This handbook demonstrates how studio art concepts may be broken down into their simplest level, thus, allowing preschool and elementary students to work with one particular concept and technique at a time. Teachers are encouraged to coordinate open-ended painting activities with major study units taking place in the classroom. The fourteen…

Describes a program which has incorporated effective and enduring arts education practices since 1937. Available from American Theatre Assoc., 1000 Vermont Ave., N.W., Washington, D.C. 20005; single copy $4.00. (PD)

Argues that classroom learning requires teachers who are keenly aware of everything that poetry and art bring to human existence, as well as an environment that is stimulating and peaceful. Describes elements of successful classroom environments. Suggests methods for teaching poetry and for inspiring students to create paintings. (AJL)

A recently developed pictorial and musical program was used to teach abstract art to 12 elementary students with severe intellectual disabilities and 12 controls. There was a significant main instructional effect favoring pictorial with classical music over both pictorial only and pictorial with rock music. (Contains references.) (Author/CR)

Recounts one teacher's use of art in the poetry-writing classroom, and suggests that its success stems from the following elements: schemata for seeing, experience with poetry, individual choice of art and poetic form, an encouraging environment, time to look and think and feel, and a powerful subject. (SR)

Describes how, in an American literature survey class, the characteristics of literary periods are underscored by seeing them reflected in contemporary visual arts, via a creative writing assignment, and by cooperating with the local museum. (SR)

Describes a relief printmaking unit for sixth graders with the objective of decorating the inside of a pyramid. Ancient Egyptian imagery was used to help students become familiar with the style. Students designed and printed linoleum prints in different colors. They then critiqued their work and made their selection for the pyramid. (KM)

Provides a lesson plan for teaching K-three students to analyze and empathize with a portrait by post-impressionist painter Vincent van Gogh. Describes background of the artist and the painting "The Postman Roulin." Suggests instructional strategies, activities, and evaluation methods. Lists bibliographical material relative to van…

Describes how art teachers can conduct their own scholarly research in the classroom. Outlines the design of a Grapho-Linguistics program aimed at teaching reading through art. Describes art strategies development, administrative reactions, sample and data collection methods, testing techniques, and procedures for achieving publication of…

Discusses problems in the teaching of art history to art students. Reports on a study in which student analysis and categorization of their own paintings and paintings of other artists became the primary activity of an art history course. Concludes that this approach enhances the use of art history as a source for students' own creative work. (CFR)

This panel interview from the Indiana University Summer Arts Institute contrasts notions about a traditional Bauhaus foundation with a flexible, organic curriculum model. Directed instruction is also compared to problem-solving approaches. Peer teaching, science for art majors, and art for science majors are also discussed. (Author/PB)

National Board Certification is intended to indicate that "a teacher is judged by his or her peers as one who is accomplished, makes sound professional judgments about students' best interests, and acts effectively on those judgments." This author, the first National Board Certified Art Teacher in Georgia, offers a first-hand perspective…

In this essay, the author notes a danger concerning the general approach to teaching about the arts through improper use of the concepts "aesthetic" and "artistic." Observing that both concepts are often used interchangeably, with "aesthetic" being seen as the more generic term, the author argues that these concepts are separate and should be…

The purpose of this study is to describe, analyze, and interpret through participant observation the teaching of art to Amish eighth graders in a public school. The description of what and how art is taught by a non-Amish art teacher raises questions of appropriate content, patterning of instruction, strategies for developing perceptual awareness…

An art teacher can lead students through exercises and discussions which explain and develop techniques, promote ingenuity, give pride of craftsmanship, and provide the base upon which a lasting interest in the visual world can be built. The art teacher's first priority in the studio is to take students who, for the most part, have been deprived…