The Value of Drawing Instruction in the Visual Arts and Across Curricula Historical and Philosophical Arguments for Drawing in the Digital Age 1st Edition by Seymour Simmons 1138479977 9781138479975

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ISBN 10: 1138479977

ISBN 13: 9781138479975

Author: Seymour Simmons III

By applying philosophical and historical perspectives to drawing instruction, this volume demonstrates how diverse teaching methods contribute to cognitive and holistic development applicable within and beyond the visual arts. Offering a new perspective on the art and science of drawing, this text reveals the often-unrecognized benefits that drawing can have on the human mind, and thus argues for the importance of drawing instruction despite, and even due to contemporary digitalization. Given the predominance of visual information and digital media, visual thinking in and through drawing may be an essential skill for the future. As such, the book counters recent declines in drawing instruction to propose five Paradigms for teaching drawing – as design, as seeing, as experience and experiment, as expression, and as a visual language – with exemplary curricula for pre-K12 art and general education, pre-professional programs across the visual arts, and continuing education. With the aid of instructional examples, this volume dispels the misconception of drawing as a talent reserved for the artistically gifted and posits it as a teachable skill that can be learned by all. This text will be of primary interest to researchers, scholars, and doctoral students with interests in drawing theory and practice, cognition in the arts, positive psychology, creativity theory, as well as the philosophy and history of arts education. Aligning with contemporary trends such as Design Thinking, STEAM, and Graphicacy, the text will also have appeal to visual arts educators at all levels, and other educators involved in arts integration.

The Value of Drawing Instruction in the Visual Arts and Across Curricula Historical and Philosophical Arguments for Drawing in the Digital Age 1st Table of contents:

1. Introduction: Making the Case for Learning to Draw in Changing Times

Drawing on the Whole

Drawing in the Digital Age

“The Death of Drawing”

Personal Perspectives

Continuing Teaching and Research

Making the Case: Drawing Brought to Mind

Examples

Evidence

Explanation

Signs of Changing Times

Publications, Technology, and Educational Initiatives

Institutions and Symposia in Support of Drawing Practice and Research

In Conclusion

Notes

2. Beginnings: Drawing as an Innate Human Capacity and a Matter of the Mind

Drawing at the Intersection Between Mind and Magic

Drawing in Prehistory

Drawing in Ancient Egypt

Drawing in Ancient Greece

Mind, Mathematics, and the Magic of Line

Conceptual Frameworks

Multiple Intelligences

Philosophy

Beginnings of Drawing in Child Development

Studio Thinking: “Develop Craft”

Creative Habits: Beginnings Anew

Sketchbooks

In Conclusion

Notes

3. What’s in a Name?: The Uses of Philosophy in Addressing Drawing Education

The Values of Philosophy

Worrying About Words in Drawing Practice and Teaching

Conceptual Frameworks

Conceptual Framework I: Linguistic Intelligence

Conceptual Framework II: Analytic Philosophy

Definitions and the Challenges of Teaching Art

Aesthetics

Aesthetics in Drawing Instruction

Formalist Aesthetics

Experiential Aesthetics

Art

Design [də’zīn]

Design Drawing Lessons

Drawing

Alternatives to Definitions

In Conclusion

Notes

4. Drawing by Design: Connecting Drawing and Design through Mathematics

Edifici Torre Espiral and the Design Drawing of Zaha Hadid

Drawing by Design across History and Cultures

Conceptual Frameworks

MI Theory

Philosophical Framework

Drawing as Design in the Middle Ages

Alberti and Disegno in the Renaissance

Leonardo on the Significance of Skizzo

Rebirth of the Academy

Drawing by Design for Children

Starting with the Renaissance

Drawing by Design in General Education in the 18th Century

The South Kensington System

Walter Smith and Industrial Drawing in America

20th-Century Responses

Creative and Mental Growth, by Victor Lowenfeld

Teaching Drawing by Design Yesterday and Today

Studio Habits: Envisioning

Professional Perspectives: Drawing by Design in Architecture and Design

In Conclusion

Notes

5. Drawing as Seeing: Observational Drawing in Art, Science, and Medicine

Conceptual Frameworks

Philosophical Framework: Empiricism

MI Theory: Spatial Intelligence

Art and Science under Empiricism

Drawing as Seeing in General Education

Drawing as Seeing in Higher Education: The Teachings of John Ruskin

Letter 1: On First Practice

Letter 2: Sketching from Nature

Letter 3: On Color and Composition

Drawing as Seeing for Children in the 20th Century

Lowenfeldian Stages

Contemporary Approaches to Drawing as Seeing

Studio Thinking and Slow Looking

Contemporary Texts for Drawing as Seeing

Professional Perspectives: Drawing at the Intersection of Art and Natural Science

