Reading Review 3
Brenda McCullers
February 6, 2015
Summary
The early 1900s introduced new dimensions in art education, one that incorporated holiday and festive art, and another that introduced aesthetic theories. Articles on the subjects being published in magazines such as School Arts and Modern Art were influencing the way art education was viewed, as well as, how and why it was being taught. Art educators, authors, and activists such as Henry Turner Bailey, Louis Prang, Arthur Wesley Dow, Denman Waldo Ross, Milton Bradley, and Albert H. Munsell were communicating their ideas and influencing others through lectures, publications, and teaching.
Also influencing art education was the industrial age. It was creating a different way of life for most Americans. Schools were not only preparing students for factory work but school terms were extended to occupy children while their parents worked. Henry Turner Bailey, the editor of School Arts magazine, observed how teachers and students seemed to view everyday life as tiresome and monotonous. They were living for holidays and vacations. To stimulate a new mindset, he “encouraged art teachers to create a festive atmosphere for themselves and their students by paying attention to the unique beauty of each new day” (Stankiewicz, 2001, p. 70). He suggested adding art activities and crafts designed around the calendar that incorporated holidays and seasons. Art educators looked at this as a way to motivate students while instilling values such as patriotism, goodwill and kindness, generosity, and respect for diversity. The new approach was also a way to encourage the appreciation of beauty as students decorated their schools and their communities. Along with that, it promoted a sensible use of leisure time that stimulated the mind and encouraged cultural growth.
Another influence on school art began to occur during this time. “A few theorists began to analyze visual forms and develop rules for order and beauty” (Stankiewicz, 2001, p. 86). They believed that art, like music, could be broken down into theories and taught by using specific art elements and design principles. Their theories and practices were adapted and used by artists and art educators alike.
One of these theorists was Arthur Wesley Dow. Dow taught his students to look at details for inspiration and focused on “line, dark-and-light (which he called notan), color, beauty of arrangement over truthful representation, and individual exercise of creative ability” (Stankiewicz, 2001, p. 89). He recorded his methods in a book called Composition and influenced artists like Georgia O’Keefe and Max Weber.
Denman Waldo Ross, author of A Theory of Pure Design, also “sought to apply scientific methods to understanding and explaining art and artistic elements and principles” (Stankiewicz, 2001, p. 94). Ross stressed balance, rhythm, and harmony. He believed that an understanding of the elements of art and principles of design was essential and required before creative expression should be allowed.
In 1890, Milton Bradley “introduced six standard colors, with a complementary color for each, and encouraged the use of colored construction paper” (Stankiewicz, 2001, p. 97). Within a few years Louis Prang collaborated with Mary Dana Hicks, and John S. Clark to publish a color system to compete with Bradley’s. Like Bradley’s, the system included twelve colors. However, the Prang system was divided differently. It had three primary colors, three secondary colors, and three tertiary colors. Eventually Albert H. Munsell “developed a system for naming colors in terms of five major hues—red, yellow, green, blue and purple—a range of nine values between white and black, and varying steps of chroma or intensity” (Stankiewicz, 2001, p.100). Other studies were conducted to determine how colors should be taught, how colors were perceived, and how colors related to each other.
Personal Reflection
Stankiewicz (2001) provided insight into why and how art curriculum changed during this period of history. One particular statement he made hit home with me, “Bailey encouraged art teachers to create a festive atmosphere for themselves and their students by paying attention to the unique beauty of each new day” (p. 70). This statement encouraged me to reflect on what and how I teach art. What type of atmosphere am I presenting? Does it encourage my students to appreciate each new day? Being a cancer survivor, these questions are important to me. One of my main objectives is for students to leave my classroom with the knowledge that art is a universal language and method of communication. I want them to develop a love for art and an understanding of how it can be used in today’s world to make a difference. I agree with Bailey that students should create art to beautify our schools and communities. Recently, I had the National Junior Art Honor Society create an art based prayer walk. Students, parents, and members of the community participated in the walk. It consisted of four stations. Artwork was created at each station and is now hanging in the middle school building to remind us to continue to lift up our needs in prayer. The project not only added beauty to our school, but more important, it helped bring out the beauty of our student body. During the walk students bonded as they worked to create art projects that centered on praying for each other, for our school, and for our community. I realize this project is unique to a Christian school but the results of non-religious art projects can produce the same result: unity, encouragement, and a reminder of the unique beauty of each new day.
References:
Stankiewicz, M. A. (2001). Every day a festival. In M. A. Stankiewicz, Roots of art education practice (pp. 67-83). Worcester, MA: Davis Publications.
Stankiewicz, M. A. (2001). We aim at order and hope for beauty. In M. A. Stankiewicz, Roots of art education practice (pp. 85-103). Worcester, MA: Davis Publications.
