International School Art Program Issue || News of the Profession

National Art Education Association

News of the ProfessionSource: Art Education, Vol. 16, No. 3, International School Art Program Issue (Mar., 1963), pp.26-32Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190520 .

Accessed: 14/06/2014 22:42

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.

http://www.jstor.org

This content downloaded from 185.2.32.89 on Sat, 14 Jun 2014 22:42:49 PMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=naea

http://www.jstor.org/stable/3190520?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


for the American Embassy in New Delhi, India and for the American pavillion at the Brussell's World Fair were outstanding achievements. They were achievements which satisfied the critics, which were popular with the general public and which made him a "public" figure.

The book which Mr. Stone has written about him- self and his work is a pleasant one. It begins with a brief account of his early life and training and ends with discussions of some projects now under way. In between, Mr. Stone discusses people and events which had an influence upon him and upon his work. The text occupies less than one-half the pages of the book and it is extremely easy reading. Mr. Stone tells his story with warmth and with wit and gives the im- pression of an eventful life filled with pleasant memories.

Pleasant as the story is, however, the major interest of the book lies in the over four hundred illustrations. They, better than the text, give an indication of the man, and, in one sense make the text seem anemic. One wishes that the text gave more attention

for the American Embassy in New Delhi, India and for the American pavillion at the Brussell's World Fair were outstanding achievements. They were achievements which satisfied the critics, which were popular with the general public and which made him a "public" figure.

The book which Mr. Stone has written about him- self and his work is a pleasant one. It begins with a brief account of his early life and training and ends with discussions of some projects now under way. In between, Mr. Stone discusses people and events which had an influence upon him and upon his work. The text occupies less than one-half the pages of the book and it is extremely easy reading. Mr. Stone tells his story with warmth and with wit and gives the im- pression of an eventful life filled with pleasant memories.

Pleasant as the story is, however, the major interest of the book lies in the over four hundred illustrations. They, better than the text, give an indication of the man, and, in one sense make the text seem anemic. One wishes that the text gave more attention

to the concepts and ideas which motivated change and which gave direction to Stones' development as an architect. A few pages of advice to the young contain ideas one wishes were developed at greater length and explored in some depth. The appetite is just being whetted when the text ends. Throughout the text Mr. Stone touches ideas and people but these are never probed. While F. L. Wright's sayings are always interesting, for example, more interesting would have been some conversations between Stone and Wright. They met often-what did they talk about, agree upon, argue about?

The book did not, perhaps, have any intent to probe in depth. If the aim was to be pleasant and generally informative, the book is certainly successful. In being this, however, it suggests that it is only an introductory volume and that Mr. Stone has much more to say at a later date. Let us hope that Maria insists upon another volume!

Ralph G. Beelke, Purdue University, Lafayette, Indiana.

to the concepts and ideas which motivated change and which gave direction to Stones' development as an architect. A few pages of advice to the young contain ideas one wishes were developed at greater length and explored in some depth. The appetite is just being whetted when the text ends. Throughout the text Mr. Stone touches ideas and people but these are never probed. While F. L. Wright's sayings are always interesting, for example, more interesting would have been some conversations between Stone and Wright. They met often-what did they talk about, agree upon, argue about?

The book did not, perhaps, have any intent to probe in depth. If the aim was to be pleasant and generally informative, the book is certainly successful. In being this, however, it suggests that it is only an introductory volume and that Mr. Stone has much more to say at a later date. Let us hope that Maria insists upon another volume!

Ralph G. Beelke, Purdue University, Lafayette, Indiana.

news of the profession news of the profession Silversmiths Announce 1963 Student

Design Competition

Offer New Brochure to Guide Student Designers The Sterling Silversmiths Guild of America an-

nounces the opening of its seventh Sterling Today Student Design Competition, an annual event for students of design at college, technical, or post- graduate level.

The competition is open to all residents of the United States who are students in a course of design at the college, technical, or post-graduate level.

Established to encourage creative design in sterling holloware, the Competition has long attracted wide- spread interest among students and schools of design. In 1962 more than 150 entries were submitted by students from design schools through the country.

