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National Art Education Association
Art and the Classroom TeacherAuthor(s): Margarete HoenemannSource: Art Education, Vol. 15, No. 2 (Feb., 1962), pp. 15-16Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3186788 .
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sympathetic to the more picturesque or romantic
paintings. The basic premise on which the collection was to be built, namely a varied and comprehensive collection of current American art, was not to be for-
gotten, yet the subscribers had to be made to feel that
they had the final prerogative in the purchase of the
painting or piece of sculpture. This seemed logical and democratic since the direction of the movement would be in the hands of the best qualified persons in the field of art and would allow those who sup- ported the program to have the final and deciding control of the expenditure of funds.
The subsequent purchases have ranged from a
Henry Koerner drawing to an abstract expressionistic canvas by Jose Guerrero, a small Eskimo sculpture to the magic-realism of Paul Riba; these now hang in the Uniontown Joint Senior High School audi- torium which is frequently used for civic functions. Some of the shows have met with favorable public reaction; others have been far less enthusiastically received. The most negative reaction, as was fully ex-
pected, came during the 1960 exhibit in which the abstract expressionists of New York were represented. These were all painters of current prominence and the artists' biographical data made a favorable impression on most people, but the dynamic or seemingly violent work of these men caused considerable consternation
among certain subscribers. The furor died as rapidly as it rose, however, and we have an abstraction in our collection. Public reaction, whether dynamic or apa- thetic, must be anticipated and groundwork laid so that any storm can be weathered. Objectivity, we have felt, must reign in the selection of representative works of all schools in this very subjective medium. News-
paper releases, magazine articles, and other informa- tive material have always been used to help enlighten the public and prepare them for the spring exhibit.
Another service and token of appreciation that the Friends of Art extends to the subscribers as well as the general public is to have an informed and articulate
speaker express his views on art or art history during the spring exhibit. Usually the museum director or
sympathetic to the more picturesque or romantic
paintings. The basic premise on which the collection was to be built, namely a varied and comprehensive collection of current American art, was not to be for-
gotten, yet the subscribers had to be made to feel that
they had the final prerogative in the purchase of the
painting or piece of sculpture. This seemed logical and democratic since the direction of the movement would be in the hands of the best qualified persons in the field of art and would allow those who sup- ported the program to have the final and deciding control of the expenditure of funds.
The subsequent purchases have ranged from a
Henry Koerner drawing to an abstract expressionistic canvas by Jose Guerrero, a small Eskimo sculpture to the magic-realism of Paul Riba; these now hang in the Uniontown Joint Senior High School audi- torium which is frequently used for civic functions. Some of the shows have met with favorable public reaction; others have been far less enthusiastically received. The most negative reaction, as was fully ex-
pected, came during the 1960 exhibit in which the abstract expressionists of New York were represented. These were all painters of current prominence and the artists' biographical data made a favorable impression on most people, but the dynamic or seemingly violent work of these men caused considerable consternation
among certain subscribers. The furor died as rapidly as it rose, however, and we have an abstraction in our collection. Public reaction, whether dynamic or apa- thetic, must be anticipated and groundwork laid so that any storm can be weathered. Objectivity, we have felt, must reign in the selection of representative works of all schools in this very subjective medium. News-
paper releases, magazine articles, and other informa- tive material have always been used to help enlighten the public and prepare them for the spring exhibit.
Another service and token of appreciation that the Friends of Art extends to the subscribers as well as the general public is to have an informed and articulate
speaker express his views on art or art history during the spring exhibit. Usually the museum director or
the department head of a university speaks to the interested audience, not specifically about the collec- tion but about any facet of art that he chooses, and with appropriate illustrative material. This procedure has proved rather expensive yet well worth the expense in the effective results that have been shown to date in public response and expressions of appreciation. A memorial fund, similar to the library memorial book fund, has recently been instituted, possibly as a result of this public relations work.
