Reading Review 4

Mary Finney
February 15, 2015
Summary
In the mid-nineteenth century, the exposure of art still pushed the demand
better understanding. Art was seen as something that emulated the upper
class so books and highly trained artist was still harder to come by although
art instruction was now a part of the public education system. The use of
inexpensive magazines became one of the most commonly used as
resources and materials for observation. With the establishment of museums
and galleries in higher educational institutions of fine arts, the purpose and
goal of art education began to shift; teaching students to know what to look
for and be able to identify and select the best work. Inventions such as
chromo graphs and half tone photography quickly replaced other methods
used in instruction and quickly gave birth to the Picture study movement.
The picture study movement was grounded in the belief that young people
could be taught to read the language of art. This was a language best
understood through the emotions and imagination by empathizing with the
artist and trying to see through his eyes (Stankiewics, 2011).
Key Influences
Advocates of picture study and antecedents schoolroom decoration
movement assumed that most great artist exemplified high moral character
and that exposure to works of fine art would help students develop spiritual
and practical virtues (Staniewics, 2001). One major influence to the
movement was the educator Estelle May Hurll. She encouraged teachers not
to forget that the aim of picture study was the enjoyment of beauty
(Stankiewics, 2001, p.117). Her instruction to teachers, allowing them to fully
understand the internal evidence available before enriching the subject
made way for teachers to be innovative with instruction to teaching art. To
help art enthusiast and museum goers enjoy art through critical dialogue
Boston Museum appoints docents; well educated museum personnel
(Stankiewics, 2001).
Reflections
I found that understanding the history on which the foundation of art
education was built,truly insightful. I believe that for an art instructor, the
basis on which she/he selects the works shown should be one that is not
bias. As an educator, it is our job to make sure that the student it aware of
the possibilities regardless of the subject. We can provide the historic
accounts as well as provide the environment to explore, however as an art
educator, following along with the concepts of Dow and Ross, that we must
provide the student with the facts of how to create as well as the impulse to

create (Stankiewics, 2001). For example I would share the works of

Michelangelo and Picasso to inform the student of the history of the matter
while transitioning toward the more current and demographics behinds their
works like that of Andy Warhol and OKeefe. I believe that know the history is
important in discovering new paths.

References
Stankiewics, M. A. (2001). The aesthetics culture of pupils. In M.A.
Stankiewics, Roots of art education practice (pp. 5-123). Worchester,
MA: Davis Publications