Welcome to Gaia! ::

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Third Years. She had been a tad shocked at the small numbers of students she had gotten last year. Small numbers meaning one, but she was thoroughly impressed with that one and hoped to see more like it with this new upcoming set. Seeing them arrive she greeted them with a smile and waited for them to take their seats before she began. [color=olive][b]"Hello and welcome to Art I, my name is Professor Hawthorne and I will be instructing you this year. To start the class I'd like you to introduce yourself, which House you're in, and why you chose Art. I'll get things started off! My name is Naitanna Hawthorne, I didn't attend Hogwarts but I was told I would have made a great Ravenclaw, and I'm in Art because I love the multiple ways I can express myself. Now one of you."[/b][/color]
Tanna was over the moon at how many students were in her introductory Art class. She made sure to smile at each person as they walked, on time or a bit late. The young teacher walked over to the chalk board and began writing in her curly script: [u][i]Lighting and Frame in your artwork[/i][/u] [color=olive][b]"There are a number of ways that light affects or interacts with artwork, from how a piece is lit, to deliberately incorporating the interaction of light within the work. Lighting of artwork is crucial to supporting the meaning of the artwork. Strong lighting creates strong highlights and shadows, which enhances the physical form of the object. Strong lighting is often used with classical Greek and Roman sculptures of the human body. The lighting reveals the contours of the figure and emphasizes its physicality. Diffuse lighting, which means the light on the object is more spread out, minimizing shadows and contrasts and making the object appear flatter, minimizes the physicality and contours of the body, and accents its stiff pose. Light in other works of art could be for dramatic contrast, to enhance the beauty of what or whom ever you draw or paint, or to create a two dimensional look to your artwork.
Now, that's just the lighting you create, natural light such as from candles, light bulbs or sunlight can also enhance the beauty of your art. Reflections are like magic in some ways. They transform a space in dramatic ways and make it appear infinitely larger, depending on the placement of reflective surfaces such as mirrors. Water can also be used to make reflections to create a sense of peace, calm, and serenity. Water has a naturally soothing effect on people, and the depth of a reflection within a pool creates an opportunity for contemplation.
Framing for all intent and purposes is not just the frame holding in the picture, it is also the main focal point of your art. Without a frame your art could seem endless with one no mater how big or small it is constrained but in a way that you created.[/b] [/color]

Tanna paused after her short speech and looked to see if anyone was confused before going back over to the board and writing, [u][i]Proportions [/i][/u].
[color=olive][b]"Proportion refers to the relative size of parts of a whole (elements within an object). We often think of proportions in terms of size relationships within the human body.Michelangelo's sculpture David represents the Renaissance emphasis on the ideal, based on the ancient Greek model of the ideal: rationality reflected in the portrayal of perfection in the human body."[/b][/color][ Here Tanna gestured to her own smaller David on the side of the classroom.] [color=olive][b]"This sculpture is an excellent illustration of both scale and proportion in art. Proportion doesn't just stop at the human body, it could be used for landscapes, portraits, interior design. floral arrangements even! And, it can also be used to make dramatic and even controversial images of what you want to convey. The art of photomontage is a method where you piece together elements from different sources and alter the scale of objects in the composition as well as proportions within the human body. Think of it as almost making a cartoon but using real images of that person.

For the remainder of class I would like you to do two things for me: First, I would like you to draw whatever comes to mind and then attempt to add light and or frame to this sketch. Second, I'd like for you to attempt to draw your head, not just your face your actual head, using the mirrors provided upon my desk. If you have any questions or issues please don't hesitate to ask me.
Now as for homework I would like you all to go into a bathroom that has a mirror and take a candle with you. Light the candle and examine your face from different angles to see the different contrast and shadows the light offers and if you can draw your favorite angle. Another exercise I'd like for you is to go take a walk at different times of the day, if your schedule allows you, and notice the light the sun makes upon the area around you. Mark the shadows and note where they are and if they moved. This isn't graded it's merely a guide to enhance your knowledge and understanding of lighting. If you hit a problem please don't hesitate to raise a hand and when you're finished you may leave."[/b][/color] she grinned happily and waited for everyone to start.

Tanna walked into her Art classroom excited for her budding artists. She had been looking over their past works in her office and she could see the visible improvement in some and also the raw talent in others. It was enough to make her want to dance when she thought she was helping the next generation of artists! That thought in mind she smiled and eagerly went over to her blackboard to write, [i]Backgrounds[/i], before turning to the small class.
[color=olive][b]"Hello again students! I've been so impressed by all of your sketches these past few weeks so I think you're ready for the big shot. Today we'll be putting together all that we've learned with one simple idea: backgrounds. One of the biggest challenges in drawing and sketching is tackling background space. Often times we get caught up in the foreground and ignore or only half-heartedly realize a successful background for our foreground imagery to occupy. A strongly drawn or sketched background can provide necessary context for what’s happening in the foreground, and can add visual interest to keep the viewer’s eye moving and examining the image. And pencils are a robust but forgiving medium that provide the flexibility to explore these background environments. The rules to background are pretty simple:

[u]Overlap:[/u] How objects overlap other objects in the picture determines how the viewer understands the space. Anything overlapping or partially obscuring something else will appear closer to the viewer
[u]Relative Scale:[/u] Obviously, things that are bigger will appear closer, especially in comparison to a smaller version of the same kind of object.
[u]Relative Position:[/u] This may be less intuitive than the previous two concepts, but things that are lower in the picture appear closer. Things that are higher seem farther away.
[u]Dark vs Light:[/u] Dark objects usually appear closer and light objects usually appear distant. This is a real phenomenon in nature known as atmospheric perspective. It’s the reason far-away mountains are a light, hazy blue, while closer mountains and other objects are darker and retain more contrast.
[u]Horizon:[/u] The horizon is always the same as the viewer’s eye level. You can place the horizon wherever you want in a drawing, but it determines the viewer’s eye level. So anything placed above the horizon line is above the viewer. Correspondingly, anything below the horizon is below the viewer. So unless you want the viewer to think he’s floating on a broomstick, you’d better make sure that street lamp extends above the horizon.

Currently on your desks are different subjects, animals, people, inanimate objects, etc., what I would like you to do is draw a background around that subject and create a story. Is that a lion in an African safari or lounging in the shade of a muggle office building? Why is their a tea cup in the middle of a pond? Whatever it is you can think of create! For extra credit you could sketch both the subject and the background and I'll award your points towards your overall grade as well as House Points!"[/b][/color] Tanna clapped happily excited for today's project.

