Reading Review 4
Brenda McCullers
February 12, 2015
Summary
Advancements in technology made it possible for teachers to display physical representations of artwork in their classrooms around the turn of the twentieth century. As a result, picture study became popular in American schools. It “was grounded in the belief that young people could be taught to read the language of art,” (Stankiewicz, 2001, p. 116) providing educators with a way to bring culture and art appreciation into the classroom. In addition, many believed that “most great artists exemplified high moral character and that exposure to works of fine art would help students develop spiritual and practical virtues” (p. 116). Educators could now incorporate specific lessons through studying reproductions by certain artists or specific subject matter. Advocates like Henry Turner Bailey, the editor of School Arts magazine, encouraged teachers to collect pictures as resources for their classrooms. Teachers could display large framed reproductions in the classroom and throughout the school. Smaller pictures could be propped up for discussions or displayed for various lessons. Even smaller pictures, which fit in the palm of a child’s hand, could be used as a gift or reward. It was the hope of educators that the influence of studying art would spill over into their homes and community.
Key Influences
During this time, there were key influences and individuals that contributed to emerging educational practices linking the study of art works to the development of morals, good taste, and other virtues. One such influence was John Cotton Dana who believed that Americans needed only to be taught how to observe “the sensory and formal qualities of everyday objects and thus build discrimination that could be applied to future consumer choices” (Stankiewicz, 2001, p. 120). Dana encouraged discussions around Sunday comics, examples of lettering, and art on every day objects such as teacups to build and develop visual and cognitive skills, creating aesthetic habits.
Another influence was the Toledo Museum whose focus was on making “Toledo a better and more beautiful city” and “to contribute to the development of good citizens” (Stankiewicz, 2001, p. 121). In order to accomplish this, the museum exhibited work by African-American artists and held receptions to draw in the community. The staff prepared installations to teach proper interior design, encouraged gardening through the sale of seeds and annual flower shows, taught classes on birds, and exhibited artwork from local schools.
A storyteller named Anna Curtis Chandler also made an impact during this time.. Chandler began telling stories to children in settlement houses and hospitals during her years in college. Eventually she found herself touring the Northeast telling stories in various museums.
“She combined information about works of art with facts about their makers and
the times in which they had been created, correlating her stories with school
curricula. After telling a story she led groups into the galleries to see the works”
(Stankiewicz, 2001, p. 121).
Her goal was to teach art education by creating a world that captivated her audiences and encouraged them to explore the halls of the museums.
Personal Reflection
On what basis should an art teacher select the works to be shown to students today? Earlier this week, many ideas would have come to mind as I contemplated this question such as class age, dynamics, and diversity. After exploring the Visual Thinking Strategies (VTS) and North Texas Institute for Educators on the Visual Arts (NTIEVA) websites I believe my answer may be different. Although the before-mentioned items are important considerations, information from these two websites helped me recognize that the way art is presented is just as important as the selection. Yes, guidelines need to be followed. Images that may be sexual, include profanity, violence, or inappropriate content are not allowed. Yes, the artwork should be connected to the lesson, incorporate artists of diverse backgrounds, different time periods and styles, different ethnic backgrounds, and men and women. However, providing opportunities for students to participate in artwork discussions builds observation, processing, and communication skills.
What should students learn from artwork? While I believe it is important for students to learn how the artwork relates to the lesson being presented and bring insight into art history, they can also learn how art can be used as a method for communication, a statement of belief, and as a way to change the world around them. VTS suggested students could learn how to navigate new situations and strengthen critical thinking skills, analytical reasoning, and problem solving abilities. After reading through this lesson, I plan to incorporate more discussions and art criticism in my classroom. The VTS website suggested this should give the teacher a better understanding of their students’ thinking patterns and insight into how they are processing the artwork. I am excited to try this, as I believe it provides another way to encourage and motivate our students to explore the world of art.
References:
Art Criticism. (n.d.). In North Texas Institute for Educators on the Visual Arts. Retrieved
February 11, 2015, from https://ntieva.unt.edu/pages/teaching/tea_comp_
artcriticism.html#def_artcriticism
Stankiewicz, M. A. (2001). The aesthetic culture of pupils. In M. A. Stankiewicz, Roots
of art education practice (pp. 105-145). Worcester, MA: Davis Publications.
