Thesis Approved

_ Major Adviser

Dean

A STUDY IH THE TEACHINGOF CREATIVE ART IN THE SIXTH, SEVENTH, AND EIGHTH GRADES

AS THE BASIS OF APPRECIATION FOR MODERN ART

BY

SISTER M. MACRINA STRAUB, 0. S. B.

A THESISSubmitted, to the Faculty of the Creighton University

in Partial Fulfillment of the Requirements for the Degree of Master of Arts

in the Department of Education

OMAHA, 1948

DEDICATED

TO MY FRIENDS

SEEN AND UNSEEN,

WITH WHOM I HAVE DISCUSSED

THE SUBJECT OF ART

78534

ACKNOWLEDGMENT

The author wishes to express her appreciation to Reverend Mother M. Lucy and the community of Mount Saint Seholastica for spiritual and financial assist­ance required to make thi3 thesis possible; also to the Sisters of the sixth, seventh, and eighth grades, who so kindly answered the questionnaire on which the present thesis i3 based.

In fulfilling the purpose of this study the author was forced to draw from reliable sources, therefore, the writer is under obligation to many art educators from whose writings she has drawn. A care­ful effort has been made to give specific acknowledg­ment for these citations where they appear.

Gratitude is also extended to Dr. Daniel C. Sullivan, her major adviser, for his direction; and to the librarians of Creighton and Mount Saint Scho- lastica for their generous assistance.

TABLE OP CONTENTS

PageINTRODUCTION.............................. viiChapter

I. EVALUATING THE ART PROGRAM.......... 1Changing methods in art education Creative ArtArt in Catholic education

II. ART ASPECTS IN THE CURRICULUM . . . . 16Art appreciation and integration Unit work as a method of teaching Grade standards in art

III. LOCAL INVESTIGATION OP PROBLEMTHROUGH QUESTIONNAIRE METHOD . . . 31

IV. INTERPRETATION OP THE QUESTIONNAIRE,PART I I ............................ 50

V. SUMMARY AND RECOMMENDATIONS.......... 90

APPENDIX................................... 100

BIBLIOGRAPHY............................... 112

\

ART

Give to barrows, trays, and pans Grace and glimmer of romance;Bring the moonlight into noon Hid in gleaming piles of stone;On the city’s paved street Plant gardens lined with lilac sweet, Let spouting fountains cool the air, Singing in the sun-baked square;Let statue, picture, park, and hall, Ballad, flag, and festival,The past restore, the day adorn,And make each morrow a new morn.'Tis the privilege of Art Thus to play its cheerful part.

— Emerson

INTRODUCTION

Art is the expression of man’s soul in terms of truth and beauty.

--Rather Schilling

The need for adequate direction in modern art education is urgent particularly in the elementary schools where teacher preparation in art is generally in inverse ratio to the demand for art. A functioning art program in any school is reflected in the lives of the boys and girls who work, play, and share experi­ences there. Moreover, in any community, large or small, art education is a cooperative enterprise in which the supervisor, the principal, and the teacher should share. Gertrude Corrigan, art instructor in the Chicago public schools, states the following:

If we are seeking for our children the good life we expect we may not leave out beauty.But the love of beauty must be taught; it is not necessarily inherent in us, we must evoke it if it is to bring joy to our lives. No sub­ject in the curriculum can be administered economically where there is a lack of applica­tion and where the will is not bent to learn. Probably the proper outcomes in art instruction have been hindered by a mistaken notion that success is entirely dependent upon inherent genius and that none other need apply.̂

■̂ -Gertrude Corrigan, "Instruction in Art," The Catholic School Journal. XLII - XLIII (November, 1942), 274-276.

viii

In conformity with the foregoing statement the writer has formulated an exigent study which is the initial step in the plan of this thesis. It is the writer’s purpose, therefore, to bring to the apprehen­sive hands of the part-time teachers of the sixth, seventh, and eighth grades a suggested study that will substantially fill the requirements in art on the level of these particular grades. To verify the necessity of art the writer can do no better than repeat the words of Doctor Chambers of State College Pennsylvania:

I believe in Art because I believe in rich­ness of life. I believe in Art Education because there can be no complete education without it.I believe in Art Education not as another subject added to the curriculum, but as an attribute and a spirit which suffuses the whole.2

In spite of the conviction that art is a fun­damental part of culture, the possibilities are as yet undetermined. Since curriculum builders are waiting for some one to take advantage of them the writer is confronted by these problems. Convinced that art ed­ucation is in greater need during the upper grades than at any other period in life, and that here the subject invariably reaches a decline, the writer expects

2Paul S. Campbell, "Art in the Elementary School, Homiletic and Pastoral Review. XXXI (March, 1931), 391.

to prove in subsequent chapters of this thesis the definite need of attention and revision in art interests

Since the word "Art" in itself, is one of the most difficult to understand, it behooves the writer to give the definition and principles which are to be accepted as a guide in this thesis. As a school subject art may be defined briefly as an organized body of ed­ucational experiences dealing with the meeting of human needs as efficiently as possible through the use of materials,3 However, for a more detailed meaning the writer with confidence refers to the reliable source of Miss Florence Cane, Director of Art, New York City:

Art is a natural means of expression for the human race, not intended merely for the exceptionally talented as so many people think, but for all. It is a form of life; it is an expression of the whole being, originating in feeling or sensation, organized by the mind and expressed by means of the body.4

The first step in the procedure of this study was the formulation of a questionnaire which was sent to 122 part-time art teachers of the schools taught by the Benedictine Sisters of Mount St, Scholastica,

^Leon Loyal Winslow, Art in Elementary Educa­tion. p. 4. New York: McGraw-Hill Book Company, 1941.

Florence Cane, "Art— The Child’s Birthright," Childhood Education, VII (May, 1931), 482.

X

Atchison, Kansas, The ultimate purpose of this ques­tionnaire was to obtain definite information as to the present work done in art classes taught by these teachers, and to secure their opinions on certain features in art procedures functioning in the class rooms of these particular grades. Most of these teachers whose opinions were sought may be considered to be ex­perts in their own limited field and their technique should hare some weight in a study, the outgrowth of which is intended to train pupils in modern art pro­cedures •

Since this study is one of first-clas3 informa­tion for art teachers, it was necessary as a second step in the procedure to investigate a few of the out­standing publications of modern experts in art methods and art courses in order to discover those specific principles which must be developed in this new phase of education. Thus the writer will more nearly approach that norm which is determined and will give that desired art training which will extend beyond the school.Speaking of vital integration of art with actual human needs the late Doctor Haggerty in his work, Art a Way of Life, says:

Art is an inseparable aspect of normal living for every human being. Upon an under­standing of this universal fact about human

xi

beings rest all our thoughts about the place of art education. Art is not something super­ficial, something veneered onto life, a thing that can be ignored and neglected. It is in­tegral with life, arises out of universal needs, impossible of dissociation from a completely satisfactory existence.5 6

It is evident that much has been written on art, as such, but it is the writer's aim in this study to challenge the art teachers of today and tomorrow to heed the compelling need in this modern age to combat the notion that school art classes are only for pupils talented in drawing and painting; that paintings are something to put in a frame and hung on the wall; that interior decoration deals with placement of bric-a-brac and non-essentials; and that sculpture is something that stands around decoratively symbolic. This notion about art is false. Teachers must know, and prove to the world at large, that we are getting away from the horse-car era and that the ability to meet needs through art is by means of "creative power". Such power is not considered the possession of the gifted few, but the possession of all— it is a part of every one of us,6

5Sister Florence, S.S.J., "Why Teach Appreciation of Art?" quoting Oatholic School Journal. XLII (March, 1942), 71.

6Leon Loyal Winslow, Art in Secondary Education, p, 109. New Yorks McGraw-Hill Book Company, 1941.

Hovr large a part the art program plays in the schools of our country depends largely upon the art teachers of America and to what extent they inject themselves into it and furnish leadership in their local communities where they are employed, Art becomes alive only as it is made vital to human beings. Therefore, it must be proved to advisers, administrators, and teachers that almost every human being has within him­self some potential ability to create, and that the aim of art education is not to develop a race of professional artists, but to fill a modern world with modem men.

The following words quoted from Clifton Gayne, art teacher in University of Minnesota, will be used as criteria in this thesis.

It cannot be denied that art is indispen­sable to everyone if maximum satisfactions are to be achieved from life. It is as necessary to the business man, mechanic, or doctor as it is to the scholar. In our present school systems the elementary school offers the only opportunity to obtain this necessary background of art that many citizens will ever have. This fact places a great responsibility which cannot be side­stepped regardless of lack of training or exper­ience. . . . . Our concerns with art in this country is a symptom of our cultural coming age.Are we developing our native potentialities in art to satisfy our spiritual needs?7

xii

^Clifton Gayne, "Vitamin A(rt) for an Enriched Curriculum," Design. XLIII (September, 1941), 26.

CHAPTER I

EVALUATING THE ART PROGRAM

Portunate is he who at an early age knows what art is.

— Goethe

There is at present a prevailing truism con­cerning art education and it is that today’s and to­morrow’s world must he a preparation for flexibility and change. Today a new pattern of educational pro­cedure in art is forced upon teachers as never before. That America is conscious of this is reflected in mag­azines, newspapers, and popular books; and the demand for beauty and efficiency is in every product that is bought and used. In whatever field we search, art is making contributions to our way of living. In support of the above the writer quotes the following statement from Eugene E. Myers, art director of Columbia, Uni­versity;

Today the scene is rapidly shifting, people are finding art in more and more forms playing a pant in their lives. No longer is the artist defined narrowly as one who simply paints or sculpts, but he may be an architect, city plan­ner, sculptor, ceramist, pa,inter, commercial artist, advertising designer, theatrical designer, or graphic artist. Such men as these, the artist of today, are available and ready to serve society. They can help their fellow citizens understand how art may enrich their everyday

2

lives, how it can be helpful in solving their daily problems. Such artists help people to understand that art has something for everyone-- something in which young and old can partici­pate and enjoy.1

Art appeared late among the subjects of the curriculum. It has for years received little treatment from educational planners. The prevailing idea of the American school during the early and middle part of the nineteenth century was that ability in art is a spec­ific endowment. That emphasis as a method of instruc­tion was placed on routine-exercises, imitation, repre­sentation, and technical proficiency or skill. It was not the art we know today but drawing, with the chief emphasis on form. Art instruction served the needs of industry, and these needs were met by instruction in instrumental or geometric drawing, free-hand drawing, and industrial design. Art was aimed at the gifted student rather than at all the students. Academic art teachers made such instructions communication of know­ledge, hard-and-fast principles, and information rather than a problem of guidance for individual growth. The result of this type of teaching, wherever it is still existing, produces art that is stereotyped, dull and 1

1Eugene E. Myers, "The Artist and the Community," Dasign, XLII (June, 1941), 13.

3

unimaginative.2 *Although the objectives of art education as set

forth by the National Educational Association in 1899 stressed the development of appreciation and enjoyment rather than the production of art objects; this point of view did not greatly influence public-school art until some fifteen or twenty years later.

Not until about 1920 was there a clear tendency toward more freedom on the part of the learner; the formal straight-line work in art courses had given way to the aesthetic and the aims of art in the public schools centered about creative expression, originality, and appreciation. The child was urged to express him­self freely on any subject in any medium available. During the years 1921-1938 renewed stress was placed on discovering methods of teaching, and greater range ofmaterial was being used in the class room to give art

3experxence.Art education, as a twentieth-century concept

is concerned with the entire world of visual arts and

2Clara Macgowan, “Art Education,M Encyclopedia of the Arts, ed. Dagobert D. Runes and Harry G. Sch- rickel, New York: Philosophical Library, 1946.

E. Moore, MArt Education," Encyclopedia of Educational Research, ed. Walter S. Monroe, Chicago: The Macmillan Company, 1941.

4

has for its chief aim the development of all individuals who will not only understand, create, or enjoy the arts but who will understand that expression in these medium is the expression of insight and sensitivities of othera to the world in which they live.^ It is therefore understood that art education of today has for its pur­pose the development of the power to appreciate and enjoy works of art, to cultivate taste and judgment, and thus to help the particular needs of the community, as it is pointed out by James P. Haney, director of art in the high schools of New York City:

Art is not for the few. It is for the many, for the many use it. It is not held that the training of the public schools will produce artists, but it is held that it will raise the standard of ta.ste through the community. We cannot have people with high aesthetic standards without an effect on trade. People who know better things demand better things. Thus the art teaching of the public schools has a prac­tical relation to the business interest in every community,5

In the history of instruction, art is a very old subject, if one is not particular as to definition and content; but it is evident that the “drawing" of the past is gradually rising out of the fog of * 5

Slacgowan, op, cit., p, 68,5Leon Loyal Winslow, The Integrated School Art

Program, p. 35. New York: McGraw-Hill Book Company,Inc., 1939.

5

intangibility and lack of organization into the light of a clear logical art curriculum, ba3ed upon the same sound psychological and pedagogical principles as those of other subjects.6 Altogether art, as it is known today, must be classified as instructionally modem and as an element in the curriculum which has hardly yet found its place. And yet, in one form or other it is found almost everywhere.Art, therefore, has a much broader meaning and far deeper significance than people are wont to give it. Perhaps, because America only now has arrived at that stage of exis­tence when she is able to forget her pioneer birth, art is beginning to play the larger role and once more assume its place as a great, vital force in the life of a great nation.7

Art has so many connections with modern life that it is not at all difficult to set up claims that demand for it a much larger place in our training program than it has so far enjoyed. Increasing emphasis in the past few years has been placed on relating instruction in art to other subject matter areas and, more particularly, to life needs. The primary need for art occurs in everyday activities

^Marion Graffam Miller, "The Importance of the Art Lesson," School Arts Magazine. XXXIV (September, 1934), 38.

7Royal 3. Pamum, "Significance of Art in Industry,"Journal of National Educational Association, XVT-XVII (June, 1927), 173-74.

7

the production and appreciation of art must have their crude beginnings in the child’s experience.

