EELUV Weta eee sietititavatathtitetenerbre ite a tatiraly ot oo “t Tatas Pao say ae ao? Mace Re Sheri * ar atrtate ath itas whe “« eect ees fee be oe mt ") ve ey eyveve et ORM: Cu ame ee we » \ Oe eee fe cit si = co r; = $49 8. CONDE De A Phe ae beads abe PY , tate Fe. 2 & ‘ kee vot ¥ Pehle hye * > Arh r ck 9 aldara nt Bee eof. * ceigt et oa H+ Satis Sas Gite * RMT Te adoro shay PT GERM be rare ae te Po ee he LS Ln vistou Section dae mh iy ee: ef i A ( : f A i ;’ wa hel SAY ve TBA PAL My [ ¢ , i ot ewe, t Ot Pua x fe ns rans ie ey is at ij fag RAT, hcg oc ie Ww we ‘bap j nf AH 1 Hiway GO j 4 ‘ Pil iif - P, &, Pi shal bs 4 . * 5 ‘ | ig } ’ id 4 ry) ah =a5 AX . ‘ a + f \ j ie : if Por i ‘ ipl $ : : ; aa bat . 4 Dee y s ee ’ ’ My eer : \ : an or . 7 ~ j ‘ UJ ; t yt ‘ 7 ; i i ' r 7 . : “7 ‘ | } "bat ‘ . ba et gee | ' «* | iA 4 \ } d i 7 d 1 A m ‘ i} ® av e 1 4 ; . Vai Sar i ~ ae } . laa vive ry te is fe Pay iv SERIES ON CHILDHOOD EDUCATION EDITED BY PATTY SMITH HILL PROFESSOR OF EDUCATION, TEACHERS COLLEGE COLUMBIA UNIVERSITY ‘pltys spvis-jsig Aq payuleg (69 avd aac] <«¢ UIO]S IL ,, THE BEGINNINGS OF ART IN THE PUBLIC SCHOOLS way OF PRIWP MAR 9 193] 4, . SA ogica, sew BY st a YY MARGARET E. MATHIAS SUPERVISOR OF ART IN THE ELEMENTARY SCHOOLS CLEVELAND HEIGHTS, OHIO CHARLES SCRIBNER’S SONS NEW YORK CHICAGO BOSTON ATLANTA SAN FRANCISCO CopyricuT, 1924, By CHARLES SCRIBNER’S SONS Printed in the United States of America TO MARY REED WHO FIRST MADE ME CONSCIOUS OF THE NEGLECTED ART NEEDS OF CHILDREN To Professor Patty Smith Hill who enéouraged me to write; to Doctor Bessie Lee Gambrill who read the manuscript from the psychological point of view; to Doctor Frederick G. Bonser who read Chapter XIII; to Miss Gertrude I. Saastamoinen who read Chapter XV; to Mr. Clarence A. Mathias who made the photographs; to the superintendent, teachers, and super- visors of Cleveland Heights whose unusual ability, open- mindedness, and co-operation made it possible to put the theory into practice in a public-school system; to many oth- ers whose criticisms, suggestions, and approvals have been invaluable, I gratefully express acknowledg*sent and appre- ciation. INTRODUCTION In this volume we have a record of the art experiences and growth of children, teachers, and an art supervisor in a pub- lic-school system. In this one cannot fail to see that the author has not only a deep feeling of reverence for art, but an equally deep reverence for the child’s right to grow through crude self-expression into a consciousness of better, more beautiful, and more satisfying form. One of our greatest dif- ficulties encountered in our effort to preserve the spirit of art in the kindergarten and lower grades of our schools may be directly traced to the fact that many classroom teachers and art supervisors fail to see art expression in its relation to child nature and the laws of development. Art ceases to be art in Miss Mathias’s scheme of education, if any form or technique, no matter how good, is imposed from without. In other words, if it fails to grow out of the child’s own expression and feeling of need as they lead on to higher levels of appreciation and control. It is truly a great art to preserve the spirit of art in our public-school systems. It is so much easier to send out de- tailed directions and prescribed devices and lessons, tuan to develop in ourselves and in the teachers under our super- vision a knowledge of principles, a skill in technique, and a sensibility both to beauty and expression that will serve as a compass in leading toward our goal. If with these can be de- Ix x INTRODUCTION veloped a sense of responsibility and a critical attitude to- ward one’s work, whether a supervisor be present or absent, we have something far more valuable and more stimulating to both teacher and child than detailed curricula with direc- tions as to what and how, which read more like recipes for cook-books than art education. In her school Miss Mathias has had an ideal laboratory in which to work out her art ideals. The school system was suf- ficiently small for her to meet her teachers frequently, not only in classes for their own art training, but in the class- rooms with the children where she herself demonstrated and helped them as they gave