ciiymii's rat mmmmom m wsmmzmm M O&HNM ? M M M N N OF A ©AIMS PUBLIC .«EAM

APPEOVEDi

S S S T T O M ^

U i r * ° > r 0 1 ~ U W M - B t e r

TOU'FER TFTE GRADUAL* .'~^5RF~

OHILBEBH'S PIEFEBEHCES FOR REFROmiGTIOUS OF M&STE&FIEOIS

in m m m v through tiii of a mius m c school

THESIS

Frooontod to tfeo Graduate Council of th«

Mortk Toxas Stat* Oaivorolty la Fortial

Fulfillment of tho Eoqiairemonts

For tb# fiogroo of

MASTER OF AltS

By

Mir# B. WmMon, 1* A*

$oatoa» ?«xa»

January, 1962

t m m of c o r a l m

Fig« fir## i%w #4 fit wit 4«» bi f f IMF l&mmmw |»V

m ? car x u s s m n o x s •

Ch&j»fe«r

X* XHTEOMGTIOH * . , . 1

Th« PrwWLws Scope ©£ til* Probl«® Pupili F&rticlpatiljag la tbe Exp#ri*tnt B*«i« rtr fttltotioxi of Paiatingt Procedure Review «f Idfctrafcare

XX. THE WSSflO&flON 13

S•lasting til* tainting* ?r«#aatl»f til® Paintings Batulta of tii« laves t iga t i ta

XXX. COMOUaXOKS . . . . 65

Summary Coaeluslona

Saggestitms fo r Further Research

BIBLXOCHUPHT . . . . . . . . . . . . . . . 71

i l l

urn m tmvm

Tmblm Pag®

1. Distribution of P«fila According to Sax In Sradaa V Through fill of Paul L. Dunbar Slanaatary School, 19##«1$§1 • . • . 6

II. Praquanay of ®«a. ftourco, and Adroeatad Grada of the rairty-sawm Paintings Ap~ pearing m #ne or Hora @f th« HgSt- Gradad Mats of Eeproduetioiia of Paintings • • • • 14

III* Agraaaant of tfea Sight »afara»«# Mats Relative to fhlrty-aavan Paintings Uaad' in Itt* Study 14

If# thirty Additional Paintings ttMNitft'tt la-taxmina Children's Pr*f*r«aeaa far Patmtiiiga • • * - » • • • • ' » • • • _«•*•« 17

?. Pairs of Painting® Salootad t® Sataimina Faetora laflmanoiiig @falMraafs Ghoieaa . » . 2©

fl. Mont&a la tfeich Paira of Paintings War# ~ Shown to iaeik Grada . . . . . . . . . . . . 26

VII# Coapariaon of Ghildraa'a Clwiaaa far Fra<|aeiitly Li •tad Xaatarpiaeaa Safer® and Aftar Study » « * • • • • • » • * » • » 32

fill* Pareantaga ©f Childran** Prafaranaas Aeoording to Color in Paintings lafora and Aftar Study . . . . . . . • 42

IX. Compariaon of Prafaraaeaa According *• fraataaat of Siibjaet Kattar in Paintinga lifora and Aftar Study . . * » 51

X, «omf»arts©a of Prtfaraneas for Paintings Aeoording to Ago of Pupil* Bafora and , Aftar Study 5?

XI* Compartaon of Prafaraaeaa for Paintinga According to Sax of tmbjaeta Bafora and Aftar Study » « • • » • » • • • • • • • » • *1

tv

LIST OF IUTISMNOIFFL

f igw# , . . , Pag®

%* E«ld«nc« Ideation #f Partieipaiifca in fch# Study • • • • • • • • • • 4-

auras i

INTtGBPGTIQI

the fmblm-

The expanding Interest in art in America sakes It neces-

sary for educators to re-examine art in all its forma as it

is toeing taught to the children, Art appreciation feat long

been inherent in the art program, bat hae too often failed

to interest the pupils because of the oonvletlon of aaay

adults that in order really to appreciate arty it was necessary

for children to look at reproductions of paintings or other

items considered "good* from the admit standpoint and to learn

aany dull facts about thea* Usually, relation to pupils* ex-

periences ceto other areas of study has been incidental.

Children hare learned these facts for the iMiediate reward

involved; usually forgetting them before the end of the te»l

moreover* the faots learned have generally had little to do

with the aesthetic appreciation of the works presented*

The independent choices of children in the study of

paintings, it would seem, have bees too often overlooked*

Lack of data on which to substantiate this conclusion, however,

fostered the idea of collecting the necessary information by

investigating the following problem! What kinds of paintings

do children of a particular loca 1® really like and what are

so®# of the reasons for their choices?

ft# information, advanced froa the solution of this

problem, could be of use in planning methods of developing

and nurturing aesthetic experiences through :»ore wisely chosen

reproductions of masterpieces of paintings.

Scope of the Problem

The information presented in this study is the remit of

research which extended fro® September, 1959, to May, 19#1»

The first year was devoted to the selection and collection of

paintings to be used in the study* The performance and evalu-

ation of the investigation, based, upon the chosen series of

reproductions, was carried out during the second year* The

investigation was executed at Paul L. Buafear Elementary School,

JJallas, Texas, by a teacher of art in the school*

Eeprodmctioas of sixty-seven different pai»tings-«-one of

which was shown twice—were paired for use according to the

questions advanced in the sub-head, *8asis for the Selection

of Paintings*" This group was divided into four sets of ten

pairs eaeh for use in Grades f through TUX* Xaeh pair of

painting* was presented twices first, to gamier imediate

choices; second, to discover if choices of individuals changed

following study* Ho paintings were shown in September, I960,

or in May, 1961* One pair of paintings was presented in eaeh

class in October and Beeember, 19&G, and in February and

April, 1961# f m pairs of paintings w$re shown to each class

in November, 19&0, and is January andMarch, 1961.

Each pair of pictures was • presented 'and voted m for

first reactions during the first art class period of the week;

Mondays for some classes and Tuesdays for the other classes#

On tke latter Thursday or Friday of the two-week period, de-

voted to display and - study of the reproductions, they were

voted on again.

Reproductions of paintings, rather than'examples fro®

other areas of art, were eh©sen because they could be shown

to and handled by aany children without risk of great damage.

Also, they were easily accessible*

Pupils Participating in the Experiment

The Comma! ty

The area fro® which pupils who attend the Paul L. Ounbar

Elementary School are drawn is located in the southeast

section of Pallas, Texas. The school boundary begin# at a

point of intersection of Foreman and Seyene streets, proceeds

northwest on Foreman to Birmingham Street, thence west on

Birmingham to Seattle Street, thence southeast on Seattle to

Fitsfcugh Street, thence west on Fitshugh to Cross Street,

thence southeast on Cross to Spring Avenue, thence west on

Spring to Scyene, thence east on Scyene to the point of be-

ginning. Figure 1 shows the location of the community. The

school is indicated with an "X".

The community is primarily residential, although the

number of small business establishments—drive-in stores,

cafeterias, barber and beauty shops, etcetera—is gradually

increasing.

Downtown ,[c=sn —n . | 130a

KINMORE i fc LJEROjEl si CJ ](_ ^ f j 130 i" rw~\ r c

I 1 '-REYNOLDS—AV-S EU f4 jSy ISS^lforth

MILITA

;<t. §

YSTONE

5* /<> ^ /5% Z v / )>

OAK Li. JD

mmm Fig# 1—Residence location of participants in the study

Most of the homes are modest, but modern sanitation

facilities are available to all of them and many are very

well kept* Approximately per cent of the streets are paved*

In the average family of this neighborhood, both parents

are employed, the job classification for mothers is domestic,

and for the fathers it is common labor.

