk/paintings/glossary/composition http://www.visualdictionaryonline.com/arts-architecture/architecture/greek-temple/greektemple_1.php#entablature11709
Bibliography- Clil Methodology
Y.L. TERESA TING, Insights from Italian CLIL – Science Classrooms: Refining Objectives,
Constructing Knowledge and Transforming FL-Learners into FL-Users, pp. 60-69 in Vienna
Englinsh Working Papers, 2007
Y.L.TERESA TING, CLIL Appeals to How Brain Likes Its Information: Examples From CLIL(Neuro) Science, International CLIL Reaserch Journal, 2010
Y.L.TERESA TING, CLIL Materials and Methods, Università della Calabria, 2015
KAY BENTLEY, The TKT Teaching Knowledge Test Course CLIL Module, Cambridge University
Press, 2010
Teaching Knowledge test, Glossary, University of Cambridge
Sitography Clil Methodology
Y.L. TERESA TING, www.cambridgeenglishteacher.orgwebinar 1- 2: How to Clil and Why do
Clil
Y.L.TERESA TING, www.cambridgeenglishteacher.org1.Identifying and optimizing language; 2.
Identifying task difficulty and statying within our comfort zones; 3. “Clozing in” on contentspecific language; 4. Beyond terminology, into discourse; 5. Equilibrating between Content and
Language, 2013
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