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Benjamin Franklin ,among others, advocated for teaching of drawing in schools (Whitford, 1923)
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"William Minife, of Baltimore, in 1848, advocated art as a training in taste for all pupils and as a means of discovering art talent for use in the industries" (Whitford, 1923, p.1)
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Many prominent people of the U.S. attended the fair. There was a realization the the U.S. was not keeping up with the product design of the European Nations.
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In 1870 a special committee in Boston, Massachusetts wrote a proposal to hire a Director of Art for the city in order to the meet the demands of product design, because the United States were failing to compete with the European design markets. (Efland, 1990).
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Walter Smith was hired in as State Art Director, and as such was tasked with developing a plan for structured art education for the state. As a part of this procedure he created literature to facilitate the process of teaching drawing in American schools (Efland, 1990).
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- Drawing lesson structured, symmetrical and proportionate
- As drawing lessons advanced subjects become more complex & or ornate, but are still 2 dimensional/blueprint-like.
- Smith states that realistic "picture drawing" cannot be understood by younger students, and therefore should be taught only in secondary schools.
- He clearly thought that anyone could be taught how to draw as well as teach drawing, provided the proper resources and training
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Smith writes Art Education Scholastic and Industrial, Smith makes his case for the need of Art Education in public schools and outlines how this education should be carried out.
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Smith developed multiple resources to be used by educators for the purpose of training students, both children and adults, in the industrial arts; including drawing. One of these resources, a Teachers' Manual for "Freehand Drawing in Primary Schools" (1875), provides tangible examples of the type of drawing activities being presented to and taught by educators of the time. (Smith, 1875)
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Smith moves back to England in 1882 where he passes away four years later in 1886.
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Improvements were being made in the materials for drawing. Resulting from this, art education, including drawing, took on a new form. New materials, among other factors, brought a new expressive teaching and learning style. (Whitford, 1923)
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After the Worlds fair was held in 1893, an emphasis on color was introduced to the art world. (Whitford, 1923)
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Arts and Crafts Movement, Unions of Manual Training meets. Art education begins to teeter back to towards industrial design education.(Whitford, 1923)
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Tendency towards industrial art.
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1915-16, & 1917 - These expositions demonstrate a tighter connection between art and design. "Objects were made with definite practical use in view,demonstrating the union of beauty and utility, art in common things and for the masses." (Whitford, 1923)
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In the 1920's, children's self-expression through art became a part of therapeutic post World War education. (Freedman, 2003)
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William Whitford, a professor of art education depicts the practice of art education as one that volleys between industrial arts and a more expressive fine arts in his book "An Introduction to Art Education".
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In the 1930's the aesthetics of everyday life gained popularity during the great depression. (Freedman, 2003)
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A curriculum on drawing is published by Kimon Nicolades, which gives instruction on drawing using a fluid style that is figure based rather than the more architectural, design/product based teachings offered by Walter Smith. This book offers many activities designed to strengthen drawing skills and to teach the artist how to properly "see." (Nicolaides, 1941)
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1960-1969 - Civil Rights and Turmoil. The United States is involved in civil rights movement.
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Fredrick M. Logan writes "The Growth of Art in American Schools, which give a history of art education in America as well as predictions for the future of art education, which connect art education to industry as well as the need for a more holistic approach to art education.
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Authors King-McFee and Degee describe drawing as an issue of learning to see in their book "Art, Culture, and Environment a Catalyst for Teaching."
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The concept of visual culture begins to change the way that we think about art including drawing
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Betty edwards lke Smith, Nicolades, King-McFee and Degee believes that anyone can learn how to draw given opportunity, time, instruction and practice. In her book "Drawing on the right side of the brain she explains scientific reasons why drawing is a matter of switching modes of consciousness.
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Design Thinking is being taught at the Stanford School of Design setting the standard for industrial design.
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Gill Hope presents many reasons why drawing is not only valuable but also necessary for aspects of learning in his book "Thinking and Learning Through Drawing" in which he defines multiple purposes for drawing.