Ever since the introduction of art into the public schools in 1821, controversy has existed with regard to the values of curriculum material in art of one type or another. Various systems of art education have been pro­mulgated, which later have been abandoned and forgotten.At the present time difference of opinion exists concerning the contribution which art can make to the elementary- school program. There is the advocate who believes that development of "free, creative expression" is the major consideration. On the other hand, there is the advocate who believes art to be an educational subject furnishing valuable content material for effective understanding and participation in activities of social life. Under this newer philosophy, what should be the aim of the teacher in art instruction? Both of the above theorists are right but "creative expression" is the one essential in meeting present educational objectives.^

What is this creative expression about which so much is heard? The term ’creative’ as related to expression has often been given too limited an interpretation. Its * *

^William G. Whitford, "A Functional Approach to Art Education in the Elementary School," Elementary SchoolJournal. XXXVI (May, 1936), 674-75.

8

implications in art should he "broad and inclusive of many possibilities in child development. Creativeness has to do with thinking and feeling as well as with doing. It implies independence in the selection of medium, idea, ajid ways of combining them. According to Leon Winslow, Director of Art, Baltimore Department of Education, it may be described thus:

The ability to meet human needs through art we call 'creative power'. Such power is not con­sidered the possession of the artist only, it is a part of every one of us. There is a great sat­isfaction in making something that we ourselves have thought through. Something for which we alone are responsible and which we are able to carry to completion.^®

Viktor Lowenfeld offers another definition ofcreative activity:

Self-expression is a mode of expression quite apart from the literary content. « . . . Therefore, everything can be called self-expression which expresses truly the development stage, the state of mind, and emotion of the individual. That is why the scribbling of a child can in the same way be considered a product of self-expression, as a finished art work.H

If art as taught in the school produces an individ­ual who is different from the person who has not contacted the subject, then certain claims can be made with regard 10

10Leon Loyal Winslow, Art in Secondary Education, p. 109. New York: McGraw-Hill Book Company, 1941.

■^Viktor Lowenfeld, "Meaning of Creative Activity in Elementary Education," Design. XLVI (February, 1945),14.

9

to its value as an activity of the school. Creative art is an outlet for the individual as he sees his idea take form in material through his own efforts. It is doubt­ful whether the joy that an observer gains from the pro­duct of another ever equals the joy that the creator feels in making the product. The point, then, is that the product satisfies the producer.

Of the many things that affect expression, per­haps environment is the most important. Until recently the home environment exerted the most important influ­ence upon children. Now, in many cases, the influence of the parents and the home is becoming secondary to that of the teacher and the school. Although the school is able to contribute more to the child’s devel­opment now than ever before, yet American parents must carry their share of the responsibility in acquainting the child with the world's culture. The home, the teacher, and the school should all make important con­tributions to the child's aesthetic development.

The teacher can encourage the natural interests of children to discern beauty, color, and the art which is around them. Often the teacher is largely responsible for the kindling of that spark of creative imagination which exists in all normal children. The wise teacher,

10

took provides rich experience for her pupils, as she realizes that before one can express an idea in any way, one must first have the idea. Ideas and experi­ences, which will serve admirable for class activity, will be suggested in abundance if the teacher will discover and utilize the wealth of resources found in any community.12

The art education program carried on in a school or school system should be planned with reference to the needs of boys and girls. It should provide for both art production and art appreciation. Art in school should not be conceived as something distinct in life, but as life itself. The great Artist who gave us the birds and the flowers, the wide ocean and the tall mountains, also gave us the sensibility to enjoy them, to see beauty in them. When He made man in His own image He must have breathed into him this divine attri­bute. Art, we are told, is the beautiful way of doing things. But we see only what we have learned to look for. Education opens the eyes and ears, and touches the heart of the learner. The educated person appreciates beauty.

12Eugene Myers, "Art Integration in the Class Room," Design. XLIII (June, 1942), 14-15.

11

The aim of art in Catholic schools is to edu­cate the child to love and know God by means of His own created beauty, and thus to develop a better taste and a keener desire for simple, useful and beautiful things as they are recognized as necessary to happiness and success. °

Catholics have a heritage of which to be proud* In the early Church we see it in the primitive art of the catacombs, in the deep significance of Christian symbolism; it grew with the Church in the Byzantine, the Romanesque, and the Gothic periods. Through its creations the rise and fall of the Church’s vitality can be gauged; for art, life, and religion are one. Everywhere man put his hand to the building of God’s temple. This closeness to God made all artists anxious to proclaim His glory in the beauty of stained glass, the beauty of embroidered vestments. To them art was the image of God.13 14

But in the tide of Protestantism, during the sixteenth century, secularization of the arts went with

13Course of Study in Drawing and Applied Art. 1932-1933, p. 5. Archdiocese of Chicago.

14Sister Generva, S.N.D., "Art in Catholic Living," The Catholic Educational Review, XLII (May, 1944), 287.

12

the secularization of religion. Beauty was worshipped for its own sake. "Art for art’s sake" was coined and substituted for "Art for God’s sake." Whereas, formerly, the Church had been the sole consumer, now her sway over the arts was forfeited. Moreover, art ceased to be creative. In less than three centuries it became artificial and merely imitative.15 The talent of people remained latent through lack of exercise and thus became insensitive to the finer things of life.

But, fortunately, the past decade or two has witnessed a decided change. Art in .America has ad­vanced by leaps and bounds since 1913. It lacks, how­ever, the religious depth and inspiration, the uplifting force and spiritual content that is necessary to make it live. The time is ripe for a Catholic movement in art in America and it is to the Catholic schools that the Church must look for the training and encouragement necessary to develop an appreciation and demand for new and true religious art. This can never be realized by a merely passive acceptance of the works of the better artists. Her children are the ones who are to be led to a closer intimacy with God through the beauty of her

■^Herbert G. Kramer, "Why not Art?" Catholic School Journal. XXXIII (October, 1933), 225.

13

Churches, altars, and statues; they must be taught how to appreciate art.16

True Catholic art must come from intense Cath­olic living, deep convictions, and not from sentimental pietism. Catholic art cannot be plastered on from the outside. It must bear the earmark of sincerity, hon­esty, simplicity, and above all of truthfulness. Every person, every Catholic should be an artist in his en­deavor to bring harmony and beauty into the things of daily living. Art and life in the service of religion are the ideals to produce a Christian culture.17

Art should be an integral part of Catholic ed­ucation from the first grade of the elementary school to the university. Has the Catholic Church lo3t her claim to the title of "Mother of the Arts" which she, and she alone, held for more than a thousand years after Constantine? In the following words Herbert C. Kramer, S.M., speaks to the teachers of elementary Cath­olic schools;

It cannot be denied that very little is being done at present in the generality of our Catholic schools toward education in art.This means of cultural improvement has been * 1

16Ibid., p. 225.1 7-LfGenerva, op. cit., p. 287.

14

very much neglected. It is usually put aside as ’unnecessary*. The fault lies not with the individuals, nor exactly with our pedagogical methods. To a great extent, this neglect is the natural result of the general utilitarian trend of education in the past century and of the difficulties under which Catholic educa­tion in America has labored in an effort to establish itself.1®

Today, anything which will tend to strengthen interest and pride in our Catholic heritage is valuable for the training of future Catholic citizens of America. This must be insisted upon, for culture has a hard life in this vulgarized age. Creative art and art apprecia­tion offer an excellent opportunity for a deeper know­ledge and understanding of that glorious achievement known as Catholic culture. The great art to which the student is introduced, be it sculpture, architecture, or painting, flourished largely in the ages of faith, and had its basis in that same faith. In thi3 age of uncertain values, a knowledge of the great names in the world of art should help to build in the student a deeper appreciation of a faith which throughout the centuries has striven to help and to hold man to the ideal.

The future of the Church in America depends upon a large, earnest, and well-informed Catholic laity, 1

1SKramer, op. cit.. p. 226.

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acting as a unit and not narrowed by locality of interest. A course in art appreciation will enable the child to understand specific aspects of this world in terms of art. It will teach him the language of art just as he is taught any other language. It strives to stimulate his vision and to develop a habit of intelligent seeing, so that he will observe expressions of art with refer­ence to cause and effect, and will interpret, appraise, and enjoy them objectively and through his personal re­actions rather than through the dicta of others. It aims to broaden his horizon, and to furnish a source of deeper pleasure and satisfaction which will accompany him as long as he lives.

Our present Soverign Pontiff, more than any other recent Pope, encouraged Catholic educators to introduce art into their schools. However, art in its highest conception has always been the understanding and interested concern of the Vatican, but there is now an urgent need of more thorough training which is clearly revealed in the recent revival of interests in Catholic liturgy. The liturgical art movement is doing much in this respect. But while it is true that much can be done by generally interesting Catholic adults in Liturgical Arts, the real place to do work is in the Catholic schools.

CHAPTER II

ART ASPECTS IN THE CURRICULUM

Never lose an opportunity to see anything beautiful.Beauty is God’s handwriting.

--Charles Kingsley

A person who possesses good taste has many ad­vantages over one who does not have good taste; he is able to get more out of works of art in the way of un­derstanding and enjoyment, and he is able to select better things to wear and to live with. Eortunately, one’s tastes may be improved, and this is one of the objectives that art aims to achieve— the cultivation of appreciation.

Artistic taste is one road that leads to attrac­tive personal appearance, in other words to the embel­lishment of personality. The beautiful is obviously not confined within buildings. It lies at our feet when we go abroad in the country, crying out to us to be appre­ciated; it is at our sides among our fellowmen. When taste is so developed that the race becomes unhappy in the presence of ugliness and stupidity, it may be that museums will disappear. Beautiful things, though more difficult to conceive than ugly ones, are no more difficult to manufacture; and there is hope that beautiful things

17

will be manufactured when demand for them makes itselffelt. Our forefathers had them; our descendants mayhave them again.1 Howard Hanson of the University ofRochester states the following concerning beauty:

Ve are realizing that the development of sen­sitivity to beauty is of prime importance; that beauty is the handmaiden of the spirit; and that art teachers its highest fulfilment when it ministers to the soul of men, singing its age old song of compassion and tenderness, preaching its eternal gospel of the brother­hood of men.^

In recent years appreciation has become an important part of the teaching of art. This phase of the subject is often called "aesthetic education." Thi3 introduces the pupil to an ever-widening experience in the discovery and enjoyment of beauty. Art apprecia­tion with its emphasis on beauty, taste, and discrimi­nation, should be given major emphasis in our schools; certainly more than it is receiving in many schools.Too frequently the governing officials consider art a "useless" subject to be dispensed with at the least provocation. Any experiences which help us to identify

1Belle Boas, Art in the School, p. vi. New York: Doubleday, Page and Company, 1927.

^Howard Hanson, National Educational Association Proceedings. Vol. 78, p. 68 Article 57-60, 1940.

18and appreciate loveliness in life, satisfy the yearning in every hea.rt for the beautiful, and \vipe out the ugly in our environment cannot properly be called a frill.3

In art appreciation the child is led to observe and to enjoy expressions of beauty, both natural beauty and beauty in art. Observation, like any other ability, can be greatly enhanced by proper training and experi­ence. Here the schools are concerned not with teaching children to observe constructively with reference to va,riou3 effects and their causes; but the aim is to endow the child with new attitudes towards life, to arouse new interests, and establish new appreciation.^ Lester Dix says that art teachers are the people who can make possible the kind of a,rt education that is needed. In his words:

The teacher meets the child in his own ground. She treats him as a person, draws him out and encourages him to get to work on something she has found him interested in.She does not require him to hold his pencil or brush just so, nor does she have a. pre­scription for him to fill. She does not require him to work according to any rule, but if he does get into technical difficulties

^Calvin T. Ryan, "Art Educa-tion," The Catholic School Journal, XL (October, 1940), 253.

^William G. Whitford, "A Functional Approach to Art Education in the Elementary School," Elementary School Journal. XXXVT (May, 1936), 674-681.

19

she gets together with him as they experiment to find their way around the difficulty. She gives real help in pinches. Probably most of all she gives him appreciation for his efforts, praising to the utmost what he accomplished. She does not have to be insincere but she does have to distinguish what she can praise, and overlook the rest until he gains a little self-respect and self-confidence to go on.5

Let us look now at the practical application of the subject. Classes in art appreciation, successfully and enthusiastically conducted, should make a definite contribution to everyday life. Through the knowledge of line, tone, and color haimony, and of the principles of proportion, balance, and appropriateness, this study should help solve the individual problems of correct dress and personal attractiveness. Its training should follow into adult life as factual knowledge to be util­ized in the planning of homes, and of their placement and furnishings. Ho teacher should take the attitude that John should be able to produce excellent art work because he is taking art appreciation. Art appreciation is not creation. One child may not be able to draw, but he can learn to appreciate; another may not be able to make a beautiful, or even acceptable poster for her religion class, or for a social studies project, but

^Lester Dix, "Art in Intercultural Education," Education. LXVI (February, 1946), 347.

she can learn to express correct lines and color har­mony in her clothing and appearance.6

In the elementary schools the present trend is toward an integrated art program. The study of art can be used as a supplement to, and an integration of all other subjects of the curriculum. Many teachers think it functions best in this way. This is probably because in most of these schools art is taught by the regular grade teacher, sometimes under special supervision.The elementary teacher who instructs in all subjects should experience little difficulty in teaching art, which is so closely related to the other school subjects.

Integration may be more difficult to achieve in schools where special teachers of art are employed than in schools where all subjects are taught by one class­room teacher. However, the special art teacher can accomplish much and be greatly benefitted by direction from the classroom teacher. He must be willing to find out what is being done by his pupils in the other class­rooms and outside school to make generous use of theinformation in his teaching.

On the basis of the recognized principles, the

20

^Florence, oj3. cit., p» 71.

21

art work must be planned, by the teacher who is in close touch with the children’s needs and interests. Art must be an integral part of the regular curriculum, correla­ting with nature study, language work, the social studies, health and safety education. It ceases to stand out as a thing apart from the regular studies; it becomes a means by which the other subjects of the curriculum are effectively taught. Moreover these experiences organized around a central core, such as social studies, history, or science, are not sufficient, if art is not integrated in the curriculum with whatever it is integrated in life. There is a marked tendency in recent courses, particularly on the seventh and eighth-grade level, to relate art to the home, the school, the community, industry, and all aspects of everyday living. These courses propose to make the child a better consumer rather than a better producer of art.

