This article demonstrates how the works of nine Europeans influenced the educational theory and philosophy of Viktor Lowenfeld. (JDH)

Considers John Ruskin's practical teaching of art at the Working Men's College in London and examines his objections to the government-sponsored approaches to art instruction. States that his aims and teaching deserve reappraisal for they may have a particular relevance in the changing relationship between education and society today. (GEA)

Viktor Lowenfeld's role in fashioning a predominant ideology and teaching method for art education in schools is an indispensable chapter in the history of art education. His contributions are discussed in this special issue. (RM)

Discusses how the work of art theorists, art educators, psychologists, and anthropologists who were predecessors or contemporaries of Viktor Lowenfeld influenced Lowenfeld's philosophy and theory of art education. Included are Friedrich Froebel, James Sully, Franz Cizek, Siegfried Levinstein, Max Verworn, Walter Krotzsch, George Luquet, and Karl…

The author describes the history, theories, and methods of the German institution called the Bauhaus, which he considers to be the basic influence on American studio art education in the last 50 years. (Author/SJL)

The author traces the theories of Margaret Naumberg, as an art educator and an art therapist, in relation to the psychiatric theories and social forces of her day. The first part of this article appeared in the July, 1979, issue of this journal, on pp51-66. (SJL)

Examines Viktor Lowenfeld's activities as an instructor at the Hampton Institute, Virginia (1939-1946), an essentially Black school in a pre-civil rights movement southern setting. Discusses his theoretical statements and his behaviors in relation to teaching art to Black adults. (GEA)

The career of art educator David Phillip Blair (1850-1925) is discussed. A graduate from the National Art Training School in South Kensington, London, England, Blair was responsible for introducing the South Kensington art system, with its emphasis on the practical arts, into the schools of New Zealand and Canada. (Author/RM)

Lowenfeld enjoined teachers never to permit children to copy art works because children's art was such a crucial part of the self. Yet by rejecting all copying, one can place too great a value on novelty and miss the essence of Lowenfeld's emphasis on the individual child's experience. (IS)

Offers a brief history of the academic roots of discipline-based art education (DBAE). Discusses writings in the areas of educational philosophy, educational psychology, the social foundations of education, and educational theories and policy which shape contemporary thinking about DBAE. (JDH)

A chronology of art education theories and programs from 1750 to 1982 is presented, and the limitations, biases, choices, and interpretations inherent in this chronology and in historical research and reporting in general are examined. (Author/RM)

Lowenfeld was incorrect in equating the work of Cole with that of Franz Cizek, the Viennese art educator. Despite similarities in rhetoric, their teaching approaches and careers in art education were very different. Cole's emphasis on freeing the individual, her California exuberance, and holistic approach are more reminiscent of Isadora Duncan.…

Influenced by the aesthetic theory of the Englishman John Ruskin, late 19th century art educators Norton, Jarves, Hoppin, and Comfort created a climate of opinion in which art education came to be considered a kind of moral education. Art instruction was expected to improve character and conduct. (RM)

The Depression of 1929 heralded a difficult time for the teaching of art. Changes during this era included more utilization of technology, a shift from elitism to art for all children, integration of art into the social studies curriculum, and emphasis upon self-expression, rather than art appreciation. (CS)

This article examines the formation, structure, and program of the Public Industrial Art School of Philadelphia, Pennsylvania, and the two men who directed it during its brief existence between 1880 and 1916, Charles Godfrey Leland and J. Liberty Tadd. Special emphasis is given to the pedagogical theory articulated by Tadd. (Author/RM)