Miss Bowles
Artist: Sir Joshua Reynolds (rĕn´´ŭldz).
Birthplace: Plympton, Devonshire, England.
Dates: Born, 1723; died, 1792.
Questions to arouse interest. What is the little girl in this picture doing? Why does she keep such fast hold of the little dog? Where do you think they are? Do you think she looks happy or frightened? why? What has she in her hair? How is she dressed? What makes you think you would like to play with her? What do you think they have been doing? Where have they been playing? Do you like this picture? why?
The story of the picture. How pleased little Miss Bowles must have been when her mamma and papa told her she was to go to the studio of the great Sir Joshua Reynolds to have her picture painted! She must have clapped her hands, for, as every one knew, Sir Joshua Reynolds was the most delightful man in the world. He not only loved children but he always played with them and kept a great many wonderful toys in his studio just for them. Then, too, he had invited her and her mamma and papa to have lunch with him before she sat for her picture.
Sir Joshua had told her mamma to dress the little girl in the simplest white dress she had, so she could play, and because he did not like fine clothes.
It was a lovely drive from her home to the studio, and the two fine horses held their heads up and stepped very high as if they, too, were glad they were going to Sir Joshua's house. Just as Miss Bowles stepped out of the carriage the cutest little black and white dog came racing down the walk to greet her. Little Miss Bowles was not a bit afraid. How could she be, when the little black and white dog came right up to her and stood wagging his tail? When she had petted him, perhaps he ran to bring a stick for her to throw, so he could find it and bring it back to her, just as your dog does. Sir Joshua heard her laughing and the dog barking as he came out to welcome them.
Almost at once, luncheon was announced and they all went in to the big dining room. Sir Joshua Reynolds sat next to little Miss Bowles and told her all about the little dog, whose name, perhaps, was Spot. A lady whose picture he had painted had given the dog to him, and she had taught Spot several very clever tricks which Miss Bowles should see right after luncheon.
Sir Joshua loved to surprise his little friends. When they were not looking he would take their handkerchiefs from them, or suddenly put some strange toy in their laps. He loved to see their look of surprise and delight.
Miss Bowles
After luncheon came a good romp in the yard. Perhaps the little dog would bite Miss Bowles's shoes and try to keep her from running. How she must have laughed!
When she went back into the house Spot went in with her. Little Miss Bowles is so afraid the artist is going to send her pet away that she holds him fast in her arms, and looks at Sir Joshua Reynolds as much as to say, "Now you can't send him away, can you?" Her eyes fairly sparkle with glee as she squeezes the little dog much too hard for his comfort. He knows that she holds him so fast because she wants to keep him, and he is glad to be with her, but oh! if she just would not squeeze quite so hard!
Show me how little Miss Bowles is sitting. I suppose she is afraid to look away even for a second for fear Sir Joshua will play some trick on her and get the little dog away. Sir Joshua painted so very fast that I don't suppose she knew just when he drew her picture, although he probably asked her to sit still when he was ready to paint. But she must have gone to his house several times before the picture was finished. Her father and mother were very much pleased with the picture, and said it looked just like their little girl.
Sir Joshua Reynolds loved the woods and nature so much that he nearly always painted them in his pictures. So in the background of this picture we catch a glimpse of the woods in the yard where the child and dog have been playing, and where they have just stopped a moment to rest.
Questions to help the pupil understand the picture. Where was this picture painted? Why was little Miss Bowles so glad to go? How did she go? What came to meet her? What color was the dog? How did he act? Who gave the dog to the artist? How did Sir Joshua Reynolds know little Miss Bowles had come? How did he tease her? What did they do after luncheon? Why did she hold the dog so fast? What can you see behind the little girl?
To the Teacher: Let the children illustrate the story of little Miss Bowles playing with her dog in the park. Use charcoal, or colored crayon, on manila paper.
