Reflective dialog between student and teacher when children are producing art can help children grasp relationships between actions and consequences. Eight types of questions that can be asked by the teacher are discussed. (IS)

Teachers should consider integrating reading tasks into their art assignments. Ways to do this include reading about art activities, having the teacher create note-taking guides for demonstrations, and encouraging students to question and critique artwork. (IS)

Foundations of art education include using art to improve the hand-eye coordination of factory workers, document children's developmental stages, and gain historic insights or cultural benefits. In addition, the artist-teacher concept of art education reinforced the atelier, guild, and master-apprentice relationship. Recent influences in art…

It is important to understand the biological, psychological, and social pressures facing modern adolescents in order to use art education as a uniting force in the evolution of education. These pressures are discussed and the role of art as a catalyst in adolescents' total education is examined. (IS)

By focusing on the pleasure to be gained through art and limiting, insofar as possible, the pain inherent in growth in any discipline, we have unwittingly fostered the notion that anyone can teach art and that student art need not strive toward any standard. This demeans art and art teaching. (IS)

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.…

Most schools teach the triadic color system, utilizing red, blue, and yellow as primary colors. Other systems, such as additive and subtractive color systems, Munsell's Color Notation System, and the Hering Opponent Color Theory, can broaden children's concepts and free them to better choose color in their own work. (IS)

Outlines 30 steps for planning, developing, implementing, and evaluating a children's art program in a school, community, university, or other setting. Brief summaries of lessons that illustrate the way art concepts are introduced to children in grades one to three are also provided. (RM)

The concepts of fine and popular art are relative, and the distinction between the two is slight, if not illusory. Examples of both should be used in aesthetic education classes. (RM)

There are 10 approaches that teachers can use to sort out and present works of art to students, e.g., stylistic, topical, specific artist. Teachers should use all the approaches when developing a curriculum. An example of how a study of impressionism by secondary students might include these approaches is provided. (RM)

Aesthetic perception must be taught if we expect students to use it. Within a given society, the creators and viewers of art are socialized to more or less agreed upon aesthetic codes and conventions. (Author/RM)

Under the directorship of Holger Cahill, who drew upon John Dewey's principle of the universal communicability of art, the Federal Art Project of the Great Depression era gave all of the people the opportunity to study and enjoy art. Specific programs of the project are described. (RM)

Examined are inadequacies of the eclectic or contextualist classroom principle, defined as a philosophy of art education which selects scholarly art content offerings related to the production, criticism, and history of art as it relates to the school environment or context present in a particular time and place. (RM)

An exploration of four rivers--the human brain, Nile, Orinoco, and the river created from ideas--shows how diverse expressions of art as a human activity may be and that art has a momentum generated and sustained by forces far greater than those possessed by school boards or legislative bodies. (RM)

The major goal of the National Building Museum (Washington, DC) is to develop a more enlightened citizenry through information and communication about buildings in the United States. Specific activities of the museum are described. (RM)