Offers a lesson plan to introduce students in grades K-3 to abstract art. Uses Frank Stella's painting "Hockenheim" as the basis for the lesson. Includes background information on the painting and the artist, instructional strategies, and student evaluation criteria. (GEA)

Instructional strategies based on a portrait painting of Francisco Goya introduce primary grade students to the idea that portraits are pictures of people. Students also develop an awareness that the visual vocabulary of color, shape, line, texture, and the quality of brushstrokes can communicate feelings and ideas. (RM)

Instructional strategies based on a portrait painting of Jean-Baptiste Oudry familiarize intermediate grade students with the techniques of portraiture and introduce the characteristics of eighteenth-century French rococo painting. (RM)

Nicolas Poussin's painting, "The Holy Family," is used to help secondary students comprehend the power, mystery, and significance of classical 17th century Western painting. Includes suggestions for classroom activities. (BR)

Introduces students in grades 10-12 to photo-realism and the work of Ralph Goings. Observing the work "Collins Diner," students discover the elements of photo-realist work and how it differs from other art movements. Includes instructional strategies, student activities, and background information on the movement and the artist. (GEA)

Offers a full-color reproduction of Edward Hicks' painting, "Peaceable Kingdom of the Branch," and a lesson plan for using it with children in grades K through 3. (JDH)

The instructional strategies suggested use a work of one of Mexico's most celebrated political history painters, David Siqueiros, to introduce junior high students to formal qualities in portraiture and contemporary Mexican art history. (RM)

Instructional strategies introduce students in grades 10-12 to the stylistic characteristics and portraiture technique of Mary Cassatt and help them understand Cassatt's relationship to work of other Impressionist painters. (RM)

The part that words play in teaching art has been underestimated. In a good art class, there is an interplay of ideas about the ongoing work. By using the right words, the teacher can help students develop their creative faculties. (CS)

Author attempts some clarification of his general philosophy of art and of the teaching of painting. (Author/MB)

Our ordinary view of relating to works of art is based on the assumption that they are objects occurring separate from us, detached and independent. Investigates what we need to know in order to appreciate and understand works of art, to bridge the gap between ourselves and the art work. (Author/RK)

Author developed a program for handicapped children which enabled them to express themselves creatively and, at the same time, expand the psychological image they project upon other people. (RK)

Presents a lesson plan which exposes students in grades 10-12 to the visual symbols and historical references contained in Grant Wood's "American Gothic." Includes background information on the artist and the painting, instructional strategies, a studio activity, and evaluation criteria. (GEA)

Presents a lesson on George Wesley Bellows's 1910 painting, "Polo At Lakewood." This lesson is designed to introduce senior high students to the theme of genre painting. (BSR)

Uses Gerald Murphy's painting "Watch" to encourage students in grades 7-9 to recognize design elements and principles in everyday objects and discover how shapes from such objects were combined in overlapping arrangements in the painting. Provides student objectives, background information on the artist and the paining, instructional strategies,…