Adventures in Art -- A Pictorial World View Study!
Adventures in Art -- an eCurriculum that accesses hundreds of the world's most important paintings by the most significant painters of Western Civilization. Adventures in Art is an internet based curriculum and is not intended to be printed.
Adventures in Art contains three galleries. The images from each gallery are viewed on the interent from various web sites. Each gallery contains carefully chosen images highlighting the major periods of art. This cross-sectional study focuses upon the differences between periods, because it is these differences that show shifts in ideas. Even your children can see these differences.
Your family will develop a rich art background as you observe hundreds of quality images from the internet. You will gain a sense of the broad sweep of ideas in the flow of history as pictured by significant painters. As the changes in art are seen, the corresponding shifts in world views will be explained.
A Unique Study
The primary purpose of Adventures In Art is to help your children see the shifts in style from period to period — to see art in the flow of history. Beginning with paintings from the Early Christian period, your children will move quickly through each major period of history. It is believed that these shifts in style as seen in art reflect corresponding changes in thought. Because Adventures In Art is seeking to show the effect of world-views on culture, it is a cross-sectional study. That is to say, instead of an in-depth study of each period of history where all major artists from each style are studied prior to moving to the next period, each Gallery of Adventures In Art includes one significant painter from each period. In order to see the unfolding of Western culture, the paintings are set in a chronological sequence. Your children will begin to recognize the characteristic style of each period as well as to contrast styles from previous periods. This cross-sectional approach allows your children to see very quickly the changes in art that indicate changes in worldview.
Charlotte Mason from Home Education
The art training of children should proceed on two lines. The six-year old child should begin to express himself and to appreciate, and his appreciation should be well in advance of his power to express what he sees or imagines.
The minds of children and of their elders alike accommodate themselves to what is put in their way. A little boy of about nine was given reproductions of some half-dozen of the pictures of Jean Francois Millet to study during a school term. At the end, the children were asked to describe the one of these pictures which they liked best. Of course they did it, and did it well. This is what the little boy I mentioned makes of it: “I liked The Sower best. The sower is sowing seeds; the picture is all dark except high on the right-hand side where there is a man ploughing the field. While he is ploughing the field the sower sows. The sower has got a bag in his left hand and is sowing with his right hand. He has wooden clogs on. He is sowing at about six o’clock in the morning. You can see his head better than his legs and body, because it is against the light.”
When children have begun regular lessons (that is, as soon as they are six), this sort of study of pictures should not be left to chance, but they should take one artist after another, and study quietly some half-dozen reproductions of his work in the course of a term.
We cannot measure the influence that one or another artist has upon the child’s sense of beauty, upon his power of seeing, as in a picture, the common sights of life. He is enriched more than we know in having really looked at even a single picture.
Susan Schaeffer Macaulay from For The Children’s Sake
Just as Charlotte Mason led the child directly to the best books she could find, so she led the child to great art. The child is given his first reproduction. He looks at it, and you let him talk about the picture. You don’t lecture about schools of painting or style. The child is allowed direct and fresh access to the picture itself. At first, he may focus on little. When the child has had a chance to look to his heart’s content, turn the picture face downwards, and get him to describe what he saw. He then turns it over and with interest checks the picture again.
Next time the skill will become sharper, the child will be more observant. He will regard the pictures as friends. Make it a happy warm time, just like when you enjoy a story together.
The child was also given a blank piece of paper to sketch roughly what he remembered of the picture. I was amazed at the delicately accurate and sensitive results children achieved. Of course, as with the narration, children are offering something of themselves. We must not jump on it critically; “You’re wrong, you made the house bigger than it was.” We must let them see for themselves. They then turn the picture over and look at it hard. Maybe they’ll want to try again.
Children whose minds and spirits are nourished with these paintings will, in turn, look at the world around them with new eyes. It is wealth that will remain with them for a lifetime.
Dr. Francis Schaeffer from How Should We Then Live?
Modern pessimism and modern fragmentation have spread in three different ways to people of our own culture and to people across the world. Geographically, it spread from the European mainland to England, after a time jumping the Atlantic to the United States. Culturally, it spread in the various disciplines from philosophy to art, to music, to general culture (the novel, poetry, drama, films), and to theology. Socially, it spread from the intellectuals to the educated and then through the mass media to everyone.
As time has gone on people in Western culture have become surrounded by an almost monolithic consensus. That is to say, the same basic dichotomy — in which reason leads to pessimism and all optimism is in the area of nonreason — surrounds us on every side and comes to us from almost every quarter.
In the various disciplines, the first place this perspective was taught was in philosophy, then it was presented through art. In art the way was prepared by a curious twist in the way naturalists were painting. The viewer comes to the painting and in one way sees what the artist pictures, but in another way asks himself, “Is there any meaning to what I am looking at?”