In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…

Lowenfeld enjoined teachers never to permit children to copy art works because children's art was such a crucial part of the self. Yet by rejecting all copying, one can place too great a value on novelty and miss the essence of Lowenfeld's emphasis on the individual child's experience. (IS)

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)

Examines studies, especially those of Viktor Lowenfeld, which suggest that coloring books are harmful to the creative expression of children. Proposes an alternative hypothesis that views coloring books as useful teaching tools to help children understand and appreciate art. Calls for further research into the issue. (KM)

Describes a relief printmaking unit for sixth graders with the objective of decorating the inside of a pyramid. Ancient Egyptian imagery was used to help students become familiar with the style. Students designed and printed linoleum prints in different colors. They then critiqued their work and made their selection for the pyramid. (KM)

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)

Outlines three methods of introducing original paintings to young children: narratives, finding a consensus, and building on a shared experience. Analyzes the childrens' verbal and artistic responses. (KM)

Describes how third grade students learned about fresco paintings in Pompeii and made their own frescoes by pouring plaster into styrofoam trays and painting the surface. Students discovered they could control the paint better because of the porous surface of the plaster. (KM)

Explores Robert Henri's philosophy that art making is the inevitable result of reaching a state of heightened awareness. Considers how art teachers can convey this to students. Examines creative feelings, learning characteristics, and teaching strategies. Concludes that teachers' experience of this awareness as artists determines their ability to…

Describes the career of Scottish artist and art educator William Johnstone (1897-1981) and how his achievements, which are traced to 20th-century modernism, have influenced both art design and childrens' art education. Concludes that through Johnstone, progressivism in art and education converged, producing a model for creative expression in art…

Develops a unit to help elementary school children revive the spontaneous bright color painting qualities of their preschool years. After observing book illustrations and Henri Rousseau's work, second grade students created compositions outlined in black paint and then used felt-tipped markers instead of paint to color in the shapes. (KM)

Shows how two approaches, nurture (subject-matter centered) and nature (child-centered), have affected education and art education over the years. Concludes that whichever approach is fashionable, art education must be relevant to students' lives and they should be able to talk intelligently about art. (KM)

This document gives anecdotal stories of child art making along with philosophical interpretations for art teaching application. Art making is seen as experimental. It progresses from action to intentional mark making, naming, symbolic representation, and finally to "presence", an aesthetic creation experience that combines seeing and…

Papers by graduate students, and occasionally papers from their mentors which establish a context for the student papers, are organized by sponsoring University. Student papers presented are: (1) "Sequencing as a Student Strategy" (Elisabeth Hartung); (2) "The Role of the Horse as Subject Matter in Adolescent Girls' Artwork" (Alanna…

Explores the value of teaching art criticism and aesthetics to young children. Maintains that critical aesthetic experience reinforces such experiences in art production. Outlines seven methods to develop aesthetic language and shows how art criticism and aesthetics can be used by visiting a gallery or museum. (KM)