A primary goal of substantive art education is to communicate visually--to decipher art for meaning and to construct meaning through images and objects. Strategies available to engage students are the interdisciplinary activities found in performance, visual and written forms of creative expression, and related disciplines such as ethnography,…

This paper conceptualizes the secondary art curriculum as a well-structured but complex knowledge-domain, with the aim of emphasizing meaningful differences in the way creative grammar operates in the following gatherings of art practices: Pre-historic and non-European cultures; Ancient and European cultures before c. 1800; Romantic and Modern…

This article features an arts education curriculum project that was designed to use the oeuvre of Rembrandt van Rijn--seventeenth-century Dutch painter, etcher, and draftsman extraordinaire--as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt…

Examines the "picture study" movement which began in the late 1800s and faded during the 1920s. Focuses especially on the work of Oscar Neal, a leading picture study advocate. Attempts to show how the aesthetic theory, beliefs about art, social assumptions, educational limitations, educational beliefs, and technology of the time interacted to make…

Presents a cooperative learning activity for history or art classes in which students use knowledge rather than money to bid for important works of art. (SR)

The paper, one in a series of instructional units for gifted students, concentrates on contempory art with an emphasis on developing abstract thinking and creative problem solving at a higher cognitive level. An introductory section reviews basic program concepts and briefly describes the use of such procedures as open-ended discussion, guest…

Describes a program to reinforce the art-history curriculum; establish a volunteer habit; and impact students' self-esteem, communication, and leadership skills through service learning. Discusses student training and service as docents at the Museum of Fine Arts, Houston (Texas), and comments on the skills that they acquire through the…

Three approaches that teachers can use to incorporate related ideas into art history courses are discussed. They are parallelism, or the analogous developments in other spheres of study; the elucidation of the credo of a famous personage whose image has been perpetuated through art; and etymology. (RM)

A commentary on the life and work of Henri Matisse for use with secondary art students is provided. Exercises to use with the commentary are provided, and art activities are suggested. Annotated references are also included. (RM)

Although Discipline-Based Art Education may not produce many art historians, this approach will enhance graduates' appreciation of art activities as serving some purpose in their lives. This article discusses British Columbia DBAE models and encourages use of multicultural and folk art examples. Includes three references. (MLH)

Reviews the history of art in terms of style, technique, and context. Considers (1) the preparation of teachers (2) the antipathy between practitioners and historians of art (3) the development of art history as an academic discipline and (4) the role of art history in the General Certificate Secondary Education. (BSR)

States that art history is only available to gifted students in the British educational system. Contends that mixed ability pupils have a right to their cultural heritage also. Advocates that art history and critical studies become a part of the core curriculum for all pupils. (BSR)

Presents a biography of Mine Okubo, a prolific Japanese-American artist who was among the thousands of Japanese imprisoned in "relocation camps" during World War II. Provides insights into Ms. Okubo's philosophy as well as the phases of her art, emphasizing her role as a living repository and documentor of Japanese-American history. (JDH)

The first art lesson helps middle-school students to understand characteristics, methods, and the historical significance of Cubist paintings as shown in Picasso's "Still Life with Compote and Glass." In the second lesson high school students learn about Cezanne's work and his relationship to the Impressionists and 20th century artists.…

Citing a lack of teacher preparation and available curriculum materials for art appreciation, the author proposes an art criticism/art history approach for the secondary grades. He outlines a sequence of operations modeled after Bruner's stages of perceptual decision making and presents a sample lesson plan. (SJL)