A recent acquisition to the collection was a direct result of the Carnegie International Exhibition of 1958. This show and its importance in the art world was certainly challenging since so many different artists and styles were to be represented. A crash pro- gram was instituted with the eight committee mem- bers soliciting funds from our more benevolent sub- scribers, asking $10.00 or more of each. In a few
weeks, thanks to the generosity of a local bank who offered to make up any difference between the funds available and the purchase price of a painting, enough money was raised for the committee to select and
purchase a Carrol Cloar which has since been bor- rowed by two different museums for exhibition. This
painting was added to the collection in addition to the annual spring selection in 1958.
The genesis of an art collection lies in the enthu- siasm and dedication of a few people willing to give time and energy to planning, reaching other interested persons, keeping community interest alive through communication and exhibitions, and constantly striv- ing to keep abreast of the happenings in the contem- porary art world. The continuation and ultimate sup- port of the collection will be assured when an informed and interested public realizes the importance and value of this vital civic resource. Only a future generation can critically evaluate the aesthetic discretion and foresight manifested by the original group in selection of paintings acquired, yet few will question the posi- tive contribution that a collection of original works represents to a small community.
the department head of a university speaks to the interested audience, not specifically about the collec- tion but about any facet of art that he chooses, and with appropriate illustrative material. This procedure has proved rather expensive yet well worth the expense in the effective results that have been shown to date in public response and expressions of appreciation. A memorial fund, similar to the library memorial book fund, has recently been instituted, possibly as a result of this public relations work.
A recent acquisition to the collection was a direct result of the Carnegie International Exhibition of 1958. This show and its importance in the art world was certainly challenging since so many different artists and styles were to be represented. A crash pro- gram was instituted with the eight committee mem- bers soliciting funds from our more benevolent sub- scribers, asking $10.00 or more of each. In a few
weeks, thanks to the generosity of a local bank who offered to make up any difference between the funds available and the purchase price of a painting, enough money was raised for the committee to select and
purchase a Carrol Cloar which has since been bor- rowed by two different museums for exhibition. This
painting was added to the collection in addition to the annual spring selection in 1958.
The genesis of an art collection lies in the enthu- siasm and dedication of a few people willing to give time and energy to planning, reaching other interested persons, keeping community interest alive through communication and exhibitions, and constantly striv- ing to keep abreast of the happenings in the contem- porary art world. The continuation and ultimate sup- port of the collection will be assured when an informed and interested public realizes the importance and value of this vital civic resource. Only a future generation can critically evaluate the aesthetic discretion and foresight manifested by the original group in selection of paintings acquired, yet few will question the posi- tive contribution that a collection of original works represents to a small community.
MARGARETE HOENEMANN
ART AND THE CLASSROOM TEACHER
MARGARETE HOENEMANN
ART AND THE CLASSROOM TEACHER The Committee on "Art and the Classroom Teacher"
of the NEW ENGLAND SCHOOL DEVELOPMENT COUNCIL*, whose overall purpose is to better ac-
*THE NEW ENGLAND SCHOOL DEVELOPMENT COUNCIL (NESDEC) is a study group made up of New England Superintendents with common school problems, and operating under the sponsorship of Harvard University. "Art and the Classroom Teacher" is one of its many affiliated com- mittees.
The Committee on "Art and the Classroom Teacher" of the NEW ENGLAND SCHOOL DEVELOPMENT COUNCIL*, whose overall purpose is to better ac-
*THE NEW ENGLAND SCHOOL DEVELOPMENT COUNCIL (NESDEC) is a study group made up of New England Superintendents with common school problems, and operating under the sponsorship of Harvard University. "Art and the Classroom Teacher" is one of its many affiliated com- mittees.
quaint administrators and classroom teachers with the objectives and method of art experiences in our schools today, has recently completed a special project studying ways to improve school use of community resources.
All members of the art committee participated in this project but the main responsibility was upon the sub- committee, known as the "Museum Services Commit-
quaint administrators and classroom teachers with the objectives and method of art experiences in our schools today, has recently completed a special project studying ways to improve school use of community resources.
