Whether or not knowledge about the painter Picasso is helpful or indispensable in teaching appreciation of his art is discussed. Three studies by Denis Thomas, Mary M. Gedo, and Frank Elgar that argue that knowledge of Picasso the man helps students understand his paintings are examined. (RM)

Three evaluations (general preference, balance, and dynamics) were made for paintings presented simultaneously in artist-created and mirror-image views. For short (5 second) exposures, results showed consistent selection over diverse contents of paintings with a left-to-right figure sequence. Implications for perception and aesthetics are…

This experiment compared six methods of teaching concepts of painting style. A practice-plus-verbal feedback teaching strategy (active condition) was compared to a strategy using modeled verbal response (passive condition). Each strategy was combined with three amounts of information: none, artist's name, and name plus style rule. (Author/SJL)

Describes an art project that was used with first grade students in which they learn about Vincent van Gogh's style of painting. Explains that the children learn to create circles and straight lines and how to fill in with color. (CMK)

Describes and provides samples from a book on art appreciation by looking at landscape paintings with children. Reproduces four paintings, offers questions to use with students, and presents information on the artists and their pictures. The paintings are by George Inness, Henri Rousseau, Stuart Davis, and Edward Hopper. (JB)

Presents lesson plans for grades K-3 based on 4 well-known paintings Discusses historical background and cultural impact of the paintings. Provides student activities and assessment suggestions. (CFR)

Discusses an art project that allowed high school students to look at art more critically and to appreciate the painting style of Jackson Pollock. Explains that students create drip paintings in the style of Pollock. Discusses the process. (CMK)

Provides various activities that museum docents use to help students "see" rather than "look" at art objects. Ideas include playing a looking game, using the five senses to describe the painting, creating stories about the art object, and having a treasure hunt while visiting a museum. (CMK)

Presents an art project where fifth-grade students painted murals of windows in the boys and girls school restrooms. States that they used a technique called "trompe l'oeil" that uses shadows and perspective to achieve realism that tricks the eye. (CMK)

Discusses a fresco assignment taught during a workshop for an art history class where students created their own fresco paintings. Provides background information on the fresco technique and the materials that are used. Describes the process of creating the frescos and lists the needed materials. (CMK)

Describes a project designed to advertise art history where eighth-grade students painted the classroom door windows throughout their school recreating famous classic paintings from various artists, such as Claude Monet or Vincent van Gogh. Explains that the students learned about different artistic styles and exhibited a great deal of pride in…

Presents a photo essay that visually narrates the workshop that took place in State College, Pennsylvania, from October 19-24, 1998 bringing together middle and high school students with Tim Rollins, who is a conceptual artist and educator, and Kids of Survival (KOS). (CMK)

Students in grades 1, 3, 6, and 10 viewed a selection of paintings to determine developmental stages in aesthetic judgment. Age group responses were analyzed for general characteristics and for children's ability to distinguish among standards of personal preference, community values, and technical competence. (SJL)

Provides a full-color reproduction of Pieter Paul Rubens' painting, "Prometheus Bound," and a lesson plan for using it with students in grades 10 through 12. The goal of the lesson is to introduce students to the techniques of design and execution used by Rubens. (JDH)

Establishes a link between the themes of Golding's fiction and the paintings of the Brueghel. Traces their use of the grotesque to impress a message on the mind of the reader or viewer. (CRH)