The School

The Paul X,. Dunbar Elementary School has an enrollment

of more than 1,100 children. To accommodate this number, the

two-story main plant contains twelve classrooms, a lunchroom,

* «Ufti«f a M m , m iMg* ftp «wi)

kp**% Am a«4a plant, tfetr* are nine ptrtiblt

rnk « tl»ml *taeftti«n mmB which is ttiwoMl m

th# pwiliR*

Hi* fMiXlUM «JT « «ttjr piffc# ianttMtly adjoin*

fct>« r«aur tf «ofeool ««ap«k«# «!*• tvtaiAttfcl* for mk®®l ««•*

Hm aft atiieli all of pmimtl&ga

mm 9h**a~»**99pl9* tfe* mmm &£ tiM aoconci floor

«f tha Mia plm%* itm I<wi# wiadwra nit* aylM

Xlfbt 4*fl*f tft*9 «lM>v« aiosoat cover «mUr« «rwl **11,

arfctfle i*l Oaj ifttag siust to# ii#«i to tfe* aMraiiig during Uie

•prlftf aim f«llt ani a»«t «f th« 4ajr in the vUur. Lt*ht

is also adsiittea i&tr@ th# room fro* «h« Mlm$ tqr f©ar tamll MS mif mafia Sfcwwi j&

ffea Pupils

In ®m&m f ftoittgii fIII# 456 i«gr» eMMr«» *w« «n»

*oli«d lit thirteen cleaa&a. fk* nuabar «f pupils la •#«&.

grata, 4iviMi a««©rrtiJig to me%imt ia «fe©i«i in TiIXt 1*

Vilto tka ®£ two sixtk-grsde imUmi safe daily,

fifth- mA aixUi-grade art «Un»« «*% fw tbirt/-minut« ««8»

aions da iluntUai dajra* $«¥*asi*- Mi al#i$»grii:d« «l*aaaa

wi% for lM*«*CUNtt MMlotti #s iters#

All «f &h« children i» OrtdM f tbnmgfr fill participated

ia tfcia In esoh £|*4* aaa class iMtUa comprised th«

tt^fc Aoad«*iC Aftitttd# (^Hp» A# ftt«r IMl&eM that f«Xl

6

into tills catagary wara daalgnatad as 5C# 6B# 7i, and iA»

Thara was e© further differentiation within other eXaaaaa

according to scholastic aehiavoaant*

TABLE Z

DISTRIBUTION ®F POFIU ACCOKDXSa TO SIX XI GRADES V through fin w mi &* wmm EtEHBraax -

SCHOOL, i960-1961

Grade j Section Enrollaent ! total Grade j Section

; Male Female

! total

f ; A X9 . X2 3X H .is 14 • 32 C* 15 20 If & X? 2X II

•X L i 34 x§ 44 mM M 14 27 4X Q- u 19 44

n i A* : 12 14 36 r X7 XI i 32 6 Xf XO 2f

¥Xtt 4* iPI

X2 24 36 1 XT' X| 30 C X6 XI 2d

total X3 9$ 1* mjpm " 456

*High Acadamic Aptitude Group.

Baaii for SaXaetlen of Paintings

the selection of painting® for use in thia study was

witli tfee assumption that tba pictures chosen by adults la the

courses of study might not he those generally preferred fey the

children. Paat experiences lad to the assumption that aga#

IIX of pupil®, tradition, sefcoXaotie otata* and color la

palatiago aight lafXaoaeo thoir «li@l@o». Ifcoroforo, tho »o*

Xootloa of palatiago van of sueh aatare *9

dioprovo this point of view*

Roproduotloao of palatiago woro ooikootod with tho iatoa~

M#o ef aacmrlac th* following quutlona whioli «.r. pnttust

to tho oolatioa of tho probloas

X* Bo ehlXdroa prof or traditionally accepted pictaroo

0T0a though thoy do aot roXato to thoir own oxporloaeoo?

a . Bo ohiXdroa normally liko brightly ooXorod plotaroo

boot, rogardXoao of amb jootHtattor?

3* Booo the artist*0 styXo of paiatlag lafXaoaeo tho

eholets mada by tho ©hildranT

k* Boos the tax of paplXo lafXaoaeo thoir choices of

painting*?*

5* 0© ohildran'a eholees change with ago!

6* Aro there marked difforoa©00 l a eeXeetloas made ac-

cording to sohoXastie statas?

The slxty-sorea paltttla$» which, when compared, could

boot answer the abo? # eatloaa were selected fr©m tho Amiio*

Visual Idaeatioa catalogue1 and from a area graded Xloto of

reproduction® of palatlags, oao of which include* forty

Dallas Independent SeheoX ©iatriet, "Arts and Crafts," Audio-Visual Education (DaXXas, X9S#K

$

leading pictures taken from sixty-five elementary education

courses of study.2"*'8

In order to avoid undue influence, reproductions found

in the children's art textbooks were not used.^

Procedure

•After the selections of reproductions of paintings had

been made, it was necessary to find suitable reproduction#

to show to the children. Most of theae were found in the

vertical files of the Dallas Public Library Art Department,

The average size of the reproductions was eight inchea by tea

inches, mounted on sheets of gray cardboard ten inchea by

fourteen Inches* Pictures selected but not found in the

2Royal 8. Farnuat, Learning Mora About Picturaa (Westport, 1957) ' #

^Waldine Banter, Art Appreciation Studies (Auatin, 1944).

^Elias Kats, Children's Preferences for traditional

M i Mism M.ilteisi tN•« York> * * Florence Lowe, Art Experiences (Austin, 1935).

6Plorence Lowe, Fifty Fine Arts Favorites (Austin, 1935).

®Florence Phillips, Favorite Pictures (Austin, 1941).

9Kelly Fearing, Clyde Ines Martin and Evelyn Beard, Our Expanding Vision. Vols. V-VIII (Austin, I960).

library were secured from books which had illustrations that

were approximately the size of the mounted pictures. The

collection was then divided into four groups according to

grade level.

On the designated meeting day one pair of pictures was

shown to each class* Two squares of white paper, two inches

by two inches with black numbers I and II respectively, were

attached to the two paintings with paper clips* The children

were informed that the numbers were merely for ease in identi-

fication and in no way indicative of which painting was the

better selection# Two children were asked to circulate the

painting® for the scrutiny of their elassroates. Each pupil,

without discussion, decided which one from the pair he pre-

ferred. Blank ballots were then passed out by another member

of the class* In order to secure the necessary information,

the pupil was asked to write hi# name on his ballot along with

the number of the preferred painting.

The children dropped their ballots into a ballot box,

from which they were later transferred to a brown craft en-

velope labeled with the class name and the titles of the two

paintings voted upon# Usually, votes were tabulated before

the end of the period because the children were so eager to

find out which picture "won." The comparative scores of

choices aade by the children were recorded. The two pictures

were then displayed on the front bulletin board for a

10

two-week period, within which they were examined by and

discussed with the children# At the ©ad of the two-week

span, picture® were voted on again by using the previously

described method*

fievlew of Literature

Preparatory to thie study9 research was undertaken to

discover whether other studies of reproduction© of master-

pieces for the elementary school had been made.

10

It was found that Learning Wore About Pictures offer®

an art program of selected and graded pictures for seasonal

and grade-level application. The book contains 100 small

illustrations of paintings selected for a general survey of

painting from primitive to comptemporary art# In stating

the basis for selection of paintings, two of the reasons

given were *intereat to the child,® and "general acceptance

as works of art with which the pupil should become fa»iliar

as an eaaential cultural background in his education.The

author, however, offered no basia for substantiating these

assumptions.

Training $£ Taste in th§ Art# gnd grafts12 deala with a

aeries of teats performed by a group of teachers with children.

i08oyal B. Farnua, og. cit.

P- s.

12J* Littlejohna. Training of faate in the Arta and Crafts {London, 1933 K

11

whose ages ranged from eleven to seventeen year®, in at least

eight London schools* The author advanced the theory that

the participants of his study tended to select the paintings

having artistic merit over those with less artistic quality#

To substantiate his theory, he quoted comments made by the

children.

13

Favorite Pictures contains a typical lesson in ap-

preciation of aiasterpiecest stories of pictures used in the

study, and facts of the painters* biographies. The author

did not specify the basis for selection of the reproductions

chosen.

Children* s Preferences for traditional and Modern

Paintings-^ limited to a contrast of preferences between

traditional and modern paintings and deals with children from

the third through the sixth grade, fhe author concluded that

the participants preferred the traditional paintings to the

modern paintings and gave possible reasons for their choices.

Children*s Preferences for Pictures Commonly Used in 15

Art Appreciation Courses ' compiles a collection of forty top-ranking pictures from sixty-five courses of study# fhese

forty pictures were used in a test of preferences in which

13 Florence Phillips, OP# cit.

1 ifr Elias Kata, OJB# cit.

