Article investigated painting styles and a test devised to explore sensitivity to them. (Author/RK)

Article considered the areas of most of the researches into art education and the problem of establishing clarity and priority in the theoretical framework of studies in the field. (Author/RK)

Draws on the myth of Medusa to trace issues bearing on the concept of a "feminine sensibility" in art. (Editor)

Suggests that the roles and activities of the professional artist, art critic, art historian, and aesthetician be established as models for outcomes of a visual arts program. Attempts to show that the professional practices of experts in these four roles are appropriate sources for the content and design of educational activities unique to the…

The primary concern of this study was to assess the levels of commitment that women expressed toward being artists in order that other variables--such as the women's family history data, their personality characteristics, and the types of schools they attended--could be examined across the levels of commitment. (Author/RK)

Uses philosophical inquiry to establish the value of an androgynous model as the basis for conceptual and curriculum models in art education. (Editor)

Discussed are the fundamental principles and the origins of discipline-based art education. (RM)

Examines how painters and other artists who lived in the eighteenth, nineteenth, and twentieth centuries learned to draw as children. Results supported the conventionalist view of how children learn to draw, i.e., most of the children learned to draw by copying directly from pictures. (RM)

Examines the relationship between romantic idealism and vocational goals of art education in nineteenth-century Nova Scotia, Canada. Compares these ideas with those of John Ruskin concerning art and morality. Discusses the views of the Nova Scotian educators relative to issues of contemporary art education. (KO)

Discipline-based curriculum development efforts in art seek to translate Barkan's theoretical recommendations into practice. One such effort--the discipline-based art education framework of Greer--is discussed. (Author/RM)

Argues that studying professional art critics can provide material for studying art criticism in the classroom. Focuses on the published work of Lawrence Alloway. Describes how his work covered a wide range of artists and movements and how he was politically proactive in promoting underrepresented populations of artists. (KM)

Questions the use of professional artists as appropriate role models for students learning about art making in the classroom. Examines a biography of one artist and reviews research on the psychological and social circumstances that facilitate art production. Suggests that the creation of those circumstances in the classroom would be complicated.…

This study considered the structure of adolescents' interactions with artists and art teachers. (Author/RK)

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)