TEACHING OF ART HISTORY IN ARTEDUCATION

 A DISSERTATION

SUBMITTED TO JAMIA MILLIA ISLAMIA IN THE PARTIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE AWARD OF THE DEGREE OF

 

BACHOLOUR OF FINE ARTIN

ART EDUCATION BY 

NANCY MITALI MONDOL 

UNDER THE GUIDANCE OF

MR. M.G. KIDWAI(SUPERVISOR) 

 

  

DEPARTMENT OF PAINTINGJAMIA MILLIA ISLAMIA

NEW DELHI-110025INDIA2010

CONTENTS

Topic

Certificate

Acknowledgement

Introduction

i. What are Art and Art Education?

ii. What is Art History?

iii. Element Of Art As The Basis For Teaching Of Art History

iv. Understanding The Different Stages Of Art Expressions Among The Children Of Different Age Group

v. How to Teach Art History?

vi. How to Teach Art History to Elementary Students?

vii. Teaching Art History with New Technologies

CERTIFICATE

This is to certify that Miss.NANCY MITALI MONDOL student of BFA(art- education) final year has doneher research work under the guidance,assistance and supervision of Mr. M.G.KIDWAIThe matter contained in the researchwork is original and true of myknowledge.

Prof. M. G. KidwaiHEAD

Dept. Of ArtEducation

Faculty of FineArts

J.M.I. NewDelhi.

Acknowledgments

I would like to thank my preceptor Mr.M. G. KIDWAI for his encouragement, guidance, and inspiration throughout my BFA program to develop important professional skills. The experiences Ihave gained by his to attain the ability and the confidence necessary for success in my future endeavours cannot be put into words.

I deeply appreciate the help of the all the members of faculty of fine artfor proving me the necessary facilities during the entire period.

I am indebted to my seniors and colleaguesI am thankful to all of those who helped for my research for work.

MR. M.G. KIDWAI N.G.M.A Faculty of Fine Art Library National Museum Library

NANCY MITALI MONDOLB.F.A. (ART EDUCATION)Final yearJ.M.I, New Delhi

INTRODUCTION

Art history spans the entire history of humankind, from prehistoric times to the twenty-first century. Whether you like to observe caveman paintings or Botticelli angels,you can find visual arts that challenge your creative side and inspire you to find beauty inmanmade forms. In modern times, art history has emerged as a discipline that specializes in teaching people how to evaluate and interpret works of art based on their own perspective. Art history hasfrequently been criticized for its subjectivitybecause the definition of what is beautiful varies from individual to individual. Learning to evaluate what you see by building on the artforms you already know can develop your aesthetic understanding. Claude Monet once said, “It’s on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly.” Inkeeping with Monet, consider how to observe as many works of art as possible. You will developa sense of your favourite styles and time periods, and you will be able to use the vocabulary of art to discuss your appreciation of art with others. If you love Botticelli, youwill be able to recognize the theme he chooses for each painting and which symbols and figureshe uses most often during the Renaissance. Combining exposure to art history with the desire to foster art appreciation in others represents a happy medium. The art teacher or art historian can inspire you with a survey of the many time periods in art history. For

example, you can become a huge fan of the Renaissance because, like the French, Dutch, Italian, and Spanish masters, you share the same desire to reconcile humanism with human religion. Art history requires you to study and describe what you see in terms of the design elements ofline, shape, color, value, and texture. Once you write a response to one work of art, you can compare it to another work of art. An alternative is to make comparisons and contrasts between artists and their artistic works with the mind’s eye. As you explore the fascinating world of art, a beautiful collection of thousands of years of human experience, you will want to travel farther from your home to see works of art in person.In this dissertation we have introduce the discipline of art history in such a manner thatis suitable in foundation for the development and planning programmes for young students. We are neither addressing this dissertation to professionals nor a general public, but specifically art teacher or art educationist. We have written as an educator, who is concerned with open mind and promoting independent thoughts.In this dissertation, we give useful advice on what may be appropriate for different age levels. Student should learn about art history but primarily they should be taught how to use disciplines to deepen their aesthetic sense. Itmay not important that student children be ableto distinguish one art discipline, from another, but those who develop the curriculum should be able to do so. They should have knowledge about art history and their

discipline. We frame short definition and thoughtful suggestions about how art history can inform instruction in each of the other disciplines. We have provide several practical examples of lesson plan, some concept and categories that can help art teacher to organise the thinking and teaching of art history.This book documents some of the changes that have occurred in the teaching of art history inthe last decade. It provides both a history andan analysis of the increasing number of computer-based tools now at the disposal of arthistorians. It was prompted by the dearth not only of readily accessible information about teaching art history with new technologies.

1.

ART AND ART EDUCATION

ART

Art is the process or product ofdeliberately arranging elements in a way thatappeals to the senses or emotions. Itencompasses a diverse range of humanactivities, creations, and modes of expression,including music and literature. The meaning ofart is explored in a branch of philosophy knownas Aesthetics.The definition and evaluation of art has becomeespecially problematic since the early 20thcentury. Richard Wollheim distinguishes threeapproaches: the Realist, whereby aestheticquality is an absolute value independent of anyhuman view; the Objectivist, whereby it is alsoan absolute value, but is dependent on generalhuman experience; and the Relativist position,whereby it is not an absolute value, butdepends on, and varies with, the humanexperience of different humans. An object maybe characterized by the intentions, or lackthereof, of its creator, regardless of itsapparent purpose. A cup, which ostensibly canbe used as a container, may be considered artif intended solely as an ornament, while apainting may be deemed craft if mass-produced.