Tanna walked into her Art classroom excited for her budding artists. She had been looking over their past works in her office and she could see the visible improvement in some and also the raw talent in others. It was enough to make her want to dance when she thought she was helping the next generation of artists! That thought in mind she smiled and eagerly went over to her blackboard to write, [i]Backgrounds[/i], before turning to the small class.
[color=olive][b]"Hello again students! I've been so impressed by all of your sketches these past few weeks so I think you're ready for the big shot. Today we'll be putting together all that we've learned with one simple idea: backgrounds. One of the biggest challenges in drawing and sketching is tackling background space. Often times we get caught up in the foreground and ignore or only half-heartedly realize a successful background for our foreground imagery to occupy. A strongly drawn or sketched background can provide necessary context for what’s happening in the foreground, and can add visual interest to keep the viewer’s eye moving and examining the image. And pencils are a robust but forgiving medium that provide the flexibility to explore these background environments. The rules to background are pretty simple:

[u]Overlap:[/u] How objects overlap other objects in the picture determines how the viewer understands the space. Anything overlapping or partially obscuring something else will appear closer to the viewer
[u]Relative Scale:[/u] Obviously, things that are bigger will appear closer, especially in comparison to a smaller version of the same kind of object.
[u]Relative Position:[/u] This may be less intuitive than the previous two concepts, but things that are lower in the picture appear closer. Things that are higher seem farther away.
[u]Dark vs Light:[/u] Dark objects usually appear closer and light objects usually appear distant. This is a real phenomenon in nature known as atmospheric perspective. It’s the reason far-away mountains are a light, hazy blue, while closer mountains and other objects are darker and retain more contrast.
[u]Horizon:[/u] The horizon is always the same as the viewer’s eye level. You can place the horizon wherever you want in a drawing, but it determines the viewer’s eye level. So anything placed above the horizon line is above the viewer. Correspondingly, anything below the horizon is below the viewer. So unless you want the viewer to think he’s floating on a broomstick, you’d better make sure that street lamp extends above the horizon.

Currently on your desks are different subjects, animals, people, inanimate objects, etc., what I would like you to do is draw a background around that subject and create a story. Is that a lion in an African safari or lounging in the shade of a muggle office building? Why is their a tea cup in the middle of a pond? Whatever it is you can think of create! For extra credit you could sketch both the subject and the background and I'll award your points towards your overall grade as well as House Points!"[/b][/color] Tanna clapped happily excited for today's project.

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Fourth Years. She smiled all the same and waved to each as they came in thinking that maybe this way they could all have a special connection because of it. [color=olive][b]"Hello and welcome to Art II. To start the class we'll begin with the basics!"[/b][/color] She went over to the blackboard and wrote in her curly script Basic lines and Figures.
[color=olive][b]"When you first start a sketch it is a good idea to lightly draw your lines in case you need to erase any later on. A big mistake a lot of people do when they first start the outline of a sketch is they typically press down to hard with their pencil thus creating a dark line and an indention in the paper. This will not only be hard to erase later on but may damage the paper because of the indention created. Start your sketch with a harder lead pencil or just not press down to hard when you’re doing the rough outline. Use basic shapes if you have a hard time drawing an object. When first learning how to sketch, most have a hard time getting the sketch to look like what they are drawing. One way to get your sketch started is to break down the drawing using basic shapes like so,"[/b][/color] Tanna picked up the chalk and drew an oval with four straight lines: three horizontal to depict the eye, nose, and mouth region while one going vertical to split the oval in half. She then drew a series of squares, rectangles and small ovals to depict eyes, nose, mouth, and ears.
[color=olive][b]"Another important measure to keep in mind is to visualize how you want your final drawing to look on your paper before starting your sketch in order to avoid coming too close to the edge of the paper or even worse, running out of room. Visually lay out how you want the sketch to look on paper then lightly draw the outline making sure to stay within an imaginary border. And finally, and most importantly, take your time when sketching. There is no time limit when it comes to creativity. I know sometimes you might get stuck, kind of like writers block, so instead of getting frustrated and feeling like you’re on some kind of schedule walk away – take a break. Come back when you feel better and if you still can’t get past that roadblock, set your sketch to the side and come back to it at a later date.
For the remainder of class I'd like you to do a basic sketch of your face and for homework I'd like you to find something, anything or anyone at all, to do a basic sketch over. The homework isn't graded its merely a tool to enable better understanding of what we do in class. When you're finished you may leave it behind or take it with you and leave." [/b][/color]

Tanna walked into her classroom practically skipping from her great start of the new year. She went over to her chalkboard to write [u][i]Sketching Techniques[/i][/u] in her familiar curly script.
[color=olive][b]"Welcome back, I hope you all had a great first week of classes. Now, last week we went over basic lines and figures so now we're moving on to technique. A good tip before we begin is to always make the outline light to start with. Use a soft lead pencil to draw the initial sketch with very light outlines. Use minimal pressure and make your lines just heavy enough so that you can see them. With light lines you can erase without leaving deep indentations in your paper. This is a nice little drawing technique trick to help you just in case you make a mistake or have to adjust something – which I guarantee you will. Now there are 5 excellent techniques to basic sketching:
[u]One[/u], Drawing Contours. In this exercise you basically pick an object whether it’s a picture or anything you can see and try to draw it without lifting your pencil off of the paper. Doing this will help you to be able to practice getting the proportions correct.
[u]Two[/u], Drawing Motion. Recording movement helps grasp the overall image. Try to draw the movement of the person or object you see. Do it quickly, don’t try to give it a finished look because these are just practice drawings!
[u]Three[/u], Drawing with a grid. This is an excellent exercise to give you a sense of proportion. Draw a grid on a blank piece of paper and then try to sketch an image on it. The grid will help you position the objects in the picture and also to make them proportionate. This is an excellent technique when sketching faces.
[u]Four[/u], Drawing in a continuous line. Another focusing exercise: put the pencil on the paper and try to reproduce what you see with a continuous line, without lifting the pencil. Try to focus more on the object, not so much on your sketching. You can do a figure eight or any continuous shape as long as you don’t have to lift your pencil from the paper.
And[u] five[/u], Blind drawing. Try to sketch what you see without looking at your drawing at all. This exercise helps you “feel” your tools and also improve coordination and focus.
For the remainder of class I'd like you to pick two techniques you'd like to begin with and attempt their exercises. There is grid paper available on all your desks if you would like to start with that one and pencils can be found on any surface of the room just in case you don't have one. For homework I'd like you to do the remaining techniques. If you have any questions or issues don't hesitate to ask me and when you're finished you're free to go."[/b][/color] Tanna grinned and clapped softly but happily.

