Provides background information on the Impressionism movement. Discusses the life of U.S. artist, Frederick Childe Hassam, and describes the content and techniques used for his painting, "Lower Manhattan." Includes suggestions for class activities and a reproduction of his artwork. (CMK)

Describes an art project suitable for middle and high school students in which they either combine identifiable parts from different animals to create one creature or take one animal and creatively distort it. Explains that this lesson enables students to be satisfied with their animal-inspired artwork. (CMK)

Describes the development and current status of the Explorers Club, and the collections and services of the club library. The collections include the arctic library of Admiral Robert Peary, rare books and records, paintings, and memorabilia. The discussion covers research services offered by the library and preservation of the collections. (CLB)

Offers 17 exercises combining writing and painting, each with its own theme and goal, and all designed to show that close observation is fundamental to the effectiveness of both visual and verbal expression. (SR)

Describes the way in which the technology of the video camcorder is used to provide art lesson objectives and background to elementary students prior to their art class. Contends that the process stimulates students, provides teachers time to plan, fosters communication between teachers, and enhances appreciation of the relationship of art to…

Describes an art class flower painting project influenced by the book, "Georgia OKeefe: One Hundred Flowers." Students studied OKeefe's use of scale, color, composition, depth, and materials, to create their own flower paintings. (KM)

Describes Vermont's Art Exchange Program and its goal of sensitizing Soviet and U.S. children to the common humanity they share. Discusses this program's attempts to break down barriers of fear and stereotyping by promoting the exchange of art and writing between children. (KO)

Traces the development of Australian art education through three main phases: (1) the hand-eye training period; (2) the creativity period; and (3) the studio discipline period. Identifies overseas influences for these developments. Suggests that at present a variety of factors have precipitated favorable circumstances for growth of visual arts…

Responds to "Toward Civilization, A Report on Arts Education" by the National Endowment for the Arts, published in May, 1988. Examines implications of the report for drama education as part of the curriculum in elementary school, focusing on the purposes of understanding civilization and developing aesthetic literacy in drama. (MM)

Argues that how and why a particular range of texts are selected, read, and taught determines the extent to which they contribute to a pupil's development. Shows how the teaching of John Keats's "Isabella or the Pot of Basil" and paintings by William Holman Hunt and John Everett Millais meet the challenges of the new Order for English.…

Discusses marbleized paper, which originated in Japan in the eighth century and became quite popular in Europe and the United States in the nineteenth century. Describes the scientific process behind marbleization, and explains how students can produce their own colorful designs by placing a sheet of paper on top of oil-based paints floated in a…

This paper examines the art of Rene Magritte to illustrate how artworks provide a number of dimensions for realizing experience, for creating knowledge, and for a changed role of interpretation in educational research. The paper argues that works of art provide new gestalts and new grounds for confidence. (JB)

Presents art projects to help elementary educators teach their students about seascapes, providing students with basic techniques for portraying texture and mood in art. After discussing seascapes and lines and showing some examples, teachers can help students create seascapes from construction paper alone or with construction paper and…

Observation of and interviews with the instructor and seven learners in a retirement center painting class focused on the physical environment, student and teacher-student interaction, and the artwork. Findings revealed a classroom climate characterized by practices for facilitating learning: mutual respect, collaboration, critical thinking, and…

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)