Field Trip

Exploring Identity through Modern Art

How do artists draw on memories and experiences to create art that reflects their identities? How does an artist’s connection to place spark inspiration? Through guided looking, sketching, and writing activities, students will consider how artists explore identity through their art.

We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”
George Bellows, New York, 1911, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1986.72.1

Grade Level

Subject

Duration

60–75 minutes

Language

Schedule a Field Trip

Looking and Learning Skills

During four or five field trip stops, students engage in activities that foster conversations around works of art, such as careful looking and creative writing exercises. These activities promote the following skills:

  • Making careful observations using evidence from the works of art.
  • Formulating questions and connections that demonstrate curiosity and engagement.
  • Exploring multiple viewpoints within the student group.
  • Using one’s own perspective to contribute to the discussion.
  • Developing and articulating new ideas about modern art and identity.

  • In-Person Field Trip Information

    Group Size: Up to 90 students
    Length: 75 minutes
    Meeting Location: East Building Atrium

  • Virtual Field Trip Information

    Length: 60 minutes

  • Important Scheduling Information

    Field trips must be scheduled at least four weeks in advance. Groups must contain at least 15 students.

    Once your field trip has been scheduled, you will receive an email confirmation within ten business days.

  • Bus Transportation

    Bus transportation is available for DCPS (District of Columbia Public Schools) participating in our docent-led school field trips. Teachers should follow the guidelines to apply for bus transportation.

Examples of Works Featured on this Field Trip

Two angular, cream-white buildings flanking a central, stylized tree are surrounded by brown soil, small animals, and farmhouse objects like watering cans and buckets beneath a clear, azure-blue sky in this square landscape painting. We look straight onto the buildings and slightly down onto the earth in front of us. About a third of the way up the composition, the horizon is lined with trees and mountains in the deep distance. The long, spindly branches of the central tree nearly reach the top edge of the painting and abstracted, sickle-shaped leaves are silhouetted against the sky so no leaves overlap. The far edge of the whitewashed structure to our left is cropped. The façade is pierced by two small rectangular windows and an arched hatch at the top under a winch. The back end of a horse is visible through an open door at the bottom center. Horizontal bands in front of the building suggest furrows in plowed earth, and a single stalk of corn grows up into the scene, seeming close to us. A pen protected by netting stretches out in front of the second structure, to our right of center. That wood-frame building has a triangular peaked roof, and the left half is open, like a lean-to. A goat, rooster, birds, and several rabbits occupy the pen. Watering cans, buckets and pails, a hoe, newspaper, lizard, and snail are spaced around the buildings. A tiny stylized person, perhaps a baby, appears in the distance between the buildings near a well where a woman works. A covered wagon, a round mill, trees, and plants fill the rest of the space between the buildings. A disk-like moon hangs in the sky to the right of the tree. The artist signed and dated the lower left corner, "Miro. 1921-22."
Joan Miró, The Farm, 1921-1922, oil on canvas, Gift of Mary Hemingway, 1987.18.1
David Alfaro Siqueiros, Self-Portrait, 1948, oil on hardboard, Andrew W. Mellon Fund, 1970.29.1
We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”
George Bellows, New York, 1911, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1986.72.1

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