instruction in the fine and in- dustrial arts. In this way she was able to communicate to them not only something of her own art knowledge and skill, but also her respect for the child and his right to grow through his own expression. In addition, Miss Mathias was fortunate in serving under a superintendent who respected not only the measurable, but the non-measurable in education—one who after having selected his corps of supervisors with great care, realized that the best results could be secured only under conditions which made it possible for them to work out their own convictions with full responsibility for the outcome to him, the board, and the citizens. Finally, Miss Mathias had in her classroom teachers and supervisory colleagues a highly selected group of co-workers, who shared her vision and as- sumed their share of responsibility for the wide range of liberty bestowed upon them in so enlightened a public-school system. INTRODUCTION xi Such freedom given to both supervisors and teachers carries with it a heavy responsibility to live up to the highest level of productivity and accomplishment, and those who ac- cept this responsibility must realize that freedom should never be liberty to lag or waste time, but freedom to grow with the fewest hindrances to progress as manifested in positive evi- dences of development and achievement. Freedom is under a peculiar obligation to have its results put to the test of mea- surement in so far as its results are measurable. Unless we can demonstrate that freedom is the best medium for growth in both measurable and non-measurable achievements, we are not worthy of the liberty bestowed upon us. Though no sat- isfactory objective measures have been used by Miss Mathias in the past, she is working to secure some more objective scales and tests which may put her art results on a more scientific basis than the trained judgment of herself and her teachers. While striving for these more objective standards, Miss Mathias has tried to set up some mile-stones by which teachers may judge whether children are living up to their maximum powers in the kindergarten and the grades. What may and what should teachers in each grade expect of their children? At this time it is difficult to speak with authority. These tentative mile-stones have grown out of studying the best efforts of children on each level, and although they need to be verified with larger numbers of children, it is hoped that they will serve to stimulate teachers to inspire and expect even little children to live up to their maximum abilities. Miss Mathias has served the Department of Kindergarten- xii INTRODUCTION First Grade Education of Teachers College for several sum- mer sessions, teaching two of the sections for kindergarten, and primary teachers, and art supervisors, in the beginnings of fine and industrial arts for young children. Miss Mathias’s work has grown in and out of public-school situations. The final test of any educational work must always be the public school, planned for all the children of all of the people. Patty SmitH HIrt. CONTENTS PAGE INTRODUCTION BY PROFESSOR PATTY SMITH HILL......... ix CHAPTER ULE PE ROD LION coreg ated ey wert vice e's Vea etedatelbe ole due I LI GART EXPERTENCES IN: CHILD. Lire. ius yak en 3 III. THE STEPS IN THE DEVELOPMENT OF THE ARTISTIC PROCESS PAST Oil tc aig aoe nl: eteeatette eat mit 6 IV. EDUCATIONAL PRINCIPLES IN CHILD LIFE......... 10 V. MATERIALS SUITED TO CHILD EXPERIENCES....... 12 ANAS SOL Cy ORR OMR RE Roy ks CHP Rib apa MP OMT IL CER Maem yey HUE Ni 5 BELTON CHAT) ecko fe ees eg aut afultes ches alaia ented mas 29 NODE) Cisne CE 0 RA SR iar a AreSIe WR PEL ky a 36 ESERIES 7 cs oe shat vldn dete Ons REE etek GE ee iat 43 EN INS 18012 Gog bn fo o won ere einen A tateete aie et ekodtia ot 45 Pi i OL at ik ae Pe GS em a 59 Pel em TMA VPRECTATION » \). f)siss oc xchat bien eldle b wis siesta 63 XIII. Bum~pinc THE ART CURRICULUM FOR THE KINDER- GARTEN AND LOWER PRIMARY GRADES.......... 68 xiii XIV CHAPTER XIV. XV. CONTENTS PAGE ARRANGEMENT OF CLASSROOM..........0-+eeeeees go SUMMARY OF ART PRINCIPLES NEEDED IN WoRK wire Litre CHILDREN: 2... ve. on. eine eee 94 BIBLIOGRAPHY Mi ois 5.07. eishe eke a's igo tin ce SAL Ue II4 ILLUSTRATIONS BMS LOLTI eee tele Pte RA Lah (elelg: diate shale a les Frontispiece PLATE FACING PAGE Memes PaASNEC IV AOl,S ClOCNGS ¢ yo viajes ute ais Woe awed & Stale’ 4 II. Children’s work showing three stages................. 