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)

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)

Art education in the United States has constantly sought some degree of reinforcement of purpose throughout its history. By closely examining some of the experiences of the past, insights into the validity of a discipline-based approach to art education should emerge. Such knowledge should enlighten the profession, so that rational and valid…

This course outline, intended for ninth and/or tenth grade students, is designed to: (1) help students develop evaluative criteria for various art forms; (2) become aware of the interrelationships of the arts; and (3) realize that all art forms are part of the individual's attempt to reflect upon and interpret the world in which they live. In the…

If visual art is to be taught as a substantive part of the public school curriculum, then it's content and structure need to be translated into a curriculum that provides continuous cognitive and psychological growth and development. While discipline based art education (DBAE) acknowledges the values of art production, the content of art should…

The collected papers from three conferences about art education are documented in three volumes. The first conference addressed art education, aesthetics, and art criticism. Eighteen scholars representing classroom teachers, museum educators, and university faculty were invited to prepare papers on the general topic of aesthetics and art criticism…

Efforts to renew cultural literacy and reform arts education sponsored by the National Endowment for the Arts and the Getty Center for Education in the Arts suggest fundamental changes relating to the scope of art curricula. The single greatest drawback of existing art curricula and the guides that teachers use is the emphasis on skill development…

Proposes an art curriculum framework that reduces aesthetics to three theories of art: imitationalist, formalist, and emotionalist. Fits each theory into the curriculum at the appropriate developmental stage of the student. Applies these theories to art criticism, art history, and studio production. (LS)

Maintains that teachers and artists are alike in that they are communicators, inquirers, required to know themselves, trained to think qualitatively, concerned with technique, and evaluated by their work. Argues that using the model of the teacher as artist is superior to using only technical and quantifiable methods. (CFR)

Proceedings from the Sunbird Seminar for artists, art historians, and art educators from the California State University campuses are documented in this volume. The presentations included discussions about the national context for art education and teacher credentialing in California, the Snowbird projects sponsored by the Getty Center for…

For the 1990s and beyond, backgrounds, experiences, needs of all people, along with the appropriate context will provide significant bases for transforming the curriculum. This paper contends that the paradigm for art in the elementary schools must include the interplay of this context with a commitment to "re-viewing" the foundations…

Presents a prospective view of art education by examining the literature of past events. Outlines the three stages of the art education evolutionary process: (1) establishing guidelines for discipline-based art education (DBAE); (2) questioning the assumptions of DBAE by critics; and (3) resolving previously raised issues. (KM)

Instructional goals and sample instructional objectives for art education in West Virginia's public schools are outlined. A comprehensive arts education program is basic to the general education of every child. Two guiding principles directed the programs' design. First, each student should have opportunities to acquire skills in the four…