Shoes.
Hosiery.
Gloves.
Bags.
Jewelry.
Selecting and using appropriate jewelry and similar accessories with various ensembles.
Choosing texture, color and design for undergarments that make appropriate and attractive foundations for the outer garments.
As yet no committee on related art has proceeded so far as to suggest specific content for art courses that are related to homemaking.
Since this bulletin deals with the teaching of art as it relates to homemaking, teaching content is presented only in so far as it exemplifies methods or procedures and relates to objectives. It is hoped, however, that teachers will find real guidance for selecting content that will meet the particular needs of their cla.s.ses through, the detailed consideration of objectives, the selection of principles, and the many suggestions that are offered for art applications that can be made in all phases of homemaking.
Section IV
SUGGESTIVE TEACHING METHODS IN ART RELATED TO THE HOME
The test of a real product of learning is this: First, its permanency; and second, its habitual use in the ordinary activities of life.--Morrison.
CREATING INTEREST
There is a general conception that art is naturally interesting to everyone. Accepting this as true, a specific interest must be developed from this natural interest for the most effective courses in art training. Whitford[15] says:
Little can be accomplished in general education, and practically nothing can be done in art education, unless interest and enthusiasm are awakened in the student. The awakening of interest const.i.tutes one of the first steps in the development of a pupil"s natural talents.
Some teachers, in attempting to awaken or to hold the interest of girls in related art courses, have started with art laboratory problems which involve considerable manipulation of materials. A certain type of interest may be so aroused, for pupils are always interested in the manipulative processes involved in producing articles and even more in the possession of the completed products, but it may be only a temporary appeal rather than an interest in the larger relation of art to everyday living. While it is true that manipulative problems do contribute to the development of greater confidence and initiative and therefore have their place in an art course, yet the successful completion of most products requires greater creative and judgment abilities than pupils will have acquired early in the course. It is then a questionable use of laboratory problems to depend upon them for awakening the specific interest in art.
Initial interest of students may be stimulated through directed observation of the many things about them which are good in color and design or by discussion of problems which are very pertinent to girls"
art needs or desires.[16] However, conscious effort on the part of the teacher is necessary to "open the windows of the world," if pupils are to develop real interest and experience such enjoyment from the beauty which surrounds them that an ideal of attaining beauty in dress and home is established. A definite plan is necessary for stimulating this interest which is said to be possessed by all. Without an interest that will continue to grow from day to day it is difficult to develop the necessary judgment abilities for solving everyday problems in selection and arrangement.
Professor Lancelot[17] suggests the following procedure as the initial steps in the building of permanent interests:
1. Early in the course endeavor through general cla.s.s discussions, rather than by mere telling, to lead the students to see clearly just how the subject which they are taking up may be expected to prove useful to them in later life and how great its actual value to them will probably be.
2. At the same time attempt to establish clearly in their minds the relationships that exist between the new subject, taken as a whole, and any other branches of knowledge, or human activities, in which they are already interested.
3. Specify and describe the new worthwhile powers and abilities which are to be acquired from the course, endeavoring to create in the students the strongest possible desire or "feeling of need" for them.
If this procedure is followed, in the field of art the teacher will refrain from merely telling pupils that art will be of great value to them later in life. On the other hand, in creating interest it is suggested that cla.s.s discussion of general topics within the range of pupil experience and of obvious need be used to awaken an interest in the value of art in their own lives.
The teacher must be sure that the topics are of real interest to the pupils. For example, which of these questions would probably arouse the most animated discussion: "What is art?" or "Arnold Bennett says, "The art of dressing ranks with that of painting. To dress well is an art and an extremely complicated and difficult art." Do you agree with Arnold Bennett? Why?"
Other discussions may be started by asking questions such as the following:
1. Have you ever heard some one say, "Mary"s new dress is lovely but the color is not becoming to her"? Why do people ever choose unbecoming colors? Would you like to be able to select colors becoming to you? How can you insure success for yourself?
2. Movie corporations are spending great sums of money in an attempt to produce pictures in color. Why do they feel justified in making such expenditures to introduce the single new quality of color?