The story of the artist. Sir Joshua Reynolds's father was a teacher in a private school, and to this school Joshua was sent as soon as he was old enough to study. Even when a very little boy Joshua liked to draw. He liked it so well that it was hard for him to study in school. He always saw so many things he wanted to draw that he could not wait until after school, but drew them on the back of his lesson papers. One day he drew all over his number paper, and when he handed it in his father could not read the numbers on account of the drawing. His father was disappointed because his son's paper did not look so neat as the other boys', and so he wrote at the top of the sheet, "Done by Joshua out of pure idleness."
Joshua had five brothers and sisters who liked to draw just as well as he did, and who could all draw very much better than he could. It took so much paper and so many pencils for all his children, that finally the father told them they might draw on the walls of one of the halls. The walls had been whitewashed and the children used burnt sticks for pencils.
At first the older brothers and sisters used to help little Joshua by guiding his hand, but he soon learned to draw as well as they. His first drawings had been so funny that they laughed at him, but now they praised him instead. When he was only eight years old he drew a picture that every one praised very much. It was a picture of the schoolhouse. When his father saw it he was so pleased that he said, "This is wonderful!"
In the little town where Joshua lived the people had church on Sundays, of course, and sometimes during the week. One day, Joshua went to church. At first he sat very still, but the sermon was a long one, and finally he grew so tired that he could not listen another minute. He thought he would like to draw a picture of the minister, but he had nothing to draw it on. Then he remembered that he had a pencil in his pocket, and he could draw a picture of the minister on his thumb nail; and that is just what he did.
The church was near the river, and after church Joshua went down to the river bank. Finding a piece of an old sail, he carried it to a boathouse. Here, from the picture on his thumb nail, he drew on the piece of sail the portrait of the minister. Then he painted it, using the common paint that is used in painting boats. Joshua was only eleven years old, and had finished his first oil painting. His father had wanted him to be a doctor, but after seeing this picture he decided to let Joshua have his own way and be a painter. He sent him to a good teacher, and lived to see his son a great artist.
Questions about the artist. Who painted this picture? Where did he go to school? Who taught him? What did he like to do best? On what did he draw? Why was his father disappointed when he saw his number paper? Where were the children allowed to draw? With what did they draw? What did he draw that pleased his father very much? Tell about the picture of the minister.
Artist: Elizabeth Gardner Bouguereau (b[=oo]´gẽrō´´).
Birthplace: Exeter, New Hampshire.
Dates: Born, 1842. Still living, 1918.
Questions to arouse interest. What do you see in this picture? In what room do you think they are? Why do you suppose the picture is called "Two Mothers and Their Families"? How many little chickens are there? What time of the year do you think it is? time of day? What is the little boy doing? How many of you like this picture? why?
The story of the picture. This little boy is having a good time feeding the fluffy little chickens. He has scattered some grain on the floor and the old hen and eight of her chicks are eating as fast as they can.
Two of the old hen's chicks must have wandered away, so that at first they did not hear the mother hen's cluck. Now see how they flutter their wings as they hurry back toward the others!
Two Mothers and Their Families
The old mother hen takes such good care of her little chickens! When it is very cold she will spread out her wings until all the little ones are covered. She keeps them warm and snug. If it rains, and she cannot get them under shelter, she will protect them with her wings in the pouring rain, much as she dislikes it. Every day she must scratch for bugs and worms for them and teach them how to scratch for their own living.
She watches carefully to see that nothing harms them. Sometimes big birds, called chicken hawks, fly over the yard ready to swoop down and carry little chickens away in their claws. Then there are other things to be feared, such as weasels and rats; even cats and dogs might harm her little ones. Is it any wonder the mother hen is anxious, and apt to be cross when we go near her little chicks? It is best to be careful, then, for if she thinks you mean to hurt them she will fly at you and hurt you with her sharp bill.
When the artist, Mrs. Elizabeth Gardner Bouguereau, visited this home and saw the mother and her child watching this old hen and her chickens, it is no wonder she wanted to paint them. She wanted to make us feel the love of the mother hen for her little ones as well as that of the other mother for her children.
