Figure Structure, Figure Action, and Framing in Drawings by American and Egyptian Children

Wilson, Beth; Wilson, Marjorie

doi:10.2307/1319502

Cited by 19 publications

(13 citation statements)

References 9 publications

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“…The basic conclusion from a series of cross-cultural and cross-era studies of child art is that children do not invent art from their perceptions of features in the natural world; rather it is the world of art, much more than the natural world, that determines what children's art might be at a given time in a particular place [Wilson and Wilson, 1979. 1984, A postmodern view of artistic development might hold that, since art is a socially constructed phenomenon, works of art, even those of young chil dren.…”

Section: Introductionmentioning

confidence: 99%

Types of Child Art and Alternative Developmental Accounts: Interpreting the Interpreters

Wilson¹

1997

Human Development

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Two conflicting accounts of child art are grounded in opposing modern and postmodern aesthetic theories: one account describes a naturally unfolding process in which children invent graphic equivalents for the objects they observe and the emotions they feel. The other describes socially constructed art that children model after cultural art-forms. Different aesthetic theories directed to the nature of ‘high’ art and popular art lead researchers to view the same children’s artworks and draw different conclusions about the child and the developmental functions of child art. Analyses of two sets of Japanese children’s artworks, one in the popular style of the graphic narrative and another – school art in the ‘high’ tradition – leads to the conclusion that art derived from popular models provides children with important ways to investigate meaningful dimensions of the world and to experiment with life’s major themes – dimensions of meaning frequently absent from children’s school art.

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Section: Introductionmentioning

confidence: 99%

Types of Child Art and Alternative Developmental Accounts: Interpreting the Interpreters

Wilson¹

1997

Human Development

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“…Of all factors suggested by Wilson and Wilson (1979) as important for children's development in art, personal disposition appears to be the most significant factor. It elicited the greatest amount of conversation tune as Eric reacted to the art he created from preschool through the ninth grade.…”

Section: Personal Dispositionmentioning

confidence: 87%

“…More recently, drawings also have been studied as having value in and of themselves, displaying the aesthetic properties which are exhibited in adult artwork. Wilson and Wilson (1979) studied children's drawings in many contexts and concluded that reliance only on innate factors can explain only a very early phase of graphic development. They believed a complex interaction among biology, culture, skill mastery, and personal disposition can help explain child development in art, although they did not define these factors.…”

Section: Enid Zimmermanmentioning

confidence: 99%

“…I decided to study this student further, from both cognitive and affective perspectives, employing a technique described by Ayer (1916) in which numerous drawings by one subject are used to research her or his artistic development. I was interested in studying this student's graphic development in light of Wilson and Wilson's (1979) hypothesis about the influence of interrelated factors of biology, culture, skill mastery, and personal disposition. I also hoped to discover whether or not their observation that children may be modeling other's images as often as they are solving problems in representation might be relevant to exceptional development.…”

Section: Enid Zimmermanmentioning

confidence: 99%

“…Following are categories of description suggested by Wilson and Wilson (1979 and gleaned from almost 8 hours of taped conversations between Eric and me that took place, in 1989, over a period of 2 weeks. In this report, I will use a mode of narrative inquiry that supports the view of educational research as the construction and reconstruction of personal and social stories (Connelly & Clandinin, 1990).…”

Section: Enid Zimmermanmentioning

confidence: 99%

See 2 more Smart Citations

Factors influencing the graphic development of a talented young artist

Zimmerman

1992

Creativity Research Journal

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Art Classrooms, Comic Markets, and the Digital Cosmos: Children's Visual Worlds as Pedagogical Spaces

Wilson

2019

The International Encyclopedia of Art and Design Education

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Young people create visual culture in three pedagogical spaces. The first space is self‐initiated; they make drawings and other visual artifacts to create symbolic worlds. In the second pedagogical space, teachers direct students to produce and study visual culture to meet societal goals. The third visual pedagogical space includes a great variety of nonobligatory collaborations between adults and young people at the margins of schooling, in Asian comic markets, and on the internet, where children and teenagers use available digital technologies for their own purposes. Pedagogical third spaces have the features of fully functioning art worlds, including artworks and visual artifacts that provide knowledge about human conditions and aspirations. Assisting young people to understand the ways they might live their present and future lives well and successfully in various art worlds based on an understanding of the three pedagogical spaces should be a principal goal for visual arts education.

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Figure Structure, Figure Action, and Framing in Drawings by American and Egyptian Children

Cited by 19 publications

References 9 publications

Types of Child Art and Alternative Developmental Accounts: Interpreting the Interpreters

Types of Child Art and Alternative Developmental Accounts: Interpreting the Interpreters

Factors influencing the graphic development of a talented young artist

Art Classrooms, Comic Markets, and the Digital Cosmos: Children's Visual Worlds as Pedagogical Spaces

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