Recommends using an activity-based approach to art history similar to that of the "new social studies" movement of the 1960s. Provides suggestions for activities related to art criticism, style, and inductive learning. Concludes that student activities can help integrate art history and studio art in art education programs. (CFR)

Describes a college level art history course based on the opposing concepts of Classicism and Romanticism. Contends that all creative work, such as film or architecture, can be categorized according to this bipolar model. Includes suggestions for objects to study and recommends this approach for art education at all education levels. (CFR)

Argues that teaching methods usually associated with art history are not appropriate for the subject. Contends that the learning cycle method, based on active, exploratory learning, is much more conducive to student learning. Contends that students learn more and enjoy the course more with this approach. (CFR)

Presents four classroom lessons designed for elementary and secondary students based on paintings in the Amon Carter Museum in Fort Worth, Texas. Provides an overall goal, specific objectives, background of the painting, and suggestions for discussion and activities for each painting. Includes full-page color prints of each painting. (CFR)

Contends lack of appropriate instructional materials and demands of studio art production may keep some teachers from incorporating art history and art appreciation into secondary art education courses. Presents two lesson plans focusing on art from European Renaissance period. Concludes that the integration of art history, criticism, and…

Provides four art portraits from various sources to help students question reality and the roles people play in society. Includes background information on the artists, historical contexts, visual analyses, and vocabulary lists. Outlines art and reading assignments for all age groups. (KM)

Identifies and responds to criticisms of discipline-based art education (DBAE). Shows how it is an all-inclusive program that responds to the needs of all students. Analyzes factors that relate to self-esteem and demonstrates how DBAE enhances it. Describes a typical lesson and case studies to support this argument. (KM)

Presents lesson plans designed for secondary students that assess the role of naturalistic representation in twentieth-century art by examining the artwork of four artists: Pablo Picasso, Rene Magritte, David Smith, and Jackson Pollock. Provides background information on each illustration, and outlines discussion and art production activities for…

Asserts that content-based art education, which is dominated by discipline-based art education at the elementary level, is also represented by a secondary model developed within the International Baccalaureate Program. Maintains that the program provides a content-based structure and fosters thinking skills, creativity, and critical appreciation.…

Presents classroom lessons based on four self-portraits found in the Art Institute of Chicago. Provides background information, discussion questions, and activities for each portrait. Includes full-page color reproductions of the paintings. (CFR)

Maintains that computers have provided a creative device for image creation and enhancement for visual arts educators. Traces the development of educational technology in art education from the 1940s to the present. Describes a four-part "visualization center" that will be the center for art education programs in the future. (CFR)

Contends that, as rapid social change and new technology change society, aesthetic considerations become more important. Discusses issues related to using computers and other educational technology in art education programs. Concludes that the overall importance of art education will increase with the expansion of the information age. (CFR)

Maintains that teaching the creation of art can be lost in the emphasis on discipline-based art education. Argues that much of art education is studying the art of others or the concepts and principles that can be derived from others. Contends that the process of personally creating art must be revived as an integral part of art education. (CFR)

Questions whether art educators are using outmoded, traditional methods in a nontraditional world. Contends that teachers must be appreciative of art's eclectic nature and its ability to help students understand contemporary society. Asserts that the relationship between the art teacher and the student must be both active and reflective. (CFR)

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…