8 filer aelay 45. the perrect' plastic material’ 7.600 ves ray S. 16 IV. ‘From wood, children make things satisfying the play instinct and things suggested from needs that arise i eI SCOOOM AIG ar he i oninn qiaty meray eats eM tae 30 V. “Children make from cloth articles for themselves and for ‘ela abd hs bey EER ait GAaveg bs Ma. Gi gage Ue PS te A EUR ALEL Ud 38 VI. ‘‘The drawing materials that best satisfy the child’s needs for expression are the easel, large brushes, large sheets of paper, and plenty of accessible paint” 46 VII. Children’s drawings showing improvement in use of prin- CANS OL DETSDECHIVE eho Selene salar eant i tte 50 VIII. Pictures showing growth both in unity of ideas and in ENGL AV AY FPS ADGA § Ces EC Suk Fata ng ML DR ESA A 70 IX. A series of pictures painted by a first-grade child, evi- dently the expression of nature-study experiences... 82 a Series of children’s pictures showing improvement in XI BERET ches a win ett sre oe Meee REE Oa ete 94 XIV. MP OOIOT Ss ce Go sea oo Lk MLE Oo ee ee ee IIo | Series of children’s pictures showing improvement in XV. “A better understanding of the true usefulness of art recog- nizes creative power as a divine gift, the natural endowment of every human soul, showing itself at first in the form that we call appreciation. This appreciation leads a ceriain number to produce actual works of art, greater or lesser,—perhaps a temple, perhaps only a cup,—but it leads the majority to desire finer form and more harmony of tone and color in surroundings and in things for daily use. It 1s the individual’s right to have full control of these powers.”’ —ARTHUR WESLEY DOW. I THE PROBLEM Results have shown that our public school art courses are inadequate in that they have failed to enable the average individual to meet with intelligence the art problems that confront him. We have conscientiously provided materials, time, and skilled guidance for artistic training only to find as a product of our efforts individuals who have little or no ability to meet every-day art problems. If we are to hope for a society with art appreciation and some ability to meet art problems, an adequate art course must provide for developing ability for self-expression and for understanding the expressions of others. Analysis of our art courses shows that ability to express oneself has been given slight consideration. On the contrary, children have been asked repeatedly to express the ideas of others; through this imitation they have acquired skill in handling materials for which they have felt no need. If one accepts the point of view taken by Doctor Dewey, that ‘‘a mode of expres- sion separated from something to express is empty and arti- ficial, is barren and benumbing,’’* one can but question the art imposed upon children. When this principle becomes a conviction the art lesson that consists of telling the chil- dren first what to draw and then how to draw it cannot be justified. * Dewey, John, “Imagination and Expression,” p. 7, Teachers College Bul- Zetin, March 1, 1919. I 2 THE BEGINNINGS OF ART If education is growth,* and if growth implies increasing ability to express oneself through different media, then our art training must provide for growth in expression through the use of materials. Doctor Dewey has said: “We have plenty of glorification of Art and of the importance of artistic training, but we have almost no definite scientific attempts to translate the artistic process over into terms of its psychical machinery—that is, of the mental processes which occasion and which effect such expression.” This changed conception of art training has brought to the teacher of little children the problem of how to evaluate their early expressions and how to use them as a means to further growth in expression. * Dewey, John, Democracy and Education, chap. IV. (Macmillan.) II ART EXPERIENCES IN CHILD LIFE What “mental processes”? have children which occasion and which effect art expression? What experiences have little children which cause them to feel the need for art media? The story experiences of