As a new feature of the '63 Competition, the Guild has published a new brochure planned to give students a better understanding of the challenges in design and craftsmanship offered by sterling silver. The 12-page brochure presents a review of the competition since its inception in 1957, including illustrations and descriptions of outstanding student designs.

Of special interest to prospective entrants are the suggestions given in the brochure on how designs

Silversmiths Announce 1963 Student

Design Competition

Offer New Brochure to Guide Student Designers The Sterling Silversmiths Guild of America an-

nounces the opening of its seventh Sterling Today Student Design Competition, an annual event for students of design at college, technical, or post- graduate level.

The competition is open to all residents of the United States who are students in a course of design at the college, technical, or post-graduate level.

Established to encourage creative design in sterling holloware, the Competition has long attracted wide- spread interest among students and schools of design. In 1962 more than 150 entries were submitted by students from design schools through the country.

As a new feature of the '63 Competition, the Guild has published a new brochure planned to give students a better understanding of the challenges in design and craftsmanship offered by sterling silver. The 12-page brochure presents a review of the competition since its inception in 1957, including illustrations and descriptions of outstanding student designs.

Of special interest to prospective entrants are the suggestions given in the brochure on how designs

should be submitted to convey the designer's concepts most effectively to the judges. Several different methods are explained and illustrated with photographs of models and sketches submitted by students in previous years of the competition.

Both the new brochure and official entry forms may be obtained from the Sterling Silversmiths Guild of America, 551 Fifth Avenue, New York 17, New York. The closing date for entries in the 1963 competition is June 3, 1963.

MENC Receives $1,380,000 Ford Foundation Grant

The Music Educators National Conference, an NEA department, has received a $1,380,000 grant from the Ford Foundation for a six-year program aimed at increasing the emphasis on the creative aspects of music in the schools.

The program already has been described by one music critic as "what may be the most important single project in the history of the growth of music in the United States."

The program will have two main parts. The first will consist of the selection and assignment of young composers to write music for performance by the orches-

should be submitted to convey the designer's concepts most effectively to the judges. Several different methods are explained and illustrated with photographs of models and sketches submitted by students in previous years of the competition.

Both the new brochure and official entry forms may be obtained from the Sterling Silversmiths Guild of America, 551 Fifth Avenue, New York 17, New York. The closing date for entries in the 1963 competition is June 3, 1963.

MENC Receives $1,380,000 Ford Foundation Grant

The Music Educators National Conference, an NEA department, has received a $1,380,000 grant from the Ford Foundation for a six-year program aimed at increasing the emphasis on the creative aspects of music in the schools.

The program already has been described by one music critic as "what may be the most important single project in the history of the growth of music in the United States."

The program will have two main parts. The first will consist of the selection and assignment of young composers to write music for performance by the orches-

ART EDUCATION ART EDUCATION 26 26



tras, bands, choruses, and other ensembles of the

public secondary school systems to which they are sent. This part of the program continues the Young Composers Project initiated by the Ford Foundation in 1958.

Music Seminars

The second part will include a variety of activities:

contemporary music seminars and workshops in the

schools, in which senior composers, young composers, and music educators will participate; pilot projects to

identify creative talents among elementary and sec-

ondary students; expansion of the repertory of con-

temporary music of high quality; and a continuing review and evaluation of school music programs in relation to the project.

New Set of UNESCO Art Education Slides

A third set in the new series of UNESCO Art Education Slides is now on sale. Entitled Visual and Plastic Stimuli in Art Education, it illustrates ways in which the imagination and interest of students can be stimulated and challenged through art. An educational booklet accompanies the slides (with text available also in French and Spanish). The series will be of

special value to art teachers in schools, universities, and teacher training colleges as well as to directors of cultural centers and art education programs, to whom substantial discounts are allowed on the normal price. This ranges, for each set of slides with accompanying text, from $6 to $10, according to local charges and

regulations. The set may be ordered direct from UNESCO (D.P.V.), Place de Fontenoy, Paris 7e, France; from Publications Filmees d'art et d'histoire, 44 rue du Dragon, Paris 6e, or from any of the numer- ous distributors of UNESCO Publications throughout the world. (UNESCO FEATURES)

New Publication for Junior High Teachers

The first issue of a new publication devoted entirely to the education of the early adolescent, The Junior

High School Newsletter, was published and released in December 1962, by Indiana State College's School of Education.