15 Jeanette G. Morrison, op. cit.

12

500 children participated. It was found that children did

not prefer the picture© in the order predetermined by adults,

fhis study was limited to the primary grades#

CHAPfKI XI

m immnmnm

Selecting the Fainting*

?hirty»s©vea @f the painting* msad in this study wore

selected from seven graded liata of reproductions of *aeter-

pitcii and frn the Audio-Ylsual Education catalogue (Dallas,

1959) • Nanjr of the painting* reeoa*ended were not aelected

because pictures to be paired with them could not be found*

Table II prostata data concerning thirty-seven selected pie*

twres which appeared on one or mere of the recommended list**

Of the thirty-seven picture© listed in f&fel© II# two

tit lea appeared fire times f eeven pictures ware mentioned on

four lists| four piotures were found on throe lists| twelve

pictures were included in two lists, and twelve pictures ap-

peared ©a only one of the lists* In order to broaden the

range of selection, the twelve pieturea which appeared on only

one of the graded lists were included because they seemed

pertinent from the standpoint of subject matter to the

solution of the problem*

13

u

mm i i

FBMmwi OP use, $mmsM m mmum® mmn OF tm THIBTX-S O T S PAXunm mmmm m cms oa MOBB m i m m m t

GRADED H I M Q? 1SPI©MOT0IJ§ OP PAXITOOS '

n%u Artist Ti»t» : Listed Sttir*r^' tad® Ad*

•ocatod

Sanflowars Van Gogh : § M i l l

Dance of tlML. tfpipii® { g r (tartt r 5 b,a,f,g#fe, I?-?X

the Qltanara (1)* HlUi t 4 X1.MI

kwwMjtt Tr«a» U3>* iebbama 4 - f l

The Blue Bey (24)* Otto** borough ' 4 ; IT«?I

Infanta Margarita Thtr«g& Yalaaquas 4 a*b#%d |¥~Y

miy 11#% 131)* Gorreggio 4 a»«#g#fi I f - f l

!Bia Blatt f as© Ceaanne 4 1a#b#a*d 1V-Y

th» Torn Eat (34)* Sully 4 :*»to«s»b IT-VX

MUX at Wyek (I)* ; ftulsdaal 1 ' % \ : M # « : I f « f l

Boy Hit* Rabbit b a r Eaebura • 3 ff If

• Jkk«*v Whistling Boy Itavanaek • 1 I ••IV

Kiss Bnwlwi (25l* • layiwiM# 3 b9gph : ' x-x*

Madonna della Sedia (2)' Raphael : % :b#« Xf.f i

Don Manuel 0®ya a a#b

Las Jitnlnas Valaaquas 2 b,ii H * T I

Madonna del ertBattOi i Raphael ; 2 ' b # i - i f

15

tabu; ii—italiaa

Title Artist Times Mated

r"" - * ^jajj ' Source Orade Ad-

vocated

I©ly Family 11 Greet 2 b»e fll-II

11m® Horses Marc 2 £#d Y-TIII

fb® Idue BiQrm Curry 2 a,b ¥11-11

I mk%® at iwairi.ll# 2 : *»b : *11-11

4 northeaster Hester : 2 ; M i-irn

Stunner Eemaseaa 2 b#d

Flowers Radon 2 S#« f-flll

Horse Fair (6)* Bonhear 2 4»S V-YIIX

Sand Cart Bellows 1 b If-fl

Lfeuiaiana lie® Fields : Beaton 1 b ?II-IX

Still Ufe, Mandolin Iraqme 1 b i-ux

La Benedieite Chardin 1 b I-III

After & Bumm&r Showmr Iimess 1 a I-III

•Pinkie11 Lawrence 1 b I-III

I©rs#s in Winter : Lochwood 1 b M I I

The Pifer Bey Manet 1 4 ?

Harp ©f the Winds Martin ! 1 b m « x x

thrashing Mash 1 b iv-fi

The Artist's Sons Embeiis 1 * f

16

WBiM- II--Cont.inued

Titla Artist fiAOS Sources** 1 Ctrado Ad»-lAatod

I •ooatad

Avanao of Troos Sisley 1 ' t I f

Mumbor in paroathosos Indloatos rank as list®4 ia ttorris©®*# ChiMrea^ Erof.oroacoa for Pictures,

** Boforoneos as lifttoA ktlovt

a# ia l las X&dopoado&t Scfeool District, Aail®*fi«iial jJf ** t rffte Afc- Jfc JI^ wpsfiiPiwiiMp^

&• loyal !•Faraua, c« faMiao Hmfcer, d« EliaaKats, Chi

' start. Ifodora nu!tftj •* FlorenceXowe. £• I*©we, g« Jaaattto X p m m #

radltiomal

rioacoa

i » P i « £ » fc* n S r m i Phill ips, Favorite fletmr«a»

ftfel* III stunariso* tho dogroo of agr*«*oiit of th* sight

raforo&eos cm the th i r ty -won paintings liatod in fablo IX#

TABLE HI

AOaSSMBMT QF TO SIGHT fi£FEB£iiC£ HSfS RELATIVE fO . f i l i f M I f l ® PAIHTIHGS f i l l I* THIS STUOI "

Hoabsr of Pieturos tlmm X&olttdsd

2 ? 4

12 12

# #

f 4 3 2 1

Fro® tkmm t h i p i t i v n s aight pairs wsro

loctod* 0o®f>arable pictures for th# twa&ty«ono rwalaing

reproduction* vtr i soloetod fro* art books and fro* tho rortieal

.. •; i7

files ©f the fiaXlas Public Library, In order to complete

the tea pairs of paiatings t© toe shown to ©aeh grade, mime

additional pictures were chosen fre* the sane •ourees. One

pietore wee used twice la the saae grade and four cloture*

were meed In all four grades* The thirty pictures net in-

cluded in Table II are listed la'futile If.'

TABLE XV

THIRTY m n u m m h m u t i m ® rnmrn- m m m m m mimm®*® nmtmm ro mmnum

Title A it'll Hi# w£- m w

$mm** trade Children's Qa«ee : Breughel a V

Hie Harvesters Breughel a . VI

Landscape With Fisheraan Cesaime a : TO

Kent* St. Victoire Cezanne a fix

The Lake Corot a fix

Stonebreakers i Gourbet a : vix

Cardinal Albretch of fEyaimt onhtjiyg Cr&naeh • a Vff m mm

Solitude Daubigny a ?xx-

Hona Lisa Da Vinci a VIII

The Horseaan Jtelaeroix a VI

Mrs. Siddo&a liitiMS bh# if©ii|pi b VIII

The Telle* Christ Gauguin e : VII

Hsmated Of fleer of the Guard Gericaa.lt c VI

Adoration ef the Shepherds Giorgioae a V

u

tmm if-

Titla Source Grade

Don 4wm Alvaras

Pmemhl-% Kingdom

tb# Srafea® Children

Landscape With fallow Bird#

Pappat Show

Sriusa Bafora Mmt

t«4 Horaaa

Young Girl in * Yhita Irass

Mother and Child

S®@ti S w i n g at tha Prlaaassas

4 Street in Eoaan

Tw@ Httla Sireua Sirls

fha Crucifixion

Srand Canal# Venice

I*e Moulin de la Oallette

&tt« da Mont Genia

Goyfi

Hi eke

Ilee

Klee

Haea

Itare

Matisse

Xelefcera

Mir®

Fieearre

Hanoir

l|Pw W

Rubena

Turner

Utrillo

itrill®

*

*

&

*

a

a

b

f

fl

•X

tffff -fill

T

ft

fjii ™ <PI'- nlfei,

will

M i l l

tfUl

n TO

f1

TO

TO!

. a# ©alias ftytfc&l* M>bmr$ b* Eliaabatii Cfcaae, Famous Faintiaaa e* 1# W. and .Ben Jaa^msiETraeFieture Hiatonr of

faintly C»#t* York, 1957). * * W * « »

Aa the paiatiaga were being seleeted, they wart also

feeing paired and arranged by grad©-l«v#l for the taat of

preferences. la the attempt to secure paired groupings out

19

all grade-levels, It was mmmmry to avoid strict adherence

to the grid# advocated toy the reference lists. For this

reason six pictures were used la grades other than toe®

recommended.

Four of the titles, grouped In two pairs, were used ia

ell settles# of arades • through fill,, and one title'was used

1a two pairs*

As the selection of paintings progressed, they were

grouped into categories specified by the questions raised in

the sub-heading "Baals for Selection of Paintings.* table T

shows the pairs of paintings grouped categorically* fhis

classification was decided upon with the understanding that

not every painting falls into a specific category and that

many paintings could easily fttalify for several categories.