Traditionally, the term art was used to refer toany skill or mastery. This conception changedduring the Romantic period, when art came to beseen as "a special faculty of the human mind tobe classified with religion and science".Generally, art is made with the intention ofstimulating thoughts and emotions.The nature of art has been described by RichardWollheim as "one of the most elusive of thetraditional problems of human culture". It hasbeen defined as a vehicle for the expression orcommunication of emotions and ideas, a meansfor exploring and appreciating formal elementsfor their own sake, and as mimesis orrepresentation. Leo Tolstoy identified art as ause of indirect means to communicate from oneperson to another. Benedetto Croce and R.G.Collingwood advanced the idealist view that artexpresses emotions, and that the work of arttherefore essentially exists in the mind of thecreator. The theory of art as form has itsroots in the philosophy of Immanuel Kant, andwas developed in the early twentieth century byRoger Fry and Clive Bell. Art as mimesis orrepresentation has deep roots in the philosophyof Aristotle.

The arts engage all students in education, fromthose who are already considered successful andare in need of greater challenges, to those whowould otherwise remain disconnected and be at risk of not being able to realize their own potential for success.Through exercising their imaginations, the artshelp students to make new connections, transcend previous limitations and think ‘outside of the box’.

Expression in the arts helps students to develop cognitive and physical skills.

The arts provide an avenue for students to be able to express themselves and connect with their peers through personal growth and cooperative learning experiences.

The arts are a strong motivator for students to develop self-discipline and social skills.

The arts encourage self-directed learning, helping to develop the capacity of studentsto strive for greater success.

Each art form brings special ways of perceiving the world and mentally organizing and retrieving information, utilizing critical thinking and problem solving skills.

The arts help to transform the schoolenvironment to one of discovery and learning, breaking down barriers between disciplines and improving theconditions of learning.

The arts give students the opportunity to represent what they have learned, thus achieving greater comprehension and retention of the material being covered.

Art criticism helps students develop observation, analysis, interpretation

and evaluation skills that can be transferred to other areas of study.

The arts are essential to an understanding of personal, local, national and global cultures, past and present.

Strong, sequential arts education programs in schools promote cultural literacy in oursociety.

The arts help to provide experiences for students to continue to become lifelong learners after they reach adulthood, creating awareness that learning is a never-ending process.

Education in the arts helps students to acquire those skills that will be essentialto their being successful in the new millennium.

Why Are the Arts Important? They are languages that all people speak

that cut across racial, cultural, social, educational, and economic barriers and enhance cultural appreciation and awareness.

They are symbol systems as important as letters and numbers.

They integrate mind, body, and spirit. They provide opportunities for self-

expression, bringing the inner world into the outer world of concrete reality.

They offer the avenue to "flow states" and peak experiences.

They create a seamless connection between motivation, instruction, assessment, and practical application--leading to deep understanding.

They are an opportunity to experience processes from beginning to end.

They develop both independence and collaboration.

They provide immediate feedback and opportunities for reflection.

They make it possible to use personal strengths in meaningful ways and to bridge into understanding sometimes difficult abstractions through these strengths.

They merge the learning of process and content.

They improve academic achievement -- enhancing test scores, attitudes, social skills, critical and creative thinking.

They exercise and develop higher order thinking skills including analysis, synthesis, evaluation, and "problem-finding."

They are essential components of any alternative assessment program.

They provide the means for every student tolearn.

ART EDUCATIONIt is the area of learning that is based

upon the visual, tangible arts—drawing, painting, sculpture, and design in jewelry, pottery, weaving, fabrics, etc and design applied to more practical fields such as commercial graphics and home furnishings.

Historically art was taught in Europe via the atelier Method system where artists' took on apprentices who learned their trade in much the same way as any guild such as the Masons It(stonemasons or goldsmiths etc). The first art schools were established in 400BC Greece as mentioned by Plato. During the Renaissance formal training took place in art studios. Historically, design has had some precedence over the fine arts with schools of design beingestablished all over Europe in the 18th century. Education in art takes place across the life-span. Children, youth, and adults learn about art in community based institutionsand organizations such as museums, local arts agencies, recreation centers, places of worship, social service agencies, and prisons among many other possible venues.

Within art schools "visual arts education" encompasses all the visual and performing arts delivered in a standards-based, sequential approach by a qualified instructor as part of the core curriculum. Its core is the study of inseparable artistic and aesthetic experience and learning.

There are thousands of arts education curricular models or models for arts or arts-based professional development for teachers that schools and community organizations use. It can be asserted however that the core discipline of all art education is the practiceof drawing, a model which has existed since theRenaissance. This is an empirical activity which involves seeing, interpreting and

Discovering appropriate marks to reproduce observed phenomena. It can be asserted that other art activities involve imaginative interpretation. Here are three prominent models:

A sixfold model divided into "Creative-Productive, Cultural-Historical and Critical-Responsive” components in Canada

In the U.S.A., Discipline Based Art Education covers the same content in terms of four fields; Aesthetics, Criticism, History and Studio Practices

In the UK the art curriculum is prescribed by the government's National Curriculum.

In most systems, “criticism” is understood to be criteria-based-analysis established on acknowledged elements of composition and principles of design which often vary in their verbal articulation, between the different art discipline forms (applied, fine, performing, & etc.) and their many schools. Other art educational systems include the study of Aesthetics, ontology, semantics, studio praxis (empirical investigation) and phenomenology. There is no set art education curriculum

content - it is a process of continual often acrimonious cultural negotiation.