Tanna walked into her now familiar classroom with her also familiar grin on her face. Seeing her students were all accounted for she walked over to her chalkboard and wrote out [i]Sketching enchantments[/i]. Turning to face the class she looked over at one of her NEWT students, standing off to the side of the classroom looking uncomfortable, making eye contact to ensure they understood when she would need help before starting. [color=olive][b]"Hello again students, I've been so impressed by you sketches and exercises over the past few weeks and as you can see I've hung a few of my favorites on the walls."[/b][/color] she gestured to hung sketches from each pupil in the class before continuing. [color=olive][b]"Today we finally get into the magic behind art, enchanting your artwork. You don't get into enchanting portraits and statues until after your OWL's I'm afraid but you do get something equally fun with your sketches. But you can't just draw and expect it to work, it needs to balanced and placed in perfect perspective for it to work else you'd have a clumsy and very odd piece of art.
First, draw the background scene which your movements will take place in. If the background is to move as well draw the changes supposed to happen. For example, if you're riding down a road and want to sketch the passing scenery draw the trees, buildings, animals, etc. that passes you by.
Second, the person or object you want to move needs to have an objective, where its going, what its doing, etc. A ball rolling along a road after being thrown by a child, a quidditch player flying in the sky amid the bludgers and other players, things like that.
Third, draw these actions. I know it seems impossible but draw the the first and end results of these actions: the ball that was seemingly rolling along has a child finally catch up to it, the quidditch player catches the snitch or does a loop-de-loop, whatever your heart's desire.
And finally, the fourth and last step is the imagine the the movements that you want, the story if you will, lightly tap your sketch with your wand and speak the incantation: [i]Motconscripto[/i]. Since I don't own a wand I've asked one of my NEWT students to come in and help. Would you be so kind?"[/b][/color] Tanna looked imploringly at her student who blushed at being placed in attention but stood and walked over to her before they were handed a drawn sketch.Normally she would do a sketch of the current class but since one particular Ravenclaw student was usually the only one that showed up and participated, she decided to merely draw her and her small group of friends that she had seen around her. There was the young metamorphagus in the middle, with the two Walsh twins on one side and the young male Slytherin she normally saw with her. The older student lightly tapped the parchment with their wand and carefully spoke the incantation watching with wonderment as the children came alive to smile, wave or give a bored smirk in a generally familiar way of one particular Gryffindor male. The young girl in the middle even had her hair start changing colors and lengths making her companions either roll their eyes or clap excitedly. With a smile the young professor hung her now animated sketch (gently of course, wouldn't want to disrupt the teens), on the center wall of her classroom before turning back towards the class.
[color=olive][b]"Thank you for the demonstration, your note for your class is on the desk. Now you all are gonna attempt the same. It doesn't have to be a horribly complicated image just something simple enough for you to imagine. And for an added incentive, the first person to have made a successfully moving image will be awarded a prize and house points. You may begin!"[/b][/color]

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Fifth Years. She had been thoroughly impressed by how well each year was progressing and was eagerly awaiting this year. This was also they're OWL year, so she was a bit nervous but had faith they would do fine. Seeing them arrive she greeted them with a smile and waited for them to take their seats before she began. [color=olive][b]"Hello and welcome to Art III. To start the class I'd like to start the year off a bit tame, we'll be learning about the color wheel today."[/b][/color] She walked over to her chalkboard where a perfectly drawn circle with various colors were drawn onto it. [color=olive][b]"A Color Wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, complementary colors,etc. In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).
The arrangement of colors around the color circle is often considered to be in correspondence with the wavelengths of light, as opposed to hues, in accord with the original color circle of Isaac Newton. Modern color circles include the purples, however, between red and violet. The typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet or purple. The tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green.
There is no straight-line relationship between colors mixed in pigment, which vary from medium to medium. As such, a painter's color wheel is indicative rather than predictive, being used to compare existing colors rather than calculate exact colors of mixtures. Because of differences relating to the medium, different color wheels can be created according to the type of paint or other medium used, and many artists make their own individual color wheels. These often contain only blocks of color rather than the gradation between tones that is characteristic of the color circle.
For today I'd like you to create a personal color wheel using the primary colors of Blue, Red, Yellow, and White. Create the color combinations to reflect you and what you like to reflect in your art."[/b] [/color]Tanna grinned out over the class. She hoped she hadn't scared them.

Tanna walked excitedly back into her classroom and waited on the edge of her desk for her students to file in before beginning. [color=olive][b]"Great jobs on your color wheels, very expressive and very insightful. This week we'll be learning proper painting techniques which is sort of difficult to go over. There are just so many types of paint and supplies that some techniques don't work well with certain types like it does with others. The painting mediums are oil, pastel, watercolor, acrylic, ink, hot wax, fresco, gouache, enamel, spray paint, tempera, and water miscible oil paint! So much fun and so little time..."[/b][/color] she pouted a bit but put her smile right back on her face. [color=olive][b]"Oh well, we'll just have to make do. If you've noticed it or not I've placed the different mediums in different stations all around the room so you may try for yourself which ones you like but before that I do have a few techniques that seem to work well with either all or the majority.
[u]Be precise but not picky.[/u] Some paints like watercolor are difficult because if you make a mistake you can't chip it off like you can for oil. However, you can repaint or blot over the area or just incorporate the mistake into your final presentation no one will notice! Painting is an expression not a doctrine.
[u]Sketch it first.[/u] This may not always work, especially with spray paints and some water based paints but lightly sketching your desired product may help with either keeping that in mind or show you how to enhance it.
Finally, [u]Take it easy take it slow.[/u] Painting is not a game of Quidditch, though the rewards can be just as great. Just like with sketching take your time, it will still be there if you decide to leave it for a while. Trust me." she chuckled thinking of all her unfinished paintings in the back."[/b][/color] Suddenly Tanna clapped and made shooing gestures towards the stations. [color=olive][b] "Go on go on! Take a look give it a shot." [/b][/color]

Tanna walked into her art classroom giving a smile to her small class. She hadn't been that surprised to see so few students in the higher Arts but she was very impressed by the determination and skill that they both displayed. That thought in mind she went over to the chalkboard to write [i]Painting enchantments[/i] before turning back towards the small class and clapping happily.
[color=olive][b]"Alright, welcome again and I'm very excited for this class, and I'm sure you will be as well. We've gone over everything you had concerns over from previous classes, colors and their overlapping properties, and of course techniques. Now it's time to put it all together! Today we'll be using a simple and relatively easy painting enchantment to make whatever you paint today move.
If you can remember the sketching enchantment, [i]Motconscripto[/i] then know that the technique for that is relatively similar to this one. Paint your background, moving or non-moving, your moving subject, and your creative plot. Unlike the sketching one however, a paints enchantments are fuller more..personal. Sketches are lines and shadings put on parchment, painting takes time and measured critical strokes. In the old days painting truly did take blood, sweat, and tears it's why there are so many different painting enchantments. The one we're using today is the generalized one but takes the most focus because of it's generalization. That's the main reason most wait until their fifth or sixth year to try. Once you have completed your painting take your wand and hold it as close to the painting as you can and speak these words very clearly while imaging your desired effect: [i]Mobitabella[/i]. If you need me, you know where to find me!"[/b][/color]

