The study described here is the first comprehensive attempt to document museum education programs and to provide a handbook to educators to help them make intelligent use of the art museum resource. (Author)

Article investigated painting styles and a test devised to explore sensitivity to them. (Author/RK)

Although art, metaphorically, makes statements and conveys information, an identification of art with language is likely to be misleading in the teaching and learning of art. Why visual art is not a language is discussed. (Author/RM)

Traces how broad, historical, conceptual frameworks established by Arthur Efland continue to be useful in categorizing contemporary arguments on the form of art education. Contends that many popular justifications for art education lack a solid epistemological rationale. Advocates an approach to art education as a study of reasoned perception.…

Thirty middle-class preschoolers (ages three to five) were tested with the Acuff and Sieber-Suppes Manual for coding children's responses to paintings and two forms of the Embedded Figures Test. At age 5, significant positive correlations were found between cognitive style and total cue attendance and two attributes, sensory and organizational.…

Suggests that the roles and activities of the professional artist, art critic, art historian, and aesthetician be established as models for outcomes of a visual arts program. Attempts to show that the professional practices of experts in these four roles are appropriate sources for the content and design of educational activities unique to the…

Inquiry in art is proposed as a model of the predominantly cognitive behaviors that are involved in producing visual art. The model behaviors are: set a direction, discover, visually analyze, classify, personalize, hypothesize, reorder, synthesize, and evaluate. These behaviors provide the basic structure for a teacher questioning strategy…

Findings revealed no significant response differences due to mode of presentation. The study provides support for the proposition that mode of presentation has little systematic effect on untrained subjects' evaluations of paintings. (Author/RM)

Describes a study which examined how subject matter, color, and degree of realism influence preferences for paintings of subjects in grades 3, 5, 7, 11, and college. Realism is the most important factor in shaping untrained subjects' responses to paintings. Color and subject matter have less influence on these judgments. (Author/AM)

Describes European Viktor Lowenfeld's version of the visual-haptic theory. Recounts how Lowenfeld modified the theory while serving as a studio art teacher in a black U.S. college from 1939 to 1946. Compares Lowenfeld's European and U.S. transformations of the theory. (BSR)

Author looked at the position and role of the visual arts and the artist as they reflect and contribute to the creation of a culture's concept of reality or world view and what this means to art educators. (Author/RK)