Some studies show that strong art educationprograms have demonstrated increased student performance in other academic areas, due to artactivities' exercising their brains' right hemispheres and denaturalizing their thinking [1]. Also see Betty Edwards' Drawing on the Right Side of the Brain. This view whilst popular among practitioners is of dubious empirical validity.

Support for art education, however, varies greatly between communities and between schoolsin various cultures.

Art education is not limited to formal educational institutions. Some professional artists specialize in private or semi-private instruction in their own studios. One form of this teaching style is

the Atelier Method. Another is an artist apprenticeship in which the student learns from a professional artist while assisting the artist with their work.

2.WHAT IS ART HISTORY?

Art history has historically been understood asthe academic study of objects of art in their historical development and stylistic contexts, i.e. genre, design, format, and look.[1] This includes the "major" arts of painting, sculpture, and architecture as well as the "minor" arts of ceramics, furniture, and other decorative objects.

As a term, Art history (also history of art) encompasses several methods of studying the visual arts; in common usage referring to worksof art and architecture. Aspects of the discipline overlap. As the art historian Ernst Gombrich once observed, "the field of art history [is] much like Caesar's Gaul, divided in three parts inhabited by three different, though not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the academic art historians".[2]

As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty.

Technically, art history is not these things, because the art historian uses historical method to answer the questions: How did the artist come to create the work?, Who were the patrons?, Who were his or her teachers?, Who was the audience?, Who were his or her disciples?, What historical forces shaped the artist's oeuvre, and How did he or she and the creation, in turn, affect the course of artistic, political, and social events?

Art history is not only a biographical endeavor. Art historians often root their studies in the close scrutiny of individual objects. They thus attempt to answer in historically specific ways, questions such as: What are key features of this style?, What meaning did this object convey?, How does it function visually?, Did the artist meet their goals well?, What symbols are involved?, and Does it function discursively?

The historical backbone of the discipline is a celebratory chronology of beautiful creations commissioned by public or religious bodies or wealthy individuals in western Europe. Such a "canon" remains prominent, as indicated by the selection of objects present in art history textbooks. Nonetheless, since the 20th century there has been an effort to re-define the discipline to be more inclusive of non-Western art, art made by women, and vernacular creativity.

Definition:-

Art history as we know it in the 21st century began in the nineteenth century but has precedents dating to the ancient world.Like theanalysis of historical trends in politics, literature, and the sciences, the discipline benefits from the clarity and portability of the written word, but art historians also rely on formal analysis, semiotics, psychoanalysis and iconography. Advances in photographic reproduction and printing techniques after World War II increased the ability of reproductions of artworks. Such technologies have helped to advance the discipline in profound ways, as they have enabled easy comparisons of objects. The study of visual artthus described, can be a practice that involvesunderstanding context, form, and social significance.

ART HISTORY METHODS

Analytic Thinking – various levels of analysis

i. formal analysis – What does it look like? How is it composed?-this is not a mere description, but rather an analysis of formal compositionalelements (space, line, form, color, figure style, etc.)

ii. technical analysis – How was it made? What is its condition?-this is an analysis of materials, production technique and may address preservation,conservation, and restoration

iii. interpretation – Why was it made? For whatpurpose (function / meaning)?

Critical Thinking

-analyzing, questioning, or comparing the interpretations of others or re-evaluating the evidencepresented by others

-may also include viewing the work from anotherpoint of view or through a particulartheoretical lens

APPROACHES TO ART HISTORY

“Traditional” Approaches to Art History

Cataloguing and Description – description of what the work looks like without much furtheranalysisFormal, Visual or Stylistic Analysis – study ofthe formal properties of a work of art (i.e.composition, line, color, form, etc.) and theirrelation to characteristics of a particular periodstyleTechnical Analysis – study of the materials andtechniques used to produce a work of art, itsconservation, and restorationConnoisseurship – focus on the attribution and dating of works of art based on analysis of style andthe “hand” of the artist* Iconographic, Iconological or Semiotic Analysis – study of the meaning of a work of art throughan interpretation of its visual symbols (iconography) or its relation to literary sources(iconology)* Biographical and Psychological Analysis (influenced by Vasari and Freud) – focus on thebiography of the artist and how the work reflects the artist’s personal history or personality* = approaches that interpret meaning

“New” History of Art / Critical Approaches (began 1960s, influenced by Marxism)

– interpretation based on the social context ofthe artwork or the values it embodies, art is no longerseen as neutral object (application of social and critical theory)Scholars began to consider:· Social or economic conditions for the production of art (Marxism, cultural materialism)· Circulation of works of art (art markets, patterns of influence, etc.)· Reception by different audiences· Ideological values (especially related to power and class)· Feminism and gender studies (female patrons, reception by female viewer, construction ofgender and sexuality, queer studies, etc.)· Social history - use of art to reflect socialclass and construct identity· Cultural and ethnic history (depictions of the “other,” postcolonial studies)** Scholars often employ multiple approaches atonce. For example, a good study of the receptionof a work of art may start with a through description and formal analysis of the work.

3.

Element Of Art As Basis ForTeaching Of Art History

The elements of art are a commonly used group of aspects of a work of art used in teaching and analysis, in combination with the principles of art. Lists of the elements of artvary somewhat but typically include the following: color, value, form, line, space, shape, and texture. Direction and size are added by some sources.