Integrated activities allow each child to make his contributions toward solving the problem that the class has selected. Here basic human needs found in children as well as in adults are being satisfied. The need of exercising one’s capacities is doing something to solve a problem, the need of learning to work with others toward a worthy aim, and the need of gaining the approbation of one's co-workers are fostered in the

22

integrated programs. Working through the integrated problems the teacher can do much to help the child de­velop his ability to express himself. There are so many kinds of work to be done to develop the project that each child will find an activity suited to his level of ability. Each child is encoura,ged to make an individual solution to his part of the problem; no matter how original his solution may be, his ideas are given a trial; each child learns to work with others towa.rd the completion of the whole problem and in doing so learns to respect his classmates’ ideas.^

All the references to the importance of flex­ibility, freedom, and real experience in art imply that every school subject should be used to contribute to the content of the art course. This does not mean that a correlation between art and the other subjects should be planned in detail for the school year. It is the duty of the art teacher to discover, in the process of teaching, the material of the other courses that is meaningful and interesting for the child in creative ability in art. This is least difficult, as noted before, if one teacher teaches all subjects; but if

7Eugene Myers, "Art Integration in the Glass Design. XLIII (June, 1942), 14-15.Room, "

23

departmentalized the art teacher must confer with other teachers on this point. In either case, if the teacher allows and encourages pupils to state their interests she will have no difficulty in finding much of the content of art in the other courses.8

Art in turn should he expected to contribute to the vitalization of the other school subjects. This is not saying that art must be sacrificed to put life into the dead bones of any formal abstract subject. Ralph M. Pearson says in his book, The New Art Education, that a sure guarantee to kill the art impuxse in children is the integrated curriculum where art becomes a mere hand­maiden to serve leyally and self-effacingly other sub­jects such as history, sociology, and geography. But he says this method of teaching need not be a negative influence on the child— Mif the art is the master instead of the servant."9 The point then for the teacher to grasp is that if he makes all the elementary-school subjects consist essentially of the child’s activities and real everyday problems, he is unlikely to have a * 9

®W.A. Saucier, Theory and Practice in the Elemen­tary School, p. 393. New York: The Macmillan Company,1941.

9Ralph M. Pearson, The New Art Education, p. 214. New York: Harper and Brothers, 1941.

24

scarcity of material for art.For many years art education assumed that,

given control of a material, a child will create. This is not true. A child may be taught the technique of a material and may never use it to express an idea of his own unless his creative abilities are encouraged. The art teacher is then, first of all, concerned with ex­perience and interest in having something to express and a desire to express it. This takes the art teacher into other classrooms in order to know the interest and needs of her students. The academic teacher has discovered that children become interested and eager and the sub­ject "comes to life" where there is something to make. This need for expression has sent the academic teacher to the art room for help. This is essential to an in­tegrated program. The art teacher must recognize the "life" interests of the students and the academic teacher must recognize the necessity for expression through materials.

From the foregoing it will be noted that a relationship of subject matter in various classes must be the outward form which indicates the recognition of a dominant interest. A large problem which is engrossing to a class sends the members to their various teachers eager for the special help which is needed. It is

necessary, then, to think of related or integrated subjects as being related because they are determined by some dominant interest. This is well described by the term "Unit of Work".

The units of work should be so distributed throughout the year as to include drawing, design, lettering, perspective, color, and appreciation. This method is rather an effective one for developing among pupils an appreciation of art and drawing. The pupil of any grade level usually takes much interest in cen­tering activities for a period of time around an art museum, an art exhibit, a health project, or literature illustration.

A unit of work in art should not be given as any dogmatic art curriculum, but to show how the natural activities of children may result in desirable growth in art. In respect to the art lesson, there is no set formula. Of course there are some lessons occurring in every unit of work that include the gaining of knowledge, or the improvement in certain skills.

Leon Loyal Winslow stated the following concern­ing the close association of art with other school sub­jects;

Throughout the elementary schools, art may broadly be conceived of as a component part

25

785.14

26

and frequently as the outgrowth of the entire school curriculum. Because some experience with art is involved in almost every field of human endeavor, the subject helps the pupil to learn more effectively, the pursuit of it being essential to his liberal education on intellectual as well as on aesthetic grounds.There is no history, no geography, no science, which is not intimately associated with the topics around which the art course is organized.The elementary grade teacher who instructs in all subjects, experiences no difficulty in teaching art which is so closely related to the other school studies. ^

According to Winslow little formal instruction in art should be found necessary at any level of the pupil’s progress through school, although there is an appropriate place for skillful guidance by the teacher, given always at the time in the pupil’s development when the help is needed. In this connection, the pupil is entitled to be made acquainted with the industrial processes necessary to the successful transformation of materials. In representation, he should be familiarized with the various methods of handling the mediums of graphic and glyptic expression.11

In view of the fact that children vary in ex­periences and ideas, in facility in expressing ideas, and *

■^Leon Loyal Winslow, The Integrated School Art Program, p. 33. New York: McGraw-Hill Book Company, Inc., 1939.

llMArt Education,” Encyclopedia of Modern Edu­cation. Harry N. Rivilin, ed., New York: E. Hubner and Co,, Inc. 1943.

27

in motor skill, we cannot expect all children in the same grade to have the same art standard, nor to acquire knowledge and skill to meet those standards in the same time. Therefore, arises the question of grade place­ment and art topics for different grade levels.

From the standpoint of administration it would be desirable to formulate art standards to be attained in each grade. However, from the standpoint of art de­velopment of the child this, at the present time, is im­possible. There are many records of what the adult desires the children in each grade to accomplish while following his natural art activities. Before coming to any conclusion about art achievements of an average child in a fourth grade there must be records of the activities and resulting art growth from many fourth grades. This is a field of work still open for research.

According to Gertrude Corrigan, art teacher in the Chicago public schools, children should advance in art in the same degree of progress as is required in geography, arithmetic, or any other subject. Children should at the end of their formal education possess certain powers of representation, of color sense, of the science of color combinations, of poster design, of principles of decoration, of cartooning, and of let­tering. At the end of grammar-school days, children

28

should he able to depict a situation in line or in color, intelligently. The hand should he trained hy that time to respond to mental control in such delineation.Drawing should at that time he a language for them. Enough attention has been given during the first eight years of school to principles of interior decoration so that every graduate should know what to do about house furnishing. Knowledge of good and had color combinations should come with the first lesson in color.^

Joseph E. Moore also states that little atten­tion should he made regarding grade level. Stress is usually placed on becoming acquainted with color, form, arrangement, and design. While emphasis is given to drawing, painting and block printing also receive at­tention and are given special emphasis in many instances. The media through which learning and teaching activities may he directed are numerous and vary from soap to dictaphone wax. There is no sharp line of demarcation between the elementary school and the junior or senior high school. The activities are generally continuous and vary only in complexity and degree.

-^Gertrude Corrigan, "Instruction in Art," The Catholic School Journal, XLII - XLIII (November, 1942), 274-275.

-^Joseph e . Monroe, "Art Education," Encyclopedia of Educational Research, edited by Walter S. Monroe, 1941.

29

The teacher should be aware of the fact that she cannot teach and evaluate child art as adult art, but she must ask herself first of all if the child enjoyed the activity. Is he able to express himself freely? Is he developing courage and initiative to go ahead on his own? Her job is to teach him to think for himself and not to be afraid to express what he feels.

The children of thi3 country are entitled to as good and as efficient an art training as can be given to them. If parents and teachers considered art as important as any other subject in school there would be better adjusted pupils and perhaps a better world, because it trains directly for the promotion of finer standards of citizenship and for higher ideals of civ­ilization. Modern art education aims to interpret the message of art, end to help the child in creating &n artistic background with which to enrich his future life. Doris Blake in her article Art in Rural Education states:

We must convince the populace that art is a very necessary part of living. It determines the clothes we wear, the homes in which we live, our streets and highways, our public buildings, the very appearance of our villages and cities.It gives us hobbies to keep us young and to make steady hands and steady nerves at a time when they are sorely needed. We as art teachers have the responsibility and power to control the direction art will take today. Will it be

30

growing, expanding, seeking new ways and new means to stimulate inventiveness, imagination, creativeness, discrimination, and appreciation?14

Our hope is that this early training in the arts may change our present era into a period of higher cul­ture and a better understanding of everything that art in life may mean to us. John Ruskin, one of the greatest advocates of art education, has said that "Art contrib­utes to man’s mental health, power, and pleasure." If one engenders a love of beauty he is directly creating deep and abiding spiritual values and building character. If he develops good taste, he is also developing per­sonality, social values, citizenship and character.John Ruskin continues to affirm the power of art im­planted in man in the following statement:

Pine Art must always be produced by the subtlest of all machines, which is the human.No machine yet contrived, or hereafter con- trivaMLe, will ever equal the fine machinery of the human fingers. Thoroughly perfect art is that which proceeds from the heart, which involves all the noble emotions; — associates with these the head, yet as inferior to the heart; and the hand, yet as inferior to the heart and head; and thus brings our the whole man.-L'J

l^Doris Blake, "Art in Rural Education," Design, XLIII (June, 1942), 11.

■̂ ■̂ John Ruskin, The Two Paths, p. 38. Boston: Dana Estes and Company, 1858.

CHAPTER III

LOCAL INVESTIGATION OP PROBLEM THROUGH QUESTIONNAIRE METHOD

The Artist is not a special kind of man, but every man is a special kind of artist.

— A. K. Coomeraswamy.

In order to prepare the reader for what is to follow and to give an inkling as to a commonly accepted attitude towards elementary education in general and art education in particular, the following excerpt is quoted from "The Child Centered School" by Ruggs and Schumaker:

Consider the children in the formal school— silent souls sentenced to a treadmill of grades in an effort to grind out a dubious three-R in­intelligence. What is art permitted to mean to them, except, perhaps, pictures on the school­room walls of madonnas or of Washington Cross­ing the Delaware? Painting and drawing? Agon­izing half-hours twice a week, feverishly and sickenly restraining a quivering brush or pencil to keep it from spoiling something the teacher has set before the child to be done. Art in the old school means initiative production, mere representation, copying, the passive study of the classical.^

In attempting to prove to the teachers of the sixth, seventh, and eighth grades the importance of

^J. Art McCanne, "A Talk to Beginning Art Teachers," Design, XLII (Pebruary, 1941), 26.

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creative art and art appreciation in these particular grades, and incidently, that it is in these grades that the teaching of art has had a gradual decline, a ques­tionnaire was formulated to enable the writer to study methods of procedure in the teaching of art.

The questionnaire comprises two main divisions. The first part consists of twelve general questions to art teachers, and the second is composed of eight major teaching units in art, each having seven to ten subdi­visions .

The writer sent copies of the questionnaire to each sixth, seventh, and eighth grade teacher of the seventy-three elementary schools taught by the Bene­dictine Sisters of Atchison, Kansas. These teachers were instructed by a letter to follow each question carefully and answer as frankly as possible. To insure reliable returns, the teachers were not required to give their names and were instructed that no means of identification would be used.

On October 1, 1945, the blank forms were sent to one hundred twenty-four teachers of these respective grades. By December 1, 1945, ninety-five per cent of these forms had been filled and returned to the writer. Thirty-seven of these forms were answered by part time art teachers who taught all three grades, namely: the

33

sixth, seventh, and eighth. Twenty-nine, were answered by teachers teaching hut two grades, the seventh and eighth; ten teaching only the eighth grade; ten the seventh; eleven the sixth; and twenty-five teaching the sixth and lower grades. These returns will he shown in the following chapter hy means of graphic representations.

It will he noted, therefore, that the purpose of the questionnaire was ultimately, to secure material for a basis of study, and with this information at hand it enabled the writer to suggest methods of procedure in the teaching of art for part time art teachers in the sixth, seventh, and eighth grades.

Before attempting the solution of the problem envolving this thesis, the writer was confronted with the difficulty of securing reliable material where­with the art teacher should acquaint herself. This necessitated on the part of the writer extensive study on standard methods of teaching art to secure substan­tial references that are based upon the American slogan "Art for Life’s Sake", which will make the child realize that beauty through art exists in the common things of everyday life, as well as, in masterpieces of painting, sculpture, and architecture. Accordingly then the following have been selected:

34

Art AppreciationBy Cora Elder Stafford, Hi. B.

New Art EducationBy Elsie Ruffini and Harriet Knapp

The Fitzgibbon System of Teaching Art By Julia Reardon Fitzgibbon

Industrial and Applied ArtBy Perry, Pitch, Sargent and Boner

Practical BrewingBy Butch, Famum, Foster, Kirby and LemosProgressive Lessons in Practical Art

By Madalene PickensThere are a great variety of text books of sim­

ilar content offered but in the course of the tabulation, which is presented in the following pages, references are made only to the most extensively used and well planned art texts and courses of studies. No cut and dried art course will be of value to the students that are vitally interested and those not interested at all. Any kind of art course which is not based on the ability and interest of the students will not be worthy of its cost. It is obvious that there can be no one pattern for instruction in art. The only statement that i3 generally applicable is that every child has a right to good instruction. The means of providing this instruc­tion will vary according to the type of school and the resources of the community.

35

The purpose of this thesis, as stated before, is to bring to the teachers of the sixth, seventh, and eighth grades a few practical and specific suggestions which will be of actual use in the classroom in reach­ing the goals set by objectives of art instruction.With the foregoing chapters as a starting point, this further attempt in questionnaire form with added explan­ation will develop the more specific suggestions.

Each question is taken up in turn, and an attempt is made to give specific suggestions for achieve­ment. It is to be noted, however, that each is intan­gible; one can easily visualize the difficulties to be encountered in setting up definite, specific procedure which would lead with certainty and mathmetical precision to intangible outcomes. Even so, it is hoped by the writer that the following suggestions are in a suffic­iently definite form so that they may be of some use in an actual classroom situation.

General information of part time art teachers as given in the questionnaire together with the tabulated findings is given below. A similar procedure will be followed in the next chapter pertaining to Part II of the questionnaire.

36

Question 1. DO YOU FOLLOW ANY PARTICULAR ART COURSE OR ART TEXT BOOK?