However, for the purpose of this study, the classification,

although .not ideal, was necessary,

the variation la the number of pairs ef paintings in each

category shown in the several grades was governed s©»ewhat by

grade-levels recoHBaeaded ia the reference lists, the avails

ability of a comparable paiatiag also deterained some choices#

Paintings A pieces

Influence # Jjtflflfr'

It was felt that some of the masterpieces highly favored

by adults for courses of study may sot be the paintings that

children prefer* To test thin assumption, some paintings

20

TABUS f

FAXES OF fAZWmm SELECTED TO fiETIRMIHl Wmmm Z W I M & W & 1 M 6HXtiDi8SM f3 CHOICES

C a t e g o r y - ' : G r a d e : P a i r * f t P a i n t i n g s

t i t l e A r t i s t

fmmmtly • U s t e d ~

M a s t e r p i e c e s

? ' . : D a a e t o f t h e Ifymphs C h i l d r e n ' s § a » t ®

H o l y M i g h t : A d o r a t i o n o f t h e

S h e p h e r d s

S u n f l o w e r s f l o w e r s

C o r o t

I m e ^ e l

' S o r r e g g i o

G i o r g i o n e

f a n Qof l i a e d o n

T I H i # G l e a n e r s t h e H a r v e s t e r s

L a s M e n i n a s ; i n # yr&aa®

C h i l d r e n

S u n f l o w e r s F l o w e r s

. M i l l e t B r n e g h e l

Y e l a s q a e x

; l o g a r t h

: f a n dogh t e d o n

f l l M i l l a t Wyek > L e M o u l i n d e l a

G a l e t t e

: krmtmm o f f r e e s : Atenme o f f r e e s

The S t o n e b r e a k e r s • The Sand G a r t

S u n f l o w e r s F l o w e r *

; R u l s d a e l

; 0 t r i l l ©

. Hobbema S i s l e y

; C o u r b e t B e l l o w s

: f an" Qogh , Redon

; f i l l Madonna d e l G r a n d u e a

M o t h e r a n d C h i l d

: Rnnhflfel M e l e h e r s

21

tkBlM Y-»-Gontlna®d

Category §rade' Fairs ©f fainting#

Title Mtiet

Mona Lisa Mr®# Siddona

U timet Gainsborough

Madonna della Sedia Koly faaily

Raphael El Greco

Color ? Don Manuel Oeorio Boy With the labbit

Grace Before Meat La Benedleite

After a Suuaiaer WW T*|W iPIilpprJpt

Shower

Snob Evening at the Prlnceaeee

Puppet Show

Goya • Raeburn

i Maes Ghardin

Xnneaa Eouaseau

: Mi 1*0 : Klea

: f I led Horaea Morses in Winter'

Peaceable Kingdom Cardinal Albreteh of Brandankorg

the torn Mat Whistling Bey

Snob laming at the Princesses

Puppet Show

: Mare ; Lochwood

; Hicks

Cr&naeh

; Sully Mrmmk

Bim Kim

Til Harp of the Winda The Lake

Landscape with fisheimen

Solitude

Martin Gorot

, Ce*anne ^ Daubigny

22

tABUI V "•Continued

Category Sraie : Faira • f Paintings

Ti t le Artist

TO fellow Cfcrlat

Snob Evening at the Frin#asaes

Puppet Sbow

Oangiiin ftabena

Mit4» ' ; Klee

: f i l l ' : Hi# Ida* Stora : A northeaster

Shraafclag Louisiana Rice

rieida

Snob Evening at the Primeeases

Fttff#% Show

Gwrry laser

Wash

Benton

: Ml l i I lea

treatment af Imbje© t i t t e r :

? 11m# Horses Horae Fair

Mare Banhmi*

; in lachte at lean-t i l l ®

Grand Canal* •ftolet

. fk# Horseman Mounted Offioer * f

the Guard

: BaJfy

Tttraar

: Belaeroix

Garicault

nx : Landscape With

Iallow t i i i i Mont St, Vietoire

Klaa Oasaana

YXII S t i l l Ufa^ Mandolin

The Blm® Yaaa ' Braque Xatiaae

23

tmm ?«

Gatagory Grade Pairs of faiatinga

- "v> n u « Artist

C S anr ili in

sax o r Subjatts

Infanta Margarita Theresa

Dai* Jua» Alvaras

Miaa tenia® B©& Manual Oaari*

Velasquez Ctejra

iaya@lds <5®ya'

¥1 ¥ t#k ' : tm I*ifctle Circus

Qirla ' : fha Artist** $#aa

Renoir Eubans

fff "Fiaklt11

m « Una Soy Lawranca Gftlnsbarougi

loung Girl in a White Brass

fha Fifar ley i Matisse Maaat

with a Iii#k dagraa of meeptmm bf tha miMMlii Uata wera

chosen and. paired with paintings lees fraqaanUy »i»«i ©r

©oltted eatiraly imm thmm lists* fiire® pairs ©f paintings

mrt. aalaetad £@r uaa la Gradaa f and ?I m€ Arar pairs wara

selected for Grada# Til and VIII. whiefc raprasaafe

tfcia ©&fc«g©ry will fc# rafarrad «* hereafter as "Frefaaatly

Uafcad Haa arpiaeas*11 The firafc namad ©f a pair ©f paintings

in the tabla rspraaaata th« mve fraqmamtly lists* maatarpiett.

24

itayailna ik# Influence of the

liv* 7««ri* axpariaaaa as aa

with the iapraaaiaa that eliildrea aet realiaa a# a standard

of faaMty la art*- fo taat tfeia hypothesis, pietarea, ami*

abatraet ia atyle, vara aelected for eomparisoa with axaaplaa

afee«iac mm raaliatia treatment of smbjeeta&tterj ©aa fair

of piotaraa wasatlmA ia dradaa t aad VIS and tw© paira war©

maad ia Oradaa VI aad VIII. ffee pictttrea uaed to represent

thia category ia fable V will be referred to aa "Treatment of

Sabjeet Hatter** ft# firat aasted of a pair ©f paiatlags ia

the table repreaeats tha a«Bi-*batraat atyle.

taaTSS&kS^^%s&Si^ " ?be sex of paplla m a aoted ia prefereacea of all paiat*

lags selected; however, la aa att«mpt to discover if cbildrea

ideatified their particular eex with that of the subjects la

tlia paiatiags aad mad# their aeeordiagly; piotarea

with the boy»girl theme vara aaed# la labia VI this category

la referred t© aa "Sax of. ,3ttbj«eta«*

falatiags galooted to Bata»iaa the ^mfaoa j£

fhe two pair® of paiatiags—"Saaflowers" by faa Gogh

paired with Radoa'a "Flower#" aad*Saob Iveaiag at the Prl®**

aaaaaa1* by Mirb with "Puppet fteow" by Ilee—preseated to all

foar of the partieipatiaf grades wera aalaetad to dtfcm&a*

ft*

if «l« ©f pupils was a mtmmlmkmg faetar in choices. the average aga af pupils la Qradaa f through fill' was' 10 • I,

11*3» 12*7* 13*5 raspsctlTaly*

All pointing® assd la this study wsra notsd far tteair «£faet upaa ehlldraa of A® ligh • Academic Aptituda Group • la

comparison with Alllria la tba oth«r sactioaa.

Pa 4 *Ni # jfeftglaS

'Hi# salaetlon of paintings to 'tea «tw Mt ill- A piup&iculiii*

®©»th *»«# govaraed by th® assumptiaa that s®aaoa%l ehaagaa

efuld alsa affset aWLldraa** choices# far this reason *

picture which had seasonal signifieaaet, whan. comparad to o&o

which did a»t, was avoidtd daring that particular ssasan.

Pictures which could hava religious significance war* avoided

mear a religious holiday whaa. bains compared with on© d1«*

similar la subject matter# Hie months la which the pairs af

paintings wara shown and studied art shown 1a Tafcle ?1.

Presenting the Paintings

far the actual presentation «f paintings to the

tit® classroom atmosphere was kept as favorable aa passible*

As the picturee war# oiroulated, children wars askad to remain

<piet and to refrain from pointing out the pletures they

preferred.

26

TABLE f I

m m m xv which paies or m m » o » v m SHOWN TO IASI GM0I

' §r®4# Month Tit le Artiat

f i Ooteber Horse Fair Tower ©f Blue Eorees

; HM&aur Mare

Mmm&mr La Benedicite (irac© Before Meat

. Adoration of the Hag!

Qfcaitiia Ntw

Gorregglo SEorgfoij#

December 6.l||..'|. y ft.y e G&aes ; Dance of the

Brueghel Gorot

Viirauy Don Manuel Qsorio Soy With the Eafeblt

: Infanta Margarita fborfttt

ion Juan Mltmm

®oya laebiirn

' Yeltafues Goya

:Febriiary - Miss 1 w l e e - Sob Manmel Oaori©

. Reynolds Goya

March : Sunflower! ; Flowers

, After a Susa&er Shower : #1QW#P

Van Gogh f a t mL J& J ^ y f !

