Read Ebook: The Teaching of Art Related to the Home Suggestions for content and method in related art instruction in the vocational program in home economics by Fallgatter Florence Gwynne Elsie Wilson

Font size: 10 px 15 px 20 px 25 px 30 px 35 px

Background color: BlackWhiteGrayLight GrayDark GrayDim Gray

Text color: BlackWhiteGrayLight GrayDark GrayDim Gray

Apply/Save settings

Ebook has 893 lines and 81682 words, and 18 pages

It would seem then that individuals should be sensitive to and appreciative of the better forms of art in the things of their environment. As consumers they should be prepared to choose things of good design and reject those of poor design: and thus gradually create through their choices a world in which beauty prevails and ugliness is reduced to a minimum.

The type of furnishing and decorating products consumed in the home as well as the type of clothing purchased for the family depends upon the understanding and appreciation which the home makers have developed for good art qualities. This in turn is dependent upon training. As one writer points out--

The content of an art training course may be defined in terms of objectives to be attained and these in turn should be determined through a careful consideration of the art needs of girls and women. In order to know these needs, the teacher must study the appearance, conditions, and practices in the homes of her pupils. Through observation of the general appearance and clothing of the pupils and a knowledge of their interests and activities outside of school, she will obtain much valuable information, but, in addition, it is highly desirable that she visit their homes. This first-hand knowledge of the homes and community should be secured early in the school year and prior to the art unit or course if possible. The teacher should also be constantly alert to the many opportunities offered through community functions, local stores, and newspapers for becoming more familiar with particular needs and interests in her school community.

Through such a study of girls' needs and interests certain general objectives will be set up for units of courses in related art. Through a well-planned program the majority of pupils in any situation may reasonably be expected to develop--

Out of these general objectives for all related art work, more specific objectives based on pupils' immediate needs and interests are essential. In terms of pupil accomplishment these objectives may be as follows:

These specific objectives probably cover those phases of art for which the average homemaker has the greatest need. In the limited amount of time that is available for the related art units in most vocational programs, the choice of what to teach must be confined to the most fundamental facts and principles of art only. The problems through which these are to be developed may be drawn for the most part from actual situations within the girls' own experiences. It should be remembered that the ulterior motive in all art training in the homemaking program is to give to girls that which will make it possible for them to achieve and to enjoy more beauty in their everyday lives. In the average class few, if any, girls will have that type of "creative ability" possessed by great artists, but all of the group may be expected to attain considerable ability in selecting, grouping, and arranging the articles and materials of a normal home and for personal use. This may rightfully be termed creative ability. For example, the girl who works out a successful color scheme through wise selections and uses of color in her room or in a costume is indeed a creator of beauty.

ESSENTIAL ART CONTENT

A very careful selection of content for the course or unit in related art must be made. The vast amount of material in art from which to choose makes the problem the more difficult. An attempt to teach with any degree of success all of the content in art books and to give pupils an understanding of all of the art terms would be futile and would result in confusion. In the time available for art in the day vocational schools, as well as in the part-time and adult classes, the teacher is limited in her choice of content and must be guided by the objectives for the course that represent the girls' needs in their everyday problems of selection and arrangement.

Teachers are often baffled by the seeming multiplicity of terms. The Federated Council on Art Education has recently issued the report of its committee on terminology. The pertinent section dealing with indefinite nomenclature is here quoted:

The subject of terminology in the field of art is extremely broad and for the most part indefinitely classified. Over 100 technical terms are in common use in the vocabulary of art. Often words are used by different authors with entirely different meanings, and in other cases the degree of difference between words is too slight to warrant use of a separate term. Also many of the terms are used interchangeably by different authors and frequently they are ambiguous and obscure in meaning and difficult to apply in public-school work.

In general, the literature used as a basis for planning, organizing, and developing units of art instruction in the schools is very indefinite in regard to nomenclature. For this reason the committee on terminology centered the first part of its investigation upon a program of analysis to determine, if possible, the most significant words in common use.

