=Studying pictures.= A few days before a picture is to be studied, it
should be placed where all members of the class can see it.
As a preparation for the lessons on Illustration and Cartoons, pupils
should be told at least a week in advance, so that they may save good
examples to bring to class.
Most teachers seem to feel that the pupils are more interested in this
work when it is prepared and presented by members of the class. Equally
good results, however, are sometimes secured when the teacher provides
the subject-matter and leads the discussion.
Pupils are sometimes able to bring in specimens of copper, steel, or
zinc plates, and if a friend or a member of some pupil’s family is a
printer, engraver, or lithographer, permission may be obtained for the
class to visit his place of business. In that case, a visit would be
much more beneficial than a classroom lesson.
Visits to an art museum, when possible, are equally instructive. Pupils
of grammar-school age have a tendency to criticize pictures, or, perhaps
we should say, to make remarks about them which often cause others to
laugh. This practice soon grows into a habit which, unfortunately, is
not confined to children alone, as any visit to an exhibition of
paintings will show. I have used the following little story many times
and found it helped to discourage this habit: The students at an art
school in New York were taken for their first visit to the great
Metropolitan Art Gallery. It was their first week at school, and they
were strangers to the city, to the school, to the teacher, and, with but
few exceptions, to each other. The afternoon passed all too quickly. The
next day their instructor began to question them. What did they think of
this picture? Of that? The first pupil gave a severe criticism of the
picture mentioned, as did his neighbor and others in the class. Were
they not there to study art and to learn how to tell what is wrong in
pictures? Suddenly they were amazed to find their instructor laughing
heartily at them.
“There,” she said, “you have done just what beginners always do. You
have looked only for faults, and you have found faults.”
She then tried to tell them that until they could learn to put
themselves in the artist’s place and to see with his eyes, so to speak,
the picture he wished to paint (which is always infinitely less than the
picture he does paint) they could not hope to appreciate his picture.
They were advised to study carefully two or three pictures which
appealed to them and to leave the others until greater knowledge, gained
through experience, travel, pain, or pleasure, should make it possible
for them to understand the message of the artist.
=The review lesson.= The review lesson should cover all pictures and
artists studied throughout the year. At this time other pictures
available by the same artists should be on exhibition.
The review work may be conducted as a contest in which the pictures are
held up, one at a time, while the class writes the name of the picture
and the artist on slips of paper which have been prepared and numbered
for that purpose.
Many teachers, however, will prefer to use this time for composition
work, although the description of pictures is often given as an English
lesson. Pupils may write a description of their favorite picture. In
fact, the lessons can be made to correlate with history, geography,
English, spelling, reading, or nature study.
In any event the real purpose of the work is that the pupils shall
become so familiar with the pictures that they will recognize them as
old friends whenever and wherever they may see them.
It is hoped that acquaintance with the picture and the interest awakened
by its story will grow into a fuller appreciation and understanding of
the artist’s work. Thus the children will have many happy hours and will
learn to love the good, the true, and the beautiful in everything about
them.
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● Transcriber’s Notes:
○ The Table of Contents includes “Review of Pictures and Artists
Studied” but there is no section containing that information.
○ Missing or obscured punctuation was silently corrected.
○ Typographical errors were silently corrected.
○ Inconsistent spelling and hyphenation were made consistent only
when a predominant form was found in this book.
○ Text that was in italics is enclosed by underscores (_italics_);
text that was bold by “equal” signs (=bold=).