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Sixth Years. Seeing them arrive she greeted them with a smile and waited for them to take their seats before she began. [color=olive][b]"Hello and welcome to Art IV and congratulations on your excellent OWL scores! To start the class I thought we'd like to do a bit of background before the fun begins. As you know this year will be about sculpting so before we jump right in, lets learn about the different mediums."[/b][/color] She went over to her chalkboard and began to write out the different sculpture types before turning to face her small class.
[color=olive][b]"Sculpture is a wide branch of art encompassing many different kinds of three-dimensional work. They can be designed for outdoor usage in a garden or public display or exclusively for indoors. Artists can make sculptures from anything at hand, including sand, food and recyclables. However the main mediums are:
[u]Clay:[/u] a versatile medium in sculpting. It can be the medium to build a finished product, or to make molds for other media. Clay sculptures include small objects that need to be fired in a kiln.
[u]Steel:[/u] welded together can create large or small sculptures. Sculptors create public art form steel as well as artistic candle holders and table top displays.
[u]Stone:[/u] People have carved stone for centuries to create sculptures. Italian artist Michelangelo chiseled a piece of marble into the 17-foot statue of David.
[u]Wax:[/u] Wax museums feature realistic models of famous people created from wax. Beeswax can be carved with the same tools as clay or wood.
[u]Glass:[/u] Artists can blow heated glass to create sculptures. Broken shards of glass can also be fused to build sculptures, with or without the addition of other sculpture media.
[u]Ice:[/u] Ice carvings can be elaborate pieces of functional art as seen in the ice hotels of Sweden or Quebec. Smaller blocks of ice also become decorative centerpiece sculptures for weddings or other events.
[u]Wood:[/u] Artists carve wood into sculptures. Some artists carve exclusively with a chain saw to create elaborate wooden sculptures while others use more precise tools to carve and shape the wood. Wood also often serves as a base for other sculpted material.
[u]Recycled Material:[/u] Artists can create assemblage art from discarded materials. Artists have used automobile parts, broken clocks, household items and tools to build sculptures of all sizes.
And finally, [u]Food:[/u] Chocolate sculptures are temporary pieces of art that can serve as centerpieces for special events. Food sculptor Jim Victor has used butter, pepperoni, peanut brittle and cheese to create statues.
Now for today I'd like you to take a look around at the different sculptures and mediums I have placed around the classroom and find the one you think you'd most be interested in working with. Also, by the by, I know how much chocolate I have stashed in case anyone decides to get any ideas."[/b][/color] Tanna chuckled.

Tanna walked back into the classroom with a slight skip still excited over teaching an upper level. It was just so exciting! [color=olive][b]"Hello hello! I hope everyone is happy with their chosen medium or mediums, now on to the basics! There are four basic techniques usable by all mediums:
[u]Carving:[/u] Carving involves cutting or chipping away a shape from a mass of stone, wood, or other hard material. Carving is a subtractive process whereby material is systematically eliminated from the outside in.
[u]Casting:[/u] Sculptures that are cast are made from a material that is melted down—usually a metal—that is then poured into a mold. The mold is allowed to cool, thereby hardening the metal, usually bronze. Casting is an additive process.
[u]Modeling:[/u] Modeled sculptures are created when a soft or malleable material (such as clay) is built up (sometimes over an armature) and shaped to create a form. Modeling is an additive process.
[u]Assembling:[/u] Sculptors gather and join different materials to create an assembled sculpture. Assembling is an additive process.
Now just like last time there are different stations for the different mediums so start playing around with the items...err, the safer ones I mean. If you're not comfortable with fire or carving just yet I'd move on. Have fun and please don't hesitate to ask questions![/b][/color]

waited behind her desk reading one of her many art magazines sometimes pausing to write little annotations in the margins. Her eyes strayed towards the picture she kept on her desk of all her boys grinning up at her with her husband making their chubby little hands wave to her. It was so adorable and she was pretty sure she had about a thousand pictures of her family in her office because of it. She loved her job but she hated that she would sometimes meet the little things with her family because of work. She was happy that she could go home on the weekends and she had all summer to make up for it, but it wasn't quite the same. When she looked up and saw that her class was there and waiting she grinned a tad sheepishly and stood up to go over to the board to write, [i]Sculpting Enchantments[/i].
[color=olive][b]"Hello all, we have a rather fun lesson for today! For the past few weeks you all have been working hard and diligently with whatever medium you so choose and I'm so happy and excited for all your hard work. And now we've come to the final stretch, the last thing you can add to your artwork: an enchantment. For those of you who haven't completely finished your sculpture or would rather not practice on their artwork, I have plenty of small sculptures you could use for this spellwork."[/b][/color] As usual, she had one of her older NEWT students standing near the back awaiting her call and when she smiled and nodded towards them they came to the front while she grabbed a small puppy sculpture and placed it on an empty desk for the class to see. [color=olive][b]"This spell doesn't require too much wandwork but a lot of concentration so please pay attention to what you're doing. Simply tap the sculpture with your wand saying the words, [i]'Statua Mobil.'[/i]"[/b][/color] Tanna looked at her student expectantly and watched them correctly do the spell and clapped happily as the small puppy who blinked slowly then began wagging its tail and pouncing around the desk looking for something to play with. Too precious. [color=olive][b]"This spell lasts indefinitely so please choose a statue that is non-hazardous and not dangerous to yourself or the rest of the class"[/b][/color] She said looking at the puppy who seemed to bark in affirmation of her words. [color=olive][b]"Great job! Your note is on the desk and your extra credit shall be added by the end of the day."[/b][/color] she told her NEWT student who grinned and nodded before exiting the classroom. [color=olive][b]"Now that you've seen how it works, go ahead and give it a try. If you need any help, please don't hesitate to ask."[/b][/color]

