Monet’s Light Garden

Overview

Students notice how Claude Monet used colour, light, outdoor scenes and short brush marks to show what he saw. They then create an original painting inspired by a familiar place in Aotearoa—such as a māra, awa, moana, puna, papa tākaro or ngahere—rather than copying a Monet painting. The lesson values learners’ own local knowledge, memories and connections to place.

Learning intentions

• WALT notice how artists use colour, light and brush marks to show a place.
• WALT experiment with short, long, thick and thin brush marks.
• WALT plan and create an original painting inspired by a familiar place in Aotearoa.
• WALT talk respectfully about our own and others’ artworks.

Success criteria

• I can name colours and marks I notice in an outdoor artwork.
• I can use different brush marks to show light, texture or movement.
• I can make my own painting about a place that is meaningful to me.
• I can share one thing I notice, like or wonder about an artwork respectfully.

Curriculum links

• Ngā Toi: visual arts as a way to explore, create, present and respond to artworks.
• Ngā Toi: developing ideas through colour, line, texture, shape and brushwork.
• Te Marautanga o Aotearoa: learning through local context, community knowledge and learners’ relationships with place.
• Marau ā-Kura: connect the artwork to local places, pūrākau, waiata, environmental knowledge or community aspirations where appropriate.

Vocabulary

artist, artwork, light, shadow, colour, warm, cool, bright, soft, line, mark, brushstroke, texture, blend, landscape, garden, awa, moana, ngahere, notice, wonder, inspire, original

Lesson structure (60 minutes)

1. 0–8 min · Notice and discuss. Teacher opens the Monet noticing slides and shows selected images of Monet’s outdoor scenes, including close views of short brush marks; invite quiet looking, then ask, “What colours, marks and kinds of light can you see?” Students turn and talk, share observations and connect the scenes with places they know in Aotearoa. Emphasise that Monet is an inspiration, not a model to copy: each artist will make a personal artwork.

2. 8–18 min · Teacher modelling. Teacher uses the colour and brushstroke slides to model choosing a familiar place, lightly drawing a simple horizon or large shapes, and layering colour with short dabs, curved marks and different brush pressures. Demonstrate how a lighter colour can suggest sunlight and a darker colour can suggest shadow, while reminding students to keep paint on the paper, use only a little water and carry brushes carefully. Students identify the demonstrated marks and suggest colours for different local places.

3. 18–26 min · Mark-making practice. Teacher gives each student a small practice paper and demonstrates a “brush gym”: dots, dashes, short dabs, long lines, wavy lines, overlapping marks and soft colour blending. Students practise with limited paint, trying at least three marks and two ways to show light or movement. Teacher circulates, names effective choices and checks safe handling of paint and brushes.

4. 26–34 min · Plan with worksheet. Teacher displays the planning instructions and distributes the Light Garden planning sheet. Students choose a familiar place, draw a simple plan, circle or name colours, and show where they might use short marks, lines, light and shadow. Teacher conferences briefly with students, prompting, “What will we see in your place?” and “Which marks could show water, leaves, grass or light?”

5. 34–51 min · Independent painting. Teacher sets out paper, palettes and water pots, revisits the painting steps and safety slide, and supports students to paint from their plan. Students create an original artwork with large shapes first, then add layered colour, light, texture and brush marks. Encourage learners to leave some paper showing, mix colours thoughtfully and add details that make their place personal. Give a five-minute warning so students can complete final marks and place paintings in the drying area.

6. 51–57 min · Gallery sharing. Teacher arranges a quiet viewing walk or places paintings where all can see; use the respectful gallery prompts. Students view artworks without touching, then share with a partner using: “I notice…”, “I like how…”, or “I wonder…”. Partners listen, name a technique they noticed and acknowledge that every artwork is different.

7. 57–60 min · Reflect and tidy. Teacher asks students to complete the oral reflection on the reflection and tidy-up slide: “My place is…”, “My brush marks show…”, and “Next time I could…”. Students share one response with a partner, wash brushes gently, return materials, wipe tables and place paintings safely to dry.

Resources

• Monet noticing, modelling, activity, sharing and reflection slide deck
• Light Garden planning sheet
• Reproductions or projected images of Monet’s outdoor paintings and brush marks
• A4 or A3 heavyweight white paper
• Tempera or poster paint in a manageable range of colours
• Paint palettes or recycled plastic lids
• Various-sized paintbrushes
• Water pots, table coverings and aprons
• Practice paper, pencils, cloths and drying-rack space

Assessment

• During noticing, listen for students identifying colour, light, outdoor subject matter and different marks.
• During practice and painting, observe brush control, safe tool use, experimentation and whether students are developing an original idea connected to a familiar place.
• During gallery sharing and reflection, check whether students can describe one artistic choice using relevant vocabulary and respond respectfully to a peer’s artwork.

Differentiation

• For oral-language support, use the picture vocabulary above, gesture and sentence starters such as “I see…”, “The light is…” and “My place has…”. Allow students to rehearse ideas with a partner or explain their plan orally.
• For sensory support, offer an apron, a quieter work area, a choice of brush sizes and tools, and the option to use less water or a sponge for selected marks. Give clear warnings before transitions.
• For motor support, provide thicker-handled brushes, a non-slip mat, taped-down paper, a palette with small amounts of paint and adult help to steady materials. Accept large expressive marks as evidence of learning.
• For writing support, allow drawing, pointing, scribing or voice recording instead of written worksheet responses. Extend confident learners by inviting them to layer complementary colours, show a change in light or include foreground and background.

Paint safety

Model “paint stays on the paper”: no paint near faces, mouths or clothing; brushes are carried point-down; water is for rinsing, not drinking; spills are reported immediately; and hands are washed after painting. Check any allergies or sensory needs before the lesson and use washable, non-toxic paint.