One of the few and unique publications designed to serve junior high school teachers, administrators, and

counselors, the new newsletter is being devoted to the dissemination of research, new information, ideas, and

writings, stimulating thought and methods regarding the education of the early adolescent.

Subscriptions to the newsletter are free. Manuscripts are welcomed for publication. Subscription requests and manuscripts should be sent to Dr. Joseph Ellis, Editor, The Junior High School Newsletter, School of

Education, Indiana State College, Terre Haute, Indiana.

Mellon New President of Trustees for

The National Gallery The Chief Justice announced recently that Mr. Paul

Mellon has been elected president of the Trustees of the National Gallery of Art, and the Honorable John Hay Whitney has been elected vice president.

Mr. Mellon fills the position held since 1955 by Mr. Chester Dale, who died on December 16, 1962. Mr. Mellon, formerly the Trustees' vice president since 1961, is a graduate of Yale and of Clare College, Cam-

bridge, England. He is chairman of the boards of trustees of a number of philanthropic institutions, including the Mellon Institute for Industrial Research, the A. W. Mellon Educational and Charitable Trust, the Old Dominion Foundation, and the Bollingen Foundation. He is also a trustee of the Virginia Muse- um and of the Avalon Foundation. He is the recipient of the Yale Medal Award (1953), the Horace Marden

Albright Science Preservation Medal (1958), the award for distinguished service to the arts given by the American Institute of Arts and Letters (1962), and of an honorary Doctor of Letters degree from Oxford University.

Mr. Whitney, who was elected a Trustee on May 4, 1961, is the editor-in-chief and publisher of the New York Herald Tribune and was formerly the United States Ambassador to Great Britain. He is also a trustee of the Carnegie Endowment for International

Peace, a fellow of Yale Corporation, and chairman of the English Speaking Union of the United States.

The Trustees of the National Gallery of Art is

comprised of representatives of the government and

distinguished private citizens. The government members are the Chief Justice, chairman; the Secretary of State; the Secretary of the Treasury; and the

secretary of the Smithsonian Institution. The other

private members are Mr. Rush H. Kress and Mr. John N. Irwin, II.

NCATE and Accreditation

Currently there is a good deal of discussion about accreditation in teacher education. Much of this discussion is based on inaccurate or incomplete information. This situation causes considerable misunderstand-

ing of the purposes and work of the National Council

for Accreditation of Teacher Education (NCATE). Because of the present confusion, the National Com- mission on Teacher Education and Professional Standards developed the following statement of position.

The development of a single national accrediting

MARCH 1963 27



agency in teacher education is one of the most signifi- cant events in the history of American education. This

agency, the National Council for Accreditation of Teacher Education (NCATE), has already made a

strong and positive impact on collegiate programs for teachers. With the full support of the teaching profession and the public, it can continue to do so.

The work of the NCATE in accrediting college programs requires raising questions and making judgments. It sometimes causes distress and anxiety; but it also typically results in stimulation for reappraisal and improvement. When a college faculty faces questions, judgments, and self-appraisal, a degree of frustration is inevitable. However, this should not be cause for anyone to seek to undermine public and

professional confidence in the basic principles of accreditation or in the agency assigned the accreditation responsibility by the profession. The right to dissent is protected and encouraged by NCATE policies, which provide adequate opportunity for the

questioning of the Council's interpretations, procedures, and decisions. Moreover, there are orderly means by which the policies and procedures of the Council can be changed. Many material changes have been made during the Council's first eight years of

operation. NCATE standards and their application represent

the cooperative judgments of its diverse members. No accreditation program is ever perfect, but at any given time it should embody the best wisdom and construc- tive judgment of those involved. The Commission commends the increased efforts of the Council, the American Association of Colleges for Teacher Educa- tion, and other groups to conduct further studies and deliberations to refine standards and increase the effectiveness of their application.