Art enables us to find ourselves and lose ourselves at the same time." – Thomas Merton.Art has given wings for creativity to many and has been expressed in various ways, whether through realism or abstract, impressionism or cubism. Although some of the most famous artists have not always been trained formally in any specific way, there are certain basic elements of art that need to be followed for any basic design. So, what exactly are elementsof art? These are components that are required to create any work of art.

ElementsOf Art

LINE

Line pertains to the use of various lines and outlines used in the particular artwork. Line describes how the artist has used the lines in many different aspects and describes the various types and styles of lines used in the artwork and how this influences the viewer's point of view.

Have you ever tried to draw a circle or a verystraight line? Not trace one or use a templateor ruler. No, just free-hand. It isn't that easy, you know, and those who wish to draw need to practice the art of drawing with lines.

Very young children can draw lines for water or in a background of trees, inside boxes, a sky-line, stems on flowers, on clothes and so on. These initial exercises are teaching control of young hands.

Older students need to control the use of lineto show shadow and texture and the developmentof three-dimensional forms.

Practice drawing lines as an expression to music being played. Vary the moods of music.

Practice drawing varied lines- straight, curved, ripples, cross-hatching.

Practice "blind contour" drawing. Cover your hand, and draw an object under observation in a continuous line. Don't look down. Practice the object a few times. Then, continue contourdrawing, studying the line of the object, but this time not "blind". Progress to more complex forms.

Analyse paintings and sculptures of famous artists. Study the way the artist has used Line as one of the elements of art to emphasize certain aspects and to create unity and perspective in the composition.

Take note of the paintings below by Vincent Van Gogh. He has an expressive, overt use of line. These paintings are great to copy to enjoy the swirls and movement which he clearlydepicts in his art. This can be done with pen

and ink, lead pencils, crayons and also soft pastels.

"Vincent van Gogh: Wheat Field with Cypresses(1993.132)". In Timeline of Art History. New

York: The Metropolitan Museum of Art, 2000–.

Venice from the Bacino di San Marco,Francesco Guardi (Italian, Venetian, 1712–

1793),Bequest of Adele L. Lehman, in memory ofArthur Lehman, l965 (65.181.8)

Take note of the lines of the moorings and themasts which break the lines of the horizon and

the town in the background.

Drawing ellipses are an essential part of drawing faces, tops of bowls and jars, bottlesand animal shapes.

Another art idea is to enlarge small objects (such as a bolt, a comb, a crumbled piece of paper, or textured material) and study the lines carefully. Enlarge this object on a large piece of paper.

COLOUR

Color is the most expressive element of art andis seen by the way light reflects off a surface. Color is used to create illusion of depth, as red colors seem to come forward whileblue seems to recede into the distance. The primary colors are red, blue, and yellow. When the primary colors are mixed you create secondary colors: green orange purple.

How do you teach colour as an element of art? Make your own colour wheel; Paint freely and observe and talk about the

way the colours change as they are mixed. Mix colours on the palette; Experiment. Mix colours as children finger paint.

Experiment. Drip paints onto a wet sheet of paper and take

note of the effects of colours mixing. Observe and experiment with colours as they

are placed side by side. Use paints or paper to experiment by placing different coloured circles onto a standard background square. Take note of the apparent changes that are brought about when colours are placed beside each other.

Make two similar drawings and use warm colours in one drawing/painting and use cool colours in the second. Take note of the effects on theviewer.

Learn about analogous colours. Use the colours which are next to each other on the colour wheel to create harmony in a picture.

Use play dough or plasticene and create animals and scenes. Take note of what happens to the colours when they are mixed.

As you study Colour as one of the elements of art, study the works of great colourful artists such as Rembrandt, Van Gogh, Seurat, Matisse. Use their works and copy from them.

Garden at Sainte-Adresse, 1867Claude Monet (French, 1840–1926)Purchase, special

contributions and funds given or bequeathed by friends of the Museum, 1967 (67.241)Take note of the wonderful vibrant colours of another summer day and his use of light and shadow.

Find and learn about complementary colours from the colour wheel; Use them in drawings toshow shading and for use in a background. In the fold of a ribbon, or the underneath of an umbrella, or the background of a character or object, the complementary colour can be used to keep your work colourful and interesting. (rather than just using black)

Another art idea is to find objects or drawings which are one particular colour (eg. red). Then compare them with what others have found. Can you order the colours in a sequenceto show value - from the lightest to the darkest?

Paint a number of pictures using only 2-3 colours to show different emotions. Paint an "angry" picture. What two colours will you choose to use? Paint a "sad" picture. Which colours will you use now?

Want an idea which is great for kids who don'tlike to hold a brush or pencil? Try this:

Place primary colours on apaper in a shallow drawer.Then place marbles or bouncy balls in the drawerand move the drawer from side to side. Take note of

the colour changes as colours mix and stand alongside eachother. The finished creation canalso be used as a print source.

TEXTURE

Texture is the feeling and visual feel of the fabrics, colors, and room accessories. There are two types of texture: Optical (visual) texture, and texture which you can touch (tactile).

Find examples of use of various kinds of texture from magazines. Cut them out and pastethem in different arrangements.

Show texture of objects by adding curved linesaround the width of a tree, knots and lines inthe trunk of a tree, short strokes for fur, hair, whiskers, and so on.

Another art idea we have all done is to make pencil/crayon rubbings on trees, pavements andvarious surfaces.