All members of the art committee participated in this project but the main responsibility was upon the sub- committee, known as the "Museum Services Commit-
FEBRUARY 1962 FEBRUARY 1962 15 15
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tee," whose special job it was to work out problems between schools and local museums.
As a member of "Art and the Classroom Teacher
Committee," I contacted my local resources in Salem, Massachusetts. I was most pleasantly surprised at the interest shown in our project by the people of the
community who were directly responsible for museums, institutes, or historical sites. They were as eager to learn how they could better serve the schools as I was in learning more about what they had to offer our educational program.
Let me just give you an example of some of the re- sources I "uncovered" for school children in Salem.
There's the Pioneer's Village-the founding place of Salem with its first homes of grass, mud, and bark; the stocks and pillory for punishment purposes; the sea itself which yielded salt for cooking and curing of fish for winter storage. Children visiting here would
experience a whole new world. Nathaniel Hawthorne's life was spent in Salem. Here
is the "House of Seven Gables" with its secret staircase in the center of a fireplace; here is the old custom house at Derby Wharf where the silks and rare spices from the far-off and mysterious lands of China and India were brought in for the payment of taxes. The
Peabody Museum features models of the ships built in Salem and used in the spice trade of the East-the
ships whose captains were famous and whose names are still on school registers proudly carried by young- sters in our schools today.
My community is a goldmine of history; I'm con- vinced that many other American communities are, too, if only the schools would seek out the treasures. My experience taught me many things. At first I made only one contact in each institution but the interest was con-
tagious, and upon my second visit, the entire staff was
tee," whose special job it was to work out problems between schools and local museums.
As a member of "Art and the Classroom Teacher
Committee," I contacted my local resources in Salem, Massachusetts. I was most pleasantly surprised at the interest shown in our project by the people of the
community who were directly responsible for museums, institutes, or historical sites. They were as eager to learn how they could better serve the schools as I was in learning more about what they had to offer our educational program.
Let me just give you an example of some of the re- sources I "uncovered" for school children in Salem.
There's the Pioneer's Village-the founding place of Salem with its first homes of grass, mud, and bark; the stocks and pillory for punishment purposes; the sea itself which yielded salt for cooking and curing of fish for winter storage. Children visiting here would
experience a whole new world. Nathaniel Hawthorne's life was spent in Salem. Here
is the "House of Seven Gables" with its secret staircase in the center of a fireplace; here is the old custom house at Derby Wharf where the silks and rare spices from the far-off and mysterious lands of China and India were brought in for the payment of taxes. The
Peabody Museum features models of the ships built in Salem and used in the spice trade of the East-the
ships whose captains were famous and whose names are still on school registers proudly carried by young- sters in our schools today.
My community is a goldmine of history; I'm con- vinced that many other American communities are, too, if only the schools would seek out the treasures. My experience taught me many things. At first I made only one contact in each institution but the interest was con-
tagious, and upon my second visit, the entire staff was
eager to suggest, offer, and make arrangements for class groups to visit places of interest. Frequently ma- terials which had been stored away in some musty back room for lack of exhibit space were taken out and made ready for eager eyes to see and searching hands to feel. I have learned that after children are once introduced to the mysteries of a "stuffy old museum" it is no longer stuffy but becomes a place of living his-
tory full of interesting places to explore and things to discover. Discovering and exploring is much more fun if done with another child, and soon groups of children in Salem were visiting places of interest on their own to share their experiences with each other and under the guidance of interested and competent community personnel.
I also learned that the personnel at our museums and historical places are willing to go out of their way to learn the aims of education in our schools and are
eager to make their contributions to our school-
community relationship for the fuller education of children.
My experiences, incidentally, were typical. Other art
specialists and classroom teachers reported similar
experiences in their communities. All committee mem- bers found a sincere desire on the part of community agencies for a good working relationship between their
organizations and the schools. And, most important, I learned that once a teacher is acquainted with the "how to" of an undertaking she is willing and happy to avail herself of all offerings made by the community to the schools.