I w f i Xxmaas Rousseau

April Sn@te Evening At the Prineeases ;

; Puppet Slow Mir6 n i t

71 October the Gleaners flie Harreatera

: Mil let Breughel

November , Ee4 Horeea ; Heraas l a Winter

Le« Meain&s MffljK r r frfii iitli lA Titt ••*•*- " JHf IML J S tr iftir -*»•%•

%'m% Sytffcsffi GftiicyT'ftS

Marc Leehweod

Yalaawtes Hogarth

27

MM* ¥I-~ContlPU*d

(br*do H»ntk Title Artist

¥1 Whiitlin* Boy The Tom Hat'

Buveneek

January Mounted Officer of the Guard

The Horsesian

Peaee&Me Kingdom ~ : C&rdiaal Albretcb of Brandenburg

; Oeritaalf Delacroix

' Sicks

:' Oraaaeh

: fofemtaf • fit© Little Cireua Girle • ®s« Artiat'a $©a«

: • I m i r : 1whww

: Mareh , ; ; Sunflower* • Flowers

Yachts at Oeautille Grand Ganal, fealoe

' • Van Gogh Redon

iafy . Tamer

; April : Snob Brining at the Princesses

Puppet Show . Mirfc Klee

fix. October ' : The Sand Cart : ffat Stoi»©breakers

Bellows < Courbet

»©v«stfe«r Solitude landscape With Fi shermen

Avenue «f frees . : Avenue of Trees

! Baubigny Cezanne

lobbeaa 3$slay

Mmmb-or : •'Pi»ki#w

: file Blue Boy : J*awreiice ; Gainsborough

January ' Landscape With Tallow Birds

: Kont f t* f latoira : The Yellow Christ

The Crucifixion

: KXaa ' Gezarme

Oaiiguin lubems

M

tmm ?i»

Sr*Wlt ; Month Title Artist

TO February the Lake Harp of' the Wind®

##y®t Martin

•

'SSfias. jffc %nf

Marca : Sunflowers ; Flowers

I»e JteuXia 4® la Gallette • Mill at Wyck

Van Gogh fiedon

: Utrillo Kuiadael

' April : Snob Iveuiag at til# Prineesaes

Puppet Show : tOfffe ; Klee

. f i l l ' October: Louisiana Kiee Field* : fhreahiag

Beaton Mailt -

Kovanbar : Madonna del Granduea Mother and CIMM

ttoe Line Storm .4 Mortheaater

Meleher®

Omrry Homer

December : Totmg Qirl ia a White Breaa

: the Fifer Boy Xatiaae

. Manet

Jaauary The Blue f A M Still I»if«, Maadolin

' Mona M a a : Kra« Siddona i

Ceeanna Bra^ue

$a Viae! Sainaboromgh

F«bm«ry Hue de Moat Oeais A Street la Bouen

: Btrilla Piaaarro

March Sunflowers Flowers

Madonna dalla 3adl& Holy Family

*§r iitfk JfSx k; |Trtia%ff>i

van uoga Eedon

fiapfcael i XL 0r»t#

April : Snob Evening at the ; Princesses ! Puppet Show

Mirb . dee

29

to avoid partiality t© naaes of familiar titles or

artists, they were undisclosed during the first presentation,

iftir the first choices were recorded and a two-week period

for observation and study of paintings was allowed, the

paintings were voted on again.. 4 form sheet of key fpestioas

m i developed to meet the needs of the investigation. Siwplss

of questions used are listed belowi

&* Frequently listed Masterpieces category

1* Iky do you like or dislike this picture*

2. lave you seen this picture boforef If where?

3. Would this picture be as interesting if the fig*

ures (or objects) had been arranged differently?

4. 0® you think the artist emphasised M s figures?

If a»f how?

£• Color category

1* Why do yon like or disliko this picture?

2* Would you like this picture if the colors here

were f (suggesting a darker color to roplaeo

a lighter or brighter one)

3. Would you like this pioturo to hang in your bedroom?

S. Treatment of Subject Matter category

1. Hew would you have painted this object?

a. Why do you suppose the artist used this line?

3. tfhat would have happened to the picture had the

artist left out this line (or object)?

m

0« Six of Subject category

1* Why do you like or dislike this picture?

2» Do you think that this picture woatld be mar® in-

teresting if the subject here «tr« a girl{or a

boy) bat tile setting remained the same?

3* Would you say that the subject was dressed in

clothing that was very fashionable daring that

period of history?

Special questions were not developed for the *Ag® of

Pupils* and **$eholaatie Achievement** categories beeause thoisea

of paintings used in the other categories provided the neces-

sary information.

Children*s answers to leading questions as well as their

own observations usually brought out events of the artists*

lives as well as facts about the paintings.

la order to have the children enter irmly into the dis-

cussion, they were told that as they were being asked to

give their personal interpretation of the painting®, there

was no risk* or wrong answer. Facts were given about both

paintings as impersonally as possible and at no time was the

teacher*s preference for a painting ever diselosed to the

children.

Results of the Investigation

the findings of the investigation of children*® choices .

of paintings will be given here and the following aspects

interpreted in terms of the children* s choices*

31

X* Influence of frequently Xiated •aatarpiecea m

#|&Xdreiif» choices

t* Influence of eotor la paiati»gs oa children*a choloaa

3« XafXaaaaa of treatment of subject aatter @n ehildr«afa

choices

4» XafXaaaaa of age on children* s ehoiees

$* XafXaaaaa of sex of subjects la paintings oa children's

choices

6* Influence of saholaati® aehievsaent m ohildrenU

ahoiees#

M t e W W f M fjgMfftfr " f H T K y w a g - W M m : , B SMMHiM,

Findings disclosed that the ohiXdraa la aXX grades pra»

ferred the frequently XIstod masterpieces by a saaXX margin.

Table 7XX shows the oo®paria®» of children*a preferenee® for '

paintings la thXa category. lot aXX classes within each

irad* preferred the more frequently Xiated paintings. Before

study* tfca aviragi percentage of prafereaaaa m a S5U0I par

a eat for boya la the four combined grades and 57*70 pax* eaat

for the girls. following discussion, boyaf preferences de-

clined to 45*X3 par eaat but the girXs* preferences iacreaaed

to &tM par eaat for the mm tradltlonaX paintings*

This score would ladlaata that girl* show a greater praf-

ereaea than do boys for traditionally Xiatad paintings but*

that their preferences ara more atable* fhese findings offer

coafirKatioa for the tendency, noted by Kata la a study of

32

?AI« TO

COMPARISON OF CHOICES FOR FHEQUENTLI m t m mmmiMM mmm M i a f t e r mm

Immediate Choices

Mala Fenala

' Section ; • Section

Orade f A : 1 - : 6 . D A 1

Mae# of the Nymphs by Corot

Children* s Ganaa by Bremghel

32.9

67.1

^ 32.5

; 67. f

; 30.4

69.6

41*2

: 5***

25.0

75*0:

6.3

93.7 "

Holy Might by Clurrsggio

Adoration of the Shepherds fey Siorgioae

66.6

13*4

60.0

40.0

$3.3

46*7

57.1

42# 9

50*0

50*0

75*0 :. 1 25*0

Sunflowers by Yan Gogh Flower# toy Redoa

70.6 29*4

:.7©»f 29*5

66.7 : 33.3

: 62*5 37.5

71.0 ; 25*0

50.0 50.0

Grade VI m« OlMuSra by Millet :

Tin® M&rv0&ters by Breaghel

27*#

72 .2

23.3

7$.?

,40*9

' 59.1

56.1

43.9

50.5

49*5 "

Lae Jte&iaae. by Yelasfttes

the Orahaa Children by Hogarth

16*0

. $4»o

10.9

. 89»1

33.5

, 66.5

1X«X ' iliit Hi

11*6 ;

#1.4

Sunflowers by fan Gogh , Flowers by Radon 1

60*6 If #4

^ 76.9 23*1

66.7 33.3

; 70*0 30 .0 ;

. 80.0 : 2©.*o

Grade TO i Mill At lyek by Raisdael Le Motiliniie l a S&llette

by f t r i l l © •

#3.3

16.7

$«*a;

4i*i

6$«0^

32.0

S7.5

:12*5

70.0

30.0

Avast** #f Tree# by Sebbesta

Arson# of Trees by Sisley

37.5

6 a . 5

23*5

76. S

47*1

52*9

a o . o

20.0

: 33.3

66.7

33

tmm ra<

Qholms Aft*r Study Male Filial#

• m* S«<sfc£«m Stctian

6 I •' •Jit B : 0 - < 0 ; 4 ®, c 1

95.9 ; 10,2 19.9 12.4 : 0*© :-4ta 13.3 : 11*$ ; 4.9

4*1 if*# : aoa #7«6 : m«o : 57.9 . §1*4> : 16.7 ma 95.1

77.S 75%# : 73*1 66,7 m.o 42.9 #3.3 #7.5 #0.0 85.0 22*2 ' 25.0 26.7 13.3 ; ms' ;57.l :16»7 12.5 20.0 15.0

71.S ai«t

55 «0 4S*§

66.8 ; 31*1

^2«4 17 J ;