Use varied textures to paint on and use as a print. For example: Dip sponges, sea sponges,in paint and print on material or paper to achieve different effects. Either useit to make a picture or just use for an abstract patterned effect. Other ideas include: rope wrapped around wood or a tin which can be rolled in paint and then over paper; string dipped in paint and draped over a page; potato prints; other vegetable prints;lino prints in which linoleum has been carved out to make a relief picture and give its own textured effect.

Splatter paint with toothbrushes dipped in paint, and flicked over a page in order to give a splattered texture.

Use large amounts of paint on a page; Use a palette knife with oil or acrylic paint

to give raised textured pictures. Use fabric paint- and experiment with flat and

raised drawings. Use powder paint mixed with soap. Use powder paint (can also use acrylic, but

powder works better) mixed with dishwashing liquid and some water. Blow bubbles with straws and allow the bubble mixture to fall

over the container on to the page. It creates wonderful texture and patterns as it dries.

A friend has told me beating lux soap flakes with a beater makes an excellent medium for sculpture. (I haven't tried it, so I'm not sure of the details of this, but it sure sounds like fun!)

Use a sculpture as a basis for drawing and learning to shade and create texture.

SPACE AND MASS

There are two different types of space: negative and positive. Positive space is the space taken up by something in an area. Negative space is the space around something inan area.

• Space. The creation of a visual perspective, which gives the illusion of depth is another Element of Art called Space. Form to be seen clearly, need space around them to create senseof edge that defines their shape.Shape is working area within which we compose a picture.The right use of Space is an art in itself. Space can be classified as Positive andNegative. Positive Space is the space taken by an object and Negative Space is the space between the objects (White Space).The right wayof using both these kinds of Spaces affects thetotality of the artist's composition. Based on the volume of space, it can be either two-dimensional or three-dimensional to give pictures an illusion of depths and distances ona flat surface. The management of Space can be ensured by the following ways: - Linear perspective, where distant object are made

proportionally smaller than the closer ones. Horizon Lines and Vanishing Points are the scales on which linear perspective is determined. - Objects placed at a distance are rendered less details, clarity, and intensity than the close ones. Three-dimensional Space work is done with the help of shading, which gives it a feeling of depth. Space can also be created with the overlapping of objects.

Create 3Dimensional forms with straws or toothpicks and plasticene or play dough. Discuss the space inside the object as well asthe space it takes.

Make sculptures from a varied of different materials- cardboard, wood scraps, balsa strips connected with string, elastic bands and glue and you may even use cellophane as inserts in the spaces.

Create box sculptures- arrange shapes to experiment with mass distribution- what is thestrongest structure?

Make structures which are delicately balanced using all sorts of odds and ends. - forks, corks, bottles, buckets and so on.

Create sculptures as history/science projects-animals, famous buildings, geographical features (mountains, volcanoes, valleys), villages, and so on.

Work with clay. Scoop out sections of the clay. Observe light and shade of the structureby using a torch and shining it from differentdirections. Draw the sculpture a number of times showing how the direction of light affects the light and shadows.

Explode a design. Divide a sheet of dark paperinto sections and place these sections on a white background. Pull the sections apart leaving small white spaces between the dark forms; Then increase the white spaces. Take note of the changes. Do this also with curvinglines.

Cut out different shapes from coloured paper and drop it from a height onto white paper. Observe the patterns you make and the spaces between the shapes. Continue until you are happy with the arrangement and glue. What picture can you see in the shapes? What picture can you see in the space?

Make an outline picture with crayon and fill up all the space around it and between it withcolour.

Use lines to cover an entire page. Colour eachintersecting space with colour, dots, or lines.

Drawing a still life picture. Use a cut-out frame to find the composition which has a balance between the shape and the space. (the positive and the negative space)

Do the still life picture again. Choose another perspective which focuses on the space. Use the cut-out frame to help you choose your arrangement of composition.

Try this again, leaving some areas without colour. Take note of the spaces and the effectthey have.

FORM

Form may be created by the forming of two or more shapes. It may be enhanced by tone, texture and color. Form is considered three-

dimensional showing height, width and depth. Itcan be illustrated or constructed.

Shadows help to create depth and also form to pictures.

Practice drawing with curved lines to show specific features - round balls, fruit.

Draw geometric shapes; Make three dimensional shapes -cubes,

pyramids, spheres by adding perspective and shading.

Practice one-point perspective in which a boxed shape recedes into the distance and meets at the horizon line at a point called the vanishing point. Make these boxes into house structures, keeping all vertical lines straight up and down.

Continue perspective drawing with buildings oneach side of a street, all lines converging tothe horizon line.

Practice altering the horizon line and drawingto it with different shapes

Draw from two-point perspective in which thereare two vanishing points. Create a house this way.

VALUE

Practice drawing with pencil, charcoal, and pen and ink drawings to focus onvalue and shading.

Another art idea to explore Value as an element of art, is to use one colour and make a colour chart by starting with the saturated hue at the top of the page, and gradually changing its value by adding white, a small portion at a time. Paint each new colour underthe previous one.

These colours could be painted on to differentcards and made into a game in which one child makes the monochromatic cards (puts numbers onthe back of the order) and gives it to anotherchild who then needs to order it correctly from the lightest to the darkest.

Use these monochromatic colours to make a picture.

Paint 6-7 containers white and use these to make a still life arrangement. Draw them on a gray paper with black chalk, using white for highlights.