A shared responsibility for accreditation on the part of institutions, legal agencies, teachers, and the public is the most promising and demonstrably effective means of assuring that accreditation policy will represent the educational welfare of this society. The NCATE is organized to reflect this shared responsibility. This idea is consistent with the position of the National Commission on Accrediting, which recog- nizes the NCATE as the single accrediting agency for teacher education.

Responsibility for financial support of the Council is shared by the National Education Association, the American Association of Colleges for Teacher Educa-

tion, and the institutions applying for accreditation. At no time in the past has the NEA or the Commis- sion believed that this support carried authority to dominate NCATE policies. Neither the NEA nor the Commission has presumed to dictate actions or decisions of the Council, and there is no intention to do

so in the future. The NCATE is a quasi-judicial body and must be independent and free from interference from whatever source, perhaps most of all from its constituent organizations.

In conclusion, the National Commission on Teacher Education and Professional Standards believes that the NCATE is one major means for raising the standards of teaching in American schools through the im-

provement of teacher education. The Commission en-

courages the active support of the NCATE by the members of the teaching profession.

Can Art Be Taught? Four of the country's most distinguished art edu-

cators met in a symposium sponsored by the Phila-

delphia Museum College of Art on December 11 to

give their slants on this disarmingly simple but never- theless "loaded" question. E. M. Benson, Dean of the College, moderated the symposium and introduced the panelists as among those best qualified in America to speak with authority on this subject.

The panelists were: Victor D'Amico of the Museum of Modern Art; Howard S. Conant, New York Uni- versity's art education chairman; Robert L. Iglehart, the University of Michigan's art department chairman; and Arthur R. Young, director of art education at the Museum College.

Arthur R. Young, associated for many years with Teachers College, Columbia University, as professor of painting and graphics, led off the symposium by interpreting the question "Can art be taught?" as an

opportunity to take a hard look at some of our cher- ished and traditional practices in art education to determine if they are meeting the challenges and needs of our time. He deplored the sizeable body of public opinion which holds that the creative capacities of artists are heaven-sent and in no way subject to nur- ture and development. All who teach in the visual arts, he said, are aware of the cultural dislocations, con- fusions and dangers that have emerged in this century, but "they are also conscious of the burgeoning of new forces, new forms in design, painting, sculpture and architecture . .. and the growing alliance between

industry and art." The teaching of art is not one but many things, he said. Methodologies and goals in

teaching art from the elementary to the professional school or college vary widely, and there is no one method to which all can subscribe.

The "ideal" professional college of art should offer a wide range of fields of specialization, academic courses providing the necessary broad, liberal education required by all practitioners in the arts, support- ing service courses in specialized areas, a staff selected for its competence in art as well as teaching. To this

ART EDUCATION 28



ambitious setting he would add a group of students of various qualities and talents, "having a zest for learn-

ing, individual integrity and the desire to make a

strong contribution in their chosen fields ... In such a program of study, art is not thought of as a skill alone, but as that which creatively objectifies imagination, insight, knowledge and emotional drive in forms having aesthetic appeal." It is most important, he said, to provide students with exploratory art ex- periences which encourage experimentation in a variety of media before specialization, and to offer a curriculum which cuts through traditional, time-worn practices to meet twentieth century needs.

The Rarity of Great Art and Great Art Teaching in Our Society

Prof. Howard Conant, lecturer, painter and author of many articles for art journals, deplored the "vul- garization of art forms", the "commodities which are not art" which are flooding our homes, schools and communities, even our countryside. "Outmoded, in- effectual, even downright unethical teaching procedures are more wide-spread than ever before," he said. He emphasized the responsibility of the "cultural- ly-enlightened, artistically-gifted, and liberally-edu- cated teachers of art" to sharply upgrade the cultural quality of modern life. Otherwise, he foresaw the possibility that "our civilization will very soon become the frightening, air-conditioned nightmare which Read, Mumford, Huxley, Orwell, and other modern prophets have pleaded with us to try to avert." The fact that there are more art schools, more art teachers and students, and a much greater variety of art forms today than ever before in history unfortunately does not mean general improvement in the art forms. ". . . in programs of education ranging from the