YES 19 NO 103IP SO? NAME THEM:Art Appreciation, Kansas State text

By Cora E. S. StaffordThe Art Teacher

By Pedro J. LemosStepping Stones in Practical Art

By Magdalene PickensActivity Art Book

By Effie SchuremannMissouri State Course of Study

By County Pine Arts SupervisorPractical Drawing

By Farnum— KirbyYou can Make It

By NewKirk and ZutterPractical Problems in Art

By Glenn I. AndersonArt Education Through Religion

By Mary G. McMunigleAugsburg 0b,1 ect Drawing

By D* R. AugsburgBefore beginning the interpretation the writer

wishes to explain that whenever the number after the item does not total one hundred twenty-two, it indicatesthat the blank was not filled in and that implies that art education in that particular line is not systemati­cally undertaken*

37

From the return of question one it is to be noted that many teachers follow no text book or other prepared courses of study material in the teaching of art. Of the one hundred twenty-two teachers involved in this study, however, nineteen use some kind of text material or follow a course of study.

Art is always an answer to some specific interest, urge or need. It can not be cut and dried and planned ahead. Therefore, art text books cannot be used in se­quential numbered pages, or even taught in entirety. The text book will suggest many, many ideas to help the children in their own designing and planning. Then, too there are technical directions that must be taught when the child’s needs call for them; no child can arrive at a successful demonstration without needed skill. If text books are followed in the above way, they will add im­measurably to the experience and pleasure of the children.!

Art has always been a part of the general course but the stress on free method has been of very recent interest. Informality in no sense means license or way­wardness on the part of the pupil3, but it tends to capture all students. The following quote confirms the

^Elsie E. Ruffini, and Harriet E. Knapp, New Art Education. Books 7,8,9. p. 58. Sandusky, Ohio: The American Crayon Company, 1945.

38

statement:Comparison of numerous earlier courses of

study with present day courses of study in art indicate that the more recent trends are away from the former emphasis on

(1) fixed standards of achievement for specified grades.

(2) technical accuracy in the reproducing of art models, and

(3) theory of art in the elementary schools.At the same time the trends indicate increased

emphasis on(1) individual and creative expression,(2) art as an appreciation subject, and(3) a widening use of art through integra­

tion with other subjects and activities.2question 2. HOW MUCH TIME DO YOU DEVOTE TO

ART TS A WEEK? IS IT TAUGHT DAILY?On the following page is a. table showing the

results in the survey of this time allotment of art in the sixth, seventh, and eighth grades.

The reading of this table shows that in the sixth grade a range of from thirty to one hundred and forty minutes per week are devoted to art, with a median of seventy minutes. In the seventh grade, the writer found a range of from thirty to one hundred and sixty minutes with a median of sixty-eight minutes, and in the eighth grade, also a range of from thirty to one hundred and sixty minutes with a median of sixty minutes.

^Douglas E. Lawson, "Objectives and Organization in the Elementary School Art Programs," Elementary School Journal, XLIV (January, 1944), 278.

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TABLE I

TIME DEVOTED TO ART BY ONE HUNDRED AND TWENTY-TWO TEACHERSOP THE SIXTH, SEVENTH, AND EIGHTH GRADESMin. per Frequency

week30 - 40 1540 - 50 2850 - 60 460 - 70 4070 - 80 780 - 90 290 - 100 .......................... 12100-110 .......................... 1110-120 .......................... 0120 - 130 .......................... 8130-140 .......................... 4140-150 .......................... 0150 - 160 .......................... 1The above frequency graph gives the time allotment

of the one hundred and twenty-two teachers in the sixth, seventh, and eighth grades.

According to the returns of question two, part second, ten teachers scheduled daily art classes. This low percentage, which averages about eight per cent, is due, undoubtedly, to the teaching load. However, the recent trend in providing an integrated art curric­ulum should have many advantages for these small schools.

Modem education recognizes that to give a childan opportunity for some f o m of art expression once a week or occasionally is not enough. It is the continuous build up day by day which constitutes growth in any

40

field of education. Art cannot be thirty minutes set aside from the regular routine to enjoy and appreciate beauty. Art is not apart from life. Belle Boas states that:

Even the boy or girl that has a flare for art will not be greatly developed in the art training the ordinary school gives him. There is neither the time or money not the inclina­tion to develop the potential artist. He must be content to await his entrance into an art school. In the unspecialized school all that can be hoped for is the sharpening of taste and the powers of observation.3

Following the questionnaire to question three:DO YOU FAVOR ART INTEGRATION WITH OTHER SCHOOL SUBJECTS?

YES 119 NO 3In the tabulation of the provisions made for

integration of art with other subjects, only three among the one hundred and twenty-two teachers answered in the negative. In the following chapter, figure seven shows the various subjects and frequencies with which such integration was found. It is evident from the above returns that these part time teachers realize the value of an integrated art program, the appraisal of which was discussed at length in the foregoing chapter.

Questions four, five, and six of general infor­mation in the questionnaire are concerned with radio art.

Boas, o£. cit.. p. 5.

41

4. HAVE YOU USED THE ART APPRECIATION SERIES BY RADIO?YES 27 NO 95

5. IP SO? WERE YOU AND THE CHILDREN BENEFITED?YES 15 NO 11

6. HAVE YOU ANY PARTICULAR REMARKS CONCERNING RADIO ART?It is obvious from the above low percentage of

returns that radio art is new and few teachers have made use of such programs. Some of the remarks of these teachers, concerning radio art lessons, are a.s follows:

Radio art programs are very beneficial for the part time art teacher who has a limited amount of art training.

Radio art programs must be very helpful and instructive. We are unfortunate in not having them in our school.

Judging from reports about radio art, it must be very interesting and helpful to teacher and pupils.

I wish all schools were equipped so as to make radio art programs available.

There is this disadvantage— visualization is missing. To me it seems a child can get more if he sees what you are trying to teach.

Generally speaking, the radio art program has proved to be a real stimulus and is eagerly looked forward to by pupils and teachers alike. It is also responsible for the accumulation of a rich body of visual material that must inevitably serve as an in­spiration for creative effort, thus developing an

42

ideal of art appreciation baaed upon seeing and doing.It i3 evident that a technique for radio art teaching must be developed. Its success requires that the class­room teacher makes use of the manual provided, and be alert to catch the objectives of the lesson. Of the pupil, it requires direct thinking and challenges him to clean-cut answers. Of the radio teacher, it requires hours of painstaking writing, trial, and rewriting, and such experiences with the entire situation that he may,with conversational ease, keep work and tone vibrant

4with interest.Continuing to question seven and eight of general

information which is based on contests and exhibits, the writer found that about twenty-five per cent, of these teachers take part in such activities, with the low of sixteen per cent as winners.

Question 7. DO YOUR PUPILS TAKE PART IN CONTESTS AND EXHIBITS?

YES 39 NO 528. HAVE YOUR CHILDREN FREQUENTLY COME FORTH AS WINNERS?

YES 27 NO 19School exhibits and contests may be dangerous

^Alfred Howell and Ann V. Horton, "Art Apprecia­tion by Radio in the Schools," National Society for the Study of Education, p. 598. Fortieth Yearbook, Vol. XL, Bloomington, Illinois: Public School Publishing Company, 1941.

43

practices. First, because it encourages pupils andteachers to do "showoff" work, to stress technique atthe expense of more desirable learnings, and to overworkthe teacher; second, if the contest or exhibition, withor without prizes, is staged under the auspices of somebusiness institution for its own advertising purposes.Who are the jury? Is their opinion worthy of respect?Is the prize acclaimed given for "the best"? Theseoutcomes are often discouraging for the young artist.If there must be contests they should be staged as anenterprise of associated schools, or under public or

5governmental auspices.On the other hand exhibitions and contests are

a valuable means of selling art as a school subject to the public. Exhibits are always stimulating to children and interesting to parents. They help to keep visitors, especially the parents, informed of the progress in art that is being made by the children. Furthermore, they give school patrons an insight into the objectives and accomplishments of art classes and create a sympathetic attitude toward art activities.® There is not a parent who is not proud of the drawing or design with Junior’s 5 6

5Pearson, o£. cit., p. 336.6Ibid.. p. 78.

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name on it. And there is not a child who is not proud of his drawing or title or hook cover which is chosen for the exhibit. There is no doubt that the school art exhibit has its values and if managed with common sense and good judgment is worth the extra effort which must be taken in order to achieve success.? An occasional exhibit in some downtown store or store window may prove very stimulating. Harriet E. Knapp, instructor in design and crafts, Columbia University, encouragingly states that:

In art education, if the teacher will provide incentive and stimulus through a wide range and variety of activities, giving all the encourage­ment that she can, and at the same time instill the best available ideas on design and arrange­ment, end-products will take care of themselves to the edification of all concerned. They will be fundamentally completely good. Exhibitions will be enthusiastically received. Art will be the highlight of the school programs.8

It will be noted from the returns of the follow­ing three questions of the questionnaire that the same problems regarding standard tests and testing in art, found in most schools, also exist in these classrooms.

^Florence W. Nicholas, Nellie C. Nawhood and Mabel B. Trilling, Art Activities in the Modern School, pp. 363-364. New York: The Macmillan Company, 1939.

Q Harriet E. Knapp, New Art Education. Teachers Reference and Course of Study, Books 7,8,9. p. 2. San­dusky, Ohio; American Crayon Company, 1945.

45

Question 9. DO YOU FAVOR TESTING IN ART ABILITY AND ART APPRECIATION?

YES 95 NO 1710. DO YOU TEST YOUR PUPILS IN THE SUBJECT MATTER TAUGHT IN ART?

YES 66 NO 5611. IF YOU USE ANY SPECIAL STANDARD TEST? NAME THE TEST USED. No returns.12. HAVE YOU ANY SUGGESTIONS CONCERNING TESTS IN ART?

Some remarks of these teachers concerning tests in art are as follows;

I hope a standardized test will soon be realized.If there were uniform art texts on standard

series, I think it would be fine to have tests.I think the work the children do is quite

sufficient for grading.I have found that tests on pictures, art

history, artist, etc., are helpful; but having children paint something for a test is generally a failure.

No tests are given in our school because we have no definite course to follow. Such material is badly needed.

There seems to be diversity of opinions as to what constitutes ability for a test in art. However, it is obvious that no formal examination, especially the objective test, can be very useful in checking on the important outcomes of teaching art. The art teacher has

46

no ground for assuming that he can measure creativeness or appreciation through abstracting either one from ex­perience, and measuring bits of it by a test. As in music and other such subjects, the results of teaching through experiences are best determined through exten­sive and careful observation of the child’s reactions as he is in the process of learning. Such an observation can be made rather reliable because of the close associa­tion of teacher and pupil and the active participation of the pupil in many kinds of units of work.9

The teacher of drawing needs to make use of some testing or checking device to determine whether the pupils are developing the correct attitude of appre­ciation. Possibly one of the best means of checking on the development of drawing ability, is that of keeping specimens of the work of the pupils, and marking compar­isons of these specimens from time to time. In checking or testing for appreciation, the teacher may note the changes in the principles of design as they appear in the pupil’s drawing from time to time. She may also note their change in picture arrangements, and manner of taste in dress.

-Saucier, op. cit., pp. 394-395.^Lorene B. Stretch, The Curriculum and the Child,

pp. 404-405. Philadelphia: Educational Publishers, 1939.

47

Today there exists a number of standardized tests to measure ability in art skills and appreciation, as well as, studies of children’s interests. The teacher may find these of value in motivating the pupils to better work in drawing.

The standard tests constructed prior to 1930, which were the McAdory Tests and Kline and Carey Free­hand Drawing Scale have been revised by the authors.Other tests are the Meier and Seashore Art Judgment, Whitford Drawing Tests and the Lewerenz Art Test.

The Kline-Carey Measuring Scale for Freehand Drawing is constructed for the purpose of measuring representation. It consists of four scales of twenty steps each. All drawings are scored by comparison.In using the scale, however, the teacher should realise that results are not objectively derived and that they may reflect the teacher's personal preferences and prejudices."^

W. G. Whitford has devised a test for measuring the pupil's ability to determine quality in art. His test is not of much practical use. In fact, up to the present time there has not been worked out a test or

^Ibid.., p. 407

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scale in art or drawing that is an efficient measuring instrument as in hand writing, in spelling or any other concrete subject.12 * 14

In spite of the fact that little is known about what constitutes talent in the various forms of visual art, it is probably true that most, if not all, art teachers think that they are able to recognize talent in some of their pupils. Yet when these pupils are subjected to any of the tests present on the market, the results of such tests are generally disappointing.1 ̂Leon Loyal Winslow, director of art, in the Baltimore Department of Education, states the followings

Much standardization would be haimful at the present stage; this is no time for publishing or broadcasting any exact formulation of test, as American educators are prone to do.1^

From the result of the questionnaire part one it is evident that these schools under question exper­ience difficulties. It is hoped that the analysis of the writer which follows each question will offer some clarification to the apprehensive teacher. A note of interest is the time allotment returns; the sixth grade

12Ibid.^Leon Loyal Winslow, The Integrated School Art

Program, pp. 287. New York: McGraw-Hill Book Company, 1939.14Ibid.

49

art classes averaging slightly higher than the two upper grades. Considering the seventh and eighth grades on this point there is very little variation. From answers received to other statements the writer has every reason to believe that the teachers are doing all they can under circumstances to raise the educational standards of the respective classrooms.

Explanation and consideration of QUESTIONNAIRE PART II will follow in the next chapter. The complete form of the questionnaire sent to the teachers of art id found in the appendix of this thesis; likewise a list of the schools participating in this project.

CHAPTER IV

INTERPRETATION OP QUESTIONNAIRE PART II

Art shows to man things which he cannot otherwise see.

— Prancis W. Parker.

Although the need for art is perhaps greater during the upper elementary grades of a child than at any other period in school life, the subject invariably reaches a decline. In many schools art is taught by a classroom teacher with meager or no preparation to teach art. This situation exists more frequently, of course, in small towns and rural communities than in larger cities; still, the children in small-town and rural communities are entitled to the same advantages as those in the cities. Indeed, the line of demarcation between rural and urban communities is being obliterated by the airplane, automobile, motion picture, radio, mag­azine, and advertising. This equality of observation and experiences among children of rural and urban dis­tricts present a challenge and an opportunity to the classroom teacher in the small-town or rural school.1

neon Loyal Winslow, Art in Elementary Education, pp. 7-9. New York: McGraw-Hill Book Company, 1942.