60.0 40.0

75.1 24*9

75.6 24.4

71.4 : 28.6

71*# 28.2

75.0 ;25.t

62.0 31.9 36*7 45.7 69*6 70.9

37.6 6 $ a 63 *3 •54*3 4 0 . 0 30.4 2 9 a

30a ; ! l6«0 , X 2 • 2 ; 33.5 a@.6 : 14*# :3ia

69*9 : *4«0 :«7.i ; 66 « 5 09.4 m*z .69.9

66*7 33*1

50*5 49*1 •

63.9 :36a

:66*7 33.3

65.3 34.7 2Q*Q

59a 40.9

74«8 $3*3 "66*1 69.0 1 93.7 71.3 • 7S.2

25.2 16*7 33.9 : 31«0 6*3 ' ;M*T 21*8

33 a 56,3 37.5 : i|®*0 i #5*0 : 36.8 32a :

66,7 ^ 43.7 ' 62.5 1 ;5©*0 I 15 «0 :63.a 67.9

34

i m m VIX~»eontiattad

Immediate

Mai#

Sadfclan

Gradft V3IX""»Coiittiaui#il A 1 C

TJi« Stoa® Braaktra by Courbat* ffct Sand dart fcy Sallows

91.7 i.3

80.0 1 »*o

'?2*a . %f«Z, '

3infrjS*low®r3S> fey Vani Flewara by Eeion

100*0 0,0

.94*1 • 5*9

•- 76*3 23.7 • •m§'^pr I f :f

Grade f XII Madonna dal Granduca lay iap&aal Mstfeer and Child fey Malefaara

: f©*9 9*1

22*2 ' '7?*«

30.0 ' 20.0 '

M©aa Lisa by Ba Vinoi Mrs* Siddona by Gainsborough

: 89.1 10.9

: 57*1 42*9

#%M ' A-~ f Jr#lf

: 24* Xade&na dalla Sedia by Raj*h&«l Holy Family fey El Oreo*

63*6 36*4

S0Ǥ 50*0

$*?' :: 93*3

U&ujTlowars by Van Gogh Fl©war« % Radon

100*0 j 0.0 i

#r #A - 42.9

$$,*?• ' % '

3 5

C h o l C M C h o i c e s A f t e r S t u d y

F S B S I S M a i # 8* ^ % J**,

j f e s a a x e

S « e t t © » S M t f i d B S t a t i o n

A 1 ' § ; A •

B c A B c

8 6 . 1 1 3 « 9

: d i . i | l i . 7

K 7 6 * 4 ; 2 3 . 6

1 0 0 . 0 0 * 0 :

8 1 . 3 1 1 , 7

9 5 . 5 4 * 5

9 6 . 0 4 # # •

: '61# a ; I d . 2

1 0 0 . 0

i.. 0 * 0

$ 2 * 6 1 7 * 4 ;

. 7 6 . 9 2 3 . 1 .

' 5 0 . 0 5 0 . 0

1 0 0 . 0 0 . 0

! 9 4 . 1 5 . 9

? l « 9 2 1 . 1

•- 9 3 . 5 ' i*f . 7 6 . 1

2 3 . 9 ' 6 0 * 0 4 0 , 0

7 2 . 9 • 2 7 . 1

5 0 . 0 ; S©*0

- i 7 * 5

;

9 0 . 9 9 . 1

; 1 9 . 1 6CU9

7 5 . 1 • 2 4 * 9

m*9-; 1 2 . 1

; 6 0 . 0 4 0 . 0 -

S 7 . 5 1 2 . ©

im*® 0 . 0

$ 1 . $ ; l i f t • 1

• 7 7 i a . ! ; a M ' . i

1 0 0 . 0 0 . 0

5 0 * 0 $ 0 . 0

a a . i 1 1 . 9

1 0 0 . 0 O « 0

S l . l , i a , 2

M.9 - X I * 1

6 2 * 5 1 7 * 5 ;

m*$ \ 7 9 * 2

6 6 . 7 3 3 . 3

; 7 2 . 9 ;

2 7 . 1 6 2 . 5

• 3 7 . 5 ; 8 0 . 0 : 6 7 . 7 1

3 2 . 3 •: >• 4 6 * 2 $%&, * o « o

: 2 0 . 0

9 1 * 6 : ( « V

1 1 * 9 x a . i

# 3 * 3 1 6 . 7

1 0 0 . 0 0 . 0

: 6 4 . 5

: 3 5 . 1 7 6 . 3 2 3 . 7

; 9 i # « 1

4 * 2 9 0 . 9

; . 9 . 1 : S 3

36

ehildren trim Oradaa II throng)! Ill, of girla to ahow a

gmtir prafaraaea than do bays for traditionally llated

paintinga*1 It will alao be noted here that tha children In

Qradee V m i VI vara laaa attraeted to the traditionally

llated painting* than tha children in Gtradea Til and fill*

la faet, the sixth-grade ehildran preferred tha laaa fre~

fueiitly liated paintings isore than tha •accepted* aaater-

pieeea* lata2 obaerved that on thaaa two grade-levela thara

waa an .absence of significant difference* between choices

made by children of the fifth aad eixth gradea* and auggested

that aa children grew ©Mar they become ©ore atabllised in

thair preferencea far traditional painting#.

In tha Fatal L« Dunbar School, thia stabilisation occurred

in tha seventh and eighth grades* Thaaa findings, aa wall aa

thaaa by £ats, w@mld indicate that aa children grow older'

they iaereaaingly acquire adult convictionsf arm to tha

point of becofting atabilisad in thair views.

typical conaeata b£ children of Grade It was found

that Corot's wianaa of the Nyaphs,* which waa named five

ti»aa by tha reference liata and waa liated ei#th in rank

by Merrieea,^ did not win tha approval of tha children whan

compared with Breughel* a "Children#a Oaaea»* Koat of the

ehildren indicated that they did not partieularly dialika

^Xliaa lEata, oj» clt«* p« 52* ^lbid» * p* $3.

^Joanatte Q* Herrieon, §£« cit«, p« 15*

37

Gorotfa picture but preferred 8reughel*ii picture aueh wore.

Some of the e©aBjients werei "full of fun," "like many of the

games w* play today,» "Yery ©l««r»* Miifavorable m

til* latter picture were* "to© erowded," "unhappy faces#"

Ctorrtggl*9* •ft®!!" Right," which was aeationed en four

of the liata and ranked thirty-third ©a JiorriaeaU li»t#*

raceived a higher percentage ©f preferences than did Siorgioae^s

"Adoration of the Shepherds.« aoauseata wares "Angela snake it

seem like fae&T©mjn "wane picture," "beautiful." Seasons

agaiaat Qi©rgi©»e*a "Aderatioa of the Shepherds" war# **Fig~

. tires are. to© stiff;" "Saby sh©uld ba in mother*s ams ©r ia

a manger—not on the ground."

fan Gogh*a "Imnflowers* had greater appeal than Eedoa#a

"flowers.8 MSttllfl©wers,, appeared on five liata while "Flowers"

appeared m only two. Typical reasons for choosing Van Gogh*a

picture weret "Drawing ia clear;" "bright color*." Ce*aeats

©a Eedonfa "Flowers" weres "Flowers are juat dabs of paint;"

"Vases d@»»t seem t© be sitting ©a anything."

fynfeal eoBgnents ^iMr.il* of Qrade

"Sleanera," appearing on four of the lists aad listed first

ia raak in Morrison*a study,* waa preferred to Breughel1a

"The Harvesters#1* Goomeat® on the feraer picture were* "la-

minds me of Euth ia the Bible}* "nice, aoft eolor#" Comments

on ireughel*a piature werei "not much ahade under the tree,*

•too much work ahead of the harvesters." The children who

p* 15. 5 i m » . »• » •

n

prtfimd tbia picture not«d tbat tfee background seemed

«cool and raatful" and that tba colors wir» "niea.*

•iaa Kaniaas* by falaafma® was recoiisBaaded % two of

fell# rafaranoa lists. H&a pietura was not prafarrad, howtr,

to Hogarth'a "Tha Qrobaa Childraiw" Cwauta oa tba fomar

pietura warat "Saokgroiwd aaana too hmxfi* "Children doa*t

aeem happy," Hogarth's piotura drew sneli immmt* ass "rary

gay5* *ola«r aoloraj* and "pata not mean lika H « dag in tilt

other picture#"

Onthia grada-laval* fan 0©gh*» "Sunflowers* also ra-

ctaivad tba higbar paraaataga ©f praferaneaa as compared to

tadoii's "flowar*.* Oaanaata warai «latiga spaa** ©f pratty

colorj* "background not muddy at in the other picture.*

& S M M a t S£ Sraia VIX*--Ruisdael*8

•Mill at Wyok," wbicb appaarad on four of the rafaraaoa lists

and rankad third in Morrison'^ list, was preferred over

Utrill®fs *I»e Moulin da la Gallette." warts

piatura #e«»a realj" "calm and restfuli* «clouds

aeem real." 0trillofa pi®tt*re w»a aaid to be "flats* "colors

pratty but not wall painted.**

$ialay*a "Arenae af Trees, • wMofe raeairad only ana «an-

tion by the reference lieta, was prafarrad to Iobbwa,s

"Avmrn of Trees" which appaarad on four Hats and rankad

twelfth in Morrison's7 liat» Seasons given werej "Fainting

^Jeanette G. Morrison, jgg* nUs*» P* 15* 7Xbid>

3f

is elaarj" "Trwi are sort than Jmat Xiao with puff a on toy

as they ar© in tha othar piataraf" "•*»? to undarstaad and

erxjoy." Only oaa class, Grade ?# Section A, preferred th®

aora traditional pietura.

