By Mervyn Romans
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Extra resources for Histories of Art and Design Education: Collected Essays
Example text
Bartholemew’s examples were an amalgam of romantic, rather English bits of landscape from the early amateur drawing books, combined with the purely geometrical drawing that appeared in Fowle’s book. When Bartholemew pictured the side of a house, he showed just one single plane, which was textured with boards so it looked more like a house than a mere geometrical shape. He acknowledged: With young pupils the pleasure of drawing is so great, that they are inclined to give little attention to truthfulness of form, the basis of art.
In each individual’s history and in fact in every era, adults reacted to what children drew and directed what young people would do. Clues to changing attitudes of instruction appear in circulars, newspapers, old magazines, art material catalogues, invitations to art exhibition openings, and public school art events. Such ephemera offers incontestable evidence that certain events took place and reminds people of what may have been more convenient to forget. Events considered ordinary in their time may be documented with dates, names, places, and even the entrepreneur’s aspirations for the event.
Spinoza and Leibniz and Locke’s influence on the eighteenth century British school of aesthetics in Addison, Kames, Hume and Burke formed the cocktail of meaning stretching from the mid-seventeenth century to the early nineteenth century. It was articulated in the Romanticist language of the ‘sublime’ the ‘beautiful’ and the ‘picturesque’, and influentially formulated in Kant’s Critique of Judgement (1788). In the early nineteenth century these philosophical debates were overlaid by other concerns.