51

Also, many teachers in these upper elementary grades are greatly perturbed by the growing self- consciousness of the pupils and their dissatisfaction with their own productions. This change has been gen­erally accepted as physiological and inevitable; the child’s increasing awareness of natural phenomena and his growing analytica.1 powers have been allowed to stand in the way of his growth rather than being directed into expressive art channels. Adolescence is a time of jerky development, irregular ups and downs, unpredicted spurts of activity and inactivity. How can teachers help boys and girls to perceive life more richly? May not the above condition be partly due to weakness in teach­ing? It may be that teachers have not helped the child fairly and honestly to estimate the worth of his own endeavors.

The function of the teacher is to guide the de­velopment of the child’s abilities, and to help him to organize his own emotional experiences. To teach in this way, the teacher must have far greater understanding of the development process, far greater skill in working in and out of that process, far greater patience and faith in the capacity of everyone for art development, and far more capacity for building in the learner a confidence in his own power than is necessary for the

52

traditional teacher of art skills.^ The successful art teacher must he in a peculiar sense, a creative teacher, a combination of artist, psychologist, and educator.

The continuation of the tabulation of the ques­tionnaire is presented in the following pages in graph form. Thus it is easily seen what these teachers teach, and what they omit in their art classes. It is the hope of the writer that through the following presentations the urgent need for adequate direction of art education at the present time, will be realized particularly at this grade level.

In the foregoing chapter it will be noted in the second division of the questionnaire that it is divided into eight units. Each teacher was asked to check those sub-divisions she taught in her art classes.

COLOR-- is the first unit to be tabulated. Thereturns are in graph form on the following page. A study of the graph reveals satisfying returns and proves the statement that art teaching has a downward trend as we proceed to the eighth grade. Two-thirds of the items checked show a drop from two to six per cent in the eighth grade.

^Marion Quin, "Senior High School Art Program," Rational Society for the Study of Education, p. 535. Fortieth Yearbook, Vol. XL, Ho. 8. Bloomington, Illinois: Public School Publishing Company, 1941.

53

COLOR

A - Color Wheel B - Secondary colors C - Intermediate colors D - Warm and cold colors S - Hue F - ValueG - Intensity of color H - Monochromatic colors I - Analogous colors J - Complimentary colors K - Split complimentary colors L - Triatic

100=90- 80-70—60- 50-40-30-

20-

10-

0-.A B C D E F G h i j k l

Key:Sixth grade « Seventh grade _ _ Eighth grade _ _

Fig. 1.— A percentage return on color as taught by the one hundred and twenty-two teachers consulted in the questionnaire.

54Before taking up the next step in the procedure

of this chapter it is to he understood that it is not the writer’s intention in this thesis to go into detail in any topic for art study, as that general information ma.y he found in any art course or art text hook.

The teaching of color is often spoken of as a separate problem, hut in practice it should not he iso­lated from other phases of art experience. Color is an essential part of pictures, design, and industrial art production. The presence of color and its importance is clearly stated in the following quote:

There is no aspect of art more interesting to anyone, the school pupil, the artist, or the layman, than color. We live in a world of color.It is inextricably woven into the pattern of our lives. We have color preferences for which we cannot account. We are affected emotionally by the colors which surround us, we are called upon continuously to make color choices in articles we purchase, and to make color combinations in our clothing, our homes, and our gardens.3

It is obvious from the above that color plays a very important part in one’s life; and that knowledge of color aids one in choosing clothing, food, and dec­oration for the home, school, and office.

If you look through the series of art books with their reference material, you will see that many

Nicholas, Mawhood and Trilling, ojd. cit., p. 236.

55

ways to create color harmonies have been suggested. It has been demonstrated that the more we work with color, the more we see color, the more we Judge, analyze and mix color, the more conscious we will be of color and the better we will know how to use it. The world is full of color, not only to use in our problems of se­lection, but also for us to enjoy.4

There is color in almost everything at which we look. It is about us everywhere; you see it in houses, in the skies, in trees, and in all nature. It has great appeal to school pupils approaching maturity. However, many people do not realize the importance of color in their lives.

Our country is in a color wave, one which will last for many years. Not only are we in a color wave, but there is a tendency toward more shades and fewer pure colors and hues. School art experiences should provide ample opportunity for both creative and appre­ciative activities with color. It is in the sixth grade that pupils should become familiar with the color wheel, but not too much time nor effort should be spent in this grade in making perfect samples of each hue. This is a

4Ruffini and Knapp, op. cit.. p. 58

56

highly technical task and may be successfully used in higher grades. It is better for 3ixth grade pupils to select samples of colored paper which they can paste on a mount to make their color circles; and such color knowledge as children need should be given to them while they are engaged in carrying out their art projects as they advance from grade to grade.

The return of question six, seven, and eight of •Unit A" are as follows:

6. Do you teach color applied to nature? _______Yes 83 No 17

7. Do you teach art applied to the home? ______Yes 54 No 68

8. Do you teach art applied to dress? ______Yes 66 No 56

From indications present in the returns from the above three questions, it may be concluded that teachers still have a great deal to do in the development of art regarding the home, nature, and dress. The greatest decline i3 in art applied to dress where we find only forty-four per cent of the teachers stressing this all important phase of art. Dress design is comparatively a newcomer in the art course of study; it is only within the last two decades that serious attention is given to thi3 topic in art courses. It is perhaps for this

57

reason that these schools dropped low in the handlingof this type of subject matter.

Color, as used in dress design, should form animportant part of color study in the higher elementarygrades. All boys and girls have a desire for beautyand color which makes them delight in ornamenting anddecorating themselves. This is at its height at juniorhigh school age and if not guided, may produce unhappyresults. At this period young people often prefergaudy decorations, cheap ornaments and loud ties, andshow other signs of poor judgment in dress. Thi3 desireto dress attractively is natural; boys and girls wantto be noticed, and want to be attractive, but mostjunior high school pupils have not had adequate trainingto enable them to secure pleasing results. In ArtActivities in the Modern Schoolroom we read:

It sometimes is discouraging to survey the cheap and trivial flipperies which surround us.But let art teachers take heart! Who knows but what our training of the younger generation may one day take effect, and we shall be free from such ridiculous fads and fancies as tiny hats cocked over one ear, silly smoking sets, spike heeled walking shoes, china dogs, and white furpussy cats....... The right kind of trainingin design as applied to dress and home will help us to select attractive clothing as to make

Sjames M. Glass, Curriculum Practices in Junior High School, p. 72, Chicago: The University of Chicago, 1924.

58

our homes more livable. Knowledge of color theory and art principles will help us to buy the right hat, the right purse, and the right sweater. It helps us to curtain the living room windows pleasingly instead of overdressing them, to put a simple slip cover on an old chair of pleasing design rather than buy a cheap ugly new chair, or to choose a plain mirror for the front hall instead of a fancy, decorated one. There are hundreds of problems in dress and home furnishings that only a knowledge of color and art principles will help us to solve satisfactorily.6

As has been stated before, the enjoyment of the beautiful is not for a few privileged individuals, but in a democracy, it is something for all the people. All of us need to be able to enjoy the beautiful. We are compelled to judge the quality of design in woven and printed goods, in wall paper, rugs, furniture, and clothing. We must choose the color for the outside of our houses, and select our interior decorations. We must buy costumes for various occasions. We need to know how to buy good pictures. We all need to know how to make our homes and our streets more attractive.7

Question six, color applied to nature, presents a better showing than the returns of question seven and eight on color applied to dress. However, the percen­tage is a low sixty-eight.

7Claude A. Phillips, Modern Methods and the El­ementary Curriculum, pp. 246-248. Hew York: The Cen­tury Co., 1925.

^Nicholas, Mawhood, and Trilling, op. cit., p. 257.

59

There is color in nature as well as in the work of art, and it is the job of the teacher to awaken their pupils to beauty of color in their natural environment.It is common knowledge that we do not see all that passes before us. The ability to see and enjoy fine color in the world about us is a most important objec­tive in teaching art; therefore some exercise in the observation of the color in the world about us helps to train our appreciation of fine art.8

Following on with the questionnaire to section "B" under which Design is listed with its twelve sub­divisions, the writer finds a reverse in percentage rating. In eight of the twelve items the eighth grade teachers have a higher rating. Figure II on the follow­ing page will speak for itself, however, the writer wishes to call attention to the subject "proportion in design" which in the eighth grade shows a twenty-nine per cent raise over the sixth. For this unexpected return the writer seeks a solution in the following statement from New Art Education:

Design makes good sense to adolescents.They see its necessity in home decoration, in dress, and in many other areas that touch them closely. All in all, art comes into its own at this level— if properly handled with

8Nicholas, Mawhood, and Trilling, op. cit., p. 243.

60

DESIGN

ABCDEPGHIJK

RhythmBalanceProportionEmphasis and subordination Decorative design All over pattern BordersTextile design Civic beauty design Geometric design Conventual design

Key:Sixth grade _ Seventh grade ... Eighth grade ...

100 - 90- 80- 70- 60- 50- 40- 30- 20 -

10-

0A B C D E P G H I J KPig. 2.— Design on percentage scale as taught

by one hundred and twenty-two teachers.

/

61

true understanding of students’ interests. This should be the harvest season, and the period for making art effective, so effective that it will count throughout a life time.9

Design is one phase of art in which the junior high school pupil shows a considerably increased inter­est. This making and decorating articles appeals to the adolescent. The art teacher should be cognizant of the opportunity of this increased interest and in­still in the students of these upper grades the aware­ness of what is good so far as design is concerned.The child’s feeling for design should grow apace with his experience in working with art mediums, so that by the time he is in high school he should be ready for strong, studied work in art. By visualizing, planning, devising, executing in materials of all kinds, he should become more and more aware of fitness, rightness, and appropriateness. The assurance that he will do so, however, in many cases depends upon the teacher. It is important that the teacher know design because design involves principles which are general in character and commonly applicable to art projects, and so concern all students* In matters of design the teacher is a diplo­matic guide and counselor who sets standards and 9

9Elsie E. Ruffine, and Hanriet E. Knapp. New Art Education. Books 4,5,6. (Course of Study) p. 5. Sandusky, Ohio: The American Crayon Company, 1945.

62

objectives which the children understand and try to attain.10

If the teacher feels uncertain about what good design is, she can improve her knowledge by reading authoritative books and good magazines, by observing the many manifestations of design which she sees in every day life; she should be careful to read from good sources and seek sound reasons for her conclusions. Does she understand the modem term "design"? Accord­ing to hew Art Education Elsie E. Ruffini and Harriet E. Knapp defines it thus:

Design, which means fitness, appropriate­ness, the right thing in the right place.Design means using materials that are best fitted to the purpose in view and in such a way that purpose is best fulfilled. It means selecting materials that look well together.It means that, through the way the materials are used, there results a concrete, visual object— a tea-cup, an apron, a greeting card or anything else— in which the art elements-- lines, shapes, color, etc.— make a unified visual whole, "a thing of beauty.1,11

Much can be learned from the past about the way to attack design problems and how to adjust available materials and power to the production of those new forms necessary to contemporary living. This is not a simple

10Ibid.. pp. 6-7.1:LIbid.

63

job and few teachers and existing schools have been far sighted in preparing to meet this new need. There are a few, fortunately, who do realize this fundamental responsibility. May the near future find this lag in our educational set up adjusted to meet the human demands of our time.12

The next step in the procedure of the explana­tion of the questionnaire is "Unit C"--LETTERING.

Referring to the graph on the next page it will be noted that lettering is taught very little in these schools, and that a great deal is yet to be done in de­veloping this line of a,rt. It will be found upon reading the graph that only fifty-eight per cent of the eighth grade teachers teach lettering; fifty per cent of the seventh grade and fifty-two per cent of the sixth grade teachers. The type of lettering carrying the highest percentage is the folding method. All three grades carrying about the same level of thirty-five per cent.

Modern lettering cannot be ignored in any study of lettering. It is one of the most potent influences of today, because it confronts us at every turn— in our newspapers, our magazines, our theatre programs, in

12Felix Pa.yant, "Art Notes," Design. XLVI (December, 1945), 4.

64

Fig* 3.--The teaching of lettering by one hundred twenty-two teachers. The rating is on a percen­tal basis.

65"busses, in street cars and trains. Travel on the high­ways and streets would be much more dangerous if it were not for the attractive road and traffic signs. Lettering also has a part in our present scheme of life in titles, in advertising, in carrying messages as greeting cards, and for many, many other things.

The history of lettering is very interesting.Man ha.s created many foims in order to express idea.s to his fellow-men. Before the day of the printed book, manuscripts were lettered by hand. Most of these were done by monks for use in religious ceremonies. The monks spent many hours working on the pages of the manuscript, designing each page beautifully and creating and painting superb illuminated letters. The monks painted little scenes, flowers, scrolls, animals, interwined in the first letter of the page, in beautiful colors on gold backgrounds. They spent weeks and months on one page. Children should learn to create decorative letters for monograms, bookplates, display cards, greet­ing cards and posters. Of course these decorative letters should be simpler than those of olden days, but they can be beautifully designed.15

15Ruffini and Knapp, o£. cit., p. 57.

66

There are many projects in art and other school subjects which require lettering; the poster, book cover, science drawings, notebook illustration, labels for ex­hibits of school work, and many other too numerous to mention. Lettering is a creative design project and a creative artist is required to make expressive letters.To acquire skill in lettering requires practice, and perhaps it is in the higher elementary grades that this skill may be developed to some degree, since pupils need this skill in both their present and future life.^

Monograms also require a creative artist. They require an artist who can create and design not only individual letters, but one who can make unusual and striking combinations of letters. Monograms, artisti­cally and cleverly designed, are found on handkerchiefs, linens, writing paper, on cloth, and on numerous other articles. Children should become aware of decorative letters in the many ways they are used to attract attention.