Tanna was always excited to deal with her seventh years and this year was more bittersweet than the others. These seventh years have been with her since the very beginning and she was always sad to see them go. But she was going to suck it up and not allow her feelings to get into the way of her teaching...for now. For this year there would be no real lesson plans, just lessons that help review for their NEWT's, she thought they'd appreciate that at least. As it were she only had a handful in this class so instead of desks there were soft poufs to sit upon with lap pads in case they wanted to sketch during the hour along with buckets of clay with pottery wheels and other mediums set up around the room. Class time was going to be used to practice or perfect their favorite or at least the ones they weren't too comfortable with. [color=olive][b]"Hello and welcome to Art V. I'm so proud of you guys for sticking with this for so long and I'm happy to report that you're nearly at the end of a long and colorful tunnel. Nearly all of you I've had since I started teaching here, which to you seems like a million years ago, and I want you to know h-how special you all are to me and know how much I'm going to miss you all once you've graduated."[/b][/color] Tanna had to pause for a few seconds to dab her eyes with a handkerchief before she started back again with a ready grin.
[color=olive][b]"Since you're seventh years and on the fast track to your NEWT's at the end of this school term I thought you would appreciate having a few hours each week to perfect your skills for the test. So for today I'd like you to review your sketching. Lines, shading, structure, everything! And for added instruction, I'd like for you to go out and draw something personal to you. It could be a place, an object, a person, anything! So have fun and lets get sketching!"[/b][/color] Tanna clapped happily and laughed.

Tanna walked back into the art classroom and plopped onto one of the cushioned poufs on the floor while she waited for her class. When everyone was situated and comfortable she began.
[color=olive][b]"Hello hello! I hope you all had fun last week with your sketch review because you'll be doing it again this week only with painting. For today's work and this week's homework I want you to create a portrait of someone close to you and then enchant it. If you cannot recall the spell used to enchant paintings, its [i]'Mobitabella'[/i] and all the wand movement needed is soft swish and point. I look forward to seeing your hard work!"[/b][/color] Tanna grinned and shooed them over to the painting supplies.

Tanna walked back into her classroom which was this time absent of the comfortable plush pillows and now had different sculpting tools set int he middle. She waited until everyone was situated inside before she grinned and started. [color=olive][b]"Welcome to another day! Last time we reviewed painting and painting enchantments so this week we'll be going over sculpting. By this time next week all you'll have to do is review for your NEWT's and then you'll be on your way to being fully fledged adult wizards. Isn't that exciting?! Anyway, for today's review you can use any of the mediums previously discussed in class, glass, wood, ice, food, metal, etc., and make a sculpture of something or someone you will miss at Hogwarts. You could sculpt the the Great Hall, or your bedroom in your dorm, the Quidditch pitch, anything at all. You may start and when you're finished you may leave but if you get stuck please see me. Have fun guys!"[/b][/color] she laughed and went over to her desk where she had paperwork beginning to pile up and have babies.

The room had imitations of famous artworks on the walls as well as their artists and their time periods while windows had their curtains pulled back to let in the natural light. And now the day was here as Tanna sat behind her simple brown desk reading her dragon book and taking light notes when she heard the tell-tale signs of students approaching and stood with a welcoming smile. [color=olive][b]"Hello and welcome to Muggle Art III. To start this new term off I'd like to go over Romanticism.
Romanticism, also the Romantic era or the Romantic period, was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. It was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education and the natural sciences. Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant.

Romanticism first showed itself in landscape painting, where from as early as the 1760s British artists began to turn to wilder landscapes and storms, and Gothic architecture, even if they had to make do with Wales as a setting. Caspar David Friedrich made repeated use of single figures, or features like crosses, set alone amidst a huge landscape, 'making them images of the transitoriness of human life and the premonition of death'. Other groups of artists expressed feelings that verged on the mystical, many very largely abandoning classical drawing and proportions. These included William Blake and Samuel Palmer and the other members of the Ancients in England, and in Germany Philipp Otto Runge. Like Friedrich, none of these artists had significant influence after their deaths for the rest of the 19th century, and were 20th century rediscoveries from obscurity, though Blake was always known as a poet, and Norway's leading painter Johan Christian Dahl was heavily influenced by Friedrich.

The arrival of Romanticism in French art was delayed by the strong hold of Neoclassicism on the academies, but from the Napoleonic period it became increasingly popular, initially in the form of history paintings propagandising for the new regime. Sculpture remained largely impervious to Romanticism, probably partly for technical reasons, as the most prestigious material of the day, marble, does not lend itself to expansive gestures. The leading sculptors in Europe, Antonio Canova and Bertel Thorvaldsen, were both based in Rome and firm Neoclassicists, not at all tempted to allow influence from medieval sculpture, which would have been one possible approach to Romantic sculpture.

As always I have many recreations or copies of artworks from this time period or specific works by those mentioned today. Please feel free to look around at them and when you feel you have immersed yourself you're free to leave." [/b][/color]

Tanna waited on her desk for her small amount of students to arrive before she went over to the board and wrote [i]Waterhouse[/i] before turning with a smile to face them.
[color=olive][b]"John William Waterhouse (April 1849-10 February 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting [url=http://www.johnwilliamwaterhouse.com/assets/images/content/waterhouse/hi/waterhouse4.jpg]Sleep and his Half-brother Death[/url] was exhibited at the Royal Academy summer exhibition. The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, with his 1876 piece [url=http://uploads5.wikiart.org/images/john-william-waterhouse/after-the-dance-1876.jpg]After the Dance[/url] being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.

In 1883 he married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere. They had two children, but both died in early childhood. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council. One of Waterhouse's most famous paintings is [url=http://upload.wikimedia.org/wikipedia/commons/7/70/John_William_Waterhouse_The_Lady_of_Shalott.jpg]The Lady of Shalott[/url], a study of Elaine of Astolat, who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most famous of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like The Lady of Shalott and other Waterhouse paintings, it deals with a woman dying in or near water. He also may have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his Ophelia painting of 1888 in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled 'A Mermaid", but it was not completed in time.) After this, the painting was lost until the 20th century, and is now displayed in the collection of Lord Lloyd-Webber. Waterhouse would paint Ophelia again in 1894 and 1909 or 1910, and planned another painting in the series, called 'Ophelia in the Churchyard'. Waterhouse could not finish the series of Ophelia paintings because he was gravely ill with cancer by 1915. He died two years later, and his grave can be found at Kensal Green Cemetery in London.

As always, I have recreations of all his works on the walls for you to view and when you feel you have successfully absorbed everything you are free to go."[/b][/color]

Tanna waited on her desk for her small amount of students to arrive before she went over to the board and wrote [i]Goya[/i] before turning with a smile to face them.
[color=olive][b]"Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and the first of the moderns. Goya was court painter to the Spanish Crown; throughout the Peninsular War he remained in Madrid, where he painted the portrait of Joseph Bonaparte, pretender to the Spanish throne, and documented the war in the masterpiece of studied ambiguity known as the [url=http://upload.wikimedia.org/wikipedia/commons/5/5a/Goya_War2.jpg]Desastres de la Guerra[/url]. Through his works he was both a commentator on and chronicler of his era. The subversive imaginative element in his art, as well as his bold handling of paint, provided a model for the work of artists of later generations, notably Manet, Picasso and Francis Bacon.

