In both England and Japan, art education was viewed as having nothing to do with self-expression, but was considered to be an efficient means for industrial development. In England, it was designed to train the eyes and hands of artisans. The art critic Ruskin has often been referred to in the context of the transition to self-expression in the history of art education. This article shows, however, that Ruskin was not an advocate of self-expression. In Japan, drawing was introduced into the general education curriculum at the beginning of the Meiji era, and the aim of that instruction was to train the students' eyes and hands. In response to this trend, the Free Drawing Movement was introduced by Kanae Yamamoto. He attempted to introduce the methods of creation used by professional artists into general education. But this aspect was neglected by both his supporters and opponents, and Yamamoto has been presented instead as an advocate of self-expression. Drawing on the genealogical approach, as developed by Foucault, this paper re-examines this well-known history of art education. By replacing Ruskin and Yamamoto in the historical context of the transition of art education in two respective countries, the genealogy of self-expression will be revealed.