Use a light source on this or another set of objects to create shadow and use this as an arrangement to paint with a monochromatic scale.

Take a section of a photograph or picture, enlarge it and use it as a model to copy. The children should not be able to identify the object they are copying. Look especially at the dark and light patterns. Then show the children what the complete photograph or object was.

Copy a picture upside down. Concentrate ony onlight and dark forms.

Analyse the work of several artists and their use of light and shade.

(Cezanne, O'Keefe)Apples, 1878–79 Paul Cézanne (French, 1839–1906)Oil on canvas; 9 x 13 in. (22.9 x 33 cm)Observe the shadows and highlights on the fruit.

4.

UNDERSTANDING THE DIFFERENTSTAGES OF ART EXPESSIONS AMONGTHE CHILDREN OF DIFFERENT AGE

GROUPThrough art expressions, a small child who is unable to speak properly can communicate his orher innermost feelings with the world through pictorial representation. Children feel happy satisfied while they make pictorial representation. By studying the child’s art expressions, we come to know how child’s mental growth and physical growth is developing with age. STAGES OF DEVELOPMENT

There are 6 types of stages of development of expressions:

1. SCRIBBLING STAGE2. PRE- SCHEMATIC STAGE3. SCHEMATIC STAGE4. PRE REALISTIC STAGE5. REALISTIC STAGE6. ADOLOSCENT STAGE

1. SCRIBBLING STAGE

Age: 2 to 4 years

According to most researchers, this scribble isnot just aimless motion created at random by the child, but demonstrates an awareness of pattern and growing hand-eye coordination.Soon after children start scribbling, they willstart to name what it was they drew after they have finished drawing it. Around two years of age, children will sometimes label their drawing before they have started working on it,but if the drawing looks like something else tothem, they may just change the label. Their scribbles progressively become more recognizable and separate shapes appear on the same page. At around three and a half years, children begin incorporating details like fingers on hands.

Scribbling stage is further divided into 3 phase:

Uncontrolled scribblingThis stage is the beginning of the symbolic development. Children of this stage like makingmarks on any given surface. These marks made bythe child are disorganised as they do not have any motor control to master his own movements. It do not represent anything in particular but it is the child’s effort to make acquaintance with materials and at the same time make bodilymovement. There is no visual as well muscular control of the child on the drawings. The attention span of the child of this stage is also very small and he gets easily distracted.

Controlled scribbling

With increased muscular control over his handsand shoulders and development of the visual faculty, the activity of scribbling develops. The child begins to repeat the movement and scribbling patterns are vertical, circular form. The child shows relationship between the marks on the paper with his emotions. The controlled markings shows the control of the child over his movements of arms.

Naming of scribblingAfter getting certain degree of familiarity andknowledge in the use of materials such as pencil or crayon, the children start doing purposive scribbling and give names to their drawing.

2. PRE SCHEMATIC STAGE

Age: 4 to 7 years

The next stage of drawing, identified by Lowenfeld as the "Pre-Schematic" stage, typically occurs between four and seven years. In the emergence of this stage, children may draw a human figure with a circle and two dangling lines for legs. Sometimes they includea rectangular shape for trunks of bodies, and often little marks inside the circle to represent facial features. This tadpole schema is used for animals as well as people. Drawingsat this level are often described as symbolic realism because a child is perfectly happy witha simple symbol of an object.

In this stage the, the scribbling becomes conscious forms of creation. The child is able to make forms and can relate with the drawings visually. They absorbed using their own imagination. The form the child visualises aresymbols and not realistic representations. In this stage, children do not generally consider the whole space on the paper to be thepainting area. They have yet not grasped the correlation between space, symbol and subjects.The children are not yet aware of relating objects with colour. Children usually select vibrant colours which at once appeal to them. The colour selection of the children is much more dependent on the emotional significance to them because as stated above they draw or paint to express themselves not what they see in the realistic outer world.

3. SCHEMATIC STAGE

Age : 7 to 9 years

The "Schematic" stage of drawing generally occurs at ages 7-9. Some characteristics that commonly occur in this stage are indicative of what the child is thinking versus what is actually seen by the child. An interesting phenomenon that occurs in many children's drawings during this stage is called "x-ray drawing". In these, a child will draw things that aren't really visible in life. A good example of this is a man on a horse with both legs showing, even though we would really only see one. Pregnant women are often shown with a visible baby in their abdomens. Details like hands, fingers, and clothing are added with

greater and greater frequency. As they progress further, overlapped objects, such as atree partially obscured by the edge of a house,also emerge. The farther away something is, thesmaller it will be portrayed, regardless of thereal relationship in size between the objects. This indicates a growing comprehension of perspective. In many cases, children have begunusing one-point perspective.

4. PRE- REALISTIC STAGE

Age : 9 to 11 years

During the early years of life, whatever the child sees, hears ,or experiences is all self centred , so whatever he does for himself, he is satisfied with it, but reaching this phase of development, the child becomes an extrovert.During this stage of development, the child feels himself as a part of the society and understands the importance of social interdependence. The child understands the strength of group and make group of friends or gang. This stage is also known as gang age. He or she also realises the difference between the male and female. The child is discovering realism, now the child use forms and shapes in more realistic manner. There is an alertness toward dress, clothes and since he has grown mentally so he tries to represent the difference between male and female by differentiating in their clothing and hair styles. But still they are far away from visualrepresentation.

As the child finds greater awareness of the space also. Now he uses several bases lines fordescribing different object. The child represents different shades of same colour. Nowhe is able to characterise the difference between the green colour of the tree and the green colour of the grass.

