In celebration of the bicentennial movement students did a mural on our country from 1776 to 1976. (Author/RK)

A powerful motivational force for painting activities may be found in the study of artworks by outstanding artists. The focus here is on the Twentieth-Century movement, Abstract Expressionism. Students are encouraged to combine discoveries of experiment with thoughtful development of their work. Recommended for junior/senior high school painting…

Excellent material for developing your students' understanding and appreciation of twentieth-century artists. Presents a thorough commentary on the naive art of Horace Pippin, the late, self-styled black artist. (Editor)

What help can an internationallly known artist be to children who have no commitment to art? The author reports on a particularly intensive day's work for secondary pupils in Kingston-on-Thames. (Editor)

Abstract art provokes numerous interpretations, and as many misunderstandings. The adolescent reaction is no exception. The procedure described here can help the student to understand the abstract from at least one direction. (Author/RK)

Provides a lesson plan for primary grade-level students based on William J. Glackens' oil painting, "The Cedar Walk." The goal of the lesson is to introduce students to landscape/seascape painting. (JDH)

Presents a lesson plan for introducing students in grades four through six to Thomas Moran's painting, "The Grand Canyon." The goal of the lesson is to illustrate the importance of the American West as a subject for artists in the nineteenth century. (JDH)

In this art activity gifted students, ages 10 to 13, learn about internal and external rhythms and make a painting of an internal rhythm. The lesson can be expanded with a discussion of Kandinsky, Pollock, and other painters who have painted sound or have demonstrated rhythms. (RM)

Presents two art lessons, the first of which introduces elementary students to Dutch still life painting and to the Dutch painter Claesz. The second lesson introduces intermediate grade students to still life as a subject for painting and to the possibility of personal interpretation by an artist, as shown in an O'Keefe painting. (RM)

Findings revealed no significant response differences due to mode of presentation. The study provides support for the proposition that mode of presentation has little systematic effect on untrained subjects' evaluations of paintings. (Author/RM)

The process of learning art is related to experience and to the growth of understanding and not solely to the development of technique. Experience of the world, and of nature, thus becomes the source of painting. (Author/CMG)

High school art teacher describes a technique for making crazes with oil paints and water on masonite. (GB)

Art teacher gives a model unit on the Fauves including exercises as well as background information. (GB)