This podcast episode describes why, to Charlotte Mason, art was a living, breathing part of life and, hence, the curriculum. How do we open the doors to beauty and truth found in art as teachers? When and how do we progress in an orderly fashion? This episode also includes
guidance for the mother with little art background herself.Listen Now:

“But any sketch of the history teaching in Forms V and VI in a given period depends upon a notice of the ‘literature’ set…and where it is possible, the architecture, painting, etc., which the period produced.” (Vol. 6, pp. 177-78)

“For taste is the very flower, the most delicate expression of individuality, in a person who has grown up amidst objects lovely and befitting, and has been exercised in the habit of discrimination. Here we get a hint as to what may and what may not be done by way of cultivating the aesthetic sense in young people. So far as possible, let their surroundings be brought together on a principle of natural selection, not at haphazard, and not in obedience to fashion. Bear in mind, and let them often hear discussed and see applied, the three or four general principles which fit all occasions of building, decorating, furnishing, dressing: the thing must be fit for its purpose, must harmonise with both the persons and the things about it; and, these points considered, must be as lovely as may be in form, texture, and colour; one point more––it is better to have too little than too much.” (Vol. 5, p. 232)

“It may not be possible to surround him with objects of art, nor is it necessary; but, certainly, he need not live amongst ugly and discordant objects; for a blank is always better than the wrong thing.” (Vol. 5, p. 232)

[By eleven children should give] “orderly descriptions of pictures and training in this must begin gradually some years before. By an ‘orderly’ description is meant one in which the principal objects and their positions are mentioned first, so that a listener who has never seen the picture gains a general idea of their arrangement. Then the details are given, not haphazard but on some given plan…Although there is no teaching of composition, work along these lines prepares the way for its appreciation later on.” (Picture Study, E.C. Plumptre, PNEU Pamplet)

“There is no talk about schools of painting, little about style; consideration of these matters comes in later life, but the first and most important thing is to know the pictures themselves. As in a worthy book we leave the author to tell his own tale, so do we trust a picture to tell its tale through the medium the artist gave it. In the region of art as else-where we shut out the middleman.” (Vol. 6, p. 213)

Modern Painters, John Ruskin

Art For Children series, Ernest Raboff

The Renaissance: A Short History, Paul Johnson

Story of Painting, H.W. Janson

Child’s History of Art, V.M. Hillyer (Rare, but in five volumes: Architecture 1, Architecture 2, Sculpture, Fine Art 1, Fine Art 2)

Emily’s Picture Study Portfolios

Picture Study, PNEU Pamphlet

Picture Talks, K. R. Hammond, Parents’ Review, Vol. 12, No. 7, pp. 501-509