nursery school through professional study and adult education, neither art expression nor the study of art (or the history of art) is being taught well enough to a large enough number of people to warrant a belief that this most valuable and superb of human abilities might be used. . . to prevent the cultural chaos into which our civilization seems to be descending. Of all the great attributes of mankind, art remains the one which has not yet been sufficiently studied, widely- enough practiced and understood, adequately sup- ported, or seriously-enough looked to by govern- mental leaders for the aid it could provide in solving some of the problems of contemporary life." He ex-

pressed the fervent hope of those "who sense art's overwhelming power, the near-blinding beauty of its white-hot, aesthetic core ... its ability to humanize and strengthen our civilization, . . . that it may one

day be given its rightful place at the center of human affairs."

No matter which of the many Thomp- son enamels you choose, you'll find one thing the same about each one of them . . . the exceptional quality that results in better finished pieces for amateurs and professionals alike. Perhaps that's the main reason Thompson's been the world's largest supplier of art enamel colors for more than 70 years. The new Thompson catalog puts the widest selection of these top quality enamel colors available anywhere right at your fingertips . . . plus everything you need in the way of materials, tools and supplies. Send the coupon today for your free personal copy.

WE'VE PUT THIS INGREDIENT IN THOMPSON ENAMELS SINCE 1890

THOMAS C. THOMPSON COMPANY DEPT. AE ? 1539 DEERFIELD ROAD, HIGHLAND PARK, ILL.

n-;w you are not yet a regular subscriber to school arts ... try it and have your personal copy ready to help you every month of the school year.

ten issues $6.00

school arts the art education magazine printers building, worcester 8, massachusetts

Advertisers Index

American Art Clay Company Inside Front Cover

American Crayon Company Inside Front Cover

Artext Prints ...................... 30 Arthur Brown & Bro., Inc. ........... 30

Binney and Smith .................. 32 Craft Horizons .................... 30

European Art Color Slide Company .... 33

Floquil, Inc. ....................... 30 Garrett Tubular Products ............ 33 McGraw Hill ............... Back Cover Milton Bradley Company ............ 31 Permanent Pigments, Inc. ............ 32 School Arts ...................... 29 Stain Glass Products ............... 32 T. C. Thompson .................... 29 Utrecht Linens ..................... 32

Crayon, Water Color & Craft Institute, Inc. ................... 31

School Directory ................... 34 World in Color .................... 31

MARCH 1963

I

-

-

29



Instant Lettering is an incredibly simple method of lettering - anyone can do it. Self-adhesive letters, printed on a special plastic sheet, are just rubbed down into position on any art or drawing, wood, paper, glass, acetate, even crackle finished metal and rough textured papers. The finished result is superb - no background film to letters, clean definition and sharp color. Letter sizes range from 8 point to 112 inch display letters in a wide selection of type faces.

Send for sample and complete type chart

ta 1 I ] 1 IM I rA 1f.u

CRAFT IXORIZONS

Published bi-monthly by the American Craftsmen's Council to encompass all the craft arts. One year: $6; two years: $11. A sample copy on request. Write: 44 West 53rd Street, New York 19, N. Y.

PICASSO - CERAMIC NO. 1 The beginning of a series of ex- clusive German reproductions of Modern paintings. Size 12x16 inches. Price $1.50 per print. Write for illustrated sheet.

ARTEXT PRINTS, INC. Westport Connecticut

Brilliant, velvety smooth, liquid colors. As easy to use as poster paint-more durable than oils. Permanent and washable on ANY surface from fabrics to figurines-miniatures to wall murals. Full rance of colors includina nonfnrnishina metallics FUF]ytl IUT u *|FF6U IIJY IIV :WFITU IFII I U1 %;b for hundreds of projects. Dries in 2-5 minutes. Economical. Send for introductory kit-5 colors, solvent, instruction booklet-$1.98 post-paid. MASTER KIT-11 colors, solvent, instruction booklet-$4.25 post-paid. Literature on request.