Margarete Hoenemann, Secretary, NESDEC Com- mittee on "Art and the Classroom Teacher" and Art Director, Salem Public Schools, Salem, Massachusetts
eager to suggest, offer, and make arrangements for class groups to visit places of interest. Frequently ma- terials which had been stored away in some musty back room for lack of exhibit space were taken out and made ready for eager eyes to see and searching hands to feel. I have learned that after children are once introduced to the mysteries of a "stuffy old museum" it is no longer stuffy but becomes a place of living his-
tory full of interesting places to explore and things to discover. Discovering and exploring is much more fun if done with another child, and soon groups of children in Salem were visiting places of interest on their own to share their experiences with each other and under the guidance of interested and competent community personnel.
I also learned that the personnel at our museums and historical places are willing to go out of their way to learn the aims of education in our schools and are
eager to make their contributions to our school-
community relationship for the fuller education of children.
My experiences, incidentally, were typical. Other art
specialists and classroom teachers reported similar
experiences in their communities. All committee mem- bers found a sincere desire on the part of community agencies for a good working relationship between their
organizations and the schools. And, most important, I learned that once a teacher is acquainted with the "how to" of an undertaking she is willing and happy to avail herself of all offerings made by the community to the schools.
Margarete Hoenemann, Secretary, NESDEC Com- mittee on "Art and the Classroom Teacher" and Art Director, Salem Public Schools, Salem, Massachusetts
HAZEL P. LUTZ HAZEL P. LUTZ
A MUSEUM MANY MADE A MUSEUM MANY MADE
What Art teacher has not dreamed of a whole mu- seum of artifacts and realities on which she might draw for inspiration for herself and her classes? How exciting it would be, for example, to be able to bor- row for classroom use a whole set of fragile, Oriental designs in intricate patterns for a class in printing techniques; or, when experimenting with stained glass design, to have real medallions and examples of this craft for the pupils to handle; or to have available a live rabbit or other animal to introduce story illus- trations. Today this dream has come true, not only
Hazel P. Lutz is Supervisor of Art, Manchester, Connecticut.
What Art teacher has not dreamed of a whole mu- seum of artifacts and realities on which she might draw for inspiration for herself and her classes? How exciting it would be, for example, to be able to bor- row for classroom use a whole set of fragile, Oriental designs in intricate patterns for a class in printing techniques; or, when experimenting with stained glass design, to have real medallions and examples of this craft for the pupils to handle; or to have available a live rabbit or other animal to introduce story illus- trations. Today this dream has come true, not only
Hazel P. Lutz is Supervisor of Art, Manchester, Connecticut.
for Manchester's Art Teachers, but all teachers in the community-thanks to the resourcefulness and ten- acity of purpose of the citizens of our town.
Our residential town had no museum of any type, and although our classes were always welcome to use Hartford's fine facilities, this involved a long bus ride and at that time (1953) a toll fee to cross the bridges. Then, too, the children had no opportunity after school hours for individual exploration of their fields of interest. We did need a museum but with no funds and no "angel" in sight this seemed but a re- mote possibility.
For many years Manchester has had a fine cultural program sponsored by the Parent Teachers' Associa-
for Manchester's Art Teachers, but all teachers in the community-thanks to the resourcefulness and ten- acity of purpose of the citizens of our town.
Our residential town had no museum of any type, and although our classes were always welcome to use Hartford's fine facilities, this involved a long bus ride and at that time (1953) a toll fee to cross the bridges. Then, too, the children had no opportunity after school hours for individual exploration of their fields of interest. We did need a museum but with no funds and no "angel" in sight this seemed but a re- mote possibility.
For many years Manchester has had a fine cultural program sponsored by the Parent Teachers' Associa-
ART EDUCATION ART EDUCATION 16 16
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