every child call for art media and art expression. The small boy explains to unseeing adults that his puzzling arrangement of lines tells the story of the Ginger Bread Boy. He draws Jack and the Bean Stalk with all its thrilling episodes. He makes the chairs and beds for the Three Bears, and models the bowls from which they ate their bread and milk. His social experiences are interpreted and assimilated through the use of materials. He relives the circus by mak- ing the animals, the circus wagons, the tents, the rings, the ring-master and his performers. He draws and constructs to express his experiences in travelling. The train, the boat, and the automobile form centres around which he groups a great variety of observations. His experiences at home, at school, in the theatre, in the market, in the shopping district, and in the park are reinforced by means of motor expression. Perhaps the play experiences occasion the richest expres- sions in early life. The impulse to play store necessitates constructing and outfitting the store and modelling fruits and vegetables or other wares to sell. Playing with dolls excites him to surround the dolls with comforts similar to his own, and he makes a house. The house must be furnished. He makes chairs and tables and beds. He weaves rugs. He 3 4 THE BEGINNINGS OF ART models dishes. He takes cloth and makes curtains for the windows and linens for the beds and for the dining-table. He decorates the walls, paints the floors, and adds his own touch of enrichment to each article of the equipment. As his social experience grows to include life of other lands and other times, he relives those experiences in play. He plays Indian. He makes himself Indian clothes and decorates him- self and his clothes with Indian symbols. He provides him- self with a wigwam and with the crude implements necessary to Indian life. He makes Indian pottery and decorates it. The child’s emotional experiences also call for expression. John comes into school eager to get his crayons to show the rainbow he has seen. Mary comes charmed with the sight of the balloon-man’s wares, and delights in expressing the feeling in spots of brilliant color. Are art principles involved in these crude attempts? In the drawing of Jack and the Bean Stalk and the Three Bears we find the need for the principles of proportion. In the modelling of the dishes for the house and in the decora- tion of the Indian pottery we find need for the principles of art structure. Race experience includes knowledge and skills which have been evolved through repeated attempts to gain satisfactory expression. Such knowledge and skills should assist the child as he finds himself dissatisfied with his own work and unable without help to improve it. The child, for example, who struggles in vain attempting to show distance in his drawing will find satisfaction in a few simple principles of perspective. In planning his house, an understanding of the elementary principles of rhythm, balance, and harmony will facilitate expression if such understanding comes to the child when he feels its need. (¢S8y Op Sjjop Aw poysem [,, “] ALVId bs By ait Mi bale eh, iY te nas hie jit Y Vi ye “4a a He : j Nisjeee A pests “¢ Te cali : { ; : e i¥ i ny ae hi aN i Ss wit \ ‘ . i a i,’ @ ae x ‘i HM ‘ai ‘ au A Vara @ gto, 7) : : roa HA i iy hae ita * x “4 es fn oA 7 = : » At | oh tie Ten EG) bs ee a | aH U i H “nf bibl Th mi Aeris 7 a = f a ree mea Xs ad i) i ba | ah Dey ' 1k eee . i 7 S = i a illgoal fe ne | > <0 y PAS - *) r- ene ae is mM Mig if ed ee , “if is ae be aes ms : Ty elt a. ine i ene Neer Binns ane Os ho rae lita! ‘ ee a en i ee Bn % Pee {AU penis ee eter ee ee ne ae ae a Ya <7 eS cle Vena gt | 7 ee Sma oe aurea si ' iat, bad be ta 9 +! Rin ii a : i aus ie 7 a ia cr A y 4 ; : Pitta mil ‘< i id © - *y i nad a o * | ai Hie ; , 7” ‘ a A Z y Vol awal) g ; a Ee Se | | : b i tiy ; 4 _ / - *-® ” 4 \ | 7 i as : 7 ‘ ‘ ‘ . ’ en ; ke J « ¥ ded n ‘ : a ee . oa : ‘ : be : : rv YT 7 , e »- 4 + F : ,a 7 rT ey ‘ 4 7 oe Sa > 7" i te ane \ f > 7 é = - 7 uy v7] THE ART CURRICULUM 7 Need for Objectives and Standards.