"What's going on in this picture?". (n.d.). In Visual Thinking Strategies. Retrieved
February 11, 2015, from http://www.vtshome
Brenda McCullers
February 12, 2015
Summary
Advancements in technology made it possible for teachers to display physical representations of artwork in their classrooms around the turn of the twentieth century. As a result, picture study became popular in American schools. It “was grounded in the belief that young people could be taught to read the language of art,” (Stankiewicz, 2001, p. 116) providing educators with a way to bring culture and art appreciation into the classroom. In addition, many believed that “most great artists exemplified high moral character and that exposure to works of fine art would help students develop spiritual and practical virtues” (p. 116). Educators could now incorporate specific lessons through studying reproductions by certain artists or specific subject matter. Advocates like Henry Turner Bailey, the editor of School Arts magazine, encouraged teachers to collect pictures as resources for their classrooms. Teachers could display large framed reproductions in the classroom and throughout the school. Smaller pictures could be propped up for discussions or displayed for various lessons. Even smaller pictures, which fit in the palm of a child’s hand, could be used as a gift or reward. It was the hope of educators that the influence of studying art would spill over into their homes and community.
Key Influences
During this time, there were key influences and individuals that contributed to emerging educational practices linking the study of art works to the development of morals, good taste, and other virtues. One such influence was John Cotton Dana who believed that Americans needed only to be taught how to observe “the sensory and formal qualities of everyday objects and thus build discrimination that could be applied to future consumer choices” (Stankiewicz, 2001, p. 120). Dana encouraged discussions around Sunday comics, examples of lettering, and art on every day objects such as teacups to build and develop visual and cognitive skills, creating aesthetic habits.
Another influence was the Toledo Museum whose focus was on making “Toledo a better and more beautiful city” and “to contribute to the development of good citizens” (Stankiewicz, 2001, p. 121). In order to accomplish this, the museum exhibited work by African-American artists and held receptions to draw in the community. The staff prepared installations to teach proper interior design, encouraged gardening through the sale of seeds and annual flower shows, taught classes on birds, and exhibited artwork from local schools.
A storyteller named Anna Curtis Chandler also made an impact during this time.. Chandler began telling stories to children in settlement houses and hospitals during her years in college. Eventually she found herself touring the Northeast telling stories in various museums.
“She combined information about works of art with facts about their makers and
the times in which they had been created, correlating her stories with school
curricula. After telling a story she led groups into the galleries to see the works”
(Stankiewicz, 2001, p. 121).
Her goal was to teach art education by creating a world that captivated her audiences and encouraged them to explore the halls of the museums.
Personal Reflection
On what basis should an art teacher select the works to be shown to students today? Earlier this week, many ideas would have come to mind as I contemplated this question such as class age, dynamics, and diversity. After exploring the Visual Thinking Strategies (VTS) and North Texas Institute for Educators on the Visual Arts (NTIEVA) websites I believe my answer may be different. Although the before-mentioned items are important considerations, information from these two websites helped me recognize that the way art is presented is just as important as the selection. Yes, guidelines need to be followed. Images that may be sexual, include profanity, violence, or inappropriate content are not allowed. Yes, the artwork should be connected to the lesson, incorporate artists of diverse backgrounds, different time periods and styles, different ethnic backgrounds, and men and women. However, providing opportunities for students to participate in artwork discussions builds observation, processing, and communication skills.
What should students learn from artwork? While I believe it is important for students to learn how the artwork relates to the lesson being presented and bring insight into art history, they can also learn how art can be used as a method for communication, a statement of belief, and as a way to change the world around them. VTS suggested students could learn how to navigate new situations and strengthen critical thinking skills, analytical reasoning, and problem solving abilities. After reading through this lesson, I plan to incorporate more discussions and art criticism in my classroom. The VTS website suggested this should give the teacher a better understanding of their students’ thinking patterns and insight into how they are processing the artwork. I am excited to try this, as I believe it provides another way to encourage and motivate our students to explore the world of art.
References:
Art Criticism. (n.d.). In North Texas Institute for Educators on the Visual Arts. Retrieved
February 11, 2015, from https://ntieva.unt.edu/pages/teaching/tea_comp_
artcriticism.html#def_artcriticism
Stankiewicz, M. A. (2001). The aesthetic culture of pupils. In M. A. Stankiewicz, Roots
of art education practice (pp. 105-145). Worcester, MA: Davis Publications.
"What's going on in this picture?". (n.d.). In Visual Thinking Strategies. Retrieved
February 11, 2015, from http://www.vtshome