“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

“It is only what we have truly seen that we can truly reproduce, hence, observation is enormously trained by art teaching. Personally, I believe every living soul can learn to draw from actual objects, if the eye has not first been vitiated by seeing copies of them.” (Miss Pennethorne, PR 10)

“This is what we wish to do for children in teaching them to draw–to cause the eye to rest, not unconsciously, but consciously n some object of beauty which will leave in their minds an image of delight for all their lives to come.” (Vol. 1, p. 313)

“Art, when rightly directed, is educational, for it trains not only one faculty, but all the faculties together; it trains the hand and the eye, and it trains the head and the heart; it teaches us to see and to see truly; it teaches us to think–that science can do; but it teaches us also to admire and to love; it disciplines the emotions.” (Mr. Collingwood, The Fesole Club Papers)

“…the great benefit of “brushwork” being that it can be made quite a moral training in exactness and decision.” (Mrs. Perrin, “Brush Drawing”, PR 4)

“Children should learn to draw as they learn to write. The great point is that they should be encouraged, not flattered. With no help and encouragement the child gradually loses his desire to draw.” (Mrs. Steinthal, “Art Training in the Nursery”, PR 1)

“There are two great points that must be remembered if we wish to make our system of art teaching…successful. The first is, always keep the children interested. Next, let us understand that drawing is not only learnt with a pencil and a piece of paper….The chief value of drawing is that it trains the eye to see things as they are.” (Mrs. Steinthal, PR 1)

“…we must be careful not to offer any aids in the way of guiding lines, points, and other such crutches; and also that he should work in the easiest medium; that is, with paint-brush or with charcoal, and not with a black-lead pencil. Boxes of cheap colours are to be avoided. Children are worthy of the best.” (Vol. 1, p. 313)

“The first buttercup in a child’s nature note book is shockingly crude, the sort of thing to scandalise a teacher of brush-drawing, but by and by another buttercup will appear with the delicate poise, uplift and radiance of the growing flower.” (Vol. 6, p. 217)

“Drawing is nothing to do with talent, but can be done with observation, intelligence and application–or by seeing, remembering and expressing and is a fundamentally educative subject.” (Juliet Williams, “The Teaching of Drawing and Its Place in Education”, PR 34)

School Education (Volume 3), p. 205

Ourselves (Volume ), Book I, Part II, Chapters II and V

An Essay Towards a Philosophy of Education, Book I, Chapter X (f)

Drawing on the Right Side of the Brain, Betty Edwards

(Affiliate Links)

Dallas Nachtigall’s Bestowing the Brush Drawing Courses

Drawing Lessons, Florence Monkhouse (PR Article)

Brush Drawing, Miss K. Loveday (PR Article)

The Teaching of Drawing and Its Place in Education, Juliet Williams (PR Article)

Brush Drawing, Mrs H. Perrin (PR Article)

Fesole Club Papers, Mr. W. G. Collingwood

What To Draw and How to Draw It

In A Large Room Retreat

“We spread an abundant and delicate feast in the programmes and each small guest assimilates what he can. The child of genius and imagination gets greatly more than his duller comrade but all sit down to the same feast and each one gets according to his needs and powers.” (6/183)

“Lack of proportion should be our bete noir in drawing up a curriculum, remembering that the mathematician who knows little of the history of his own country or that of any other, is sparsely educated at best.” (6/232)

Listen Now:

“The sky, the sun, rivers, trees, animals and flowers are to children a subject of ever-increasing wonder and speculation, and what we desire, who have the question of the right guiding and training of the young eager mind so much at heart, is, above all things, to make this power of wonder, this spirit of enquiry, a durable and life-long possession, so that whatever else may fail the children in the course of years, the love and healing of Nature may be a priceless treasure to them for ever. … To this end, certain branches of the P.N.E.U. have formed Natural History Clubs so that some sort of systematic and continuous work might be accomplished, and the interest of the children stimulated and encouraged by the means of many working together towards some definite end.”  P.N.E.U. Natural History Clubs by F. Blogg

Marcia Mattern’s Scaffolding example (See Sidebar for 2 more)

Marcia’s post on Natural History Clubs

John Muir Laws’ Website

ADE Interview with John Muir Laws, Part I

ADE Interview with John Muir Laws, Part II

DNR (Department of Natural Resources)

Listen Now:

“Object lesson! talkee, talkee, about a miserable cut-and-dried scrap, hardly to be recognised by one who knows the thing. I should not wonder if it were better for a child to go without information than to get it in this unnatural way. No, let him see the thing big and living before him, behaving according to its wont. Specimens are of infinite use to the scientist whose business it is to generalise, but are misleading to the child who has yet to learn his individuals. I don’t doubt for a minute that an intelligent family out for a holiday might well cover all the ground we have sketched out, and more; but who in the world is to teach them? A child’s third question about the fowls of the air or the flowers of the field would probably floor most of us.” (5/129)

“A boy who is observing a beetle does not consciously apply his several senses to the beetle, but lets the beetle take the initiative, which the boy reverently follows: but the boy who is in the habit of doing sensory daily gymnastics will learn a great deal more about the beetle than he who is not so trained.” (2/189)

“The mind can know nothing save what it can produce in the form of an answer to a question put to the mind by itself.” (6/16)

Parents and Children (Volume 2), Chapter XVII

Handbook of Nature Study, Anna Comstock

A Nature Study Guide, William Furneaux

ADE Teacher Training Video: Nature Study–Special Studies and Object Lessons