Children’s Drawing in the UK and China

Cox, Maureen V.; Perara, Julian; Xu, Fan

doi:10.1111/1468-5949.00171

Cited by 30 publications

(30 citation statements)

References 2 publications

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“…Yet, a similar study that compared American and Chinese drawings of geometric shapes found that the two groups were rated similarly for creativity by both American and Chinese raters (Chen et al., 2002). There were no differences in rated artwork between Chinese and British school children, except for the higher ratings earned by Chinese children who attended a weekend art school (Cox, Perara, & Fan, 1998). Another study found that Japanese children produced higher rated drawings than British children (Cox, Koyasu, Hiranuma, & Perara, 2001).…”

mentioning

confidence: 81%

In the Eye of the Beholder: Differences Across Ethnicity and Gender in Evaluating Creative Work

Kaufman

Niu

Sexton

et al. 2010

J Applied Social Pyschol

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Creativity has been proposed as a supplement to ability tests as a way to reduce bias, as a result of the typical lack of ethnic or gender differences. Yet, creativity is usually measured through a consensus of rater judgment. Could there be implicit biases against people of different ethnicities or gender? This study examined stories and poems written by 205 students and rated by 108 different students. Females wrote poems that were judged to be more creative; there were no significant differences by ethnicity across all raters. Among notable findings, European Americans and African Americans both preferred stories written by European Americans. Reasons for this and other findings are discussed.

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mentioning

confidence: 81%

In the Eye of the Beholder: Differences Across Ethnicity and Gender in Evaluating Creative Work

Kaufman

Niu

Sexton

et al. 2010

J Applied Social Pyschol

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“…The first was the third rater described above, and the second a 25-year old female researcher into children's drawings who holds an International Baccalaureate Certificate in Visual Arts. The mannequin drawings were rated using a modified version of the rating scale devised by Cox et al (1998). The criteria for clothing were omitted, as our mannequin had no clothes on.…”

Section: Scoring Of Drawingsmentioning

confidence: 99%

An investigation of the expressive and representational drawing development in National Curriculum, Steiner, and Montessori schools.

Rose

Jolley

Charman

2012

Psychology of Aesthetics, Creativity, and the Arts

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Little is known about how children's drawing ability may vary between different educational approaches. This study investigated the expressive and representational drawing ability of British National Curriculum, Steiner, and Montessori pupils aged 5 to 9 years old. Ability was measured from performance on specified drawing tasks. One hundred and 35 children participated, 45 from each educational establishment consisting of 15 from each of the three age groups, 5-, 7-and 9-year-olds. Participants completed three expressive drawings (depicting a happy, sad, and angry mtxxl) and three representational drawings (observational drawing of a wooden mannequin, a house from memory and a free drawing). Results indicated that for expressive drawings Steiner pupils generally depicted more content themes, used formal properties more expressively, and produced higher quality expressive drawings than Montessori and National Curriculum pupils. Where there were differences between National Curriculum and Montessori pupils the Montessori children tended to do better than the National Curriculum pupils on these measures. Although representational drawing development varied in younger Steiner pupils compared to their National Curriculum and Montessori peers, no differences were observed among the oldest children attending the three schools. The positive relationship between expressive and representational drawing performance was the strongest in Steiner pupils. The results suggest the art program in Steiner education is more conducive to nurturing expressive drawing ability than those delivered in Montessori and National Curriculum education, with seemingly no disadvantage in representational drawing ability in the primary school years.

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“…Davis (1991) also used adults with art experience (albeit more considerable than our raters) and cited evidence from her pilot work that there is greater reliability in ratings from this population. It should be noted, however, that there is a lack of evidence as to whether non-artists and artists differ in the rating of drawings generally (see Cox, Perara, & Xu, 1998).…”

Section: Scoring Of Drawingsmentioning

confidence: 99%

The development of children's expressive drawing

Jolley

Fenn

Jones

2004

British J of Dev Psycho

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Two studies are presented on expressive happy and sad drawings made by British 4‐ to 12‐year‐olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quantity and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expressive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently found, with a significant improvement often shown among the 12‐year‐olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.

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Children’s Drawing in the UK and China

Cited by 30 publications

References 2 publications

In the Eye of the Beholder: Differences Across Ethnicity and Gender in Evaluating Creative Work

In the Eye of the Beholder: Differences Across Ethnicity and Gender in Evaluating Creative Work

An investigation of the expressive and representational drawing development in National Curriculum, Steiner, and Montessori schools.

The development of children's expressive drawing

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