In the preparation of this bulletin, several art texts, reference books, and courses of study were examined for the purpose of determining the art terms that were most frequently used. On that basis, from these various sources the following were listed:

Balance. Proportion. Repetition. Rhythm. Emphasis. Harmony. Color. Line. Light and dark. Unity. Radiation. Opposition. Transition. Subordination. Center of Interest. Dominance.

Since the content for a course in related art should contribute very definitely to the girl's present and future individual and home needs it is suggested that only the minimum essential terminology be used, remembering that in such a course the chief concern is the development of those principles and facts that contribute to the realization of such objectives as have been suggested.

There seems to be common agreement that balance, proportion, repetition, rhythm, emphasis, harmony, and color are of first importance in their contribution to beauty and that the various principles and facts concerning each should be developed in an art unit or course. The selection of these seven phases of art as fundamental is supported by Goldstein, by Russell and Wilson, and by Trilling and Williams.

The committee on art terminology has also given emphasis to these in the classification as set up in Table V of their report. This is here given in full.

It will be noted that repetition, rhythm, proportion, balance, and emphasis are listed as major principles. It will also be noted that harmony is classified as a resulting attribute. This will be the inevitable result if the principles of the first five are well taught. Arrangements which meet the standards of good proportion, which are well balanced and which are suited to the space in which they are arranged will be harmonious.

Although color is designated as a basic element of art structure in this table and the principles of design function in the effective use of it, there are some guides of procedure in the use of those qualities of color, such as hue, value, and intensity, which should be developed to insure a real ability to select colors and combine them harmoniously.

Line is also considered a basic element of art structure. Since the problems in a course in art related to the home are largely those of selection, combination, and arrangement, the consideration of line may be confined to its effect as it provides pleasing proportions, is repeated in an interesting manner, or produces desirable rhythm.

The omission of the remainder of the art terms that were found to be frequently used in art books and courses of study is not as arbitrary as it seems. Through the consideration of the qualities of color it will be found that value includes the material often given under "light and dark" or "notan."

Referring again to the report of the Committee on Art Terminology, "unity" is considered as a synonymous term for "harmony." Since it is possible for an arrangement to be unified and still be lacking in harmony, the latter term is used in the bulletin as the more important and inclusive one. There is less obvious need for the principles of "radiation," "opposition," and "transition" in problems of selection and arrangement. The Goldsteins refer to them as methods of arranging the basic elements of lines, forms, and colors in contributing to the principles of balance, proportion, rhythm, emphasis, and harmony. Thus some reference to them may be made in the development of the principles of harmony and rhythm.

Emphasis has been chosen as an inclusive term which represents "subordination," "center of interest," and "dominance."

In developing the principles of design certain guides for procedure or methods in achieving beauty will be formulated. For example, in considering balance, pupils will soon recognize that the feeling of rest or repose that is the result of balance is essential in any artistic or satisfying arrangement. Their problem is how to attain it in the various arrangements for which they are responsible. Thus guides for procedure or methods of attaining balance must be determined. Such guides for obtaining balance may be--

It will be seen that these are also measuring sticks for the judging of results. It is evident that in a short course in art a teacher can not assist girls in all situations at home in which balance may be used. Therefore it is essential that the pupils understand and use these guiding laws or rules for obtaining balance in a sufficient number of problems at school to gain independence in the application of them in other situations. Some authorities term these methods for attaining results, guiding laws for procedure, or principles.

HOME SITUATIONS FOR WHICH ART IS NEEDED

The common practice in art courses relating to the home has been to draw problems from the fields of clothing and home furnishing. This has been true for the obvious reason that an endeavor has been made to interest the girl in art through her personal problems of clothing and her own room. Since in a vocational program the objective is to train for homemaking, it is essential that art contribute to the solving of all home problems in which color and good design are factors. In the selection and utilization of materials that have to do with child development, meal preparation and table service, home exterior as well as interior, and social and community relationships, application of the principles of art plays a large and important part.