FLOQUIL INC. Dept. AE Cobleskill, N. Y.

Art as Difficult to Define as Love

Victor D'Amico, who directs the educational program and People's Art Center at the Museum of Modern Art, contended that neither art nor love can be taught in the literal sense. He cited some ridiculous pointers on "How to Make Love" from an article in Stag Magazine for Men. Like love, he said, art has a mysterious ingredient which defies explanation and without which rules are futile. The truly creative ex- perience in art stimulates the emotions and stirs the imagination. "While art is universal, it has many faces; there is no one fixed style or character of art that serves all times and all people," he said. "It is the concern and responsibility of history and the historian, with his elegant hindsight, to evaluate which type of art and kind of teaching is superior to another. Our problem is to discover, or perhaps reveal, the kind of art and art instruction which can best meet the needs of our time." "Art," he said, "is a human expression which arises out of the philosophy and energy of a particular time and a particular society."

"Art for whom?", queried D'Amico-the ungifted as well as the gifted child, the layman, the man in the street? "How do we feel," he asked, "when such men proudly show their paint-by-numbers work, neat-

ly framed, believing they have had a creative experi- ence? Could we have taught them better?" How cause

people to "fall in love or have a love affair with art?" He was convinced the art teacher can "motivate children to react to the magic of color by showing them how colors behave . . . can demonstrate that a piece of material . . . a shell, a pebble, have a life of their

own." He believes "we can show any man or woman or child, after he has created several things, that he has a distinctive character . . ." whether or not it is

superior to another's. He was equally convinced that "... many a Michelangelo or a Picasso (is) amolder-

ing in an unmarked grave because he didn't have the

opportunity to learn or inspired teachers to guide him." "God or Somebody Else" invented the power to create; it is our privilege to use or abuse it," he said. Yes, we can teach art if we "know our stuff: that is ... human psychology . . . the aesthetic means

. . .the technical means . . . But the great reward

of it all, the proof that it is working, is not only seeing the new thing on the easel or the new shape in stone or wire-but the radiance of the guy that did it. ."

Teaching Can Be Many Things

According to Robert L. Iglehart, author of numer- ous articles on art and art education for professional

ART EDUCATION

I

I

I I

30



magazines, "What is art?" is the "devil's own question", but teaching," particularly the teaching of

art, can mean many things. Quite properly, the word

is used to mean simply the showing how to do a task,

simple problems for which the methods suggest them-

selves. But it also means the teaching of respect for

truth, the value of toleration, the sense of beauty, and in this area neither the problems nor the methods are so clear. "We speak of the teachings of Jesus or of

Buddha," he said, but "we are not at all clear how the teaching was done. When one of Buddha's pupils asked him the meaning of life, the master smiled and handed him an open lotus blossom." Revealing to the student something of the "wonder and mystery of life" is an integral part of the teaching mission.

The teacher has, he observed, a stock of information

and skills . . . "He is certified though not always

homogenized." Iglehart believes that children learn

not just from what their teachers say and show, but

from the things they don't say. "The teacher's most

important responsibility is to establish, in the little

world of the school room, a climate, an atmosphere in which learning is encouraged, and in which most

things learned will be worth learning . .. he can, by

being what he is and by loving what he does, so

surround his class by excitement and the sense of

possibility, that even the dull ones in the back row

will be affected . . . A good classroom is a place . . .

where both modest and mad ideas can be considered

. a place which makes the sun shine upon the

imagination and a chill wind strike the stereotype. .. a place for the time being, more vivid and real

than home or playground or television. Creating this

kind of weather in the classroom is the part of the

teacher's job hardest to learn (but one) which makes

teaching worth a lifetime of effort."

Student Dropouts; Parents Ditto

Students who quit school probably have parents who did likewise, says an article in the February NEA Journal.