5. REALISTIC STAGE

Age : 11 to 13 years

At this age, it is said that this has a specialsignificance in the mental development of the child. Instead of the pre-dominance of imagination thinking, the child’s thinking process enters into the realism of analytical thinking. This is the time of more understanding and maturity towards self, society and environment.At this stage, the child is not an adult but hewants to behave like an adult. The child is more aware of the characteristics of boy and girls.The drawing are on the verge of attraction realism. The child understands and has more knowledge of light and shade, body movements due to development of observational power. The child can observe space visually and with more understanding. Now, he has totally moved out from the use of bases or sky lines. During thisphase the child understanding the changing effects of colour according to the time and weather. He characterises: like the green colour of grass in light. The change in shades of colour green in night. The change in shade

of colour green in spring. The change in shade of green in rain.

6. ADOLOSCENT STAGE

Age : 13 to 17 years

It is the process of developing from a child into adult. The psychology of the child changeswhen he is just entering or has just entered the adolescent stage. This change is partly dueto the physical growth in the child’s own body and his almost suddenly becoming aware of it.At this phase of development, the child developtwo different moods of expression:-

Visual type: In this expression, the child feels himselfas the spectator and draws what he observes. The visual appearance are the most important aspects for the observe to draw. The child has become conscious of theactual form of objects that he tries draw. The visually observe child represents humanfigure with the forms that can be seen through eyes. He conceives spaces visually and draws what he has seem. The child emphasis on appearance, light and shadow, proportion of the drawing objects.

Haptic or non visual type:The haptic minded children gives importanceto their internal feelings rather than visual appearance. Thoughts are the provoking subjects in the drawings and paintings of these children.

5.

How to Teach Art History?

To teach art history, it recommends that students connect with their own chosen works ofart before studying the time periods of art history. Thousands of years of human expressionthrough visual works of art offer teachers manyhistorical time periods to choose from, including prehistoric art through post-Modernism. Teachers use specific works by a variety of artists to demonstrate the concepts of art history.

Instructions

Art History Concepts

1. Step 1

Students must learn key vocabulary words inorder to read and understand art history texts. Teach concepts such as art, art history, creativity, expression, design, observation, pattern, figure, two-dimensional, three-dimensional and representation.

2. Step 2

Choose a teaching method such as a textbookreading, an art history video, or a PowerPoint presentation (including art images) to introduce the types of two-dimensional and three-dimensional art,

including painting, drawing, printmaking, sculpture and new media.

3. Step 3

Show students examples of art works that illustrate the elements of design: line, color, texture, value and shape (or form). For example, the Renaissance sculpture "David" by Michelangelo demonstrates how a sculptor builds a recognizable human form using the principle of shape.

4. Step 4

Assign students to choose works of art to study in an art history reflection journal.Students use the five elements of design todescribe in words what they observe in eachwork of art. Encourage students to add moreworks to their collection as the class moves through history and discusses each time period of art history.

5. Step 5

Teach students the key elements of periods in art history, including prehistoric, ancient, Middle Ages, Classical, Romanesque, Gothic, Renaissance, Baroque, Romantic, Realistic, Impressionistic, Modern and post-Modern. For example, in a study of French Impressionists, the teachermight assign each student to research the life of one artist, such as Claude Monet, Mary Cassatt, Edouard Manet or Pierre-Auguste Renoir. The students compile a digital or paper record of images of the

artist's works and share their reports withthe class. Students compare and contrast the images of each Impressionist and decidewhich artist is the best representative of Impressionist themes.

6. Step 6

During the study of each time period, add more concepts and vocabulary to class discussions. Hold students accountable for using new vocabulary to describe works of art in their ongoing reflection journals.

7. Step 7

Give students an illustrated timeline to organize each period of art history. The timeline might include the names of artistsand their works as well as the year each work was created to demonstrate how art evolved. Like graphic organizers, illustrated timelines help students remember concepts in their existing schema (or files in long-term memory) of history.

6.

How to Teach Art History to

Elementary Students?

Art is a wonderful way for elementary school students to learn to express themselves. In addition to creating art of their own, studentsoften learn about artists and the history of art through stories and classroom projects. To effectively teach art history at the elementarylevel, teachers can incorporate it into the curriculum in a fun and exciting way.

Instructions

Things You'll Need:

Children's books about art Reproductions of paintings Roll of white paper, colored markers and

other timeline supplies

1. Step 1

Search the children's section of the library for books about art that are appropriate for elementary level readers. Stories that use child-friendly language and simple explanations will be easy for your students to understand. Choose books about particular artists and paintings or about art in general.

2. Step 2

Read the story to your class as part of a shared reading exercise. Create a homework assignment for your students to complete after your art history lesson. Ask the children to tell you their favorite parts of the book or ask each of them to draw a picture about what you have read.

3. Step 3

Incorporate art history into a unit you teachevery year. If your class is learning about Christopher Columbus, you could introduce them to Leonardo da Vinci's work, which occurred during the same time period. Pointing out that these two historical figures lived at the same time gives studentsa broader picture of the world.

4. Step 4

Involve your elementary school class in a project making an art history timeline. Ask each student to gather information about a certain artist and put the timeline together in class. A timeline is an excellent way to visualize what the world was like at a given period in time.

5. Step 5

Make art history into a game for elementary school students. Create game show questions about different artists and styles of art. The kids will be excited to play a game in class, and you will know they are learning atthe same time.