One of the teacher's great problems is that of determining pupil needs. Although homes vary considerably in detail, there are many similar situations arising in all of them for which an understanding of the fundamental art principles is essential. It is important that the problems and situations utilized for developing and then applying again and again these fundamental principles shall be within the realm of each student's experience. The following series of topics may suggest some of the situations that are common to most homes and therefore be usable as the basis for problems in developing principles of art or for providing judgment and creative problems. In most of these topics, other factors such as cost, durability, and ease of handling will need to be considered in making final decisions, for art that is taught in relation to the home is not divorced from the practical aspects of it.

Choosing colored books and toys for children. Choosing wall covering for a child's room. Choosing pictures for a child's room. Placing and hanging pictures in a child's room. Selecting furniture for a child's room. Determining types of decoration and desirable amounts of it for children's clothing. Choosing colors for children's clothing. Making harmonious combinations of colors for children's clothing. Choosing designs and textures suitable for children's clothing. Avoiding elaborate and fussy clothing for children.

Using table appointments that are suitable backgrounds for the meal. Choosing appropriate table appointments in-- Linen. China. Silver. Glassware. Using desirable types of flowers or plants for the dining table. Making flower arrangements suitable in size for the dining table. Selecting consistent substitutes for flowers on the table. Choosing containers for flowers or plants. Using candles on the table. Deciding upon choice and height of candles and candlesticks in relation to the size and height of the centerpiece. Determining when to use nut cups and place cards. Choosing place cards and nut cups. Arranging individual covers so that the table is balanced and harmonious. Folding and placing napkins. Considering color and texture of foods in planning menus. Determining when and how to use suitable food garnishes.

Securing beauty rather than display. Selecting textures that suggest good taste rather than merely a desire for display. Choosing wall coverings that are attractive and suitable backgrounds for the home. Selecting rugs for various rooms. Selecting furniture that adds attractiveness, comfort, and convenience to the home. Determining relation of beauty in furniture to the price of it. Choosing window shades, curtains, and draperies from the standpoint of color, texture, design, and fashion. Selecting appropriate accessories for the home. Determining when to use pictures and wall hangings in the home. Choosing pictures and wall hangings for the home. Placing rugs, furniture, and accessories in the home. Arranging and hanging pictures and wall hangings. Determining the relation of type and arrangement of furnishings and accessories to the formality or informality of a room. Avoiding formal treatment and shiny textures in the average home. Planning how color may be used and distributed effectively in a room. Determining how color schemes of rooms are affected by size, purpose, and location. Discouraging the use of cloth, paper, and wax flowers and painted weeds in the home.

Determining social and community activities with which high school girls are asked to assist and for which art training is needed. Making attractive and suitable posters for special occasions. Selecting and arranging flowers and potted plants for various occasions. Planning, selecting, and using appropriate decorations for special events. Wrapping gifts and packages attractively. Choosing and using appropriate stationery, calling cards, place cards, and greeting cards.

Determining appropriate clothing for all occasions. Planning clothing that adds to rather than detracts from the charm of the wearer. Planning to avoid garments and accessories that may be liabilities rather than assets. Recognizing the relation of the "style of the moment" to the choice and combination of the clothing for the individual. Choosing colors for the individual. Utilizing bright colors in clothing. Selecting harmonious color combinations in clothing. Selecting and using textile designs in clothing. Selecting and adapting style designs in patterns for the individual. Improving undesirable body lines and proportions through the wise choice of clothing. Selecting clothing accessories-- Hats. Shoes. Hosiery. Gloves. Bags. Jewelry. Selecting and using appropriate jewelry and similar accessories with various ensembles. Choosing texture, color and design for undergarments that make appropriate and attractive foundations for the outer garments.

As yet no committee on related art has proceeded so far as to suggest specific content for art courses that are related to homemaking. Since this bulletin deals with the teaching of art as it relates to homemaking, teaching content is presented only in so far as it exemplifies methods or procedures and relates to objectives. It is hoped, however, that teachers will find real guidance for selecting content that will meet the particular needs of their classes through, the detailed consideration of objectives, the selection of principles, and the many suggestions that are offered for art applications that can be made in all phases of homemaking.