—This accumulated experience or technique consists of certain attitudes, knowl- edges, habits, and skills. The sequence of these steps in growth on the basis of the child’s needs and development has been discussed in detail in preceding chapters. However, in order that each successive year may bring such experiences to the child as will promote real growth in expression, it will be help- ful, in addition to providing suitable materials, encouraging responsiveness to feeling, and supplying technique as there is apparent need, to formulate aims and standards which will guide us and prevent floundering in the mass of detail. Need for Additional Provision for Appreciation.—In provid- ing for growth in expression we must not lose sight of the importance of the development of appreciation. Some ap- preciation will be established through the child’s use of materials. But, since his use of materials is very crude, an appreciation of the work of others developed by comparison to his own use of materials may overawe him to the extent of hindering his expression by emphasizing his own inade- quacies. As he grows older and desires better technique his appreciation of a masterpiece may be increased through ex- periencing some of the artist’s problems. For example, one’s appreciation of a picture done in water-color is increased after he has attempted to paint in water-color and knows the diffi- culties of handling that medium. However, to show a picture to a child when he is first attempting to use paint may make him feel that his own efforts are worthless and may discourage further effort. The child’s appreciation of the work of others through his own use of materials increases as his experiences increase. For this reason we find in the record of activities and outcomes quoted below fewer attitudes of appreciation 7m THE BEGINNINGS OF ART of the work of “grown-ups” established through the child’s use of material in the kindergarten, and correspondingly more in the first and second grades. Shall we wait, then, until the child reaches the upper grades to begin to emphasize appreciation? One cannot observe little children and consent to ignore their genuine enthusiasm about things that interest them. So the appreciations that we hope to establish must be the outgrowth of the child’s entire ex- perience and not be limited to his experiences in using ma- terials. To notice a new dress that another child is wearing; to notice a lovely flower-bed and comment on it; to want to pick up papers from the school lawn; to be conscious of pleasure in seeing beautiful color are evidences of a living zesthetic sense. Appreciation as a factor in the curriculum, then, is not adequately provided for as an outgrowth of such activities as are listed below, but must be also established through looking for and enjoying beautiful things that are a real part of the child’s entire experience. Record of Activities and Outcomes a Help in Determin- ing Needs of Group.—A record of activities and outcomes will help to reveal the needs of the group. The method of- fered below is given not as a model but as an example of how the need was met in a particular situation. With the se- quence of development in mind, the groups were carefully observed in order to determine how far each group could progress in the various phases of development in order to promote maximum growth. In making and using these rec- ords it is necessary to keep in mind that groups vary because of the factors of experience and native equipment; and to consider the particular groups themselves in anticipating their needs, and that under no circumstances are we to adopt THE ART CURRICULUM 73 a plan because it has been successful elsewhere. Also, the in- dividuals whose rates of progress are more rapid or less rapid than those of the other members of their groups must be al- lowed to proceed at their own rates. The main objective in the use of materials in this situation was: the liberating of each child’s latent powers for freer ex- pression by helping him (1) to recognize the satisfaction of worth-while expression and (2) to gain such control over materials as will facilitate that expression. Need for Recording Activities and Desirable Outcomes in Relation to These Activities——In addition to general objec- tives, definite aims in regard to the use of materials for each grade were determined upon. Standards were formulated as a means of checking in our effort