Kara, 1983
Janet Fish, American, born 1938
Oil on canvas
70 1/4 × 60 1/2 in. (178.4 × 153.7 cm)
Museum purchase funded by the Museum Collectors

Habits of Mind

  • COMMUNICATE Verbalize ideas, thoughts, feelings / ask provocative questions / ask for support
VIDEOS

Painting Still-Lifes

Discussion through works of art encourage how to approach ambiguous and complex ideas, thoughts, and feelings. The MFAH offers a democratic space where students and teachers can develop, practice and articulate these habits of mind. Remember that the quality of the conversation is what is important, not finding the artist’s “answer.” Slow down and take the time to make careful observations. Talk about what you notice, and try to avoid jumping to conclusions and interpretations. Be sure to give enough time for silent looking and thinking.

This Curriculum Connection also includes Francisco de Goya, Still Life with Golden Bream and Jasper Johns, Ventriloquist.

Curriculum Objectives

  • Printmaking project
  • This lesson teaches students about the importance of objects in still-lifes.
  • The pairing of these three works of art tells a story through the use of objects. These three have elements of still-lifes that tell some sort of story and has a purposeful tension.

GRADE LEVEL

6

7

8

SUBJECT AREA

Art

HABITS OF MIND

Communicate

Connecting to the Work of Art

The painterly realism of Janet Fish’s art captures the effect of light and atmosphere on unusual still-lifes. In Kara, the artist composes a scene that is reminiscent of a film still rather than a portrait. This carefully composed painting allows the viewer’s own life experiences to complete the story.

                                                                     

In a light-filled room, a somber and reflective woman looks up from the open letter in her hand. She sits at a table strewn with everyday objects of contemporary life: a vase of flowers, a book, a bowl of candy, gloves, and shoes. The table and flowers extend beyond the edge of the canvas, suggesting life beyond the immediate scene, while gift wrap and ribbon propose future occasions or things to come.

 

This still-life provides a sense of place and the everyday by including more of the world and space around carefully selected objects. Fascinated with objects’ abilities to reflect and refract light, Fish often includes luminous, reflective glassware in her artworks. The artist also focuses on the packaging of objects and how light interacts with various surfaces. Kara can be viewed as a study in textures, ranging from wood to glass and cloth.

 

Here, the figure of the woman is painted as just another part of the composed scene. Fish attempts to avoid communicating particular messages; instead, she juxtaposes contradictory elements to create confusion and ambiguity within the scene. The artist stated, “When the figure gets into the painting, in some ways it makes it easier. The figure demands so much attention. The eye goes right to it, so in some sense that makes organization of the painting easier. On the other hand, there’s a complication, because the figure gives out so many messages.” Through a shared attention to detail within the figure and the object, Fish creates an image that is both a still-life and a portrait. Brilliant light, color, and movement unite the objects in the composition and present them as if they are clues to an untold story.

 

While it is natural to want to create a narrative from the scene, Fish includes several road blocks that impede viewers from doing so. There are no visual clues to indicate a particular time or place. The wool sweater and thick gloves point to a winter scene, but the bright and colorful bouquet refers to spring. Bright pops of color in the candy and the unused wrapping paper contrast with the dull brown of the shoes and gloves. The shoes, resting on tissue paper, and the gloves, with their tags still attached, appear to be gifts that will soon be wrapped. The contrast of the functional yet unexciting gifts with the bright and colorful wrapping paper creates a tone of ambiguity. This feeling is enhanced by the faraway look on the face of the figure as she rests her chin on her hand and gazes into the distance, as if dreaming of another place.

 

The large scale nature of Fish’s works can be traced back to her early study of Abstract Expressionism, but her attention to detail is reminiscent of 17th century Dutch still-life paintings. Just as Dutch artists carefully composed their scenes, Fish selects, arranges, and rearranges the objects in her compositions. The striking difference between Fish’s work and more traditional still-lifes is her modern and monumental approach. Rather than just capturing a singular moment in time, Fish’s canvases often represent an amalgam of changing light conditions that she observed throughout the day.

Observations

  • What do you notice about this painting? Look closely at and describe the various objects on the table. Think about their color, texture, and form, as well as their placement in relation to each other.
  • What words would you use to describe the woman’s pose and the expression? How does her expression set a tone within the painting?
  • How are the objects connected within the composition through the use of color?
  • Notice how the artist includes both bright color and more muted tones. Is there a recognizable pattern to which objects are bright and colorful and which are muted? What does this juxtaposition of color add to the tone of the painting?
  • The artist considers this work a still-life painting. Is this what you expect a still-life painting to look like? Why or why not? How would this work be different if the artist had not included a figure and just painted the objects on the table?
  • Reflect back on your first reaction to the work. What do you notice first, the figure of the woman or the array of objects on the table? What do you think is the main subject of this painting?
  • What visual clues does the artist use to emphasize the equal importance on the figure of the woman and the objects on the table?