Percy V. Williams, supervisor of pupil services for

the Maryland State Department of Education, which

made a dropout study in his state, writes that answers

to 13,715 questionnaires produced no evidence that

dropouts are especially delinquent, motivated by home-

lessness or broken homes, or lacking in intelligence. As a matter of fact, he says, 79 percent were not

thought to be serious behavioral problems, 80 percent

i i z EYE APPEAL Attractive work materials can be an important stimulus to youthful creativity. The fresh, dis-

.i4 1 dtinctive, appealing "look" of our color items i -

1 is as beautiful as the packaging which contains them.

MILTON BRADLEY COMPANY Springfield, Mass. * Chicago ? New York * San Francisco

35mm. color slide and filmstrip duplicates made from your original transparencies. Slide copies as low as 91/2 each. Filmstrips as low as 5? a frame. Sample slides, filmstrip clipping, price schedule upon request.

WORLD IN COLOR Box 392-AE, Elmira, N. Y.

This seal is your

assurance of quality

NON-TOXIC The chalk, clay, crayons and paints which

bear the CP Seal meet or exceed the quality and non-toxicity requirements of the Insti-

tute. Write to

THE CRAYON, WATER COLOR AND CRAFT INSTITUTE, INC.

420 Lexington Avenue New York 17, New York

MARCH 1963

-

I

31



NEW! T

Truly Fil

POSTER-TEMPER Made with the same care and thorough grinding as Permanent Pigments Artists' Colors

~II U III1

2704 HIGHLAND AVE., CINCINNATI 12, OHIO

go .. I. MO

* 19 compatible colors produce unusual, jewel-like effects. Also available: self-stick lead to produce stain glass. Write for FREE instructions and catalog of bulk supplies and demonstration kits.

STAIN GLASS PRODUCTS DEPT. P-33 * Box 756 * Cleveland 22, Ohio

1

FREE CATALOG FINEST ART MATERIALS Technical Literature * Art Literature * Art Appreciation Literature

BUY DIRECT FROM: UTRECHT LINENS 119 WEST 57 ST., N. Y. 19, DEPT. 8 * Manufacturers & Distributors

lived with one parent and 70 percent with both, and half had average intelligence and above.

It was found, however, that 78.5 percent of the mothers of dropouts and 80.3 percent of their fathers had themselves left school early. Thus, 63 percent of the fathers and 56.7 percent of the mothers completed only nine years of school, and 30.9 percent of the fathers and 24.4 percent of the mothers completed only the sixth grade.

Asphalt Art Gallery for Budapest Children For one Sunday morning in the year, Roppentyii

Street in Budapest turns into an art gallery. Divided into 30 areas, its road surface is given up to the

youngsters who take part in the "Art on Asphalt" competition-an event organized by the Women's Council of Budapest's 13th Arrondissement and heavi-

ly subsidized with prizes of toys, books, and chocolates.

The really experienced artists, those who have com-

peted here before, are easily spotted. They are the ones

wearing crepe-soled shoes which can be used for

rubbing out. From nearby windows, spectators watch

through field glasses. In the street, families and friends look on attentively. Sometimes they are bewildered by a more than unusually enigmatic design ("I knew I was too modern for them anyway," remarked one

philosophical loser this year). Sometimes they pause to admire creations such as an astronaut in his space ship, a landscape, a realistic coffeepot, or, a group of folk dancers. . .

But everyone, even the kindergarten artists who have to ask their mothers to sign their work for them, draw with such enthusiasm that the jury (which in- cludes several art teachers from local schools) is hard

put to choose the prize winners. (UNESCO FEA-

TURES)

First Permanent Exhibition of

Children's Art A permanent exhibition of children's art, the first

of its kind in Europe, will shortly be opened in Torun, a town in Northern Poland. It will include the 1,600

paintings, illustrating the theme "My Country," which were entered for the International Children's Art

Competition organized last year in Warsaw by the Polish National Commission for UNESCO. (UNESCO FEATURES)

ART EDUCATION

0 mommoommi~~~~~~~~

32



Documents

International School Art Program Issue || News of the Profession