Oourtoat*® "Stonabraakara" raoaivad aor* favorabla «oa~

»ant than did Sallows* "Sand Cart* although tha lattar ap»

peared oaaa in rafaranca liata. Qommmtm m the fonaar ware* HC©Xora seaa® warftar;* "Faopla seen mora liifellk®*" Bellow®*

pietura waa aritieiaad aa "too dulX," "raatXaaa horaaa."

Van 9ogh*a "SunfXowara" waa prafarrad to Radon9a "Flowara*

in thia grade aXao* ©a the foiwar piatora warel

"bright® and "cheerful." Onfavorabla eommmt ©a tha Xattar

pietura wast "Tha background is dull**

M a i co—«nt« tg cfrjfhteffj s£ gait BU.—tiadeaiM

daX Graadaaa* by RaphaaX, whieh was resomaianded by two of tha

rafaranca lists, was prafarrad to MaXcher*a Mother and GhiXd«"

Comments on Saphaal's pietura warat wrifhar color,M "«or«

raaognisad." MaXehar'a pietura ma daaaribad aa Mother and

baby aaaa tenrdaaadi® "aad«"

•ttona Lisa« by ®a Vinai was tha prafarrad pietura ba~

cause "It ia batter known;« "jUwty ia composad;* "pratty

smile and hands#* Tha ahiXdraa who prafarrad Oainaborou«h»a

«Xra. Siddona" atatads "Tha Xady aaaaa ao aXagant;* % « »

Siddona ia aimpXy Mora baautifuX than llona idaa;* and "riehar

color®.11

m

•iiadonna dclla Sedia* fey taphael was paired with wIoly

Fa»ily* by I I Greco. Although both pictures appeared l a tw

referent* l i « t s B 'the former picture ranked second in S t r i a t a 1 #

' liat#^ l&e children of the Paul h* ©unbar School pref erred

Raphael's picture by a small margin*

Again, m m the other grade-levels, Tan Qogh*« •iwflwers11

was preferred to Ied©n*s "flower##* Comments on the preferred

picture were; "shining colors againat a cool backgrounds"

"flowers net kiiyi" "sharp, precise linea."

mSUSSSfS m?Mm> Results show that the participants of this atudy Mnwd

to correlate light or bright colors with superior quality i n

paintings* This f inding ia supported by i&ttlejohns* study

in'which he concluded that children prefer colored paintings

to black and white onea«^

Morrison also observed that "color undoubtedly exercises

conaiderable influence on children*a picture choice.*1®

Bellinger, in a atudy of preferences in which ®ore than #©©

first- third- and fifth-grade children participated, found 11

that children prefer colored rather'' than uncolored printa#

^Jeanette §* Morrison, P* *5.

M t t l a Johns, 0©. c i t .« p . 26. l0Jeanette 0. Morrison, og. j**., p. 46. uIbid«. g. 5, citing Bonnie I* Mellinger, Childrenfa ffMfift Sftfefi* PP* 52.

u

eiiiiTM in Grades f through fill of the tan1 U ®«abar

iohool preferred the paiatiags which were light or brl$st la.

color. the total percentage of preferences for U,#t color

is paiatiags was #4*1# per coat before study and 73.i2 par

coat followiag stttdy for beys and SO. 2? per cent which la-

creased to i4»55 per ceat following study for girls. Choices

for bright color la painting were 62.57 before study aad 65#14

per ©eat followiag study for boys. Girls choices wore 66.71

per cent before study sad 72.6a per cent following study*

l^e s**gia betweea choices s*de by boy# aad those made by

girls la tills category would seen to suggest that there is

little dlffereaee ia color choices acoordiag to sex. Also

there was ao distinguishable dlffereaee ia ehoicea made «*»

cording to sehelastle status. Oae dlffereaee noted ia the

age of pupils was that the youager ohildraa did aot show

stronger preference for the brightly colored pictures as way

adults tead to believe. Table TUX show# the pereeatage of

children's preferoaees aooordiag to eolor ia paiatiags before

aad after study.

Eoisai saesse ia MMm s£ &aia i—aoy»'» "D.®

Manuel ©sorlo," which is the mm colorful of the pair, was

paired with t^«ba»fs "Boy With the Babbit.* the latter pic-

ture ranked thirty-second ia Morrison*& litt.^ "Boa Manuel

Osorio® was preferred fey the boys aad girls ia oaly oae olass*

1 o •*" Jeaaette Q. Morrisoa, p. 15.

42

mi f*f «» ifTTT ? JLXJL

m c m i o i or c b w s mnsmsa accosdukj COUK IS ?AIWa»GS BKK08S AW i?TIR 3T0BI

Isweitafc# Choices

Male Fen&le

Section Section

§l*li4* V Jk 1 6. B A 1

i on Manuel Osori© by Goya '

»©y With the lafebit by laebara

3i«o

6f .O

45.1

54.9

14.3

#5.2

60 .1

39.9

24*6

75.4

37.0

63.0

Orace l e f o r e Meat by Paml'.n.

lai Seaedlelte by QkmMm

62.5 : 37.5

75.0

25.0

LOQ.G

0*0

75.0

25*0

; ma

11.2

69.2

30*1

A f t e r « i u w i r Shower by Inness

Sinner by aoue»eau S5.5 14*5

94.1 5.9

40.0 60.0

42.9 57.1

90.3 : 9 .2

: # | . 3 16.7

Snob Evening a t th@y ?rinoet«ee by Mir©

Pnppet Show by Xlee 21.1 66.7

33.3 55.0

: 45.0 29.5

: 70.5 100.0

0.0 § : S

Grade V I Red Her»ee by Kare loraea l a t i n i e r by

X«ehifoo<t

70*9

a ? . i '

l i . 2

• i i . f

0*3

16.7

15.6

44*4

64.6

15.4

Cardinal Albretch of Brandenburg by Grangeh

Peaceable Kingdom by lielga

40*0

60*0

40*0

60.0

64*3

35.5

72.7 '

27.3

54*6

45.4

The Torn Hat by So l l y Whis t l ing- Boy by

Bttveneck

47 *4

52.6

;42.2

' 57.#

50.0

50.0

62.5

37»5

80.0

20.0

Snob Evening a t the M a w * * # * by Miis>

f * f p « t Sfeftw by Xlee 6d*7 31.3

54.5 45.5

53*® l i f t f

100.0 0.0

60*9 J 9 * l

43

fABLE y n i - » C o n t t n u # d

C h o i c e s A f t e r i t a i y

Male F « a l «

S t a t i o n

0 , • i A B C . •& A » ^ 0 »

7 0 . 2 27*9: 44*# 2 0 . 0 6 5 * 1 30»5 4 4 . 1 7 5 . 4 7 5 . 1

5 1 . 9 : 29*# 7 2 . 1 55 .2 ; a o . o 3 4 . 9 : 6 9 . 5 5 5 . 9 2 4 . 6 2 4 . 7

1 1 . 3 9 . 3 : i t * 7 6 . 2 j 0 . 0 1 2 , 5 27.-3 ' 23.® I 2 0 . 5 1 # . 4

US ,? 9®*7 • # 1 , 3 1 93*# .100.0 • 7 * 5 7 2 . 7 . 7 6 . 2 # 9 . 5 9 1 . 6

# # * 1 U . 9

5 2 . 6 47*4

# 5 . 0 15*0

9 0 . 0 MM*

1 0 0 . 0 ; o . o

4 2 . 9 5 7 . 1

9 1 . 0 : 9 . 0

7 5 . 0 2 5 . 0

LOO.O 0 . 0

6 # . 4 3 1 . 6

7 M 2 I » 1

;60«9 3 9 a

•47*4 5 2 . 6

: 77*# : 2 1 * 1

5 # . t ; 4 1 . S

3 5 . 0 : 6 5 . 0

LOO.O 0 . 0

S f . 7 1 4 . 3

: #4*2 1 5 . #

• * 3 i 5 ; 3 6 . 5

#4*0 70*9 1 0 0 . 0 8 3 . 3 ' 6 6 . 7 . 04*6 7 2 . 0

16*# 2 9 * 1 0 . 0 16*7" | 3 3 . 3 1 1 . 4 : a#*o

I f . 5 I 3 2 . 0 5 0 . 0 1 : 64*3 7 2 . 7 59*2 # 2 . 0 !

