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Friedrich Froebel (1782-1852) - Inspired first American supporters of kindergartens by emphasizing the importance of early childhood training, the interconnectedness of all things, and teaching with real objects treated as symbols of abstract concepts. (Pg. 50)
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One of the first American Kindergarten supporters. Argued that kindergarten should be the first grade of primary education. She wrote a lot of essays on aesthetic issues, including her often reprinted “Plea for Froebel’s Kindergarten as the First Grade of Primary Education”. (pg. 50 & pg. 51)
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“School committee report from Lowell, Massachusetts compares the organization of different grades of schooling to specialized industrial processes in the city’s major industry.” (Pg. 46)
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“Balliet posited a one-to-one relationship between cells in the brain and cells in the body. Sensory nerve cells, he said, developed through use of the senses, and motor cells developed through motor activities. When the body was not exercised, both body and brain degenerated. For the most effective development, sensory and motor cells had to be exercised during critical periods of brain growth.” (Pg 55)
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First developed his approach to manual training through work with the children and patients of Dr. Thomas S. Kirkbride, a physician-in-chief of the Pennsylvania Hospital for the Insane. (Pg. 54)
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“Dewey argued against emphasizing language arts in the early years of schooling, proposing instead of a curriculum organized around occupations. Students in Dewey’s Laboratory School at the University of Chicago were encouraged to learn via their instincts for communicating, making, investigating, and expressing themselves through art.” (Page 58)
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Focused on manual training “...as a beginning drawing supervisor, taught two units for fifth graders that succeeded in holding all the children’s interest, even though intended to appeal to girls or boys primarily” (Pg 56)
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“Adapted Dewey’s emphasis on unifying the elementary curriculum in her work preparing teachers of art at the University of Missouri, believed that handwork should provide opportunities for expression and experimentation, contribute to establishing standards of value for activities in daily life, and develop skills in manipulation. Throughout her teaching and writing,emphasized the need for wholesome balance between free expression and technical instruction and between freedom and order.” (Pg 58)
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“Snedden declared that fifty years of art education hadn’t really made a difference in the state...Snedden recommended art education be integrated into prevocational, practical arts courses so all children could participate in developmentally appropriate art activities taught through natural methods that did not try to mold the child to predetermined ends.” (Pg 62)
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“...was, in many ways, the executive officer of a kind of art-educational corporation, leading a division of art teachers and community volunteers to develop a comprehensive program characterized by high standards and a commitment to encourage individual work in each school. Dr Haney presided over twenty-three New York high schools housed in forty buildings with 125 studios.” (Page 60)
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“Hampton Normal and Agricultural Institute had been incorporated by the Virginia legislature in 1870, two years after opening its first classes for African-American youths.” (pg. 50)
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“Massachusetts College of Art Archives: Walter S. Goodnough, a twenty-one-year-old Boston drawing teacher who enrolled at the Massachusetts Normal Art School when it opened in 1873, learned to render detailed, highly finished machine parts.” (Pg. 49)
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“The curriculum included freehand, mechanical, mathematical, and map drawing. Students at Hampton were expected to work their way through school to learn correct habits and self-discipline.” (Pg. 50)
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“American Educators began to use the term manual training to refer to industrial drawing, clay modeling, paper cutting, woodworking, metalworking, sewing, and cooking taught in schools.” (pg. 45)
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Charles G. Leland offered to set up a demonstration school and run it without a salary. His Industrial Art School opened in May 1881 with 150 students running through the ages 10-14 years old with 13 teachers- including J. L. Tadd who was originally the assistant but then, later on, became the second director. (pg. 54)
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He served as the director of the Philadelphia Industrial Art School from 1884 until his retirement in 1915- one year before the school closed. (Pg. 54)
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“Art and Industry; Isaac Edwards Clarke explained that men and women are the most precious possession of any community and that education should serve three purposes: conduce “peace and order”, “encourage the largest production of material wealth consistent with the welfare of the producer” as well as “enable each one with special gifts to develop them to the utmost” therefore “adding to the wealth, power, and dignity of the community.”” (Pg. 46)
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“Haney taught manual arts in the city schools.” (Pg 60)
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The program was declared a gratifying success. About 1700 children running from primary to grammar school students. During the fall of 1895, 936 grammar school students participated each week (600 boys and 336 girls) while another 171 were served through teachers’ classes.
A good majority of those who graduated from 1890 through 1894 went on to art-related jobs or ended up pursuing further education. (pg. 54) -
He spoke at art education and manual training conferences. This included talks to the British Association for the Advancement of Science in 1896. (pg. 54)
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“...he was a director of art and manual training for public schools in the New York boroughs of Manhattan and the Bronx.” (Pg 60)
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Tadd’s book “New Methods in Education” was published. It was reprinted at least seven times and translated into German in 1900. (pg. 54)
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“Haney edited Art Education in the Public Schools of the United States, a comprehensive collection of reports prepared for the Third International Art Education Congress held in London in August 1908.” (Pg 60)
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“From 1909 until his death from pneumonia, Haney was Director of Art in New York High Schools.” (Pg 60)
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"Art teachers who attended the Eastern Arts conference in Springfield, Massachusetts must have felt uneasy when they heard that David Snedde, the state Commissioner of Education, would talk about problems of art education." (Page 62)
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“By the 1920s and early 1930s, vocational preparation through applied arts had become secondary to appreciation of how art contributed to the quality of life.” (Page 62)