[Ill.u.s.tration: Figure 4.--In a Nebraska high school a screen was used in an unattractive corner as a background for an appreciation center]
3. Do you like this scarf? This cushion? This picture? Why? Why not?
Why is there some disagreement? To what extent can our likes guide our choices?
4. The cla.s.s may be asked to choose from a number of vases, lamp shades, table covers, or candles those which they think are most beautiful. The question may then be asked, "Would you like to find out what makes some articles more beautiful than others?"
5. Where in nature are the brightest spots of color found? Have you ever seen combinations of color in nature that were not pleasing?
How may we make better use of nature"s examples?
6. Why do girls and women prefer to go to the store to select dresses or dress material? Hats? Coats? Can one always be sure of the most becoming thing to buy even when shopping in person? What would be helpful in making selections?
The cla.s.sroom setting for the teaching of art plays a very important part in arousing interest. Attempting to awaken interest in art in a bare, unattractive room is even more futile than trying to create interest in better table service with no table appointments.
In the first situation there is probably such a wide variation in the background and experience of the pupils and in their present ability to observe the beautiful things of their surroundings that it becomes increasingly important that the teacher provide an environment which is attractive and inviting. In the second situation the pupils have had experience with the essential equipment in their own homes and so can visualize to some extent the use of that equipment at the table.
Bobbitt[18] says--
One needs to have his consciousness saturated by living for years in the presence of art forms of good quality. The appreciations will grow up unconsciously and inevitably; and they will be normal and relatively unsophisticated. As a matter of fact, art to be most enjoyed and to be most serviceable, should not be too conscious.
Schoolrooms in which pupils spend a large part of their waking hours should provide for the building of appreciation in this way, and it is especially true in the homemaking room. Some home economics teachers have cleverly planned for students to share in the responsibility of creating and maintaining an attractive cla.s.sroom as a means of stimulating interest in art. It would be well for all home economics teachers to follow this practice.
[Ill.u.s.tration: Figure 5.--The simplest school furnishings can be combined attractively. A low bookcase, a bowl of bittersweet, and a pa.s.se partout picture as here used are available in most schools]
In many economics laboratories there are several possible improvements that would make better environment for art teaching. Suggestions for such improvements include:
1. More color in the room through the use of flowers, colorful pottery, colored candles, and pictures, featuring arrangements that could be duplicated in the home.
2. More emphasis upon structural lines--
_a._ Pictures that are grouped and hung correctly.
_b._ Attractive arrangement of a teacher"s desk.
_c._ Arrangement of the furniture so that the groupings are well balanced and the wall s.p.a.ces are nicely proportioned.
_d._ Good arrangement of materials on bulletin board.
3. More attention to orderliness--
_a._ When cla.s.s is not working, orderliness in window-shade arrangement.
_b._ Elimination of unnecessary objects and furnishings to avoid cluttered appearance.
_c._ Tops of cases and cupboards or open shelves cleared.
There are few seasons in the year when the teacher can not introduce interesting shapes and notes of color through products of nature. The fall brings the colored leaves and bright berries which last through the winter. Bulbs may be started in late winter for early spring, and certain plants can be kept successfully throughout the year. With such interesting possibilities for using natural flowers, berries, and gra.s.ses, why would a teacher resort to the use of artificial flowers or painted gra.s.ses?
Morgan[19] pertinently discusses the artificial versus the real:
Some say "What about painted weeds and gra.s.ses?" No; that is mockery.
It doesn"t seem fair to paint them with colors that were not theirs in life. One can almost fancy hearing the dead gra.s.ses crying out, "Don"t smear us up and then display us like mummies in a museum."
Remember, a true artist, one who truly loves beauty, despises imitation or deceit.
There are several interesting possibilities for home table centerpieces to be used during the winter months when flowers are not available.
Grapefruit seeds or parsley planted in nice-shaped, low bowls grow to make attractive-shaped foliage for the table. A sweetpotato left half covered with water in a low bowl sprouted and made the graceful arrangement of pretty foliage pictured in Figure 7, page 29.