The child is delighted, as, safe in his mother's arms, he looks around to see if she is watching, too. There is a little baby sister in the cradle, and that is the reason he keeps very quiet and does not speak. No doubt the mother has rocked the baby to sleep. You can see how the baby is fastened in the cradle so she cannot fall out. That odd-looking top over part of the cradle is placed there to keep the light from the baby's eyes. Just now it is moved a little to one side, and we can see part of the baby's face.
This home probably belongs to a French peasant who goes to his work very early in the morning, or he would be with his family now.
It must be a very hot day in summer, for both mother and child are barefooted and they are dressed for warm weather.
See the pots and pans hanging on the wall under the shelf, and the old kettle hanging over the large open fireplace! The room must be kitchen, bedroom, and dining room all in one; perhaps they have only this one room. There is a basket on the stand, and most likely it is filled with vegetables brought in from the garden for dinner.
What a happy, healthy little boy this is, with his hair in little ringlets all over his head! His half-closed hand makes us think he still has some corn left to scatter on the floor for the chickens.
It seems very strange to see chickens running about in the house. If the mother and child were not dressed so as to keep themselves cool we should think they had let them in because it was too cold for them outside.
The mother looks as proud of her small son as the mother hen is of her young family. What a pleasant face she has! The old hen does not feel anxious when she is near, for she knows this other mother is kind and will care for her and her fluffy little chicks. The boy, too, seems to be very careful, and the hen is glad to have the grain scattered by his kind little hand.
There is so much bright light in the picture that we are sure there is an open door near by, though we cannot see it in the picture. It was through this open doorway that the mother hen and her chicks strayed into the house. Probably the artist sat in the doorway as she painted.
Questions to help the pupil understand the picture. What is the little boy doing? What makes you think he has just scattered corn for the chickens? How many chickens have found the grain? What are the other two chickens doing? How does the mother hen care for her chickens? What do you see standing beside the mother and child? Who is sleeping in the cradle? What are the straps for? the shade? Why do you think it must have been a hot day? What hangs under the shelf? What do you see on the shelf? What is on the stand? Why is the old hen not afraid of the mother and child? In what way are the two mothers alike? From which direction does the light seem to come?
The story of the artist. We know very little about the artist, Mrs. Elizabeth Gardner Bouguereau, except that she is an American who has spent most of her life in France. She studied in Paris for many years and was a pupil of the great artist Bouguereau, whom she married. Her pictures have been exhibited many times in this country and abroad. Among her best-known works, besides the "Two Mothers and Their Families," are "Cinderella," "Fortune Teller," "Maud Muller," "Cornelia and Her Jewels," and "Corinne." She has also painted a number of portraits. Many of her pictures are of children. She is still living in Paris, France.
Questions about the artist. Who painted this picture? Where was the artist born? Where did she study and whom did she marry? Where do you think she must have been sitting when she painted the picture? Name two of her best-known pictures.
Artist: G. A. Holmes (hōmz).
Birthplace: England.
Dates: Unknown.
Questions to arouse interest. What do you see in this picture? Where are they? Why is the stone floor not too cold for the baby? What time of day do you think it is? why? What do you suppose the baby has been doing? What makes you think the big dog loves the baby? What is the little kitten doing? What do you see on the stone bench? Do you like the picture? why?
The story of the picture. It must have been a warm summer day when this little baby slipped out of her bed, crept across the room to the door, and out on the cool stone porch.
It may have been a Monday morning, when the baby's mamma was very busy in the kitchen, washing the clothes. Probably she put the baby to bed for the usual morning nap, and did not hear her wake up.
It must be about noon, for the shadows are short in the picture. The mother is probably out in the yard, taking her clean clothes off the line, so of course she could not hear the baby creep out through the open door to the porch. There the baby found the great dog keeping watch. How wise he looks! He knows the baby's mamma would be worried if she knew what her little one is doing, and his kind eyes seem to say, "Never mind, I'll take care of her."
"Can't You Talk?"
Perhaps the baby asks him, "Where's my mamma?" He looks as if he wanted to answer or say something, and she cannot understand why he does not, so she crawls up to him and says, "Can't you talk?" But the big dog can only wag his tail and watch the baby. If she should crawl too far away, we feel sure he would try to persuade her to come back, or if he could not do that, he would bark and let the mother know something was wrong.
