An attempt is made to demonstrate if not the dispensability of Gardner's (1983) theory of multiple intelligences, at least that it is not foundational, to understanding what motivated Picasso's creative development. Gardner used the theory of multiple intelligences to account for the extraordinariness of various figures, including Picasso, who is…

Creativity is the cultural capital of the twenty-first century. This article presents an argument for the arts to lead a new wave of education reform that repositions creativity as the centerpiece of an education that prepares a generation of change agents for doing good.

The author has always loved teaching a lesson on self-portraits to her eighth-grade students. Portraits raise the bar and, when they are successful, convince the students that they really can draw. Each year they explore the basic concepts of portraiture, but use different media, sizes and styles. The author likes to interject art history and…

Animals have always been close to the heart of humankind. They appear in the earliest imagery as the very first subjects of art. Household pets are a fixture for many a family. This is true in art as well. In shifting the balance away from animals as pure symbols, the Impressionists identified them as members of the household. One of the most…

In this article, the author focuses on the development of a young poet from Bulgaria, Indiana Pehlivanova, who experienced an explosive growth as a poet. Activating memory, myth, and reality, Pehlivanova's imagination wove together what the author terms as "the finest lines I have ever witnessed in youth poetry."

Artists have a long portfolio tradition. Some start to put together their portfolios before they have had any formal training or even before they have any notion of becoming an artist. They simply begin to collect and organize their work, sharing it from time to time with family and friends, perhaps as an occasional exhibition. Later, in the…

Training teachers as artists will develop an understanding of their own cognitive style and a trust in personal intuition. The art student imitates the masters, learns from peers, and develops by experimentation and subjective assessments. Teachers and art students both learn by becoming committed to their work. (JD)

Four artistic people of various ages were interviewed concerning their conscious and unconscious thought during creative activity, emotions which precipitated creative activity and intermingled with cognition, and intrinsic motivators and rewards. The interviews supported research regarding the internal forces of creativity. (Author/JDD)

Does a drawing embody the form and focus of what the artist actually sees, or instead, is it only after seeing the finished drawing that the artist knows the true meaning of his or her visual experience? It is the knowledge of the visual experience that drives the representation of it. Knowledge of the visual experience is present in varying…