From Endpoints to Repertoires: Some New Conclusions about Drawing Development

Wolf, Dennie Palmer; Perry, Martha Davis

doi:10.2307/3332961

Cited by 67 publications

(29 citation statements)

References 16 publications

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“…An eloquent call for a "reimagining" of development comes from Dennie Wolf (1994;Wolf and Perry, 1988), who posits the hypothetical constructs of choice and diversity within the child's repertoire rather than notions of linear progression and coherence and replacement of earlier forms by later, more mature forms (the latter presumptions being central to traditional stage theories of development). Wolf (1994) likes the term repertoire and reminds us of Darwin's image of the "branching coral."…”

Section: Discussionmentioning

confidence: 99%

“…In artistic development, this zone or range shifts gradually upward with the child's physical and symbolic maturation and increasing mastery of media; nevertheless, the optimal skill manifested at any age is influenced by context. In a related vein, Wolf (1994Wolf ( , 1997Wolf and Perry, 1988) has made the cogent argument that a child's artistic development be conceptualized not as the highest skill displayed with reference to some artistic telos but as the repertoire of skills available to produce different renditions called for in different contexts. This issue is revisited at the end of the chapter.…”

Section: Methodsmentioning

confidence: 97%

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The artistic evolution of mommy: A longitudinal case study of symbolic and social processes

Boyatzis

2000

New Directions for Child and Adolescent Development

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A longitudinal case study illustrates how artistic development can be understood as the interplay between the child5 developing symbolic skills and the contextual social support for the child5 artistic expression. The Artistic Evolution of Mommy:A Longitudinal Case Study of Symbolic and Social Processes Chris J. Boyatzis Children's art undergoes dramatic change during early childhood. Initially, children progress from making scribbles that lack representational intent to making graphic forms-circles, ovals, lines-that they do not use symbolically. Later the children give these forms symbolic meaning, often after the fact, when they recognize the forms' similarity to a referent. For example, a child may draw an oval and then declare, "balloon!"Representational art emerges later, when children intentionally create graphic forms to represent a referent. In many children, drawing a human figure is the first clear symbol-referent artistic achievement. This early artistic development has often been assessed through a nomothetic approach with cross-sectional designs (Cox, 1993;Freeman, 1980; Golomb, 1974; Goodnow, 1977;Kellogg, 1970).The case study, however, usually with a longitudinal design, also has a rich tradition and has been very useful for describing the stages, sequences, and microgenetic processes of art development (Cox and Parkin, 1986; Eng, 1931; Fein, 1976; Feinburg, 1976;Fenson, 1985;Gardner, 1980; Goldsmith, 1992; Golomb, 1992;Selfe, 1977;Smith, 1979; Zimmerman, 1992). Case studies effectively illustrate normative or atypical artistic development and identify the myriad forms symbolic expression can take. They also illuminate the seemingly paradoxical yet complementary qualities of flexibility and rigidity that are inherent in artistic and symbolic development; the cases generate hypotheses for subsequent research as well.

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Section: Discussionmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 97%

The artistic evolution of mommy: A longitudinal case study of symbolic and social processes

Boyatzis

2000

New Directions for Child and Adolescent Development

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show abstract

“…Wolf and Perry (1988) suggested that ''we might want to reconceive drawing, development as yielding not one type of drawing, but a repertoire of visual language'' (p. 18). For example, they found that children apply different genres of visual images as they create maps, diagrams, or realistic pictures, and children appear to recognize when each respective form is called for.…”

Section: What Does the Research Tell Us?mentioning

confidence: 98%

Picture Partners: A Co-creative Journey into Visual Literacy

Soundy

Drucker

2010

Early Childhood Educ J

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This article describes an integrated art and early literacy project entitled, 'Picture Partners'. The main purpose of the project was to explore how young children create and express meaning through art. Children's responses, both written and spoken, were included because accompanying modes of expression expand the nature and content of their drawings and inform teachers about children's intentions and processes of thinking. A secondary purpose was to investigate how children use illustrations from familiar picture books as models for their own creations and whether children's responses to stories might be enhanced through their collaboration with peers. Partnerships were formed and participants worked in close proximity as they drew pictures in response to a teacher directed prompt. Using qualitative, interpretative analysis, a small subset of drawings produced by kindergarten and first grade children was examined. The results revealed that the process of drawing was influenced by illustrations in picturebooks, peer interactions, and the artwork of partners in close proximity. The shift in emphasis away from the interpretations of visual realism in children's drawings towards their own purposes allowed readers to focus on the way drawings represent meaning within children's sociocultural worlds.

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“…Arnheim [1974] suggested that growth and differentiation in children's drawings, from a "combination of basic elements" to their integration at a higher level into 'more complexly structured units,' have parallels to other mental developments, including language, concept formation, and music. Wolf and Perry [1988] argued for a repertoire of visual languages, each of which evolves with progressive growth in vocabulary and production rules during childhood. With development, children learn to differentiate among the "varied graphic formats" (e.g., drawings, maps, diagrams, graphs) offered by their culture, and they become sensitive to them when each language is best suited for conveying the required or desired information.…”

mentioning

confidence: 99%

Drawing as a Visual Medium

Milbrath¹

2012

Human Development

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From Endpoints to Repertoires: Some New Conclusions about Drawing Development

Cited by 67 publications

References 16 publications

The artistic evolution of mommy: A longitudinal case study of symbolic and social processes

The artistic evolution of mommy: A longitudinal case study of symbolic and social processes

Picture Partners: A Co-creative Journey into Visual Literacy

Drawing as a Visual Medium

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