What chubby little hands and feet the baby has! You can almost see the dimples in her cheeks. She is a friendly, happy little child, I'm sure, and you can see that her pets love her. There is the little kitten rubbing up against the door as if waiting to see if the dog will answer baby's question. Kitty seems to be afraid to come out on the porch, although the dog does not look as if he would hurt her. Sometimes little babies with such chubby hands squeeze their pets too hard, and maybe this little kitten, although she loves the baby, does not want to come too near.
There is a stone bench at one side of the porch. It looks as if some one had left a market basket, a cabbage, and a bag on it. Perhaps in the basket are potatoes from the garden.
What a busy life this baby has with so many things to do and so much to learn! She tries so hard to understand. I suppose she thinks, "Good old dog, you seem to know so much more than I do. How does it happen that I can talk and you cannot?"
The mother will be coming in soon, and how surprised she will be to find her baby up and out on the porch, with the big dog taking such good care of her!
This good old dog does so much to help them! All night long he guards the house, not allowing any one even to stop on the walk in front of the house, without his warning bark. In the daytime, if the people wish to go away, they may be sure the faithful dog will allow no one to enter the house while they are gone. No harm can come to these good people while he is there to help them. You can tell by looking at him that he is well fed and well cared for. That fluffy little kitten, too, just ready to dart back into the house and scamper across the floor, looks happy and contented. Evidently the people who live in this house with its wide stone porch are good and kind. Should you not like to visit them?
Questions to help the pupil understand the picture. How did the baby get out on the porch? Why does she not walk? Where has she been? What time of day is it? Where do you suppose her mother is? What did the baby find on the porch? What does she ask the dog? How can he answer? How does he take care of her? What makes you think her pets love her? Why does the little kitten stay inside? What is on the stone bench? Should you like to visit the people who live in this house? why?
To the Teacher: Encourage the children to talk about their pets at home, and to draw pictures of them.
The story of the artist. Although Mr. Holmes has painted many very popular pictures of children and their pets, we can find very little information about his life except that he was an Englishman. However, he cannot be forgotten so long as his pictures live to tell us of his little friends and their faithful pets.
Questions about the artist. Who painted this picture? What do his pictures tell us about the artist? In what country was he born?
Studying the picture. Several days before the lesson is to be taken up, the picture to be studied should be placed where every pupil can see it.
First of all, the children should find out for themselves what is in the picture. The questions accompanying the story of each picture are intended to help them to do this.
Language work. The pupils should be encouraged in class to talk freely and naturally. In this way the lesson becomes a language exercise in which the pupils will gain in freedom of expression and in the ability to form clear mental images.
If a lesson does not occupy the entire drawing period, the children should be asked to retell the story of the picture.
Dramatization and drawing. Most of the stories told by the pictures lend themselves readily to dramatization and, whenever practicable, such stories should be acted out. The stories also offer numerous interesting situations that may be used as subjects for drawing lessons.
The review lesson. The review lesson should cover all pictures and artists studied throughout the year. At this time other pictures available by the same artists should be on exhibition.
The review work may be conducted as a contest in which the pictures are held up, one at a time, while the class writes the name of the picture and the artist on slips of paper which have been prepared and numbered for that purpose. One teacher who used this device surprised her class by presenting those whose lists were correct with their choice of any of the large-sized Perry pictures studied.
Many teachers, however, will prefer to use this time for composition work, although the description of pictures is often given as an English lesson. Pupils may write a description of their favorite picture. In fact, the lessons can be made to correlate with history, geography, English, spelling, reading, or nature study.
In any event the real purpose of the work is that the pupils shall become so familiar with the pictures that they will recognize them as old friends whenever and wherever they may see them.
It is hoped that acquaintance with the picture and the interest awakened by its story will grow into a fuller appreciation and understanding of the artist's work. Thus the children will have many happy hours and will learn to love the good, the true, and the beautiful in everything about them.