to accomplish those aims. As a guide to supplying technique as it was needed so that “activity might lead on to further activity,” the steps in technique (attitudes, knowledges, habits, and skills) were re- corded in relation to the activities which revealed the need for that technique. The record was made for the different grades with reference to the materials. For more specific guidance objectives and standards for the use of each material by each grade were decided upon. THE BEGINNINGS OF ART 74 esosodind oz1uyep 10} sTeLiezeur gsn oy sooq gosey}s aANepndraem oy} Yysnoryy possed pylyo oy} sey—psopunig ‘Aynjosodind syerieyeur ZuIsN Jo jy} ‘aAo] JOYSIy yxou oy} OUT dopaop 0} pUv S[eLa}vUT Jo 9SN otf} UI 93v}S aanendmuem oy} ysnomyy ssed 07 pyryo yore 10y Ayrunj10ddo pioye o T—20y99l99 NULAVOAACNIY] 78 THE ART CURRICULUM "SJ SIOM -Ioded ‘siopjoy *191]}990} Yonys ore -[loued :szyi3 Suryeyy sooord usyM uUPy} 19}}9q SSPUI UI poyya ‘soqd ‘UMO -poUl Udy JoY}o3 -de ‘s}eoq ‘sosnoy Se ][oMa se si9yjO -0} spjoy Avo yeyy, ‘sued iososodind :oyeu [Im oy 7eyM jO YIOM 38uIq}99}01g uMO sIy yno Aqivd s0UvAPe UT SUIPLHOq ‘AIP SI JI UOYM Po OF APD asn 0} aIsaq ref 0} Avpo = -gured oq ued 71 ye, *s}[Nso1 SurueU pesnun suiuinzoy ‘Av Woy espe = fsayvo soood jeg ‘gjquinio jou puv us 9q Ued ssuIYy} yey pue ‘sTTeq AvP jo ‘9Iq. « -prey yim fuorssord = uoT}ezZITVor YIM soooid punos Suryed -e} ye oovjd umo ye = -UNT «Aue ploy qm uolorysyes poppy “19439303 sado1d = Ae YIM BuryIoM = t._: AOUO}SISUOD 44ST ‘Surpunod SUIYINS JO ped}SUI “100] pue ajqe} pue jo SI 4 Ft fyerrozeUr ‘jeuazeu oysejd = pure ‘Suryord ‘surjor sseUl WO SUTTPPPOPT soyzO[D Sursojorg onsejdestAepyeyy utr Aof jo surpoq ‘Aep surneindiueyy SULS SHQOH sad pajnouy SOpNHAY SOY: aaupjuasadgayy ¢Svapl Jo Ajorrea & ssordxa pyiyd oy} sooq = ¢[nyosodind yom Arjo Te s[—‘pappunjs ‘SuIUvOT UO soye} Av YIM SoyeU oY SuryjAIOAD yey} OS yuouIdopAOp ur posdo0I1d 0} way djoy pure WNnIpeu & se AVI YIM IvITUTey aUIO0Neq 0} AjTUN}A10ddo pyryD Yove AIS OF —‘a0792l99 AVTIO NALUVOAAGNIY] THE BEGINNINGS OF ART 76 *POOM WoI} SUIT} . -OUIOS 9YLUI 0} OIISACT *Ain{ul PIoAv 0 ‘ayty Aep-Aro §]00} o[pury 0} MOFF -AD UI poOoM Jo asn OpIm JO UOI}EZITROYyY 9104} WIN} Surary “ABD UvYy} 9/qe ‘syoni} og ‘saTIq “MCS ,,UO ZuIUvI],, YOU UWsyM YoUSq -INP aIOUI SI UOSvII ‘sjIoyo «=. -owloyne = ‘souvydire JO 3uNsIM} yno Wor AeMe BuULAR]G oWIeS JO} 4Nq ‘pojieu UMO YSnoiq) sje ‘susIS OMe, ‘suo -4yIM ‘ATIsSva SULMES pue pomes oq jsnur =-o7eUT «UT «sosueyo)= -B eM ‘S}BOq BUTYL ‘OIA «6 —AR]D SB poyjapom BuIIeS UI pue ‘(sunqyds proae = =uUl poom Mes ‘YOUIq = 9q_- JOUUD ey} [eT = AJIAT]OW JePNOsnW UT *BUIMES 0}) poom uUIy} OJ UO JOWMIUIeY—sj[o0o} -o}eUI eTURIsqns Yo ‘s[oo} SsuI[pueY [reu ][eWs SuIsooyy sulpury Ul sie) ‘piey esi poomyeyy Wey UOTPVIsSIyeS ‘s[reu SUIALIG SIMS SHq0H Sas pajmou x Sopnyny welt eds cal an1ojUasasgay eSvopr jo AJOLIvA B MOYS Ssjonpold s.piTyo 94} OG ¢spsou sIy AJsT]vS 0} POOM 9SN. 0} JOp1O UI SULIOUIUILY PUL BUIMLS IO} 9SN VULOS PUNO} PIIYD oy} seyy—'puppunjy ‘POOM UWIOIJ SSUIY} SoyeUr A]jeuoT}uszUI oy otoyM oOVTd oY} }e OALIIV pUv—SUIMeS PUL SULIOWIUIeY—poom Y}IM SUTHIOM UI 93v}S VAT}LINdruvw oy} Ysnosy} Ajjeurrou ssed pyrys oy} Jol OL —90799l99 doom NULYVOUAANI] 77 THE ART CURRICULUM « eSopqrew poy seq TIIM,, :9sodind sy SOYSIVS JI Jl 99S 0} QI 4S9} 0} oIISA ‘asod -Ind soysiyes ey} yom jo uorjeDeiddy *s]]Op SuIsso1q “YI SULAy ‘STOP Sure *74. 07 9ZIS jo Suiddeim ury} y4S1 ssury} Suryeyy ‘[el1o}ewW JO osn *307]}030} T0[D yop suluaysvy Jo ‘SUI ‘19q}030] «UT SIaTJO SuNndedsoy Buruojsvy Jo suvour suvsutsioyjoqestsur -MasAqszey ‘Sassarp YIOPD poy [jim yey @ Ss] SuIMesS yey, -Mosyey}UONezyeoy ‘suorde ‘s8eq Suryeypy SoY}S Yim Suraag *s[elIoyeu ABMe ‘peoig} Sunjnd pue 4no ‘roded uvy} 9[qe *sosn ‘s][op punoie SurjJOUY pue Bupey ‘spewajeur -Msep ojo st [eu Aueurjoyelozeurse dem 0} Jo sajqivw g[peeu =-« Surpeoryy, roy sovjd Sumouy -ojeW se yop yeyy, Yopjouonepeiddy dn 21} 0} Wop suis: SUMS $1190 H sas pajmnouy Sopnyiny sauna y aauDpuasadgayy éSspoou Ajstyes 0} SUIMAS OSN sy SOOM ¢Y}O][O JO poou [vol & SI O19} UsYM YO asn PTIyd sy} soog—p4ppunj¢ ‘UOISsaIdxd JO WINTPoU Sv YJOPD Jo sdI0YO SUTUTUIIO}Op jo suvowl & sv asodind ozruSoo01 0} pue YIOP ISN 0} P]TYyo oy} sjqvue oF —‘ae209/9C HLOTO NULYVOAAAGNINT THE