Goya was born in Fuendetodos, Aragón, Spain, on March 30, 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. His family lived in a home bearing the family crest of his mother. His father, who was of Basque origin, earned his living as a gilder.[4] About 1749, the family bought a house in the city of Saragossa and some years later moved into it; Goya may have attended school at Escuelas Pias. He formed a close friendship with Martin Zapater at this time, and their correspondence from the 1770s to the 1790s is a valuable source for understanding Goya's early career at the court of Madrid. At age 14, Goya studied under the painter José Luzán.[5] He moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance. He then relocated to Rome, where in 1771 he won second prize in a painting competition organized by the City of Parma. Later that year, he returned to Saragossa and painted parts of the cupolas of the Basilica of the Pillar (including Adoration of the Name of God), a cycle of frescoes in the monastic church of the Charterhouse of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became famous.

Goya married Bayeu's sister Josefa (he nicknamed her "Pepa") on 25 July 1773. This marriage, and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped Goya to procure work as a painter of designs to be woven by the Royal Tapestry Factory. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real del Pardo, the residences of the Spanish monarchs near Madrid. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.

Goya received orders from many of the Spanish nobility. Among those from whom he procured portrait commissions were Pedro Téllez-Girón, 9th Duke of Osuna and his wife María Josefa Pimentel, 12th Countess-Duchess of Benavente, María del Pilar de Silva, 13th Duchess of Alba (universally known simply as the "Duchess of Alba"), and her husband José María Álvarez de Toledo, 15th Duke of Medina Sidonia, and María Ana de Pontejos y Sandoval, Marchioness of Pontejos.

At some time between late 1792 and early 1793, a serious illness (the exact nature of which is not known) left Goya deaf, and he became withdrawn and introspective. During his recuperation, he undertook a series of experimental paintings. His experimental art—which would encompass paintings and drawings as well as a bitterly expressive series of aquatinted etchings, published in 1799 under the title Caprichos—was done in parallel to his more official commissions of portraits and religious paintings. In 1798 he painted luminous and airy scenes for the pendentives and cupola of the Real Ermita (Chapel) of San Antonio de la Florida in Madrid. Many of these depict miracles of Saint Anthony of Padua set in the midst of contemporary Madrid.

When his wife Josefa died in 1812, he was mentally and emotionally processing the war by painting The Charge of the Mamelukes and The Third of May 1808, and preparing the series of prints later known as The Disasters of War (Los desastres de la guerra). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. He painted portraits of the king for a variety of organizations, but not for the king himself.
Leocadia Weiss (née Zorrilla, b. 1790)[9][10] the artist's maid, younger by 35 years, and a distant relative, lived with and cared for Goya after Bayeu's death. She stayed with him in his Quinta del Sordo villa until 1824 with her daughter Rosario. Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the point that one of his well known portraits bears the cautious title of Josefa Bayeu (or Leocadia Weiss).

In 1819, with the idea of isolating himself, he bought a country house by the Manzanares river just outside of Madrid. It was known as the Quinta del Sordo (roughly, "House of the Deaf Man", titled after its previous owner and not after Goya himself). There he created the Black Paintings with intense, haunting themes, reflective of the artist's fear of insanity and his outlook on humanity. Several of these, including Saturn Devouring His Son, were painted directly onto the walls of his dining and sitting rooms.

Goya lost faith in or became threatened by the restored Spanish monarchy's anti-liberal political and social stance and left Spain in May 1824 for Bordeaux and then Paris. He travelled to Spain in 1826, but returned to Bordeaux, where he died of a stroke in 1828, at the age of 82. He was of the Catholic faith and was buried in Bordeaux; in 1919 his remains were transferred to the Royal Chapel of St. Anthony of La Florida in Madrid.

As usual his works are on the walls for your viewing pleasure and when you have soaked up his essence you are free to go."[/b][/color]

Tanna waited on her desk for her small amount of students to arrive before she went over to the board and wrote [i]Friedrich[/i] before turning with a smile to face them.

[color=olive][b]"Caspar David Friedrich (September 5, 1774 – May 7, 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world.

Caspar David Friedrich was born on September 5, 1774, in Greifswald, Swedish Pomerania, on the Baltic coast of Germany. The sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Records of the family's financial circumstances are contradictory; while some sources indicate the children were privately tutored, others record that they were raised in relative poverty. Caspar David was familiar with death from an early age. His mother, Sophie Dorothea Bechly, died in 1781 when he was just seven. A year later, his sister Elisabeth died, while a second sister, Maria, succumbed to typhus in 1791. Arguably the greatest tragedy of his childhood was the 1787 death of his brother Johann Christoffer: at the age of thirteen, Caspar David witnessed his younger brother fall through the ice of a frozen lake and drown. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, who was also in danger on the ice.

Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named in his honour (Caspar-David-Friedrich-Institut). Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age. Through Quistorp, Friedrich met and was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a revelation of God. Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, and nocturnal subjects. During this period he also studied literature and aesthetics with Swedish professor Thomas Thorild. Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life.[18] Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel.

Friedrich settled permanently in Dresden in 1798. During this early period, he experimented in printmaking with etchings and designs for woodcuts which his furniture-maker brother cut. By 1804 he had produced 18 etchings and four woodcuts; they were apparently made in small numbers and only distributed to friends. Despite these forays into other media, he gravitated toward working primarily with ink, watercolour and sepias. With the exception of a few early pieces, such as [url=http://www.artble.com/imgs/4/0/d/334486/landscape_with_temple_ruins.jpg]Landscape with Temple in Ruins[/url], he did not work extensively with oils until his reputation was more established. Landscapes were his preferred subject, inspired by frequent trips, beginning in 1801, to the Baltic coast, Bohemia, the Krkonoše and the Harz Mountains. Mostly based on the landscapes of northern Germany, his paintings depict woods, hills, harbors, morning mists and other light effects based on a close observation of nature. These works were modeled on sketches and studies of scenic spots, such as the cliffs on Rügen, the surroundings of Dresden and the river Elbe. He executed his studies almost exclusively in pencil, even providing topographical information, yet the subtle atmospheric effects characteristic of Friedrich's mid-period paintings were rendered from memory. These effects took their strength from the depiction of light, and of the illumination of sun and moon on clouds and water: optical phenomena peculiar to the Baltic coast that had never before been painted with such an emphasis.