Brenda McCullers
February 6, 2015
Summary
The early 1900s introduced new dimensions in art education, one that incorporated holiday and festive art, and another that introduced aesthetic theories. Articles on the subjects being published in magazines such as School Arts and Modern Art were influencing the way art education was viewed, as well as, how and why it was being taught. Art educators, authors, and activists such as Henry Turner Bailey, Louis Prang, Arthur Wesley Dow, Denman Waldo Ross, Milton Bradley, and Albert H. Munsell were communicating their ideas and influencing others through lectures, publications, and teaching.
Also influencing art education was the industrial age. It was creating a different way of life for most Americans. Schools were not only preparing students for factory work but school terms were extended to occupy children while their parents worked. Henry Turner Bailey, the editor of School Arts magazine, observed how teachers and students seemed to view everyday life as tiresome and monotonous. They were living for holidays and vacations. To stimulate a new mindset, he “encouraged art teachers to create a festive atmosphere for themselves and their students by paying attention to the unique beauty of each new day” (Stankiewicz, 2001, p. 70). He suggested adding art activities and crafts designed around the calendar that incorporated holidays and seasons. Art educators looked at this as a way to motivate students while instilling values such as patriotism, goodwill and kindness, generosity, and respect for diversity. The new approach was also a way to encourage the appreciation of beauty as students decorated their schools and their communities. Along with that, it promoted a sensible use of leisure time that stimulated the mind and encouraged cultural growth.
Another influence on school art began to occur during this time. “A few theorists began to analyze visual forms and develop rules for order and beauty” (Stankiewicz, 2001, p. 86). They believed that art, like music, could be broken down into theories and taught by using specific art elements and design principles. Their theories and practices were adapted and used by artists and art educators alike.
One of these theorists was Arthur Wesley Dow. Dow taught his students to look at details for inspiration and focused on “line, dark-and-light (which he called notan), color, beauty of arrangement over truthful representation, and individual exercise of creative ability” (Stankiewicz, 2001, p. 89). He recorded his methods in a book called Composition and influenced artists like Georgia O’Keefe and Max Weber.
Denman Waldo Ross, author of A Theory of Pure Design, also “sought to apply scientific methods to understanding and explaining art and artistic elements and principles” (Stankiewicz, 2001, p. 94). Ross stressed balance, rhythm, and harmony. He believed that an understanding of the elements of art and principles of design was essential and required before creative expression should be allowed.
In 1890, Milton Bradley “introduced six standard colors, with a complementary color for each, and encouraged the use of colored construction paper” (Stankiewicz, 2001, p. 97). Within a few years Louis Prang collaborated with Mary Dana Hicks, and John S. Clark to publish a color system to compete with Bradley’s. Like Bradley’s, the system included twelve colors. However, the Prang system was divided differently. It had three primary colors, three secondary colors, and three tertiary colors. Eventually Albert H. Munsell “developed a system for naming colors in terms of five major hues—red, yellow, green, blue and purple—a range of nine values between white and black, and varying steps of chroma or intensity” (Stankiewicz, 2001, p.100). Other studies were conducted to determine how colors should be taught, how colors were perceived, and how colors related to each other.
Personal Reflection
Stankiewicz (2001) provided insight into why and how art curriculum changed during this period of history. One particular statement he made hit home with me, “Bailey encouraged art teachers to create a festive atmosphere for themselves and their students by paying attention to the unique beauty of each new day” (p. 70). This statement encouraged me to reflect on what and how I teach art. What type of atmosphere am I presenting? Does it encourage my students to appreciate each new day? Being a cancer survivor, these questions are important to me. One of my main objectives is for students to leave my classroom with the knowledge that art is a universal language and method of communication. I want them to develop a love for art and an understanding of how it can be used in today’s world to make a difference. I agree with Bailey that students should create art to beautify our schools and communities. Recently, I had the National Junior Art Honor Society create an art based prayer walk. Students, parents, and members of the community participated in the walk. It consisted of four stations. Artwork was created at each station and is now hanging in the middle school building to remind us to continue to lift up our needs in prayer. The project not only added beauty to our school, but more important, it helped bring out the beauty of our student body. During the walk students bonded as they worked to create art projects that centered on praying for each other, for our school, and for our community. I realize this project is unique to a Christian school but the results of non-religious art projects can produce the same result: unity, encouragement, and a reminder of the unique beauty of each new day.
References:
Stankiewicz, M. A. (2001). Every day a festival. In M. A. Stankiewicz, Roots of art education practice (pp. 67-83). Worcester, MA: Davis Publications.
Stankiewicz, M. A. (2001). We aim at order and hope for beauty. In M. A. Stankiewicz, Roots of art education practice (pp. 85-103). Worcester, MA: Davis Publications.