Interpretations

  • Using visual clues, can you figure out what time of year this painting is meant to depict? Consider the clothing of the figure versus the bouquet of flowers. If not, why do you think the artist would want to confuse viewers?
  • When the artist began to include human figures in her still-life paintings, she stated, “The danger with my work now is that people might focus on the story.” How does she prevent a narrative from forming within her composition?
  • Consider the gifts that will soon be wrapped on the table. Are they what you typically think of as gifts? How does the juxtaposition add a feeling of uncertainty to the image?
  • What other juxtapositions does she include that intently confuse the viewers?
  • How does the artist visually invite viewers into the work? How does she encourage viewers to then consider their own experiences and ideas?
  • How would we view this painting differently if the artist had not included a name (Kara) as the title?

Connecting to the Classroom

  • For the Johns: What are we seeing in this artwork? What objects can you find in the artwork? Why would the artist place these objects together? How are the objects related? If you feel the objects are not related, why are they all in the artwork? What do you think the artist is trying to communicate?
  • For the Goya: Does this look natural? What do you think happened before this painting was created? What do you think will happen right after this painting? Do you think a human was involved in this scene even though they are not in the painting? Why or why not? Why do you think Goya painted the fish? Why do you think he felt this was important enough to paint? Goya was an artist who often painted about revolution and war. Tell me how you think these fish might represent the instability of war or revolution.
  • For the Fish: the girl in the painting is surrounded by things. Is the painting about the girl or about the things (objects)? Which are more important? What do the objects on the table tell you about the girl?
  • Still-lifes are typically carefully planned out, with each object chosen by the artist for its symbolism. These are not all traditional still-life paintings. Would you consider all three of these be considered a still life? Why or why not?
  • What objects could you select that represent you and how does those objects communicate something about you?

Assessment

  • Ask the students to create a printmaking still-life made from objects that represent themselves.
  • Allow the students to gather objects that they believe tell a story. Have them draw the still-life or photograph the still-life. At the end of the project, have other students use questioning strategies to figure out what the student is trying to communicate about themselves with their still-life.

Subject Matter Connection

Often we focus on the complex process in a printmaking project and students end up communicating very little in the content. Studying these three artworks first will help students choose a meaningful subject matter for a printmaking project. Additionally, students often view still-life as they would a photograph. They think it is just a painting of pretty objects and do not look for meaning in the artwork. This activity helps them understand how complex ideas can be communicated using inanimate objects in art.

Resources Available to Order

The Art-To-Go lending library features materials that may easily be integrated across the K–12 curriculum. Resources include DVDs, music CDs, children’s books, study guides, poster sets, and collection-based interpretive materials produced by the KFEC. Educators, community leaders, and docents from throughout Texas are welcome to borrow Art-To-Go resources. To place your order, search the online catalogue and add the selected items to your basket. After you have reviewed your basket, submit the order electronically.

  • Portraits, People
    • Reveals the way artists arrange people individually and in groups to communicate ideas.

      MFAH Catalog Number: DV145
  • In the Time of Warhol: The Development of Contemporary Art
    • Profiles major artists of the second half of the 20th century in the context of the political, economic, and other changes occurring throughout the world.

      MFAH Catalog Number: BK294
  • The Art Gallery: Faces
    • Take an intimate look at some of the world’s most famous portraits and their artists.

      MFAH Catalog Number: BK114
  • Start with Art: Still Life
    • Created with kindergarten and elementary students in mind, this book demonstrates the still life through the assemblage style of Picasso, the sculpture of Henry Moore, and more. Includes a concise table of contents and glossary.

      MFAH Catalog Number: BK102
  • 50 Women Artists You Should Know
    • 50 Women Artists You Should Know showcases some of the most imporant women in art history through images, information and timelines. Some of the artists include: Marina Abramovic,Sophie Calle, Mary Cassat, Tracey Emin, Artemisia Gentileschi, Jenny Holzer, Frida Kahlo and more.

      MFAH Catalog Number: BK793

The Learning Through Art program at the Museum of Fine Arts, Houston, is underwritten by:

Mercantil Commercebank

The Learning Through Art curriculum website is made possible in part by a grant from the Institute of Museum and Library Services.