Thesis (Ed. D.)--Illinois State University, 1974. / Title from title page screen, viewed Oct. 29, 2004. Dissertation Committee: Max R. Rennels (chair), William E. Colvin, Charles Edwards, Charles E. Sherman. Includes bibliographical references (leaves 77-80) and abstract. Also available in print.

Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1995. / Source: Masters Abstracts International, Volume: 45-06, page: 2749. Typescript. Includes bibliographical references (leaves 55-57).

The ability to see the beauty that is all around us in the world is a matter of training. We call this ability appreciation. It is an attitude of mind that brings much joy to the possessor. Appreciation must be definitely taught if the children are to no- quire such an attitude of mind, which is not an accidental by-product of any and all art instruction, as many art teachers in the past have considered it, but is the outcome of a definite teaching method. It is possible to confine one's teaching to the presentation of facts, making the procedure a scientific accumulation without producing the slightest feeling of appreciation for art values. Therefore, in this course of study prepared especially for ninth year students of the junior high school Sacramento, the teaching method is to be considered as well as the material used. In order that there may be desirable outcomes or results there must be aims and objectives. Aims are general statements assumed to be true until proven false. Objectives are more specific and help to make the general aim usable.

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The main aim of this thesis is to provide information about the development of certain art education procedures. By investigating historical facts specific knowledge can be obtained that pertains to art appreciation including the methods of fostering it, as it relates to the visual arts and the development of art taste. The importance and position of art in an industrialized society of Great Britain from 1760-1900 are surveyed. / 2031-01-01

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The purpose of this study was to determine the effects of constructivist methods on student learning in an undergraduate art appreciation class. Three constructivist learning activities were designed and implemented in an undergraduate art appreciation course for non-art majors at Mississippi College. Through these constructivist learning activities, students were involved in their learning throughout the semester in realistic art roles in which they worked as curators, Web page designers, and artists. Six subjects were selected to participate in this case study. Subject data was collected through three methods: interviews with subjects at three points during the semester, student documents produced during the three activities, and a field journal of observations made during the activities. The multiple data sources were triangulated to reveal nine patterns of learning. The data evidence that constructivism results in a deeper understanding of art and art processes than in a typical art appreciation course in which learners are merely passive recipients of knowledge. This was not only indicated by the nine patterns of learning which emerged from the data, but also in the students' awareness and regulating of their cognitive processes. Although the research provided an in-depth understanding of this case and should not represent or be generalized to the entire population of art appreciation students, the results of this study suggest that art appreciation instructors have an opportunity to facilitate high levels of student thinking and encourage metacognitive skills through constructivist methods such as the ones used in this study.

In our Post-Modern milieu there has been a renewed attempt in art to communicate with the viewer. My hypothesis is that particular images provoke empathic responses in the viewer. Iconographical and formal characteristics in images which provoke empathy are discussed and Lipps' ( 1905) and Worringer's (1908) theories of empathy are examined. The psychological profile of a viewer is considered in the light of Freud's familial model of the human psyche with its emphasis on sexual instincts. The theoretical framework within which my hypothesis operates is based upon Bryson, Holly and Moxey's ( 1991) interventionist response to visual interpretation. They foreground the viewer's historicity in the viewing of an image and their approach is contrasted with that of the perceptualists (Wollheim, Gombrich and others) who maintain that the historicity of the viewer is unimportant. Finally it is argued that art can have a transforming potential if the artist provokes empathy in the viewer. / Art History, Visual Arts & Musicology / M.A. (Fine Arts)

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This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibited / Master of Arts (Hons) Visual Arts