The History of American Art Education: Learning about Art in American Schools

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Greenwood Publishing Group, 1996 - 252 páginas

The ideas, people, and events that developed art education are described and analyzed so that art educators and educators in general will have a better understanding of what has happened (and is happening) to visual art in the schools. Peter Smith raises the issue of art education's inordinate emphasis on Eurocentric art. He challenges the often expressed notion that the field of education is the cause of art education's problems and proposes that confused conceptions within the art world are just as much a root of the difficulty. No other book in art education history gives such close and analytical attention to the careers of women in the field. The materials on Germanic cultural and historical influences are unequaled as is the scholarly treatment of Viktor Lowenfeld, probably the most influential single figure in 20th-century American art education.

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Contenido

The Beginnings of Education in the Visual Arts in America
11
The Dismissal of Walter Smith Historiographic Explanation the American Art Scene and Visual Arts Education in the Late Nineteenth Century
25
Germanic Influences
45
Franz Cizek and the Elusiveness of Historical Knowledge
59
American Attempts to Democratize Art Picture Study
79
American Women in Visual Arts Education Outstanding Leaders and the Interaction Between Gender Bias and Arts Status
91
A Charismatic American
103
Gender and the History of Visual Arts Education Survival and Disappearance
123
Of Women and Art Education Roles of Importance
139
A Colossus of Sorts
151
The PostLowenfeld Era Radical Dissent and Thoughtful Revisionism
177
From Aesthetic Education to Disciplinebased Art Education Intellectualizations and Confusions
205
References
219
Index
239
Derechos de autor

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Página 27 - We are also assured that men and women who have been long engaged in the processes of manufacture, learn readily and with pleasure, enough of the arts of design to assist them materially in their work. "For such reasons we ask that the Board of Education may be directed to report, in detail, to the next general court, some definite plan for introducing schools for drawing, or instruction in drawing, free to all men, women and children, in all towns of the Commonwealth of more than five thousand inhabitants.
Página 33 - Morocco explicitly defines his goal in the interpretation of his fieldwork as 'the comprehension of the self by the detour of the comprehension of the other
Página 98 - ... rises out of a state of quiet, a sacred spot where the miracle is born. Out of the dark the unconscious, a spring wells forth, and like a stream cutting its own bed through the meadow it flows. After this process a detachment sets in and the artist views, judges and develops according to his taste and maturity. In the young child or a great genius a state of unity may exist and the two processes occur at the same time. Because of this simple unity in the young child painting is play for him and...
Página 27 - Your petitioners respectfully represent that every branch of manufactures in which the citizens of Massachusetts are engaged requires, in the details of the processes connected with it, some knowledge of drawing and other arts of design on the part of the skilled workmen engaged.
Página 28 - ... in life, where the accomplishment would not be of utility. Every man should be able to plot a field, to sketch a road or a river, to draw the outlines of a simple machine, a piece of household furniture, or a farming utensil, and to delineate the internal arrangement or construction of a house. But to be able to represent by lines and shadows what no words can depict, is only a minor part of the benefit of learning to draw. The study of this art develops the talent of observing, even more than...
Página 27 - In England, within the last ten years, very large additions have been made to the provisions, which were before very generous, for free public instruction of workmen in drawing. Your petitioners are assured that boys and girls, by the time they are sixteen years of age, acquire great proficiency in mechanical drawing and in other arts of design. "We are also assured that men and women who have been long engaged in the processes of manufacture, learn readily and with pleasure, enough of the arts of...
Página 16 - We are students of words : we are shut up in schools, and colleges, and recitationrooms for ten or fifteen years, and come out at last with a bag of wind, a memory of words, and do not know a thing.
Página 28 - ... the internal arrangement or construction of a house. But to be able to represent by lines and shadows what no words can depict, is only a minor part of the benefit of learning to draw. The study of this art develops the talent of observing even more than that of delineating. Although a man may have but comparatively few occasions to picture forth what he has observed, yet the power of observation should be cultivated by every rational being. The skilful delineator is not only able to describe...
Página 28 - Teaching a child to draw, then, is the development in him of a new talent, the conferring upon him, as it were, of a new sense by means of which he is not only better enabled to attend to the common duties of life, and to be more serviceable to his fellow-men, but he is more likely to appreciate the beauties and magnificence of nature, which everywhere reflect the glories of the Creator into his soul. When accompanied by appropriate instruction of a moral and religious character, this accomplishment...
Página 98 - Creation is a process like life itself. It rises out of a state of quiet, a 'sacred spot where the miracle is born. Out of the dark, the unconscious, a spring wells forth, and like a stream cutting its own bed through the meadow, it flows. After this process a detachment sets in and the artist views, judges and develops according to his taste and maturity. In the young child or a great genius a state of unity may exist and the two processes occur at the same time. Because of this simple unity in...

Acerca del autor (1996)

PETER SMITH is Coordinator of Art Education/Art Therapy at the University of New Mexico. He has exhibited his art work in many parts of the United States and is a familiar name in art education journal literature with more than thirty major articles. His 25 year background in public school teaching serves him well as a spokesman of institutional art education.

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