Drawing in Neuroscience and Morphology

Drawing in Medicine

In Conclusion

Notes

6. Drawing as Experience and Experiment: Creativity in Art and Experimental Science

Experience and Experiment in Drawing Present and Past

Conceptual Frameworks

Pragmatism

Bodily-Kinesthetic Intelligence

Picasso and Pragmatism in 20th-Century Art

The Making of Guernica

Picasso, William James, and Cubism

The Natural Way to Draw by Kimon Nicolaïdes

Beyond Nicolaïdes

Experiential Drawing for Everyone

Figure Drawing in Adult Education

Drawing as Experience and Experiment with Children

Lowenfeld’s “Period of Decision”

A Contemporary Explanation: The U-Shaped Curve

Studio Thinking: Stretch and Explore

Doing and Undergoing in 21st-Century Art Education

Professional Perspectives

Children’s Book Illustration

Theoretical Physics

In Conclusion

Notes

7. Drawing as Expression: Self-Knowledge and Societal Concerns

Drawing as Expression, in Context

Conceptual Framework I: Multiple Intelligence Theory: The Personal Intelligences

Conceptual Framework II: Expressionism, Modernism, and Existentialism

Drawing as Expression: Connecting the Child and the Curriculum

Drawing as Expression in the Middle Ages

Drawing as Expression in Renaissance Humanism

Rembrandt: Drawing on the Personal Intelligences

Modernism in Figurative Art as a Search for Self

Surrealism and Drawing as Expression

Contemporary Issues in Drawing as Expression 1: Art Brut

Contemporary Issues in Drawing as Expression 2: Performance Art and Activism

Drawing as Expression in Higher Education

Leonardo on Interpersonal Intelligences in the Education of Artists

Drawing as Expression in the Academies

Drawing As Expression: A Non-Western Instructional Model

Teaching Drawing as Expression under Modernism: Hans Hofmann’s Figure Drawing Class

Teaching Drawing as Expression under Modernism: Learning to Draw, by Robert Kaupelis

Teaching Drawing as Expression in the 21st Century

Drawing as Expression: PreK-12 Instructional Models

Drawing as Expression: On the Side of the Child

Félix Ravaisson and Drawing in the 19th-Century French Lycée

Drawing as Creative Self-Expression

Friedl Dicker-Brandeis Teaching in Theresienstadt

Viktor Lowenfeld’s Creative and Mental Growth

Drawing as Expression in Holistic Art Education

Drawing as Expression: On the Side of the Curriculum

Discipline-Based Art Education

Visual Culture Art Education

Drawing as Expression: Developmental Issues

Expression and Ethics in Early Childhood Drawing

Viktor Lowenfeld and John Michael on “Adolescent Art”

Studio Thinking: Express: Finding Meaning

Drawing as Expression: Directions in Research and Teaching

On the Side of the Student: Expression in Holistic Drawing Education

Drawing as Expression in Motion

Drawing as Expression in the Service of Wellbeing

Drawing as Expression in Dealing with Negative Emotions

On the Side of the Curriculum: Controversial Issues in Expression

Dealing with Excessive Subjects

The Right to Express versus the Privilege to Exhibit

Drawing as Expression on Display: A Disturbing Day in the Neighborhood

Professional Perspectives

Teaching Art and Art Therapy

Comic Book Artist

In Conclusion

Notes

8. Languages of Drawing: Semiotics and the Search for Fundamentals

Pictures and Words

Conceptual Framework I: Semiotics

Semiotics for the Artist

Semiotics for the Philosopher

Peirce and Drawing

Goodman on Drawing

Drawing Instruction at the Bauhaus

Bauhaus Principles and Practices

The Preparatory Class

Kandinsky’s “Analytic Drawing” at the Bauhaus

Conceptual Framework II: Musical Intelligence

Languages of Drawing: Post-Bauhaus

Drawing as a Graphic Idiom

Alternative Languages

Languages of Drawing from the Beginning

Languages of Drawing PreK-12 Today

Languages of Drawing and Copying

Studio Habits of Mind: Understand Art Worlds: Domains and Communities

Languages of Drawing Across Cultures

Languages of Drawing Beyond “Art Worlds”

Professional Perspectives

Graphic Design, Typography, and the Languages of Drawing

Music and the Languages of Drawing

Collaborative Teaching

In Conclusion: Languages of Drawing Today and Tomorrow

Notes

9. Toward a Comprehensive 21st Century Philosophy of Drawing Education

Drawing for All

Principles of Teaching and Learning

Conceptual Framework I: Curriculum Theory

Curriculum Across the School Years and Across the Lifespan

The Stage of Precision

The Stage of Generalization

Conceptual Framework II: Five Minds for the Future

Studio Habits of Mind: “Engage and Persist” and “Reflect”

An Idea Whose Time Has Come

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