Friedrich established his reputation as an artist when he won a prize in 1805 at the Weimar competition organised by the writer, poet, and dramatist Johann Wolfgang von Goethe. At the time, the Weimar competition tended to draw mediocre and now long-forgotten artists presenting derivative mixtures of neo-classical and pseudo-Greek styles. The poor quality of the entries began to prove damaging to Goethe's reputation, so when Friedrich entered two sepia drawings—Procession at Dawn and Fisher-Folk by the Sea—the poet responded enthusiastically and wrote, 'We must praise the artist's resourcefulness in this picture fairly. The drawing is well done, the procession is ingenious and appropriate... his treatment combines a great deal of firmness, diligence and neatness... the ingenious watercolour... is also worthy of praise.' Friedrich completed the first of his major paintings in 1807, at the age of 34. The Cross in the Mountains, today known as the [url=http://www.bc.edu/bc_org/avp/cas/his/CoreArt/art/resourcesd/fri_altar.jpg]Tetschen Altar [/url](Galerie Neue Meister, Dresden), is an altarpiece panel commissioned by the Countess of Thun for her family's chapel in Tetschen, Bohemia. It was to be one of the few commissions the artist received.[27] The altar panel depicts the crucified Christ in profile at the top of a mountain, alone and surrounded by nature. The cross reaches the highest point in the pictorial plane but is presented from an oblique and a distant viewpoint, unusual for a crucifixion scene in Western art. Nature dominates the scene and for the first time in Christian art, an altarpiece showcases a landscape. According to the art historian Linda Siegel, the design of the altarpiece is the 'logical climax of many earlier drawings of his which depicted a cross in nature's world.'

Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden. The couple had three children, with their first, Emma, arriving in 1820. Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Friedrich's life or personality, yet his canvasses from this period, including Chalk Cliffs on Rügen—painted after his honeymoon—display a new sense of levity, while his palette is brighter and less austere. Human figures appear with increasing frequency in the paintings of this period, which Siegel interprets as a reflection that 'the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends, his wife, and his townspeople appear as frequent subjects in his art.'

Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away. By 1820, he was living as a recluse and was described by friends as the "most solitary of the solitary". Towards the end of his life he lived in relative poverty and was increasingly dependent on the charity of friends. He became isolated and spent long periods of the day and night walking alone through woods and fields, often beginning his strolls before sunrise. In June 1835, Friedrich suffered his first stroke, which left him with minor limb paralysis and greatly reduced his ability to paint. As a result he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions. Although his vision remained strong, he had lost the full strength of his hand. Yet he was able to produce a final 'black painting', Seashore by Moonlight , described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse'. During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature.

Friedrich died in Dresden on May 7, 1840, and was buried in Dresden's Trinity Cemetery (the entrance to which he had painted some 15 years earlier). By then, his reputation and fame were waning, and his passing was little noticed within the artistic community."[/b][/color]
Tanna took a couple of breaths and drank from the goblet of water that miraculously landed on her desk. Thank Merlin for house elves! [color=olive][b]"So as per usual his paintings and landscapes grace our walls for your viewing pleasure and you actually have homework! I would like for you to review not only Friedrich but all the artist we have went over this year and rate them as you would movies or music or what not. Please deliver it to my office by next week, and as usual you may leave after you've taken in all the artwork. Or once the feeling comes back into your fingers, whichever happens first."[/b][/color] she smiled sheepishly.

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Sixth Years. This was actually her first year doing this course, which was actually quite astounding, When everyone had filed in and taken their seats she grinned and walked over to the board writing out [i][u]Modern Art[/u][/i] before tuning to face her students.
[color=olive][b]"Welcome to Muggle Art IV! I'm pretty sure you all know who I am by now and I congratulate you on your excellent OWL scores! This year we'll be taking a look into modern art and to start that off we'll have a brief look into what that entails.

Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. It begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism, one of four artistic movements which were named Cubism, Expressionism, and Futurism.

Now I have a few paintings and sculptures by each artist and a few examples of each movement around the classroom. For the rest of the class please take your time to examine each one for your homework I'd like you to read about one of the movements mentioned today. Otherwise, after examining the art, you're free to leave."[/b][/color] Tanna grinned and motioned towards the art collection surrounding them.

Tanna was already in front of the classroom as the students (student) filed in and once she was seated she immediately began write [i]"Pablo Picasso"[/i] in her curly script. [color=olive][b]"Today we will be evaluating one of the most well known and one of the most influential 20th century artists, Pablo Picasso.
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist [url=http://www.moma.org/explore/conservation/demoiselles/images/demoiselles_NewFINAL.jpg]Les Demoiselles d'Avignon[/url] (1907), and [url=http://www.pablopicasso.org/images/paintings/guernica3.jpg]Guernica[/url] (1937), a portrayal of the Bombing of Guernica by the German and Italian airforces at the behest of the Spanish nationalist government during the Spanish Civil War.

Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. Despite being baptised Catholic, Picasso would later on become an atheist. Picasso's family was middle-class. His father was a painter who specialised in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz's ancestors were minor aristocrats. Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were "piz, piz", a shortening of lápiz, the Spanish word for "pencil". From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional academic artist and instructor, who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.

In 1895, Picasso was traumatised when his seven-year-old sister, Conchita, died of diphtheria. After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home. Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the jury admitted him, at just 13. The student lacked discipline but made friendships that would affect him in later life. His father rented a small room for him close to home so he could work alone, yet he checked up on him numerous times a day, judging his drawings. The two argued frequently. Picasso's father and uncle decided to send the young artist to Madrid's Royal Academy of San Fernando, the country's foremost art school. At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.

During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun. The academic realism apparent in the works of the mid-1890s is well displayed in [url=http://uploads4.wikiart.org/images/pablo-picasso/first-communion-1896.jpg]The First Communion[/url] (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called 'without a doubt one of the greatest in the whole history of Spanish painting.' In 1897 his realism became tinged with Symbolist influence, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period. Picasso made his first trip to Paris in 1900, then the art capital of Europe. There, he met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathising with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work Picasso; before he had signed Pablo Ruiz y Picasso.

