Return to - Notes for a Perspective on Art Education
Perspective - The 1880's - 1900-1920, "Composition" - 1900-1920, 'School Arts' - 1900-1920, Art Education Associations - 1900-1920, Art Education in the Museum of Art - 1900-1920, The Modernists - 1914-1920, War and Post War - 1920's, Progressive Education - 1920's-1930's, Professional Stabilization - 1930's, Museum Education during the Depression - 1930's, National Government in Art - 1940's, A Psychology and Philosophy for Art Education
Notes from: Logan, Frederick M . Growth of Art in American Schools, New York: Harper & Brothers, 1955.
By 1920, many once-valued intellectual and aesthetic movements seemed to have been forgotten . . . . what child study revealed of the processes and products of child art was by no means lost, but it faced the necessity of new evaluation in the light of Freud, of the behaviorists, and of Gestalt psychology. [p. 1 48]
The modernism of Stieglitz and his painters, of Davies as the godfather of the Armory Show, of the architects Wright and Sullivan --these men and movements were temporarily in eclipse in 1920, submerged as far as the sophisticated younger art generations were concerned by new European art movements: purism and dadaism and the internationalists in architecture. [p. 148]
Art teaching in the elementary and secondary schools, while it continue to be impressed by the formulas of men like Bailey, did, after the First World War, begin to synthesize, as best its young teachers could, the mass of ideas bequeathed to it by the psychologists and artists, photographers, teachers, architects, and museum directors. [p. 149]
[Notes from: Logan, Frederick M . Growth of Art in American Schools, New York: Harper & Brothers, 1955.]
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