But Christ sees past the surface and says in verse 3, “It was not that this man sinned, or his parents, but that the works of God might be made manifest in him.” The disciples saw a blind man and can only think of doom and gloom. The appearance depresses the disciples and they assume the blindness is a punishment - either for the man’s own sins or those of his parents. In John 9, Christ and the disciples come across a man blind from birth. But when you step up close to the canvas you see that what is really there is an innumerable host of beautiful angels.Īppearances can be deceptive. From a distance it appears to be a depressing painting - a mass of dark, threatening clouds. What happens in the studio, he says, “is something removed from the direct source of observation.In one of Germany’s famous art galleries, a painting called “Cloud-lane” hangs at the end of a long, dark hall. He blends specifics from his field sketches, like location and subtle changes in light and weather, with his state of mind and emotional response to the land. When his paintings begin to take form in his studio, one of Jacobshagen’s most useful tools is his memory. Every Tuesday, Thursday, and Saturday, regardless of weather, he drives into the countryside seeking places that appeal to him in color, form, or design-often returning to the same areas again and again. For him, the overall arrangement of a piece is more important than recreating a specific scene.Īlthough he has limited himself geographically for 37 years, Jacobshagen has yet to tire of creating these landscapes. In his studio, Jacobshagen combines fragments from field sketches and sometimes photographs of the land to develop his final work.
Even though the material for his landscapes comes from a very definable, 60-mile radius around Lincoln, his paintings can’t be traced back to a single view. But Jacobshagen doesn’t just paint what he sees his process is more like putting a puzzle together. This particular painting draws upon the land, weather, and light around the Platte River Valley near Lincoln, Nebraska. But all painting is fiction anyway.” Jacobshagen is inspired by the land around him. Jacobshagen says, “When people ask me ‘where is this?’ I point to my head… Some people are disappointed in hearing that. End the lesson with children moving and dancing like clouds. Talk with the children about movement of the clouds. Do the clouds in the painting look like they’re moving? How? Why? If you have access to a stove-top, bring a pot of water to a boil and then move the steam with a fan. Talk about the clouds-their texture, shape, etc.-and compare them to the clouds they saw outside and the ones they made.
Have the children use the paints to mix different blues, trying to make colors of the sky they rested under.When they return inside, allow them to shape clouds on a table covered with wax paper using whipped cream or shaving cream (depending on allergies and ages each has a unique texture and you might want to use both).While you’re lying there, talk about the shapes of the clouds, how they move, the color of the sky, etc.
Warm-up: Take the students outside and have them watch the clouds and the sky.
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