Picasso's Blue Period (1901–1904), characterized by somber paintings rendered in shades of blue and blue-green, only occasionally warmed by other colours, began either in Spain in early 1901, or in Paris in the second half of the year. Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of color and sometimes doleful subject matter – prostitutes and beggars are frequent subjects – Picasso was influenced by a trip through Spain and by the suicide of his friend Carlos Casagemas. Starting in autumn of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting [url=http://www.pablopicasso.org/images/paintings/la-vie.jpg]La Vie[/url] (1903), now in the Cleveland Museum of Art. Infrared imagery of Picasso's 1901 painting The Blue Room reveals another painting beneath the surface.The same mood pervades the well-known etching [url=http://www.bonzasheila.com/art/archives/jul06/images/18. Picasso, Pablo - The Frugal Repast, 1904.jpg]The Frugal Repast[/url] (1904), which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness is a recurrent theme in Picasso's works of this period, also represented in [url=http://images.metmuseum.org/CRDImages/ma/web-large/DP220030.jpg]The Blindman's Meal[/url] (1903, the Metropolitan Museum of Art) and in the portrait of [url=http://richmondmom.com/wp-content/uploads/2011/03/VMFA_Pic_2011_Celestine-MP1989-5.jpg]Celestina[/url] (1903). Other works include Portrait of Soler and Portrait of Suzanne Bloch.

Picasso went through a Rose Period (1904–1906) which is characterized by a more cheery style with orange and pink colours, and featuring many circus people, acrobats and harlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso met Fernande Olivier, a bohemian artist who became his mistress, in Paris in 1904. Olivier appears in many of his Rose Period paintings, many of which are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e. just prior to the Blue Period) and 1904 can be considered a transition year between the two periods.

Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque's paintings at this time share many similarities. Synthetic cubism (1912–1919) was a further development of the genre, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art.
In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry, and Gertrude Stein. Apollinaire was arrested on suspicion of stealing the Mona Lisa from the Louvre in 1911. Apollinaire pointed to his friend Picasso, who was also brought in for questioning, but both were later exonerated

After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, who he called Eva Gouel. Picasso included declarations of his love for Eva in many Cubist works. Picasso was devastated by her premature death from illness at the age of 30 in 1915.At the outbreak of World War I (August 1914) Picasso lived in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler’s contract had terminated on his exile from France. At this point Picasso’s work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916 Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.

Towards the end of World War I, Picasso made a number of important relationships with figures associated with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Erik Satie's Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz.
After return from honeymoon, and in desperate need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II.

Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant to the life of the rich in 1920s Paris. The two had a son, Paulo, who would grow up to be a dissolute motorcycle racer and chauffeur to his father. Khokhlova's insistence on social propriety clashed with Picasso's bohemian tendencies and the two lived in a state of constant conflict. In 1927 Picasso met 17-year-old Marie-Thérèse Walter and began a secret affair with her. Picasso's marriage to Khokhlova soon ended in separation rather than divorce, as French law required an even division of property in the case of divorce, and Picasso did not want Khokhlova to have half his wealth. The two remained legally married until Khokhlova's death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter with her, named Maya. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso's death. Throughout his life Picasso maintained several mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women.

Arguably Picasso's most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War – Guernica. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. Asked to explain its symbolism, Picasso said, 'It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them.'

Guernica was on display in New York's Museum of Modern Art for many years. In 1981, it was returned to Spain and was on exhibit at the Casón del Buen Retiro. In 1992 the painting was put on display in Madrid's Reina Sofía Museum when it opened.During the Second World War, Picasso remained in Paris while the Germans occupied the city. Picasso's artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time. He was often harassed by the Gestapo. During one search of his apartment, an officer saw a photograph of the painting Guernica. "Did you do that?" the German asked Picasso. 'No,' he replied, 'You did'.

Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso's style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velázquez's painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix. He was commissioned to make a maquette for a huge 50-foot (15 m)-high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognisable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city.

Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 to 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime. Only later, after Picasso's death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see that Picasso had already discovered neo-expressionism and was, as so often before, ahead of his time.

Pablo Picasso died on 8 April 1973 in Mougins, France, while he and his wife Jacqueline entertained friends for dinner. He was interred at the Chateau of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962."[/b][/color]

Tanna took a long drink from the goblet of water on her desk after her long lesson. [color=olive][b]"Ok! After that long rant, there's no homework this week and, as per usual, enjoy the painting and sculptures I have of Picasso's work and when you feel you have embraced him you may take your leave."[/b][/color] she then graciously flopped into her chair and took another drink from her goblet.

Tanna was always excited to deal with her seventh years. She was dealing with older and more experienced students and she would treat them as such. Since NEWT's were right around the corner and most classes were more review than anything she decided to allow her older students to feel more relaxed, with the desks pushed back or vanished in favor of comfortable plush seats or even bean bags for them to sit closer to her since she too was joining them on the floor. Excitedly she waited until each student was in their seat before starting. [color=olive][b]"Hello and welcome to Muggle Art V. I'm so glad you went the extra mile and stayed with this course until the end and I'm sure you'll all do wonderful on the NEWT's. This year, like I'm sure all other courses are doing, shall be review for the test. Today is review of Classic Art Forms and well..."[/b][/color] Here the young woman looked at her students a tad conspiratorially as she glanced down at her long list of review items. [color=olive][b]"I found it a bit boring really. So I want you to give me the names of your favorite artist and your consequent favorite piece by them and we'll just have an artsy first day. Fair?"[/b][/color] she clapped happily and sat down upon her desk getting comfortable and waiting for a student to begin.

Tanna walked into her art classroom and plopped onto one of the many comfortable poufs on the floor while she waited for her students to come inside. Once they were all in and comfortable she began.
[color=olive][b]"Hello all! I hope you had a wonderful welcome week and that you're all hard at work studying for your NEWT's. Today will be one of our many game days, Name That Painting! I will be describing to you a painting and you will tell me its name and who painted it for house points. Bonus points will be awarded if you can tell me the period it was painted it!

Our first painting is one of the most well known in the world and while known commonly by a name, it's original name is usually forgotten which is [i]The Company of captain Frans Banning Cocq and lieutenant Willem van Ruytenburch preparing to march out[/i]. Rather long name right? Well it matches because the painting itself is rather use, an unusual occurrence during the time period, which was the peak of the Dutch Golden Age. C'mon, I gave major spoilers here!"[/b][/color] Tanna laughed as she urged her students to guess.

Tanna came back into the classroom and situated herself on her pouf and waited for her gaggle of students to flock in. She was feeling birdy today for some reason. When everyone was situated she began the days "lesson." [color=olive][b]"You guys have been doing awesome at our trivia games, really! Today's is not unlike the past few weeks; I describe a famous painter and one of you tell me who they are. First one:
I am considered one of the most accomplished painters in the generation following that of Caravaggio. I was a very uncommon painter, not because of what I painted but because of who I was. And I was the first woman to become a member of the Accademia di Arte del Disegno in Florence. Who am I?"[/b][/color] she asked eagerly.