Teaching art versus teaching taste: what art teachers can learn from looking at a cross-cultural evaluation of children's art

Pariser, David; Berg, Axel van den

doi:10.1016/s0304-422x(01)00032-8

Cited by 10 publications

(7 citation statements)

References 16 publications

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“…Indeed, we argue that as children's pictures are used to test their cognitive abilities (e.g. Goodenough, 1926;Harris, 1963;Imuta, Scarf, Pharo, & Hayne, 2013;Naglieri, 1988;Reynolds & Hickman, 2004), personality (e.g., Hammer, 1958Hammer, ,1997Kato & Suzuki, 2016;Machover, 1949), their knowledge and ideas about a certain topic (e.g., Brechet, 2015;Christidou, Bonoti, & Kontopoulou, 2016;Jolley & Vulić-Prtorić, 2001) and to examine cultural influences (e.g., Aronsson & Junge, 2000;Cox, 2000;Jolley & Zhang, 2012;Kellogg, 1969;Pariser & van den Berg, 2001;Wilson, 1997Wilson, , 2000, children and adolescents could also use drawings to make inferences about these and other attributes of the mind behind them.…”

Section: Systematic Review Of Artist-picture Relationshipmentioning

confidence: 99%

From mind to picture: A systematic review on children’s and adolescents’ understanding of the link between artists and pictures

Vivaldi

Jolley

Rose

2020

Developmental Review

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Pictorial symbols have multiple layers of meaning: not only do they represent objects, events and ideas about the world, they also represent the intentions of artists as well as other artist attributes (age, skill, originality and knowledge, mood, style and sentience). Although children's developmental milestones of pictorial understanding have been the subject of a long-standing debate, their understanding of the relation between artists and pictures has often been neglected. The aim of this article was to conduct a systematic review on children's and adolescents' understanding of the relation between artists and pictures. PsycINFO and Web of Science databases were searched for English, Spanish, German, and Italian language empirical studies that examined this link in 2-to 18-yearolds. Forty-two citations (64 studies) from 14 different countries met the inclusion criteria. Results revealed the majority of the studies focused on the understanding of the artist's intention. Although research on children's and adolescents' understanding of other attributes is scarce, and there were inconsistencies across the methodologies used, it seems that they first acknowledge intention and only later become more aware of how artist's attributes are communicated through intention. The results of the review encourage subsequent research to provide a clearer conceptualised model of child and adolescent understanding of the artist-picture relationship. Such a model should be placed within a wider framework of the network of relationship between the artist, picture, world and beholder. Finally, consideration of how the development of understanding the artistpicture relationship is bi-directionally influenced with other developmental milestones in the child psychology is encouraged, particularly picture-production and theory of mind, and variations in atypical populations.

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Section: Systematic Review Of Artist-picture Relationshipmentioning

confidence: 99%

From mind to picture: A systematic review on children’s and adolescents’ understanding of the link between artists and pictures

Vivaldi

Jolley

Rose

2020

Developmental Review

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“…Studies have assessed the developing frequency with which children use the three techniques in prescribed drawing tasks (see Ives, 1984; Picard & Gauthier, 2012; Winston, Kenyon, Stewardson, & Lepine, 1995). An alternative approach has been to use quantitative rating scales to assess the quality of expression in children’s drawings (Davis, 1997; Jolley et al, 2004; Pariser & van den Berg, 1997, 2001) in which -shape and age-incremental patterns have been reported. Several commentators have suggested that the -shape curve is dependent upon rating criteria and judges that favor a modernist perspective on art that emphasize expressive formal properties above representation (Duncum, 1986; Jolley, 2010; Pariser, Kindler, & van den Berg, 2008).…”

Section: Development Of Representational and Expressive Drawingmentioning

confidence: 99%

Drawing development in mainstream and Waldorf Steiner schools revisited.

Rose

Jolley

2016

Psychology of Aesthetics, Creativity, and the Arts

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Although different approaches to teaching children to draw have been advocated and practiced, little is known about how these may influence children's developing drawing abilities. In this study the drawings of pupils receiving an art education that attempts to concurrently teach representational and expressive skills (Mainstream schools in England) are compared to those of pupils who experience an alternative art education that emphasizes imaginative, creative, and expressive drawings before introducing representational drawing skills (Waldorf Steiner schools). One hundred and sixty 7-to 16-year-old pupils from the 2 school types completed 3 expressive (happy, sad, and angry) drawings, 2 representational drawings (an observational drawing of a mannequin and a drawing of a house from memory), and 1 free drawing. Two artists rated all of the drawings for quality on 7-point scales, and stylistic features (scene-based, size, and color) of the free drawings were assessed. No consistent between-school differences were found in the expressive drawings, but Waldorf pupils produced superior representational drawings. With respect to stylistic differences Waldorf pupils produced larger and more scene-based free drawings. Waldorf pupils also combined colors more frequently, and the 7 and 10 year olds tended to use more colors than their Mainstream school counterparts. These results appear inconsistent with the difference in emphasis on expression and representation in the 2 school types. However, observational research investigating actual classroom practices within the 2 school types is required because maybe practices differ to what is outlined in the curricula.

