Three approaches that teachers can use to incorporate related ideas into art history courses are discussed. They are parallelism, or the analogous developments in other spheres of study; the elucidation of the credo of a famous personage whose image has been perpetuated through art; and etymology. (RM)

The history of research and attention to artistically talented students from 1850 to the present is offered in this article. Programs for these students have lacked valid test instruments, longitudinal studies, and in-depth research. (DF)

Relationships between structural, semantic, and verbal statements about art were investigated to observe the effect of verbalization on the art viewing process. Various studies are cited that give evidence that learning in the arts has psychomotor, affective, and cognitive aspects. (DF)

An intermediate-grade art teacher describes how she teaches her students about Henri Matisse. Students learn about the life and background of Matisse, study his reproductions, and apply techniques that they have learned to their own art works. (RM)

Seventh graders reacted enthusiastically to this watercolor art activity. A blank piece of white drawing paper was soaked in water and then removed to a newspaper-covered table. Students held a brush full of watercolor above the paper and squeezed the bristles. When the droplets hit the surface, they spread beautifully. (RM)

The drawings and paintings of Franz Kline are discussed. The schedule of a traveling exhibit of Kline's work is provided. (RM)

Instructional strategies based on a portrait painting of Francisco Goya introduce primary grade students to the idea that portraits are pictures of people. Students also develop an awareness that the visual vocabulary of color, shape, line, texture, and the quality of brushstrokes can communicate feelings and ideas. (RM)

Instructional strategies based on a portrait painting of Jean-Baptiste Oudry familiarize intermediate grade students with the techniques of portraiture and introduce the characteristics of eighteenth-century French rococo painting. (RM)

Identifies concepts relevant to aesthetic literacy, suggests possible procedures for instruction, examines different interpretations of aesthetics, and presents a curriculum model for aesthetic literacy. (Author/JDH)

The Appel Farm Arts and Music Center is the setting for an international summer arts camp for children 6-18 years old who are gifted in the arts. The camp is described in terms of its beginnings, tuition and scholarships, and staffing. (CL)

Addresses some lingering problems with production and use of color microforms, e.g., reliable microfilm emulsion, color temperature, and image fading; and reports on recent advances in color stability and accuracy and international efforts to standardize production. (MBR)

Metaphor is an essential process and product of thought. Works of art, being developed products of thought, can be metaphors for felt dimensions of experience in its broadest sense. The metaphoric process can be used to interpret art works and art periods. (RM)

A program designed to make visual art more accessible to young people in 24 elementary schools in Ohio is described. The program's concept was to engage all five senses, not just sight, in the appreciation of art. (RM)

The definition and function of visual metaphor in selected paintings and sculptures from Picasso's works are explored. (RM)

Explains good graphic design and gives examples using the student literary magazine "Runes." (CRH)