BEGINNINGS OF ART 78 *AyIO -doid ysniq SurpjoH ¢¢ SUI -qnios,, UY} Joy}v1 ‘A}op = =—- Suryureg "039 “quied por ur ysniq pol suisn puv yured sult -143s Aq 1O][OO FY SIIq ‘yegjo 3uIqyjosd «Uy “UNI JOU [LM FI 3eY} os juried Suypueyy seqyzOop SUAS . Aap 0} ref ul puvys pue ‘qurod 0} yjor ‘ysem :soysniq IO} SuLIeD ‘9SN Ul SI Jasva pue MPIP 0} SOTSIM pio usyM suo -AvIO 931v] pue sod -ed viluvurl gI xZI JO prvoqyoey]q SuIs~_ ‘josva ye suin} Sul “yey, “TOTO WysUq 303 03 Jured Sulins ‘uMOp UNI jOU TIM yured os ref Jo a3pa uo ysniq suid ‘rodedsmou = JIM loopy ‘uoide yjIM SHQOH 8UI}99}01g “Soll -IUIe} JO[OO Jo soureNy ‘porpuey st SUIMPIP d10Joq AIp ysnur yured 4yeyy, ‘yured =jo suor}ez “Way PUB Soriqissod sas pajnouy *somjord sty Sunoid -IoJUL UI oiNsRo[g *9104} SUI9q IOj asodind sary yard AIQAD IYVUI 0} VIISACT "yured qiIM SuryyIWOS Suro} ur Aof yeuory wp th Re Reeth) SETS *10]O9 JO 9sN 94} Ul ‘[asea ye Sunuied ur Aof Sapnyyny *“SSUIMPIP 9[qI3 -]joyurun Surureydxy < Suyjured ysnf,, *sodii}s 10 Sopot SUI -yep “Ssiojod ua -1oyIp Suis~y) “Ysniq oy} yqiM soded oy} uo ,,syyed,, SULLY ‘"1O[OO surqneg SIMPY anupjUuasaagayy asvapl Jo Ajo & Ssoldxo ppryo oy} Sooq «= ¢ Suyuvow savy SsuUIMBIP OG —'pévpUunIS ‘seapt ssoidxa 0} wipe v se yured Sursn ur AqIqe dopeaap 0} pure jasvo 3e Zunured qyIM souerIedxe savy plyo yove yo] O T—aey2alaO INIVd NEILAVOUTANIY] 4 719 THE ART CURRICULUM ¢osn JO UoT}eIepisuoo ut s}onpoid ospnf oy sooq ¢S[el1o} eu o[qe}INS ssooYyD sy SeOq, ¢Spseu Ajsyyes 0} Appeal spetioyeur osn ay Sood ¢SpaeU ozTUsOIeI PID sy} SOO —‘“pévpUDIS ‘onbruyoa} 10}3}9q IOJ AjISSADOU [oof 0} ![VIIO}UL SUISOOYD UI poou JopISUOd 0} ‘spoou AJsr}es 0} S[eLIoyLUI osNn 0} puv sposeU ozTUSOIeI 0} PyyD yova djoy oy —‘aen9/90 J adva*) THE BEGINNINGS OF ART 80 *‘yjoous Avpo Suryepy “PIOD eas = Befpuey SuIyeyY ‘yosdn JOU [[IM }ey} Sys -gpues f10A0 diy you pur Suryj}ouros Ped rs eo" Suryeul 341 Suryeur Ul qOofqo Jo UoTpUNy jediounid =Sutdysiyeg ‘asn 0} [V1I9}VUI 4SOq SI JI uoyM ARP SuryDe]aSg S124’ ‘OSN IO} ADUI}SISUOD JYSII JO Aepo doay 03 Surdjey Joy Ayryiqrsuodsayy ‘usqIe3 -JOpUTy IOJ se sures SHQDH “poye10s0p oq ued Arp yey "yas -dn jou [rm Aq} os SSUIY} OYLUL O} MOTT “qjOourS QOVJANS OYLUl OF MOFT "sop -uey uo ynd 0} MOFT *[MOoq Jo W104 -j0q U0}}eY 0} MOTT *BUIG}OWIOS Poy 0} S[MOq OYeU 0} MOTT ‘spoou UIev}I99 «© BUTAJSI}eS JO} posn st AvpD Jey, Sas pajnouy *10]OO Ul «Yoyveul,, sdurq} Sur -ABY Ul UOlIVIsI}VG ‘UasOYD IO[OD qynoqe Suryurg) ul Jojo. jo uornepoiddy ‘uor} -e1o0ep Ul wy}AYI jo uorjeroiddy yosdn you ][IM szonpoid yey} SULISep Ul 90Ue -[eq jo uonenoiddy *“YIOM WMO SPB [IIA SB SI9y}O JO STIs pue svapr jo uorzemoid -dy ‘pulur ul osn jo vopl YM sof -qO oyeUl 0} oIISOq sopnyiny *S}J13 10} SABI} -yse ‘sIop]oy-]I9 -uod ‘sjmoq ‘syxors -o[puvo ‘syySIOM -1aded BUIAIL ‘910}S IO} sopqrye -B9A {SNdIID IOJ speul -tue {Aj1ed-v9} 94} JO} SoYsIp SUTT[PpOWL SIP anypyuasadgay éspoou Ajstyes Ady} Joy}OyM Jno puy 0} syonpoid ospnf oy soogq: 2A] WOT] opeUr ysoq o1e }eY} SSUTY} IOJ AvP oSn PITY sy} SsoOoq—'puppunjy ‘anbruyoe} 19330q Joy poou oy} Aoenbope Jof Surjso} YSno1y} szI[va1 0} pue 9SN 0} [eLIO}eUI 4Ssoq oy} st Avp uayM ARP osooyd 0} PyIyD 94} djey ot —‘aey20l9Q KVTO [ aavay 81 THE ART CURRICULUM *s[erjuesse Ayst}es 0} SUTYIOM pur s[en -uassa SUIZIUZ0I0 x *S32]-3[q -8} J9q}O JO sy3BZUI] yjo yeu ‘y1un IO} B9]-3]qe}_ 9 suisn Aq SsuLINsveyy SNLS *sosodind io -doid 10} s[00} Suisy) "AUOME YI SUT} -ynd pur [ero}eul qyno 38uI}}03 UI VIeVD -I9puTy Ul SB soo} SuUISN UI o1vd oUIeS ‘ure}s pue ‘yured ‘rodedpurs = :ysruy I9}}0q $j03 oY MOF] "Sq Bug] 1311 sade1d 303 0} SoInsvoU oq MOFT “SMBS OY 10} -oq suvjd oy MOPT ‘mes pue JOWIUIeY sosn JoqzUuedie> MOFT ‘sosnoy ‘yiompoom = ‘oi1nzTU -INJ IO} oft] Teor UI posn si poom 4eyy, sas pajmouy *SO1IQAOD -sIp suole sutssed Aq si9yj}0 0} ssou nydpH “19730q 1 suryeul jo she 90S 0} Jopio ul yonpoid jo yuowspnl peo “‘suruuryd Jo} poo jo Zulpo7 ‘asodind soysizes yey} SUIQJOULOS BUI -YeUl Ul UOTJORISIZLS ‘TeLIN} VU 7eY} puewop jey} spoou Ajstyvs 0} poom SuUISN Ul ssouIpvoy SOPNNVY *SOPIYA ‘syured 10} xoq ‘Jasvo ‘oinjzIUAINy ‘gsnoy qJop ‘sa,qr} ‘sasvoyooq :spooul PLY ssurqy SuLyeyy s7HMIPYy an1qpjuasasgayy ¢Spoou Soystes }I Joy}OyA JNO puy 0} JOnpoid ospnf oy sooq = ¢spoou Aystyes 03 ydu103}e oY SIOq «=¢POOM IO} Spool 9ZTUBODII