Lettering also offers an excellent opportunity for the student to realize the value of neatness and accuracy. With a little help he will learn quickly that

l%icholas, Mawhood, and Trilling, op. cit..p. 247.

he need not do things incorrectly to do them freely. According to Julia Reardon FitzGibbon, teacher of art in the Chicago schools, lettering with pen and ink can be a very exciting experience for the children, espec­ially if they have a use for lettering, that is, they make something that requires lettering. She says that the round nib pen is good to begin with but other pens will do if necessary.IS

The continuation of the explanation of the questionnaire brings the writer to "Unit D"— DRAWING.

Training the hand to respond to mental pictures should be as natural as the plans for teaching reading, writing, and arithmetic. In observing the graph on the following page, it will be noted that at least half of the items show a more favorable response with illus­tration, landscape, and perspective carrying a seventy per cent and up to eighty-six per cent in landscape.The sixth grade teachers in this unit of art again prove to be the high scoring group, making a dip only in pose and cartoon drawing, which are classed as work for the more advanced groups.

67

15Julia Reardon FitzGibbon, The FitzGibbon System of Teaching Art, p. 23. Chicago: The FitzGibbon ArtBook Company, 1942.

68

Fig, 4,— Drawing on percentage basis as taught by one hundred end twenty-two teachers#

69

As stated before everyone should be able to draw as easily as he writes, a.nd when properly directed pupils enjoy drawing. In fact, has not everyone learned to write, which is really learning to draw letters and combinations of letters? It is not expected that everyone should draw like Leonardo da Vinci or Rembrandt, for they were geniuses, but all can draw well enough to express themselves directly and intelligently. A common complaint from the high school teachers i3 noted in the following quote:

It would seem that our schools should de­velop more skill in free hand and working drawings than is usually accomplished in the grades. When our high school pupils attempt to make a drawing of apparatus used in science, their efforts are often less than disgraceful.Pew are capable of marking even the simplest working drawing.1®

There are always some pupils at this age level who have reached a point of self-consciousness— never found in lower grades--who protest they cannot express their ideas pictorially. But if they are encouraged they soon find that they can produce something, however simple and ill-drawn. In modern elementary art education it is the function of the art teacher to stimulate the

1®Predrick Gorden Bonser, The Elementary School Curriculum. pp. 340-342. New York: The Macmillan Com­pany, 1924.

70

child. The teacher must remember that it is the child’s expression that is sought; it is his experience in pro­ducing something important. Today it is understood that to allow a child to copy pictures does not release his creative powers.

The pupils should be permitted to draw with originality and spontaneity, yet such does not mean that they are not to have exercises in drawing, modeling, or even some copying from objects, by these means they are aided in developing their abilities to see correctly and to appreciate true beauty. The pupil needs to draw spontaneously as a means of self expression; and he needs some techniques of drawing in order to give mean­ingful form to his moods, ideas, and u r g e s . T h e greatest gift a child can give us is his imagination.He lives in a land of beautiful dreams, and this beauty the teacher should try to capture in his illustrations. The faculty of the imagination is strengthened by use and should be used in all grades.

All drawing should lead the pupils to an appre­ciation of beauty. This is just as true for beginning pupils as is for those of the upper grades. As stated

l^Stretch, 0£. cit., pp. 389-406.

71

before, it is the duty of the teacher to develop this appreciation within her pupils by directing them in correct spacing, color harmony, smoothness and evenness of lines, and true graphic representation. Here it is necessary for her to realize that the progress the pupils make along these lines cannot be rapid because of their inadequate muscular coordinations and of their slow maturation in form perception.18

Just how much help can be given in drawing?This is a question often asked by teachers of art. Directly opposite opinions are held by some art teachers concerning the amount of help that is best to give children. It is the opinion of some teachers that any supervision of the drawing is dangerous to freedom of expression. Hot a suggestion, not a critizism should be offered lest the child be deflected from his own natural style of expression. This is plainly detected in the following quote from Harry Lorin Binsse;

After the child of the kindergarten age has been subjected to drawing and painting and, perhaps, modeling as a means of expres­sion, it would seem advisable that he should receive at least an elementary training in drawing from nature. The ability to make a simple yet fairly accurate sketch of an object is a priceless advantage in all walks of life, and it can be taught without too

18Ibid., p. 392-396.

72much pain so long as it is not based on fruit­less copying of other people’s efforts. There is perhaps no greater wafete of time possible than to set children to copying a drawing placed before them. They should be made to draw what they see in nature, it makes very little dif­ference what.19

On the other hand it is the opinion of many art teachers that some supervision is desirable, that some stimulation of ideas, some criticism, and some definite help are beneficial. They feel that the child will make more progress in natural expression if given the right kind of supervision. In Art Activities in the Modem School it is stated that a happy medium between these two extremes is desirable. The wise teacher finds a way to use both free and supervised lessons.20

Art educators are, or rather, should be, in­terested in what art does to the boy and girl and not what the boy and girl does to art. However, the teacher must be there to guide and inspire. When a new media is used, time must be taken out to exper­ience it. When design is regarded the principle mu3t

l^Harry Lorin Binsse, "Art in Catholic Educa­tion, " Journal of Religious Instruction, V (January, 1934-35) , 395.

^Nicholas, Mawhood, and Trilling, op. cit.,p. 83.

75

be taught. The danger in creative art is for the teacher to sit back and be satisfied with whatever the child does, and feel that it is right because it is done freely. Are educators in general, and art teachers in particular, making necessary adjustments in their methods of approach, subject matter, and attitudes tomeet the art needs of the people in our democratic way

21of life?^The next step in the procedure of the investi­

gation is the analization of UNIT *'E"--PROJECT WORK.To make the following summarizing understandable Figure No. 5 on the following page will be helpful and instruc­tive. The returns seem just a little one-sided with a preference to the two projects, poster making and de­signing booklet covers. The sixth grade reaches the high point of eighty-eight per cent in poster making, and eighty per cent in booklet cover designing; these being the two highest points reached in the returns of the entire questionnaire. The seventh and eighth grades follow with a close percentage of eighty-four and eighty respectively, in poster making, and seventy and eighty per cent in book cover designing. All the rest of the

21Payant, oj>. cit., p. 3

74

Fig. 5.— The percentage returns of project work done by one hundred and twenty-two teachers consulted in the questionnaire.

items seem relatively low which proves that a great deal is yet to be done in most of these schools in de­velopment along this line. In general, the analysis of the table shows that, only about fifteen per cent of the one hundred and twenty-two schools do other project work.

In defining project work it may involve any kind of pupil activity, the only limitation being that the activity is purposed in whole-hearted fashion by the children themselves; that the pupil's whole interest lies in what he has attempted to do, whether it is carving a soap statue, painting a picture, making a poster, or any one of the dozens of other things commonly made in art classes.

The higher elementary gardes and junior high school present the widest diversification of interest of any school level, therefore, it is here that child- originated problems should be stressed, and so far as human ability will allow and patience will endure, original problems should be encouraged in the widest range of media. In initiating the project the teacher should make sure that the pupils accept the selection as tneir own. When the project has been completed, the teacner should take great pains to see that the project

75

76

is used or displayed.22The high rating of the poster project on the

foregoing mentioned graph is paralleled with other art educators. The usefulness of the poster according to Gertrude Corrigan, is substantiated in the following:

The schools make constant use of the poster idea to put over good causes and special day activities. This phase of art instruction should hot be neglected. Many of the gifted students will make their living in this manner and will deplore any neglect upon the part of art departments to set them forward in the chance for com­petition.

"UNIT E"--ART APPRECIATION BY PICTURE is the next step for consideration. In reference to the ques­tionnaire under the foregoing heading it will be noted that each teacher was requested to list ten of her favorite pictures and artists which she has taught in her classroom. This item received a hundred per cent return. It would be extremely lengthy to enumerate all the returns sent in by these one hundred twenty-two teachers, however the writer does list on the following page the pictures appearing most frequently on the lists: * 23

‘'^Nicholas, Mawhood, and Trilling, oj>. cit., p. 273.23Corrigan, op. cit., p. 275.

77

Sixth Grade

Picture Artist No. of teacher returns

The Gleaners Millet 35The Last Supper Da Vinci 27Sistine Modanna Raphael 21The Song of the Lark Brenton 21The Artist’s Mother Whistler 19Blue Boy Gainsborough 11Boy Christ Hoffmann 7The Pilgrims going to Church Boughton 6

Seventh Grade

The Angelus Millet 42Modanna of the Chair Raphael 13Mona Lisa Da Vinci 8The Rich Young Man Hofftoann 8Age of Innocence Reynolds 7The Torn Hat Sully 6Monarch of the Glen Landseer 6The Road through the Trees

Eighth

Corot

Grade

4

The Horsefair Bonheur 20Christ and the Doctors Hoffmann 15The Rail Splitter Perris 7The Constitution "Old Ironsides"Johnson 7Sir Galahad Watts 6George Washington Stuart 5The Avenue of Trees Hobbema 5The Dance of the Nymphs Corot 4

As stated before it is not the writer's purposeto outline a definite course of study in this thesis hut to set up guideposts for selection and to conduct

78

profitable activities, therefore it is understood that the lists are not a set rule for teaching but a mere suggestion.

Before beginning a discussion on art appreciation, the nature of appreciation must be understood as it is used in this division of art education. The interpre­tation of appreciation varies as do methods in develop­ing it. Frequently appreciation is interpreted as '•recognition"— that is, the course in appreciation con­sists of learning to recognize certain works of art and to associate with them their titles and the names of the artists who created them. Thus it is that the writer uses art appreciation in this part of the thesis.

To acquaint the child with the names and titles of a few pictures is not sufficient for art appreciation. It must do more for the child. It must develop his ability "to read" pictures for himself. It should be extended to include all of the space arts— painting, sculpture, architecture and also the minor arts. Besides understanding what the work of art is about, there is the equally important phase of enjoying the work of art from an aesthetic point of view.24

^^Margaret E. Mathias, Art in the Elementary School, p. 154. Chicago: Charles Scribner’s Sons. 1929.

79

It is quite obvious from a study of Art Courses that in general there is a conscious need for the teaching of art appreciation. Gertrude Corrigan, in­structor in art, states the following:

One form of art instruction cannot be over­emphasized, that of art appreciation. Training in appreciation of good pictures, statuary, furniture, architecture, clothing, stuffs, and articles of use as well as the purely decorative should bring about high standards of art feeling.The children need leadership in utilizing these possibilities for education in taste.25

It is probably true that the ability to produce intensifies anesthetic enjoyment, but the capacity for producing masterpieces is denied to most of us. It would require an unreasonable amount of time devoted to technical work in order to develop the appreciation of beauty which is our goal. In most of us the power to appreciate far exceeds the power to produce.

A general course in art appreciation should furnish the child with a foundation for artistic judg­ment and discrimination. It should help him detect what to appreciate and what to avoid in the many so called art products continually presented to him in his everyday life. The child should know for example, why a portrait painted by a great artist, such as The Artist * s

25'Corrigan, op. cit., p. 276

80

Mother, by Whistler, is art and why a crayon portrait enlargement is not art; why one building, one piece of pottery, or other object is artistic and another only useful. A practical art education is a great value because of the wide range of applications that can be made to the practical problems of life. This is why art should be taught in school in such a way that it will function in the actual lives of the pupils.Again the writer turns to educators in art for confirm­ation in this deficiency:

There is no more delicate or complex problem in the teaching of art than train­ing appreciation. Undoubtedly there is need for direct teaching in this phase of art work. We cannot expect to train good taste merely as an accompaniment to tech­nical work or a study of art history ........Unfortunately no one entirely satisfactory procedure has been developed. Many devices have been tried with varying degrees of success, but each has its disadvantages.27

Pictures are themselves a language and somehow teachers must instruct their pupils in picture language in order that they may talk intelligently in that tongue. They must surround their classrooms with

26The Classroom Teacher, Vol. II p. 4. Chicago: The Classroom Teacher, Inc., 1927-1928.

^Nicholas, Mawhood, and Trilling, o£. cit., p. 49-50.

81

beauty if they wish to give children the ability to enjoy the beauty in the world about them. Moreover, by surrounding pupils with examples of beauty i3 meant more than pictures and sculpture to decorate the school buildings. Therefore, to develop interest in the class there should be included beautiful examples of textiles, beautiful pieces of pottery and china, fine pieces of metal work, good book bindings, and good pieces of fur­niture. It is evident that children amid such surround­ings during their school hours, will be helped more than by a, thousand lessons in drawing and designing.

The returns for question two and three of Art Appreciation by Pictures are as follows;

2. Do you have some study about the artist and his production in your class?

Yes 61 No 613. Do you teach the history of the picture?

Yes 57 No 65Prom indications present in the above returns

approximately fifty per cent of these one hundred twenty-/

two teachers acquaint the children with the artist andthe history of the picture. Again this shows that agreat deal is yet to be done in developing along this 2

2®Ibid., p. 56.

line

32

Some study of the artist and his achievements should he made, for the artist is the man in the van­guard who interprets the times in which he lived.

In "Unit G" the teachers were asked to check their most used materials. The graph on the following page gives the returns. It presents a wide range of materials used and also a high showing in most of them. Textile paint, stencil paint, clay, and spatter inkIare four materials added to the questionnaire which

were received from teachers with the return of their checked lists. The low percentage in india ink and oil paints is easy to explain as these two materials are for more advanced pupils. The graph speaks for itself, and there is little more to he said by way of explanation of the returns.

Materials or supplies are those things which children use during the school year, such as paper, paint, crayon, etc. Materials are not suitable for children unless they fit the child’s abilities and interests. Neither is the teacher able to direct the drawing exercises of the pupils unless she has the proper materials. It is necessary, therefore, that the teacher select material with much care.

83

MATERIAL USED

A - Water color B - Tempera C - Pencil D - Wax crayon E - Pencil crayon E - PayonsG - Construction paper H - India Ink I - Colored chalk J - Charcoal K - Pastel

KeysSixth grade Seventh grade Eighth grade

100-

9 0 -

80

7 0 -

60 .

50 -

40 -

3 0 _ |

20- 10.

