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)

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…

Describes ways that aesthetic theories can be integrated into children's art education. The author illustrates elements of E.H. Gombrich's theory of aesthetic perception using as examples art activities designed to increase student awareness of their "mental sets" and their understanding of how mental sets influence visual perception. (AM)

Discussed is whether or not folk art and children's art are really art. Child and folk art are two rich sources of imagery that can lead to a re-examination of the connections between the ethical and aesthetic in other more traditionally accepted forms of art. (Author/RM)

In this article, the author discusses the importance of Viktor Lowenfeld's influence on her research, describes visual anthropology, gives examples of her research, and examines the implications of this type of research for teachers. The author regards Lowenfeld's (1952/1939) early work with children in Austria as a form of participant observation…

Little League and art education are trying to justify themselves by forcing precocity on children. Children are entitled to learn in their own most effective ways. (RM)

There are five categories of titles of paintings: descriptive, narrative, directive, poetic, and arbitrary. When children title their work they give clues to its intent and challenge the presuppositions that adults may bring to children's art. Titling can expand students' ideas for painting and provide a greater variety of approaches. (CS)

Responds to Wilson and Wilson's critique (Sept 1981) of the use of the developmental approach to the study of children's art. Lewis argues that the developmental approach is appropriate for age-related studies and it should not be abandoned as a method because researchers are working on projects where its use is applicable. (AM)

The author critically examines nine assumptions about creativity commonly held by preservice elementary art teachers, such as "all children have creativity,""creativity can be taught and learned,""art skills hinder creativity," and "creativity is good." (SJL)

Current beliefs about how children draw emphasize the importance of drawing from memory, rather than from observation. However, an experiment with children aged seven to nine showed that observation drawings included greater detail and complexity. More research on observation drawing is recommended. (IS)

Argues that the aesthetics component of discipline-based art education (DBAE) needs to be re-evaluated in order for DBAE to be used at the elementary level. Suggests taking the practical approach to teaching aesthetics rather than the philosophical approach. (BR)

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)

Asserts that the copying of artworks does not stunt a child's creative development; rather it can serve children, as it did many great artists, as a useful tool for the development of the technical and aesthetic skills necessary for creative expression. (SJL)

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)