Describes European Viktor Lowenfeld's version of the visual-haptic theory. Recounts how Lowenfeld modified the theory while serving as a studio art teacher in a black U.S. college from 1939 to 1946. Compares Lowenfeld's European and U.S. transformations of the theory. (BSR)

Examines current descriptions of stereotypic feminine characteristics which have been claimed to have a relationship to prominence in art education. Concludes that the sex of an art educator is not the decisive factor in whether that person is remembered as a significant contributing figure in the field or is forgotten. Responses by Mary Erikson…

Compares Oskar Kokoschka's teaching practices with American Progressive Education literature. Observes that the latter stresses the need for practicing artists to teach in the schools. Evaluates the strengths and weaknesses of the artist-in-the-classroom concept revealed in light of Kokoschka's practices. (KM)

Applaudes National Art Education Association research efforts, but suggests that a major weakness in the program, and in art education in general, is the lack of a distinct philosophy of art education. Criticizes art-education researchers' over-reliance on theoretical authorities from outside of the field and neglect of their own experiences. (DSK)

Examines Viktor Lowenfeld's Viennese experiences and analyzes the relationship of those experiences to his views and practices as an art educator in the United States. Questions the appropriateness of ideas developed from Austrian social and educational experiences and from Viennese aesthetic notions in the context of art education for U.S.…

Observes that, as concerns for multicultural education increase, art-education historians' inattention to areas outside of the Northeast becomes apparent. Uses New Mexico as an example of a state meeting multicultural needs in art education, but points out that much information about New Mexico cannot be found in mainstream art-education…

Investigates the role of women in U.S. art education by focusing on the art education contributions of Eugenia Eckford Rhoads. Presents a biographical sketch and describes her published works. Questions the role of sexism in how art educators judge the success or failure of a professional career. (KM)

Profiles the career and contributions of English art teacher Marion Richardson (1892-1946). A dynamic and assertive woman, Richardson's ideas and practices changed British primary and secondary art teaching for many years. She often used "word pictures" (narrative descriptions of scenes or emotions) to inspire her students. (MJP)