0-B E H K

Pig* 6.— The comparison of materials used on a percentage scale in one hundred and twenty-two school rooms*

84

In every locality there are to he found many and various materials for use in school art. Some of these are natural, as for instance, weeds, grasses, seeds, shells, cones, vines, com husks, berries, and roots for dyes, etc. Then, too, there are the many household leftovers, such as cardboard boxes, bits of cloth and string, newspapers, burlap bags, buttons, felt, cotton, and wood, etc. With these the teacher has a veritable storehouse of supplies with endless possibilities for shaping new and valuable things.29

Of course, all art projects cannot be carried out with native and discarded materials. Some things, such as crayons, chalks, water colors, tempera colors, powder colors, brushes, paper, etc., must be purchased. Fortunately, they a.re not expensive and it is always wise to use the better grades of these items, for better quality will eventually prove economical. It is usually advantageous to buy the larger sized packages of such things as tempera and papers.^0 Regarding materials and plans the writer also refers to the Teaching of Art by Margaret E. Mathias:

When the need has been clearly realized

^^Ruffini and Knapp, New Art Education, Books 7, 8,9, op. cit., p. 77.

30ibid.

85

and the environment considered, the next step is to select suitable material. The plan is then made in accordance with the requirements of the need and the environment and also in accordance with the possibilities and limita­tions of the materials to be used.

The material is then adapted to the plan.The testing of the product as to its adequacy, and the consequent changes to meet the short­comings, complete the process of accomplishing fitness to purpose.31

"Unit H"~CORRELATION AND INTEGRATION OP ART WITH OTHER SCHOOL SUBJECTS, brings the writer to the last division of the questionnaire. The subject of integration of art with other school subjects has been to some extent considered in Chapter II of this thesis. The returns of the one hundred twenty-two teachers con­tacted by means of this questionnaire on integration are both interesting and gratifying. The graph on the following page represents a very fine showing of the work these teachers are doing in the line of integration. This type of art instruction is new in a way, and these teachers lined up with the modern methods.

To substantiate this recent method of teaching art, the following quotations from educators in that line are both encouraging and promoting. Cheney Sheldon, author of Primer of Modern Art defines integration thus:

^Margaret E. Mathias, The Teaching of Art, p. 93. Chicago: Charles Scribner’s Sons, 1932.

86

Pig* 7,— The percentage returns of integration of art with other school subjects as used by one hundred and twenty-two teachers consulted*

87

’Integrate’ is understood to mean 'bring­ing to-gether of parts.’ The integration of art in the whole process of education is re­lating art to the other school activities. 'There is nothing extraordinary about such a conception of a school art program. To be genuine, art could not be unrelated. Life, not the desire for escape from life, urges "•us to creation.32

In many schools integration is in full swing.It has its advantages and disadvantages. Art may become an isolated subject unless the art teacher sincerely feels that her subject should be at the service of the entire school. As stated before in Chapter II, in schools where art is taught by a special art teacher integration with other subjects becomes more difficult, because the art teacher must know the content of other school subjects. On the other hand these disadvantages become advantages when the right personality is in charge of the art room. According to Pedro de Lemos, art director in the Stanford Uni­versity, California:

We have focused attention largely on the history of art, forgetting that a fuller ap­preciation of any of the arts may be developed by paralleling its history with actual hahd application of each of the arts.33

32cj1eney Sheldon, Primer of Modern Art, Chapter IV, p. 72. New York: Tudor Publishing Company, 1945.

'Z.l.Pedro de Lemos, "The Art of Teaching Art for Everyday Living," School Arts, XLIV (September, 1944), 21.

88

Ella Elizabeth Preston, director of art educa­tion, Davenport, Iowa, writes the followings

To the teacher of academic subjects inte­gration is a method of ’washing one hand with the other’, of reinforcing through art exper­iences the gains made in some other field.She realizes that true education does not come about by arranging knowledge in a series of watertight compartments totally unrelated to each other. She realizes that if the child makes no use of the knowledge he has gained he will lose it. And she rightly looks upon art experience as one that should go hand in hand with all the other experiences of the child.34

A few general remarks concerning art were re­ceived from the teachers answering the questionnaire. They are as follows:

I think it would be impossible for a grade teacher to teach a classroom exclusive of art. All children enjoy art.

I think art broadens the child's mind.In art instruction the child is trained to appreciate beauty, not only in pictures but also in environment. He is made more obser­vant of things about him.

Art enlivens other subjects. It makes them more interesting and understandable.

I think the study of art makes the children more observant of beauties that surround them, and being made conscious of beauty, it brings the child closer to Him Who is the author.

In summarizing the results of the questionnaire,

34Ella Elizabeth Preston, "Integration in Art Education," School Arts, XLIV (March, 1945), 218-222.

89

it has been found that art in school is in no sense a luxury. It is fast becoming an absolute necessity to preserve coherent living. Art is an expression and interpretation of life itself, and not a rehash of rules, books, or classroom exercises. Therefore it is the role of the teacher constantly to encourage her children into the world of arts and not be satisfied with poor techniques. In conclusion then it is the part of education first, to correlate art in all school

subjects so as to enrich, as well as, enlarge the scope of other subjects; second, to mold the public opinion of the next generation with the principles of art ap­preciation, as taught in schools, and apply it in many practical ways to our daily lives.

It has been truly stated that it is the obliga­tion of education to train the minds and talents of our youth to improve, through creative citizenship, our American institutions in accord with the requirements of the future.

35Course of Study in Drawing and Ap-plied Art 1932-1933. p. 4. Archdiocese of Chicago.

CHAPTER V

SUMMARY AMD EEC GMMEKDATI OHS

To make work happy and rest fruitful is the aim of art.

— William Morris

The present urgent need is for a new method of teaching art that contains the elements of a dem­ocratic program of education, which shall provide for the needs of all the children, of all the people, including those with little or no special aptitude in art as well as the most gifted. Obviously, such a program cannot afford to be one-sided, but must pro­vide experiences of various kinds. It must furnish a. rich offering of subject matter and experience, in which a balance between information and activity has been carefully observed. More specifically, it must

vinvolve flexibility, freedom, experimentation, exten­sive genuine experience, choosing, planning, purposeful activity, appreciation and thinking.^

Regarding technical information, just enough should be introduced to balance the general, information,

-kLeou Loyal Winslow, The Integrated School Art Program, p. 28. Hew York: McGraw-Hill Book Company,Inc., 1939.

91

and there should be an equitable amount of directed activity in relation to the creative activity included in the teaching unit. No program for art education, short of a balanced one, can be expected to accomplish all this.

Just what are the objectives of the grade school art department? If we were to submit this question to the art educators of today their answers would be something like the following:

GENERAL AIMS:1. To arouse and preserve in all pupils

interest in art.2. To enlarge and enrich the aesthetic

experience.3. To furnish educational and vocational

training in art.4. To provide for talented pupils voca­

tional training in art.SPECIAL AIMS:

1. To enable one to employ the principles of art in all life situations where they should apply by making use of art.

2. Ability to recognize works of art.3. Desire to possess only artistic things.4. Ability to discuss intelligently the

aesthetic significance of all ma.n-made things.5. A working knowledge of the principles

of art structure.6. Ability to combine or arrange objects

artistically.7. Ability to compose or produce artistic

arrangements in design.8. Ability to express ideas of form by

means of modeling.9. Ability to express ideas of form graph­

ically.

92

10. Habit of visiting art museums and libraries•

11. Knowledge of the historical development of art.

12. Ability to use leisure with pleasure and to advantage.

13. Insight into vocational and industrial aspects of art.

14. Familiarity with the names and profes­sional reputations of contemporary masters and their works.

15. Ability to recognize one’s own aesthetic capacity.2The administrator and all the teachers of the

school should understand these goals.Another question often asked: What is the pur­

pose of art education in the grades? Surely it is not to make artists, for only a few will make art their life work. It is purely to develop the creative spirit of the child, to give form to hi3 emotions, and to help the child discover and develop new powers of expressions, that from this experience he may enrich his life. The teacher must realize that she cannot expect an adult production from a child, but must learn to see the fin­ished article a,s that done by a child who is developing as artistic taste, but who will without a doubt never be an artist, although his life has been made richer and more meaningful because of this art experience. 2

2Ibid., p. 96.

Today there are many things of greater value to the student in the field of art than some of the basic skills which have been so valuable in the past. Personal appearance; dress, home decoration, community plans, free hand drawing, use of color, and there are some students that should be given training in poster art and cartooning. A few talented students should be given a chance to get experiences which will help them discover whether they really want to enter the field of art as a profession. In general, however, the instructor should see that all experiences taught in the class room tie up with life as the pupil will face it after leaving school.3

The teacher must be a rea,l person. The art teacher should be a well-balanced, level-headed in­dividual. She should be more interested in the children than in the subject she is teaching. After all, most children will not be interested in the art from the standpoint of the a,rtist, but from that of their own creative interest. To successively direct a progressive art program, according to Dorothea Swander, the teacher must need to have three clear understandings:

93

^Butler Laughlin, "What is an Effective Art Teacher?" Design, XLII (June, 1941), 6-7.

94

First comes an essential understanding of art itself, the purpose for which it is being taught and the goals sought.

She needs to achieve within herself a philosophy of art that will help her to achieve the goals that are to be attained. She must know herself.

There must be an understanding of the child and his problems. She must be able to meet the child on his own level and through her adult background and experience direct his growth and improvement.^

It is granted from the above statements, that the essential qualities which make for success are few, and when they are once established success becomes certain. Does this mean that only teachers who have a special training in the field of art may direct such a program? A great hindrance to art education in the past has been the mistaken idea on the part of many a teacher that she is not qualified to teach art. She made this error because she thought of art in tenns of accurate representational drawing.5 No, it is not perfection in art that is the goal to be attained. The inculation of understanding, appreciation and love of beautiful color, line and form, and expression of

^Dorothea Swander, "Art and the Child," Design. XLII (March, 1942), 14.

^Ruffini and Knapp, Books 7,8,9. ojd. cit,.. p. 3.

95

themselves in different media is the goal to he sought.6 In speaking of teacher qualifications for the teaching of art Antionette E. Arnolds states:

The whole value of art education lies in training for appreciation, and to this and every department and branch of art should be bent. The art-teacher's first and one could almost say, only requirement, is that he have a. spontaneous and an infallible appreciation of beauty.?

True the success or failure of the art program in a school or a school system is dependent primarily upon the character and educational background of the teachers employed to instruct the pupils, and granted also, that the more training a teacher has in the field of art, the better equipped is that individual to meet the situation, but the true essence that dis­tinguishes the successful art teacher from the unsuc­cessful is not the amount of training but the spirit, feeling and understanding with which the problems are met. In the Publisher's Poreward of the New Art Edu- cation Series, the following quotation emphasizes the above mistaken idea of a part-time art teacher:

Swander, pjo. cit., p. 14.

Antionette E. Arnold, "The Aim of Art Teaching, The Journal of the National Educational Association, XIV-XV (October, 1926), 222.

7 II

96

To you, the classroom teacher, wherever you may he, we say, 'Let's not repeat the mistakes of the past'. Let us, instead, take advantage of the opportunities at hand to give every hoy and girl the privilege of art expression.°

The art field offers unusual inducements to the hoy or girl who is gifted with an unusual artistic capacity. There is a constant need for art workers and art teachers because, as Henry Turner Bailey, director of Cleveland School of Art, so aptly observed:

Without architectural designour cities would he reduced to log cabins.

Without sculptural design we would haveno monuments, no ornaments in relief, no coined money.

Without pictorial art, no mural decorations, no pictures, no illustrations, no il­luminated advertisements, no paper money, nor postage stamps would he possible.

Without decorative design we would have todispense with rugs, carpets, wallpaper, draperies and figured dress goods of every kind.

Without structural design our furniture would he rustic only; our utensils, coarse baskets, clay howls, flint and chop sticks, our fixtures a campfire for cooking and a pine know for light; our jewelry bright colored seeds, shells and knuckle hones.

Without costume design we would all he Adams and Eves. In short without these arts we would he reduced to crudities of the primitive man.9

ORuff ini and Enapp, ojo. cit., p. 14.9Henry Turner Baily, quoted in The Integrated

School Art Program, p. 159. New York: McGraw-HillBook Company, Inc., 1939.

97In the field of content and method, there is yet

much to he done in determining the best methods of teach­ing such skills as figure drawing, design and perspec­tive. Studies of age and grade placement of these methods and also of content material would be of real aid to the curriculum makers. Only when those interests in research relating to the a,rt curriculum begin to face these fundamental, issues, can we be assured of a general course in art which has for its chief objective the help of the child. With proper instruction in art a child should enjoy more completely the world of which he is a part and live more intelligently with his surroundings which are really significant m art eduoa,- tion. For success then in an elementary art course Ma.rgaret Mathias states:

We must have genuine respect for the art quality of every activity and equal respect for the children and their activities. We must challenge every material we give the children to work with,and every skill we try to develop; the attitude we hope to establish; the knowledge we attempt to impart. The challenge is this: Does it have a present value to the child and does it lead to any­thing worth while?10

As a result of this study the following specific recommendations are appended for the improvement of art

10Mathias, on. cit., p. 3.

98

education in the teachers of the seventh and eighth grades:

1. Be convinced of the eternal and inherent values of art; and that, a thing of beauty is a joy forever.

2. Be proud to be an art teacher.3. Bear in mind tha.t in art, it is technique

for the child and not the child for the technique.4. Recognize and inculcate that an apprecia­

tion of beauty is essential to a civilization which boasts of having culture.

5. Encoura,ge students to use their eyes and their minds as well as their hands, and let them report on what they see.

6. The ability to teach art is a valuable asset to the elementary teacher, and the train­ing in fine arts is also conducive to the devel­opment of a well-integrated personality.

7. Be convinced that art experiences are the right of every person and art should bean inherent element in the total drama of life.

8. Bo not accept sloppy and indifferent work. Carefully handle all criticism and make it constructive, so that it will stimulate the child to further effort.

9. Develop in each child during the art course a. feeling of civic responsibility for helping to establish and maintain beanty.

10. Firmly establish into the program of art education the GENERAL AIMS for art by Leon Loyal Winslow which are listed on pages ninety-one and ninety-two of this thesis.

11. All organized art instructions must include the SPECIAL AIMS OF ART by Leon Loyal Winslow listed in this thesis.

It is hoped by the author that the seventh

99

and eighth, grade teachers, through the study of this thesis, will be acquainted with existing conditions in art. Thus their interest will be awakened end will augment a fuller appreciation and understanding of the necessity of art. Hence, the children will have many happier hours and will learn to love the good, the true and the beautiful in everything about them.

