Examines some problems in teaching art history to students in a fine arts program. Argues that art history should be taught as the history of recurring artistic problems. (Author/RKM)

Profiles the life and achievements of Marion Richardson, who is credited with developing the child art movement, and inventing Writing and Writing Patterns. The article also traces Richardson's neglected contribution to art education. (BSR)

Reviews the development of the new structure of art in England, France, and the United States. Examines how twentieth century changes in technology and science have created such artistic tools as photography and the computer. Explores how man's relationship with nature has changed in this period. (BSR)

Reviews the life of Henri de Toulouse-Lautrec (1864-1901) and examines how his early experiences influenced his art. (BSR)

Discusses value of having Scottish students critique art collections throughout their country. Elaborates that this type of art appreciation consists of five major components: (1) critical activity, (2) history of art, (3) connoisseurship, (4) aesthetic experiences, and (5) production of art and design. (BSR)

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)

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)

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…

States that amidst optimism and controversy, discipline-based art education (DBAE) has entered the U.S. art education scene. Attempts to put DBAE in perspective, to identify its roots, and to alleviate the concerns of some about its message. (Author/BSR)

Questions the origin of design history and its relationship to art history. Maintains that design historical knowledge is produced, and it must be acknowledged that there are design histories and not one monolithic body of knowledge. (KM)

Seeks to clarify why drawing traditionally holds a central place in the art school program. Outlines what is meant by the Renaissance concept of drawing and how the role of drawing has changed over the centuries. (KM)

Discusses problems in the teaching of art history to art students. Reports on a study in which student analysis and categorization of their own paintings and paintings of other artists became the primary activity of an art history course. Concludes that this approach enhances the use of art history as a source for students' own creative work. (CFR)

Outlines three methods of introducing original paintings to young children: narratives, finding a consensus, and building on a shared experience. Analyzes the childrens' verbal and artistic responses. (KM)

Examines why art and design educators resist the modularization of degree-level courses. Identifies key characteristics of art education in England through an ethnographic study. Discusses government policy and rationales for modular and integrated courses. Concludes that the holistic approach to education allows students to expound and develop…

Describes an secondary art education course using the principles of discipline-based art education (DBAE). Argues that art production techniques and studio art must be included with the DBAE approach for a successful program. Provides an overview of the course content and teaching methods used in the program. (CFR)