Child's understanding and intentions are not always easy to read in drawings. This is particularly evident in the type of drawings we refer to as 'analytical drawings'. In order to understand analytical drawings made by preschool children, it is important to have a dialogue with the young authors. In our study, we examined the ability of students of pedagogy study programmes to interpret an example of a preschooler's analytic drawing where the intentions are not readily apparent. Using the example of an analytical drawing of a six-year-old girl, we designed a questionnaire that was administered to 226 students of the Faculty of Education at the University of Ljubljana. Using the questionnaire, we evaluated the students' ability to interpret the content and the child's intentions expressed in the analytical drawing, as well as their opinions about what they would find most useful to help them to interpret the girl's drawing. The results confirmed our hypothesis that it is impossible to understand, interpret, and evaluate these types of children's analytic drawings without a dialogue with a child.
Comparisons of performance in the Slovenian national assessment of knowledge at the end of primary school show lower results for pupils with special educational needs (SEN) in all school subjects and in arts education. Several authors highlight the hardships teachers face when working with pupils with SEN. Therefore, in the study we analysed the self-evaluation of competence for working with pupils with SEN among Slovenian art teachers in primary and secondary schools. The results show that the biggest challenges for Slovenian art teachers are the blind and visually impaired pupils and pupils with autistic disorders. They often offer the pupils adjustment in terms of achieving psychomotor goals. However, they are less able to identify pupils' problems in the socioemotional sphere and to use adjustment in relation to specific groups of pupils with SEN. Our research provides an insight into practice and thus a basis for further research in this area.
The author explores the explicatory powers of the method of hypothetical artwork modelling on the problematic taken from colour theory. While constructing two hypothetical artwork models, the author tries to show that the painters' fallacy concerning primary colours is not necessarily a fallacy at all.
Differences in drawing development are conditioned by genetics, environment and individuality of children. Therefore, it is exciting to observe the drawing development in children, who are raised in the same environment and have a similar genetic basis, that is in twins, triplets, and so forth. In the study, we were interested in the similarities and differences in the drawing development of the triplets, two of which were identical twins (B1 and B2) and one was non-identical (A), and whether the characteristics of the drawing appear more congruently between B1 and B2 than with A. We proposed two hypotheses: H1: There are more similarities in drawings between identical twins (B1 vs B2) than between identical and non-identical one (A vs B1 and A vs B2); H2: The differences between non-identical and identical triplets are less pronounced at the beginning of the drawing development (in doodle phase) and become more distinctive in later development, in drawing of figure and space. We analysed 123 drawings that the triplets (41 drawings of each triplet) drew from 1 to 12 years of age at the same time and on the same topic. The results of our research have shown that both hypotheses can be confirmed. On the general level, there are more similarities in drawing between identical twins compared to non-identical ones; and the differences and similarities become more distinctive throughout the development, especially in figure drawing and in the depiction of space.
Visual arts media in pre-school and early school years and development of children’s drawing are well researched. However, when one considers that children are endowed with a talent for visual arts, the research is not as comprehensive and clear-cut. The signs of freedom of expression and imagination, intuitiveness and originality, an inclination to individual work, high sensitivity, and other indicators begin to show soon after visual art gifted (VAG) children enter the representative stages of visual arts. This article was based on a longitudinal case study that was carried out to show some aspects of the functioning of a VAG child in pre-school and early school years and to make some suggestions on how to consider the needs of VAG children.
A hypothetical artwork is an artwork that exists only as a fictional creation of an art theorist. The explicatory powers of such hypothetical artworks are mainly used by an art theorist to reflect on an art theoretical issue under consideration. Such an artwork has an intriguing and paradoxical nature. On the one hand, it is only fictitious, but, on the other hand, it tries to function as a real token, persuading the reader to trust it as if it were a real artwork. Even though this kind of argumentation can be deceiving, as it presents a statement of real art on the basis of fiction, it has some important explicatory abilities that can be put to good usein the art educational process. In this case, the construction of the hypothetical artwork is handled as the construction of a theoretical model. The author calls such theoretical construction the method of hypothetical artwork modelling, and its result the hypothetical artwork model. Such a hypothetical artwork model can be usefully employed when one wishesto encourage the student to become fictionally involved in the process of creation of an artwork, thus giving him or her more personal experience of problems that accompany the process of creating a real artwork. When such hypothetical experience is gained, the student can more efficiently learn about the considered art issue. In the paper, the authordemonstrates how the explicatory powers of the method of hypothetical artwork modelling can be put into educational practice regarding an issue taken from colour theory (i.e., the primary colours fallacy).
Reviewed by Jurij Selan 1 Boštjan Jurečič's book is controversial and provocative! It confronts standard and well-established theories and perspectives on contemporary art by putting forward an unconventional historical parallel between visual arts and music. According to Jurečič, if it can be assumed that Rembrandt is parallel to Beethoven, Velasquez to Mozart, Manet to Debussy, then a crucial question arises: what are the parallels in contemporary music to the most renowned visual artists in postmodern and contemporary visual art, such as Warhol, Koons, and Hirst?So, what is controversial and provocative about that? It is the fact that Jurečič compares these »high end« visual artists to pop stars like Britney Spears and Lady Gaga.With parallels between contemporary visual art and popular music, Jurečič wants to convince us that established perceptions of contemporary visual art as something exceptional and special are like the »emperor's new clothes«. He suggests that contemporary visual art is neither what it pretends to be nor what the established theories of contemporary art want us to convince it is.The starting point for Jurečič's analyses is the deep-rooted parallels, which imply that there is a continuity between visual art from the past, like Rembrandt and Caravaggio, with visual art in the present, like Koons and Hirst. However, Jurečič attempts to show us that such parallels are misleading and that historical parallels between music and visual arts should be made instead, to put the nature of contemporary visual art in a more appropriate perspective.The reason that parallels between visual art and music can be more revealing lies in the distinction, which is standard in music, between serious,
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