Three art objects representing three different cultures are presented to show how a questioning technique can help gifted students collect cultural information about objects being viewed. Questions address: materials and process with which objects were made; object size; use of object; overall appearance; and cultural response to objects.…

An artist outlines her system (called the Monart Drawing Method) for teaching children to draw realistically. Children are taught an alphabet of five elements of shape and allowed to interpret and utilize the information any way they wish. The system allows children's natural creative abilities to flourish. (MD)

Describes European Viktor Lowenfeld's version of the visual-haptic theory. Recounts how Lowenfeld modified the theory while serving as a studio art teacher in a black U.S. college from 1939 to 1946. Compares Lowenfeld's European and U.S. transformations of the theory. (BSR)

Offers a lesson plan to introduce students in grades K-3 to abstract art. Uses Frank Stella's painting "Hockenheim" as the basis for the lesson. Includes background information on the painting and the artist, instructional strategies, and student evaluation criteria. (GEA)

Describes a method used to acquaint art students with their painting subjects. The method requires students to study the subject closely and to make thumbnail sketches of details before they start to paint. Concludes that artists must observe their subjects closely to make the finished work believable. (GEA)

This article describes how a group of second graders improved their understanding of art by touring a photography exhibit. Included are three photographs and a sample of the tour guide's comments for each. (JDH)

Three approaches that teachers can use to incorporate related ideas into art history courses are discussed. They are parallelism, or the analogous developments in other spheres of study; the elucidation of the credo of a famous personage whose image has been perpetuated through art; and etymology. (RM)

The history of research and attention to artistically talented students from 1850 to the present is offered in this article. Programs for these students have lacked valid test instruments, longitudinal studies, and in-depth research. (DF)

Relationships between structural, semantic, and verbal statements about art were investigated to observe the effect of verbalization on the art viewing process. Various studies are cited that give evidence that learning in the arts has psychomotor, affective, and cognitive aspects. (DF)

An intermediate-grade art teacher describes how she teaches her students about Henri Matisse. Students learn about the life and background of Matisse, study his reproductions, and apply techniques that they have learned to their own art works. (RM)

Seventh graders reacted enthusiastically to this watercolor art activity. A blank piece of white drawing paper was soaked in water and then removed to a newspaper-covered table. Students held a brush full of watercolor above the paper and squeezed the bristles. When the droplets hit the surface, they spread beautifully. (RM)

The drawings and paintings of Franz Kline are discussed. The schedule of a traveling exhibit of Kline's work is provided. (RM)

Instructional strategies based on a portrait painting of Francisco Goya introduce primary grade students to the idea that portraits are pictures of people. Students also develop an awareness that the visual vocabulary of color, shape, line, texture, and the quality of brushstrokes can communicate feelings and ideas. (RM)

Instructional strategies based on a portrait painting of Jean-Baptiste Oudry familiarize intermediate grade students with the techniques of portraiture and introduce the characteristics of eighteenth-century French rococo painting. (RM)

Identifies concepts relevant to aesthetic literacy, suggests possible procedures for instruction, examines different interpretations of aesthetics, and presents a curriculum model for aesthetic literacy. (Author/JDH)