![]() To finish the project, glue the squares onto a 12 x 12–inch sheet of construction paper in a grid layout. Once students have measured, instruct them to glue their shapes into the centers the squares. This will guide students as to where they should place their organic shapes. Students can lightly draw a small dot to mark the center of each square. Using rulers, demonstrate how students can find the centers of their squares by measuring the length and width of their squares. Pass out four square pieces of white construction paper to students. Set the shapes aside when preparing the background of their final product. Students should now have four sets of complementary color shapes. With each smaller shape in the center of each larger shape, the students should glue their two shapes together. With another sheet of construction paper (the other complementary color), students should trace their larger stencil four times, then cut out the shapes. Once students have created their larger shape, they should cut it out and use it as another stencil. Taking the original stencil, students should retrace their shape onto another piece of cardboard, only making the shape slightly larger by outlining it farther away from the original border. ![]() (The size of the cardboard stencil will determine the scale of the students’ artwork.) They will then cut out their shapes. Students should trace their stencil four times on a single piece of construction paper in one of their complementary colors. You could have a refresher discussion about complementary colors before students begin creating their artwork. Before they begin duplicating their shape, students should decide what complementary color set they will use in their artwork. Once they have chosen a shape to create, they should draw the shape on cardboard, then cut out the shape to create a stencil. To begin the artmaking activity, students should brainstorm a list of organic shapes. ![]() The variety of contrasts between the different elements of the work makes this painting a visual experience. ![]() There is a playfulness inherent in the figure-ground relationship between the curved lines of the shapes and the work’s background. There is a sense of uniformity and structure to the work that reveals the rigor and preciseness of the artist. While the shapes are organic, the rigid, crisp application of the paint contrasts that gentler appearance. A butterfly-like shape in bright complementary blue and orange colors fills each depicted square. The work’s color, size, and shape demand one’s attention. About the ArtĪsellus, 1964, is visually stimulating-simple, yet bold. During a twelve-year period, Feeley explored early Abstract Expressionist–inspired paintings, organic figure-ground compositions, and diagrammatical grid works. It was during his tenure as a professor at Vermont’s Bennington College, from 1939 to 1966, that Feeley developed as an artist, in part through his formative friendships with fellow artists. Feeley trained at the Art Students League before serving in the Marines during World War II.Īfter the war’s end, Feeley began a career teaching art. Born in Iowa in 1910 and raised in California, Paul Feeley moved to New York in his twenties to pursue a career in art.
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