Discusses murals done by Egyptian children. Differences in the drawing styles of American and Egyptian children are discussed. The author states that the significance of the wall drawings is that they represent a rich social setting in which children learn to produce art. (AM)

Argues that the most widely used accounts of children's artistic development are not only inadequate and incomplete but that they seriously misinform, obscuring more than they reveal about children's drawings. (Author/SJL)

When this author first published his account of "The Superheroes of J. C. Holz" (Wilson, 1974), he could not have imagined that the comics of one Iowa boy would shape his thinking about children's images, the purposes of art and art education, narrative, popular visual culture, and his present theorizing about pedagogy. He states that…

The authors describe how children draw stories, not pictures. They suggest that by encouraging children to draw, and to bring to school drawings that have been done at home, art teachers can help children to create fantastic worlds. (KC)

Drawing on the Kreilters' work with the psychology of adult artists, the authors show how children's story drawings develop the same four types of realities: origins, everyday experiences, normative realities (rules), and prophetic (anticipatory) realities. Illustrations are included. (SJL)

Analyzed two sets of Japanese children's artworks, one in the graphic narrative style, the other, school art in the "high" art tradition. Argues that art derived from popular models provides children with important ways to investigate meaningful dimensions of the world and to experiment with life's major themes, dimensions of meaning…

Asserts that educational researchers ideally want their interests, values, and assumptions about life and human purpose interwoven with their research themes. Reviews research in art education. Concludes that one topic to study would be the relationship between art education and life. (CFR)