Section IV

SUGGESTIVE TEACHING METHODS IN ART RELATED TO THE HOME

The test of a real product of learning is this: First, its permanency; and second, its habitual use in the ordinary activities of life.--Morrison.

CREATING INTEREST

There is a general conception that art is naturally interesting to everyone. Accepting this as true, a specific interest must be developed from this natural interest for the most effective courses in art training. Whitford says:

Little can be accomplished in general education, and practically nothing can be done in art education, unless interest and enthusiasm are awakened in the student. The awakening of interest constitutes one of the first steps in the development of a pupil's natural talents.

Some teachers, in attempting to awaken or to hold the interest of girls in related art courses, have started with art laboratory problems which involve considerable manipulation of materials. A certain type of interest may be so aroused, for pupils are always interested in the manipulative processes involved in producing articles and even more in the possession of the completed products, but it may be only a temporary appeal rather than an interest in the larger relation of art to everyday living. While it is true that manipulative problems do contribute to the development of greater confidence and initiative and therefore have their place in an art course, yet the successful completion of most products requires greater creative and judgment abilities than pupils will have acquired early in the course. It is then a questionable use of laboratory problems to depend upon them for awakening the specific interest in art.

Initial interest of students may be stimulated through directed observation of the many things about them which are good in color and design or by discussion of problems which are very pertinent to girls' art needs or desires. However, conscious effort on the part of the teacher is necessary to "open the windows of the world," if pupils are to develop real interest and experience such enjoyment from the beauty which surrounds them that an ideal of attaining beauty in dress and home is established. A definite plan is necessary for stimulating this interest which is said to be possessed by all. Without an interest that will continue to grow from day to day it is difficult to develop the necessary judgment abilities for solving everyday problems in selection and arrangement.

Professor Lancelot suggests the following procedure as the initial steps in the building of permanent interests:

If this procedure is followed, in the field of art the teacher will refrain from merely telling pupils that art will be of great value to them later in life. On the other hand, in creating interest it is suggested that class discussion of general topics within the range of pupil experience and of obvious need be used to awaken an interest in the value of art in their own lives.

The teacher must be sure that the topics are of real interest to the pupils. For example, which of these questions would probably arouse the most animated discussion: "What is art?" or "Arnold Bennett says, 'The art of dressing ranks with that of painting. To dress well is an art and an extremely complicated and difficult art.' Do you agree with Arnold Bennett? Why?"

Other discussions may be started by asking questions such as the following:

The classroom setting for the teaching of art plays a very important part in arousing interest. Attempting to awaken interest in art in a bare, unattractive room is even more futile than trying to create interest in better table service with no table appointments. In the first situation there is probably such a wide variation in the background and experience of the pupils and in their present ability to observe the beautiful things of their surroundings that it becomes increasingly important that the teacher provide an environment which is attractive and inviting. In the second situation the pupils have had experience with the essential equipment in their own homes and so can visualize to some extent the use of that equipment at the table. Bobbitt says--

One needs to have his consciousness saturated by living for years in the presence of art forms of good quality. The appreciations will grow up unconsciously and inevitably; and they will be normal and relatively unsophisticated. As a matter of fact, art to be most enjoyed and to be most serviceable, should not be too conscious.

Schoolrooms in which pupils spend a large part of their waking hours should provide for the building of appreciation in this way, and it is especially true in the homemaking room. Some home economics teachers have cleverly planned for students to share in the responsibility of creating and maintaining an attractive classroom as a means of stimulating interest in art. It would be well for all home economics teachers to follow this practice.

In many economics laboratories there are several possible improvements that would make better environment for art teaching. Suggestions for such improvements include:

There are few seasons in the year when the teacher can not introduce interesting shapes and notes of color through products of nature. The fall brings the colored leaves and bright berries which last through the winter. Bulbs may be started in late winter for early spring, and certain plants can be kept successfully throughout the year. With such interesting possibilities for using natural flowers, berries, and grasses, why would a teacher resort to the use of artificial flowers or painted grasses?

Morgan pertinently discusses the artificial versus the real:

Share on: WhatsApp @Hash Facebook Tweet