P[IYD sy} sooq—'psppun1s ‘spoou osoy} AJst}es 0} AI} 0} pur [elIo}eU & Se POOM IO} Spo9oU [vo1 JVI} P]YD oy} savy OT —'90790/99 qooM J aavar) THE BEGINNINGS OF ART $2 ‘oye sopis q}Oq 303 0} gIqnop Wop suyND “Buy -PAvI WoIy YO dooy 0} Woy Suryeyy “PIO” 14 yey} sureas SULMAS “oZIS VSI opie oyeur 0} Uloyed Buryeur ‘g[oizie SuIUUv[g SIMS uo}}ed @ SUIS *3U -jnd s10Joq suruuryg ‘[el10] VU JO avd ul syiqey AlIepIO SHQDH *BUT]JOAVI WOT} TOTS Suidssy jo suvoul e SI Woy oy} YL *20U0 7 SapIs YOq sunjnd pue 4079 Surpjoy Aq poures oq Aeul AT}OWIULAS JEU, ‘gnbydde ‘spouses ‘Suizutid yooT[q ‘peoiq} : YIM poze1 -ooep oq ACUI VO] eUT ‘“‘u1933ed Suryeul ut suruueyd Jo} posn oq uted goded yey y, ‘“roded uery} onj[eA J9}eeI3 sey. OP. EG Saspajnouy ‘AOU -uiAs Jo uoryepeiddy ‘anbruyse} 199330q JO} oNSeqY ‘UOT}eI -099p jo *,,oyeul,, sug} SUIAey ‘y0O]9 BuIsooyD Ul UOIYRIOpIsuOD & SB OOO Jo uoryeDeiddy *19q30 yovs 0} ssounjdpy ‘dnoi3 Ul sidq{}0 jo 10M jo uoryeDeiddy *sa]O]O ured ‘Soq}O]D IOJUTAS ‘s9qzoO[9 Jowuns JO} Wop ‘saqyjopO SUIYeVU UI ssa -201d SULMOS JO pue YO] JO Spuly jUsre} -fIp jo uonepeiddy SOPUHHV *souIn} -soo {sooys WAZ 10} sSeq ‘fsyey ‘sassoip ‘suoide fasnoy JOP 10} woul pue sure < STOP OF sury}0p9 pue sop SS9I}IATJOV =—»- [OOS tw pue Avid ut pe ~poow sduryy Sure yl ey InyDjUuasasgay 28}9JOP OY} 4091109 07 4dUla}}e PUL SUIMIS UI S}oJOp ass otf SOO] 2 ATASLA TOD VSOOYD Pfryo ssoq@—"p4p punjs ‘9sN JO 4S} YSNoIYyy JUSMIAOICUIT IOJ aIISaqy ‘-gsodind 94} IOj 4,0} Jo pury 7YSII oY} BuIsooYS Ut osye 3Nq [eLe}eU aTqe}INs © ST I UayA YIO[D Suisn ur ATWO jOU AZT[FN Joprsuoo 0} P|Ty oy dpy 0, —'sa2palgQ HLOTO J aavar) Pirate IX. A series of pictures painted by a first-grade child, evidently the expression of nature-study experiences. “A cat in a bush.” “The cat goes away; a bird comes and builds a nest.” “A little girl is happy when she finds the nest in her yard.” “The little girl cries when she later finds that the cat has come back.” “But the cat goes away without hurting the birds.” “ Another little girl comes the next week and finds three bird’s nests in the bush.” “ty ait eartHe PEW Tah - 4, Aare ie aoe ie by iat iy | rw! ih Niae Pa as ie sind ima mn} mai, Tis | Detar HHT “ ie ah ‘ i ” ay re ‘f a ve PE f| , vate hy a race yy. My ‘ - ‘ Kil! , Nd i ‘ 7) if — ¥y Aha I ei i , y ui ‘ A i] | ie * ik re i , * wi haa Ae ui «6 i 5 Y i ‘ ae i ae | “a4 t ; : Lint < i re ne y 7 r ; \ i f j 2 . 4 ‘€ 4 - " t me ‘if « - . - zi i i . a i ' { ' ! ’ . ! -y v « J ' j ‘ ay . et I ‘ “,/ ie } Ley Lia i AM ‘ol 4 ite ‘ 4 ! z ‘ aq THE ART CURRICULUM *19T]]0 yoed 0} UOI}PIII UI 9218 UI JUd}SISMOD grow spolqo sure yy ‘ystiq pue qured = SuryjoryUOD Ud}ILSIOPUTY 99S SHS "SSUIMEIP [UOTIIP -pe IO} preoqyor[q pue ysoded vrueu pue suofvid Susy) ‘gov|d sodoid ul ssul -seIpP poysTay 3ury -Ing ‘yuourdinba yured jo oreo ul AI -[iqisuodso1 9 suryey, ‘UdJIVSIBPULY 99S SHH *J90U 0} W998 AYs pue yjiva yey, *yured Jo osn YSNoIy} [[2} 0} oAey sIoyjO }eyM pue}s -Jopun pue ssurq} [9 ued aM yeYY, *sBUIq} quozepip Auvw [je} 0} sAem Auvw Ul posn SI SUIMPIP FEY, saspajnouy *sqoof -qo 120M30q Uorj10d -01d 10}}0q IO} o1ISOq, ‘onbru 99} 193} 9q 10} poou J22} PIryo syeu Aevul I yey} JOpsO Ul opt Joy Pods ‘opeul IAL sjstjie@ JoyjO sein} -id jo uonepoiddy *SUIUvOT JO} [Te JO 4sIy sein} -o1d jo uonvpoiddy “qured yy (SUIYOULOS SUITIP4,, ut Aof jo worjeziyeay SOPNYIY ‘Apnys omnyeN (S$) *sorpnys [B1I90G (¥) ‘garyeulsemy (£) ‘jeuosi9g (Z) *SQOUdII -a9dxa A1045S (1) :SQ0UdLI -9dx9d [[9} 3eq} somzid surureg dds Feet all anunjuasadgayy 2Burpsoy 0} ssousatsuodsor SUIMOIS B MOYS SBUTMPIP SPIT? OT} og— péppuns ‘worssoidxe jo suvout v se Appvor yured asn 0} Ply yore djay ot —'20y29l90 INIVd J Zavay THE BEGINNINGS OF ART 84 eApauiar & sj}duroq}e puv soyxe}stu soos oy 3vy} UT yonpoid poysray sty premo} opnjyze [wort v aay oy sooq ¢drysueuryi0m jo sprepur}s oAvy oY Sood ¢S[¥la}VU a[qvyMs asooyD oy sooq ¢ssoidxo [IM oY souUO ey SuIpLap ur yusuIspnf osn oy sooq 4¢ssoidxo 0} svopr Aueul aavy pyryo oy} soog—‘psvpuns ‘S[eH9}VUL SUISN UT SaoUaTIedxa UMO STY YZNoIY} sioy}0 Jo yIOM oy} Jo uoreDoIdde sry esvalul OF, ‘anbruyse} Arojovystyes asn 0} o[qe Suteq pur ‘wipe o[qeims v SutsooyD ‘BaP! O[TYAM-T}IOM B ZulztUsoOdaI Jo UOTOVIsIHes oY} MOUY Py oy} dpay oy —aerpal9 85 THE ART CURRICULUM co FMC PAT ”? *