Techniques are presented to get children thinking about their body motions, thereby increasing the expressiveness of their drawings. (RM)

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)

Reviews Natalie Robinson Cole's contribution to the field of art education by contrasting her philosophies with those of other art educators. Compares her teaching style with Viennese art educator, Franz Cizek. Concludes that Cole's life and work can be examined within as many frames for understanding as can be devised. (KM)

Lowenfeld was incorrect in equating the work of Cole with that of Franz Cizek, the Viennese art educator. Despite similarities in rhetoric, their teaching approaches and careers in art education were very different. Cole's emphasis on freeing the individual, her California exuberance, and holistic approach are more reminiscent of Isadora Duncan.…

Contradictions in the literature abound concerning Franz Cizek's role in fostering creative art. Researchers should turn to student recollections to determine what Franz Cizek's contribution to art education really was. A former Cizek student who today is prominent in design work is interviewed. (RM)

Profiles the career and contributions of English art teacher Marion Richardson (1892-1946). A dynamic and assertive woman, Richardson's ideas and practices changed British primary and secondary art teaching for many years. She often used "word pictures" (narrative descriptions of scenes or emotions) to inspire her students. (MJP)