Defines the concept of the phenomenal--as opposed to the objective--body and points to modern, primitive, and children's art as rich sources of phenomenal representation. (SJL)

The problem of "stages" in the development of artistic ability is addressed by reviewing the cases of a gifted autistic child, Nadia, who drew realistically at a very young age, and of a normal child, Eytan, who rapidly taught himself the principles of isometric perspective and of foreshortening. A review of scholarly opinion about…

Describes the Prospect Archives, which contain children's artwork and academic work as well as observations and reports on the children by teachers and other staff members of the Prospect School. The contents of the archive document the growth of individual students over a period of years. (Author/IRT)

Describes the development of children's artistic expression from age four through adolescence. Explores the visual-haptic theory, baseline theory, the inside-out expression, the fold-over picture, the upside-down depiction, and the front view-top view display. (RJC)

Explains how pop-up art can be used for research projects by taking newspaper articles and transforming them into visual displays in which the various parts of the articles--pictures, captions, and headlines--are glued onto the display. Suggests that such work is especially useful to students who are not especially strong linguistically. (TB)

Too much stress on technical procedure in a ceramics class can inhibit elementary students' free inquiry. It should be remembered that ceramics is a form of visual art and that art is a form of expression. Teachers must help students express themselves. (RM)

Analysis of drawings by 26 children indicated striking contrasts in subject matter and style between girls and boys, but did not present stereotyped images of sex roles. The contrasts could not be specifically attributed to genetic, social, or psychological differences between the sexes. (MJL)

This article is concerned with the representational paintings and drawings of six- to nine-year-old children in which human relationships and interactions are central to subject matter. As a rule, children at this age are thought to be at the height of their curiosity and imaginative powers. (Author/KC)

Discusses two broad stages of children's drawing--scribbling and representation--and the phases of each stage that children will pass through as they develop. Provides suggestions for supporting children's early drawing development. (HTH)

Discusses how Franz Cizek, the first proponent of the hands-on approach to childrens' art education, influenced the direction of twentieth century art education. The author points out that, although Cizek's theories profoundly influenced other educators, he himself never actually applied them in his own classes. (AM)

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)

Examines the similarities and differences between the artistry of children and adult masters. Suggests that while artists have more highly developed skills, far more control of their gifts, and superior ability to experiment systematically and to choose among alternatives, much in their processes of creation is reminiscent of children. (JMF)

Examines relationships between child and adult art, proposing an exploration of meanings of children's art activity by examining relationships between art-making and other activities of the same developmental period. The paper posits some basic human needs and considers how various activities might serve as instrumentalities to realize such goals.…

Section One of this article reviews extant theories of children's art. Section Two outlines evaluative criteria based on developmental approaches: degree of representational detail, expressiveness, and representational accuracy. Section Three explores the theoretical support for alternative standards for evaluating children's drawings. (SJL)

After reviewing the socialization models of Berger and Luckmann, Speier, and Piaget, the author relates the drawing process to these theories as a form of social interaction, citing changes in drawing style and subject matter with gains in social maturity. She concludes with implications for art educators. (SJL)