Art is a gift of God, and it must be used unto His glory.

— Longfellow

APPENDIX

101

THE QUESTIONNAIRE

The complete foim of the questionnaire sent to the one hundred twenty-two part time art teachers follows:

QUESTIONNAIRE STUDY IN THE TEACHING OP ART IN THE SIXTH, SEVENTH, AND EIGHTH GRADES SENT TO

SEVENTY-THREE SCHOOLS

Name of school _________________ Address___________District No* or Parochial SchoolGrade or grades taught ________

Answer with "yes" or "no" the following twelve questions:1. Do you follow any particular Art Courses or Art Text

Books? _____________________ If so name them:(a) Author _________________________________________

Title __________________________________________(b) Author _________________________________________

Title _________________________________________2* How much time do you devote to art in a week?____________ min. Is it taught daily? ____________

3. Do you favor art integration with other schoolsubjects? ________________________

4* Have you used the Art Appreciation Series by Radio? ___________________________

102

5. If so were you and the children interested and benefited? ___________

6* Have you any particular remarks concerning Radio Art?

7* Do your children take part in contests or exhibits? ____________

8. Have your children frequently come forth aswinners? _____________

9. Do you favor tests in art ability or art apprecia­tion? ________________

10* Do you test your pupils in the subject matter taught in art? ______________

!!• If you use any special standard tests kindly give the test used:(a) _ ________________ __________________________(b) ________________________________________________

• Have you any suggestions concerning tests in art?12

IN THE FOLLOWING EIGHT UNITS CHECK THOSE SUB­DIVISIONS YOU HAVE TAUGHT AND STRESSED:

A. COLOR: 1. The color wheel _________________2. Ability to mix colors:

a) Secondary _______________ _____b) Intermediate ________________

3. Ability to recognize warm and coldcolors ________________________ __

4. Knowledge of the three color qualitiesa) Hue __________________________b| Value _______________________ _c) Intensity ____________________

5. Knowledge of color harmony:a| Monochromatic ________________b) Analogous ____________________c) Complimentary ________________d) Split-complements ____________e) Triadic ______________________6. Do you teach color applied to nature?

7. Do you teach color applied to the home? ____________

8. Do you teach color applied to dress?B. Design: (Check as stated before)

1* The principles ofa) Rhythm ____________b) Balance ___________c) Proportion ________

2* Emphasis and subordination ________3. Decorative design:

a) All over pattern ______b) Borders _______________c) Textile design ________

4. Civic beauty design ______5* Geometric design _________6. Conventional design ______7, Abstract design __________

C. LETTERING: (Check as before)1* Do you teach lettering? ______2. What method used:

a) Folding ___________________b) Family cut out ____________c) Simple stencil ____________

104

4, Any suggestions of your own will be appreciated. ________

D. DRAWING: (Check as before)Do you tea.cn1. Illustration or memory drawing? _____2. Landscape or nature drawing? ________3. Still life or object drawing? _______4. Pose drawing? „5. Do you elaborate on stick figure's?6. Do you teach perspective? ___________7. Do you teach cartoon drawing? _______8. Do you teach shadowing? _____________

E. PROJECT WORK: (Check as before)Do you teach1. Weaving (basketry)? ________2. Modeling:

a) Paper mache _____________b) Clay ____________________c) Paper strips ____________d) Modeling plaster ________e) Metal work ______________

3. Poster making? _____________4. Coping saw work? ___________5. Designing booklet covers? __6. Block printing? ____________7. Textile painting? __________8. Soap carving? ______________9. Spatter work? ______________10. Finger painting? __________

F. ART APPRECIATION BY PICTURES:1. List favorite pictures and artists as

taught in your particular grade:a byb ...... byc byd bye . ......... byf __ byg byh bvi by

105

2. Do you have some study about the artist andhis production in the class? ______________3. Do you teach the history of the picture?

G. CHECK YOUR MOST USED MATERIALS:1. Water color 92. Tempera 103. Pencil 114. Wax crayon 125. Pencil crayon 136. Payons 147. Colored paper 158. India ink 1616. Spatter ink

H. CORRELATION AND INTEGRATION OP ART WITH OTHER SCHOOLSUBJECTS (Check as before wherein you have practiced

art correlation.)1. Religion __2. History ___3. Spelling __4. Mathematics5. Literature

6. Geography7. Hygiene8. Nature Study

Any remarks concerning this study in art will be appreciated: ______________________________________

Teacher’3 Name (optional)

106

To the teachers of the sixth, seventh, and eighth grades of the schools taught by the 3enedictine Sisters of Mount Saint Scholastica, Atchison, Kansas*

Dear Sister,This questionnaire is being sent to you with

full confidence that you will give the answers to all the questions to the best of your ability. The under­signed will appreciate it as a favor if you can return the papers as soon as possible, not going beyond the date of December, 1945, so that your response can be tabulated with those of the other sisters*

The immediate object of this study is to provide material for a study in art in the sixth, seventh, and eighth grades* This enclosed questionnaire is needed to substantiate material for the thesis which is a re­quirement for the writer's Master's degree in Education* It is the writer's belief that all part time art teachers are greatly concerned*

Your cooperation will be appreciated,

Sister M* Macrina 0. S* 3*

October 1, 1945 Purcell, Kansas

107

THE FOLLOWING SCHOOLS TAUGHT BY THE BENEDICTINE SISTERS OF ATCHISON, KANSAS, ANSWERED THE QUESTIONNAIRE:

TABLE 2

School Location !No. of Teachers Grades

Re­turns

St. Benedict AtchisonKansas

3 6 7 8 3St. Joseph Atchison

Kansas2 6 7-8* 2

Sacred Heart AtchisonKansas

2 6 7-8 2St. Loui3 District No. 52 Atchison

Kansas 1 6-7-8* 1

St. Patrick District, U 2 Atchison

Kansas1 6 - 7 - 8 1

Mooney Creek District N. 57

AtchisonKansas

1 6 - 7 - 8 1

St. Bridget District No. 52t

AxtellKansas

1 6 - 7 - 8 1

Sacred Heart District No. 92

BaileyvilleKansas

3 6 - 7 - 8 3

St. Malachy BeattieKansas

1 6 - 7 - 8 1

St. Columkil BlaineKansas

1 6 - 7 - 8 1

St. Patrick CorningKansas

1 6 - 7 - 8 1

St. Ann EffinghamKansas

1 6 - 7 - 8 1

Holy Family EudoraKansas1 6 - 7 - 8 1

Annunciation FrankfortKansas

1 6 - 7 - 8

----------

1

♦Combined grades indicated by dashes

108

TABLE 2— Continued

School Locationf

No. of Teachers Grades

Re­turns

St. Leo HortonKansas

2 6 7-8 2Kenny Heights R. R. # 2 Kansas City

Kansas 1 6 - 7 - 8 1

St* Anthony 632 Touromee

Kansas City Kansas

3 6 7 8 3

Argentine 1331 S. 30 St.

Kansas City Kansas

3 6 7 8 3

St. Benedict 930 Pacific Ave

Kansas City Kansas

3 6 7 8 3

Christ the King R. R. # 4

Kansas City Kansas

2 6 7-8 2

St. Bede KellyKansas

2 6 7-8 2Holy Trinity Lenexa

Kansas2 6 7-8 2

Lillis Grade District Ho. 22

LillisKansas

1 o> i i 00 1

St. Gregory MarysvilleKansas

2 6 7 “ 8 2St. Peter Mercier

Kansas1 6 - 7 - 8 1

St. Joseph NortonvilleKansas

1 6 - 7 - 8 1Newbury Con. District No. 1

PaxicoKansas

2 6 7-8 2

St. Mary PurcellKansas

1 6 - 7 - 8 1St. Ann Seneca

Kansas3 6 - 7 - 8 3

St. Benedict R. R. # 1

SenecaKansas2 6 7-8 2

109

TABLE 2— Continued

----------- -- II

School LocationNo. of r Teachers

1....Grades

Re­turns

St* Joseph ShawneeKansas 2 6 7-8 2

St* Joseph R* R* Plush District # 2

St• George Kansas

2 6 7-8 2

St* Mary Valley Palls Kansas

1 6 - 7 - 8 1St• Bernard Wamego

Kansas2 6 7-8 2

St. Joseph WathenaKansas

1 6 - 7 - 8 1St* Theresa Westphalia

Kansas1 6 - 7 - 8 1

St. Patrick MaryvilleMissouri

1 6 - 7 - 8 1St. Stephen Monroe City

Missouri1 6 - 7 - 8 1

St. Mary MontroseMissouri

2 6 7-8 2St. LudgerR* R* $ 3

MontroseMissouri

2 6 7-8 2

Our Lady of the Angels

New Cambria Missouri

2 6 7-8 2

St. Joseph PalmyraMissouri

1 6 - 7 - 8 1St. Joseph Salisbury

Missouri1 6 - 7 - 8 1

St. John SmithtonMissouri

1 6 - 7 - 8 1Cathedral 512 n. 11th St.

St. Joseph Missouri

3 6 7 8 3

St. James 120 MichiganSt. Joseph Missouri

2 6 7-8 2

TABLE 2--Continued

School 'LocationNo. of Teachers Grades

Re­turns

ImmaculateConception Brookfield

Missouri 2 6 7-8 2

St. Benedict District No.

ClydeMissouri

1 6 - 7-8 1

Guardian Angel 4240 Mercier

Kansas City Missouri

3 6 7 8 3

St. Mary MaryvilleMissouri

2 6 7-8 2St. Joseph Atkinson

Nebraska2 6 7-8 2

St. Joseph 422 n. 6th St.

BeatriceNebraska

2 6 7-8 2

St. Peter 3619 X St.

OmahaNebraska

3 6 7 8 3

Sacred Heart PapillianNebraska

1 6- 7-8 1St• Anthony Steinaur

Nebraska2 6 7-8 2

St. Charles West Point Nebraska

1 6- 7-8 1St. Peter 315 W. Pierce

Council Blufi Iowa

's 2 6 7- 8 2

St. Malachy CrestonIowa

2 6 7- 8 2St. Paul Defiance

Iowa2 6 7- 8 2

St. Mary 905 V. 2nd St.Des Moines

Iowa2 6 7- 8 2

St. Mary PanamaIowa

2 6 7- 8 2St. Mary Portsmouth

Iowa2 6 7- 8 2

TABLE 2— Continued

111

No. of ....... 1 Re-School Location Teachers Grades turns

Antonito Pub* Antonito 3 6-7 8 3Colorado

Conejos Pub* Capulin 1 6 - 7 - 8 1District No* 7 ColoradoCapulin Pub. Capulin 3 6 7 8 3District No. 13 ColoradoSt. Cajetan Denver 3 6 7 8 3800 Lawrence ColoradoSt. Mary Walsenburg 3 6 7 8 3

ColoradoAntonito Pub. San Anton 1 6 - 7 - 8 1District 10 ColoradoSan Ysidro San Ysidro 3 6 7 8 3Academy California

-

B I B L I O G R A P H Y

BOOKS

Baxter, Berniece and Bradley, Anne E. An Overview of Elementary Education. Boston: D. C. Heath and Company, 1945. Pp. viii Jr 126.

Boas, Belle. Art in the School. New York: Doubleday, Page and Company, 1927. Pp. xiv -+■ 128.

Bobbitt, Pranklin. How to Make a Curriculum. Boston: Houghton-Mifflin Co., 1924. Pp. viii ■+• 295.

Bonser, Predrick Gordon. The Elementary School Curric­ulum. New York: The Macmillan Company, 1924.Pp. xvi + 466.

Campbell, Doak. Curriculum Development. Chicago:American Book Company, 1935. Pp. xvii + 600.

Classroom Teacher. Edited by Milo B. Killegas. 12 vols.Chicago: The Classroom Teacher, Inc., 1927-1928.

Cole, Natalie Robinson. The Arts in the Classroom.New York: The John Bay Company, 1940. Pp. 137.

Course of Study in Drawing and Applied Art. 1932-1933. Anchdiocese of Chicago.

D’Amico, Victor. Creative Teaching in Art. Scranton, Pennsvlvania: The International Textbook Co., 1942. Pp. ix + 261.

Ducasse, Curt J. Art, the Critics. and You. New York: Oskar Piest, 1944. Pp. 170.

PitzGibbon, Julia Reardon. The PitzGibbon System ofTeaching Art. Chicago: The PitzGibbon Art Book Company, 1924. Pp. 64.

Gill, Eric. Art and a Changing Civilization. London:John Lane, the Bodley Head, 1935. Pp. xi + 158.

Gla.ss, James M. Curriculum Practices in the Junior High School. Chicago: The University of Chicago,1924. Pp. x + 181.

114

Goldstein, Harriet Irene. Art in Everyday Life. New Yorks The Macmillan Company, 1940.Pp. xxxvi ■+ 497.

Good, Carter V. How to Do Research in Education.Baltimore: Warwich and York, Inc., 1929.Pp. x 4- 298.

Hanson, Howard. "The Place of Music in the Culture of the World." National Educational Association Proceedings. Vol. LXXVIII. Washington, D. C.s The National Educational Association of the United States, 1940.

Harap, Henry. The Technique of Curriculum Making.New Yorks MacMillan Company, 1928. Pp. 315.

Hartman, Gertrude and Shumaker, Ann. Creative Expres­sion. Milwaukee: E.M. Hale and Company, 1939.Pp. 350.

Howell, Alfred, and Horton, Ann V. "Art Appreciation "by Radio in the Schools." Art in American Life and Education. Fortieth Yearbook on the National Society for the Study of Education,Vol. XL, Bloomington, Illinois: Public School Publishing Company, 1941.

Koos, Leonard V. The Questionnaire in Education. New York: The Macmillan Co., 1928. Pp. vii 4- 178.

Lester, Katherine M. Great Pictures and Their Stories.8 vols. New York: Mentzer Bush and Company, 1927. Pp. 95.

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Mathias, Margaret E. The Beginnings of Art in the Pub­lic Schools. New York: Charles Scribner's Sons, 1924. Pp. xiv 4 119.

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/

L

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SNC YCLO ESDI AS

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