6. Step 6

Take your class on a field trip to an art museum. Contact the museum's education department to find out if there is a docent or guide who can lead a tour for the students. This type of field trip is also an excellent way to teach the children about what a museum collects.

7.Teaching Art History with New

Technologies

This book documents some of the changes that have occurred in the teaching of art history inthe last decade. It provides both a history andan analysis of the increasing number of computer-based tools now at the disposal of arthistorians. It was prompted by the dearth not only of readily accessible information about teaching art history with new technologies, butof pedagogical literature for art history in general. Currently, there are few places where art historians can go for help in navigating the journey between traditional and computer-mediated practices in teaching. Thus a fair amount of trial-and-error experimentation is being replicated over and over again at colleges and universities. For faculty to succeed with the new applications and approaches, they must be able to draw on the experience of others who have developed expertise with these new tools. This book presents a series of reflections and case-studies by such early adopters who have not just replaced older materials with new, but whohave advanced the discipline's pedagogy in doing so. It illustrates how new technologies are changing the way art history is taught, summarizes lessons learned, and identifies challenges that remain. Given the transitional state of the field, with faculty ranging from the computer-phobic to the computer savvy, these case studies represent a broad spectrum,

from those that focus on the thoughtful integration of new technologies into traditional teaching.Art history involves more than looking. It asksstudents to think about what they observe. Thisis where technology-based activities become useful, especially those that go beyond the presentation of images to explore why images are structured the way they are, and what meaning that structure holds. Today, teaching in the history of art is being shapedby new technologies, technologies that—as has always been the case— were not developed for art historians, but which must be adapted for their needs.

The reasons for integrating new technologies are threefold: First and foremost, new technologies allow teachers and students to engage in new activities, and thus create new opportunities for teaching and learning.Second, research on cognition stresses the needfor students to take control of their learning,something the interactive technologies can facilitate.Third, the integration of new technological tools and active learning techniques recognizesand responds to a cultural shift that has already occurred with our students and much of the society at large. As the shift from a print-based culture to an image-based one intensifies, the lessons art history teaches—that images are complex and one must learn how to read them—become increasingly important and necessary.

Computers in Art History TeachingThe use of computers in art historical instruction may be considered underthree rubrics:

the digitization of images; the development of computer-mediated

interactive exercises using digital images the emergence of courses taught exclusively

online

The first, teaching with digital images insteadof 35 mm slides is not a central focus of this volume, but it is nevertheless fundamental to the other two. Students became more adept at reading images closely and using visual evidence to support their arguments after they were given access to digital image banks. Before digital images, students typically saw the projected slide only in the lecture hall; to review images required going to their textbooks (where the reproduction was not always large or in colour ), or to a specific physical location on campus where hard copy reproductions were mounted temporarily for review. Digital images on a website now allow students to review images more easily, conveniently and often, thus encouraging greater familiarity with the works and more careful study.In class, faculty employ PowerPoint or other presentation programs filled with digital images in the same manner as they did analog slides, projecting them singly or in static pairs. The ease with which textual information may be added alongside the projected image has offered instructors a slight advantage over the“write-on” slides of yesteryear.6The

development of presentation software adds new functions including panning, zooming, selecting, and rotating. These tools surpass the static visual reproduction of the object tosimulate in part the usual physical engagement the viewer has with a work of art: moving around it, approaching, and receding. With highquality images, some of the tools allow the viewer to see more than would be possible for the visitor \standing in front of the object, as magnified images may reveal more than what is visible to the unassisted eye.

Our second rubric, the development of interactive exercises known in computer-mediated instruction as learning objects has had as its goal the user’s engagement with the object, concept, or question. The key repercussion here has been the adoption of active learning, a more student centred and skills-based approach.Students do not learn much just sitting in classes listening to teachers, memorizing pre-packaged assignments and spitting out answers…”. Using Macromedia’s Flash or anotherinteractive program, museum educators, publishers, and instructors have created animated activities, requiring users to drag and drop architectural elements, to click selected hotspots on a digital image for more information, or even to choose their own adventure in game-like situations. Used in art historical instruction, these tools have placedstudents in direct engagement with the reproduced work of art, allowing them to work more closely with images, empowering them as participants, and encouraging them to take an

more active role in their learning in a way that is uncommon in the traditional lecture model.

The third rubric, the online course, is the most recent manifestation of computers in art history instruction. In the past five years, the number of colleges and universities offering online art history instruction has exploded, particularly at the first- or second-year level and most commonly at junior collegesand public, commuter universities. Many of these courses replace the face-to-face lecture with online materials. Some instructors rely onthe textbook for course content, asking students to read the relevant chapter, and answer questions submitted electronically; manyalso require virtual visits to outside websites, including museum sites, to supplementthe textbook. Other faculty substitute commercial videotapes for face-to-face lecturesor move beyond the textbook content with additional instructor-authored html text. Many online courses use message boards, forums, chatrooms, and video conferencing for asynchronous and synchronous, seminar-style discussions. Blended or hybrid courses combine in-class experiences with small group, online, or other activities. Most instructors who author these courses do so based on their own intuition and experiences, or their colleagues’, rather than on studied and proven methods from art history or other disciplines. In fact, the literature on online or hybrid art history courses and learning objects is woefully thin. The best practices emerging for online instruction differ from the traditional, lecture-driven

instruction model, drawing upon the active learning and student-driven inquiry models described in our second rubric.