Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by artists to art students, setting this within a long view of the institutions of art and art training. Three partial models of the art educator and their associated qualities can be abstracted from medieval, early modern, and recent periods. (1) The "Exemplar": possessed of practical skills and habituated understanding and judgement. (2) The "Master": having in addition to the exemplar's qualitieserudition and cultivated taste. (3) The "Critical-Advocate": theory-oriented, and self-consciously progressive. Good art (be it in terms of expressive, imaginative, formal, representational or other relevant aspects) has the power to transform makers and observers, and to encourage and deepen self-examination and self-understanding. Good art teaching should be alert to and directed towards these benefits.