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“…Bearing in mind the strong leaps that children make in their representational drawing it is possible that judges not Linear and U-shape trends 8 steeped in a modernist perspective may be susceptible to the confound presented by the realistic rendering of the subject matter. The references to complexity, technique and increasing representational repertoire as contributions to the age-related progressions reported (Jolley et al, 2004;Pariser & van den Berg, 2001) only serve further to caution us.…”

Section: Role Of Representational Realism In Developmental Patterns Omentioning

confidence: 99%

“…As a modernist perspective is not a universal judgment of art, Pariser and van den Berg (1997, 2001) argued that the developmental pattern of expressive drawing development is culturally determined. For instance, in contrast to Western modernist values the Chinese have traditionally valued representational drawing skill (see Jolley & Zhang, 2012).…”

Section: The -Shape Patternmentioning

confidence: 99%

Linear and U-shape trends in the development of expressive drawing from preschoolers to normative and artistic adults.

Jolley¹,

Barlow²,

Rotenberg³

et al. 2016

Psychology of Aesthetics, Creativity, and the Arts

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This study sought to explain the apparently conflicting age-incremental and U-shaped developmental patterns found for the merit of expressive drawing by examining the role of representational realism drawing ability in the observed age patterns. Thirty children in each of seven age groups from young children to preadolescence (4, 5, 6, 7, 9, 11 and 12 years) were randomly sampled. Two further groups (normative and artist) of 14-year-olds and young adults were included to assess expressive drawing shown late in development. Each participant completed three expressive drawings (happy, sad, and angry) and three visual-realism drawing tasks. The expressive drawings were assessed on five measures of expressive merit (overall quality, color, composition, line, and content) developed and scored by two adult artists. The data analyses were performed on those scores (i.e., raw scores) and those scores when statistically adjusted for performance on the realism drawing tasks. The raw expressive drawing scores linearly increased up to preadolescence. Linear trends continued for the artist adolescent and adult samples, but tailed off and declined in curvilinear relationships for the normative counterparts. By contrast, the analyses yielded a U-shaped curve in the merit of expressive drawings when those scores were statistically adjusted by realism drawing performance: young children and adolescent/adult sample showed elevated merit, more notably the later sample when artists were considered. The findings suggest the previously reported age-incremental patterns were influenced by a consideration of realism drawing ability in the assessment, while the Ushape curve de-emphasises representational realism in the content of the drawings.Expressive Drawing Development Linear U-shape Linear and U-shape trends 3 Linear and U-shape trends in the development of expressive drawing from pre-schoolers to normative and artistic artistsThe process of drawing promotes many psychological benefits for children, including visual thinking, observation and the analysis of subject matter, problem solving, imagination, expression, creativity, as well as more general habits of thinking such as perseverance, experimentation and reflection (Arnheim, 1969;Barnes, 2002;Burkitt, Rose & Jolley, 2010;Hetland, Winner, Veenema & Sheridan, 2013). Furthermore, producing the artefacts develops children's drawing ability, both for their representational drawing of the subjects depicted and their expressive drawing of emotional/conceptual messages. There is a general convergence in the literature that with age children denote subject matter in forms of increasing visual likeness (for reviews, see Cox, 2005;Jolley, 2010). However, there is a vibrant debate regarding the developmental pattern of children's expressive drawing. An influential claim for a U-shape pattern posits that very young children produce drawings of similar expressive quality to the works created by artistic adolescents and adults, with a dip in artistic merit in the intervening middle c...

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Teaching art versus teaching taste: what art teachers can learn from looking at a cross-cultural evaluation of children's art

Cited by 10 publications

References 16 publications

From mind to picture: A systematic review on children’s and adolescents’ understanding of the link between artists and pictures

From mind to picture: A systematic review on children’s and adolescents’ understanding of the link between artists and pictures

Drawing development in mainstream and Waldorf Steiner schools revisited.

Linear and U-shape trends in the development of expressive drawing from preschoolers to normative and artistic adults.

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