This article reports on the opening up of a new, rich seam of interdisciplinary research that brings together historians of education with historians of art and architecture to examine the meaning and incidence of "The Decorated School". It examines the origins of the idea of art as educator in the nineteenth century and discusses how…

Using two early anatomical sketches, a woodcut, and a painting as visual examples, this article briefly traces the history of the relationship between artists and anatomists from early human times up through the late 1700s. Particular attention is paid to the career of Dr. William Hunter, the first person appointed as an anatomist at the Royal…

This article presents an analysis of the way art is conceptualised in the British primary school curriculum and provides an historical framework that maps an evolution of ideas that have shaped the way art is presented in the modern day primary curriculum. In order to achieve this a Foucauldian style genealogical analysis is utilised to trace the…

Discusses the structure of art history education in elementary and secondary schools and the need for alternative teaching approaches to meet the goals of British general education. Available from Carfax Publishing Company, P.O. Box 25, Abingdon, Oxfordshire OX14 1RW England. (AM)

Reviews the history of art in terms of style, technique, and context. Considers (1) the preparation of teachers (2) the antipathy between practitioners and historians of art (3) the development of art history as an academic discipline and (4) the role of art history in the General Certificate Secondary Education. (BSR)

One source of materials for art education historical research, which has barely been tapped in the United States, is ephemera, casual bits of handwritten and printed paper used in daily life. These circulated images and documents convey actual practices, commitments, and attitudes of people. (IS)

States that art history is only available to gifted students in the British educational system. Contends that mixed ability pupils have a right to their cultural heritage also. Advocates that art history and critical studies become a part of the core curriculum for all pupils. (BSR)

Describes changes in the British secondary school examination system, highlighting Dyson's contributions to the reform process. Recognizing that there are several ways to teach art history, Dyson considers the preparation of teachers, discusses the development of art history as an academic discipline, and specifically addresses the matter of art…

This paper reviews some of the recent research relative to the thoughts and writings of the English art critic, Clive Bell, one of the leaders in British art criticism for the first part of the 20th century. Bell's conception of "art as significant form" is considered with specific reference to the following educators: (1) Roger Fry and…

Calls for discontinuing the teaching of the "masterpieces" and modern art in the British primary school. Argues that images of a wider, more accessible kind should form basis of primary visual education. Concludes that children should have a foundation in disciplines such as history, sociology, and art before sophisticated visuals are…

Reviews recent development in art education in light of the National Curriculum for Art in Great Britain. Maintains that critical studies, the concept of applying critical thinking to art history, are the key ingredients for the improvement of art education. Provides suggestions for implementing critical studies in the art education program. (CFR)

Argues that art teachers, particularly nonspecialists in primary schools, have an outdated understanding of art, that is, one that relies heavily on an elitist model composed of historical markers made by white men. The author illustrates how good education is also antiracist education and provides a list of resources that represent women and…

Examines issues related to critical studies and educational goals included in the National Curriculum in Great Britain. Concludes that the emphasis on production in art education has declined and that aesthetics and cultural diversity, both components of critical studies, has increased insignificance. (CFR)