12*5 ;6#«® ; P . 0 1 3 5 . 7 | 2 7 . 3 ! 4 0 . a 1 # . 0

76*7 47*4 : 3 i * t 5 0 . 0 i 76*7 7 2 . 2 a o . o

n.3 r 5 2 . 6 : , 6 l « $ : 5 0 . 0 2 3 . 3 2 7 . # 20*0

64*9 3 5 « i

71*# Ma

I 7 1 . 7 2 7 . 3

6 1 . 5 . 3#*5

LOO.O 0 * 0

6 0 * 5 3 9 . 5

7 0 . 4 2 9 . 5

44

TABLE Vlll—Contiatted

Immediate ••

Male

' Section

• Grade Til A 1 0. ' •

Harps ©f the finds by Martin the lake by €#»t

fO.O 10 *0

&B.2 ;M1.#

100.0 0.0

Landscape With fisberjiaa by Cesaime'

delitttde fey Saabipiy 100.00" 0.0

'tfe* : 11.7 :

• ##.f 11.1

Xallow Christ by Gauguin the Craslfixiaa by Rubens

#1*6 : -• 16.5 :

-41*7- : :• 5#-3

71#®' ' 25.0 <.

Snob ST«dnf at tilt Prineesses bpJtt** "

Puppet Sh©w by dee 100.0 • " O.O

73.9 ;

26.2 ; 33 Grade fill

?h# Mae Stem by Gurry A Northeaster by Hoaer

66.3 3J»?

: &0.Q . ;

; 40»o ' ao.o 20.0 :

Threshing by Hash I^uisiaaa M m Fields by Benten

45.5

54.5 ;

; 5o.o

; 50»a--'

3X#4

^ 7S.6

A Street in Eou«m by FAssarr# Rue de M©at 0@»i8 by $ trill©

. f|*3 16.7

73.1' • ••; ; 26*9

; •50.0 50.0

8n©b Evening at the Princesses by Mirb

Puppet Shew by Klee 90.9 9.1

• 57a 4#-.9

r66#7 j 33.3

45

liBIl

Choices Choices Afttr Study

FmaXC Male Female

Seefciea Section Section

A B : 6 4 1 ^ c A !& H a

75.5 1

24*5 90.0 10.0

w # o 20.0

I 95.5 ; 4*5

33.2 n « # '

##*9 13K# 3*

^ 86.4 ; 13.6

100*0 :• 0.0 •

: 70*1 ' 29.9

96*0 :

4*# • #1.3 16.7

100.0 0.0

100.0 0.0

it. 3 11*7

:##*9 11*1 '

100.0 0*0

91*7 #*3

100*# 0.0

30.0 . 20.0

#6*4 :i3*6 ;

53.3 46«7 .

67.7 32.3

41.7 . 9*«3 :

76.3 23.7 ,

##*9 ; 11*1

#7*0 13.0

66.7 33.3

95.© 5.0

66*7 : 31.1 ':

ao.o ;3Q*e •

100.0 0.0 11:1

88.9 111.

90.0 10.0

#3*3 ; 16.7

: #0.0 20.0

#7*4 12*6

70.3 29*7

6f.§ >5.0

: 72.9 27.1:

66*6 : 33.4

72.5 27.5

87. J 12.;

66*7 ; 33.3

66.7 33.3

2# *4 : 4l« 2 25*0 IS. 2 40.0 23*0 32.9 35.3 25.0

71.5; 5#.# 75.0 : 31.8 60*0 77.0 67.1 64*7 75.0

?!•> 6#*?

28.6 71.4

• x?»* 64.2

: $lm$ ua

71.4 : 2S*®

?i4-: 2# .6

83.3 16.7

ai.s 18.2

m* 22*2

S3

i *©§»# 81.3

i#.t 77.#

, 22,2 : 70.6 29*4

: 62*5 :

37.5 !

:7#*9 21.1 .

78.* 21.2

• 66.7 ; 33.3

; 67.6 32.4

*

S«B« extract® £rm the childraa1® cwmmts would iadleate

that f&etors other than color also iaflaeaced oholoaa la

till* pair of painting#. The boys eeaaaeated that Son Mamael

was tee elaborately dreaaed« Other aoa*eate weres "He deeaa*t

seem eheerfali" and *Me la 3tiff aad aaaatttral.#

Chardla'e *1* Beaedlelte," which was aafted by oae of the

refareata liate, was paired with *Grace Before M«at» by Maes,

flia latter waa preferred by children la all. seetloa* of

Grade f for the following reaaoaes *Golora ara bright la the

forogroaads11 "Maa aeon* truly ankfil#11 Ghardia*® pietare

waa described mt "Little girl aaada a high chair?B #too $&!!*•

"After a Smmor Shower," by laaeea, which appeared oa

oaa of the rafaraaea lleta, waa preferred to Eoasssam* #

"Swaor* by all ehildrea except the boys la Seetioa % (the

ligh Madeaiie Aptitade Group)* Shildrea who preferred

loaaaeaa'a "Slower" obaerved that the traoa offered ahade for

til# paopla aad the aaimala bat also permitted some of tha

light to e w m through, Frafnaatly they aeatloaed tha aaiaals

la tha picture, whleh could auggaat preferences for aabjeet

matter rather thaa color* Xaaeae' picture received such

eomaeate aa* "Tha rala laft everything freahj* "There la a

raiabow bat It laa*t colored?" "li$it e#lOra«"

"Saob Bvaalag at tha Prlaeeaaea" by Klr6, selected be-

cause of tha bright colors, waa paired with Klee*a "Puppet

Show* whleh haa a very dark baekgreuad* Tha latter picture

waa oscpeeted to prove aora meaningful becauae tha chlldrea

4?

in some of the classes had recently produced a puppet show

for an art assembly and all of the children had witnessed and

seemingly enjoyed a poppet show perfomed fey children of an-

other school* It was found, however, < that the children in all

grades preferred Mlri's painting, by .a very high percentage*

fTOical Mwnm%& children $f ®r>is fl*--Children pre*

f erred "tod Horses* by Mars to kjehwood1® "Horses in Winter."

Typical coaaents on the former picture werei "Horses are life-

like}* "picture very bright,* "picture full of action*" A

reason against Lochwood's picture wast "Morses ©re very cold—

too auch snow*"

Hicks** "Peaceable Kingdoa" was preferred to Cranach's

"Cardinal Albretch of - Brandenburg" even though the latter

picture is the more colorful of the two* Comments on Hicks*s

picture werei "Animals are so peaceful}" "really two pictures

in one," "animal® nice and large," "picture easy to see*"

Unfavorable contents on both pictures werei "too crowded,"

"picture to© cluttered*"

Sully's "Tom Hat," which appeared on four of the refer*

once lists and ranked thirty-fourth in Morrison*s list,*3

was.paired with Buveneck's "Whistling Boy," which received

three listings* Both before and after study, "Whistling Boy*

was preferred by boys of this grade by a snail margin* the

boys'of Section 6C liked the two pictures equally* Girls in

1 3 m a .

4#

all three classes preferred 8uXXy* s "Tom Hat,* Some coaaeats

about the Xatter weraf "Background la dark, but picture seams

bri^iter thaa the other pictures;* "Soy*a face la eltaa.*

Reasons against &uvtneck*a picture were* "Boy i» dirty and

ragged;" and "Heath mmn artificial#*

Xa tfcia grade, "Saob Evealag at the Princesses" by Mir6

was also preferred over Xlee'a "Puppet Show** Seasons for

choice of Miro*s picture ware given aas "Picture is bright

with colorj« and "Background is smooth and pretty•" Ilea's

picture waa described aa •to® dark," "Xiaea not straight*"

coaa«nt» & y>tf,aWOH> S£ & S & Xii—" H« rP «*•

Winds* by Martin received almost unanimous approval of the

children when coapared with Go rot* a "The I#ake»" Qoummts m

the foraer picture wares "Rewinds you of ausic played oa a

harpj" "Irawing la cXear;" "color aloe and light#* Comments

oa Corot*s picture weres "Picture ia too dark;" "aot clear#"

Caaaaaefa "Landscape with Flsheraea" waa preferred to

Oaublgay's "SoXitude" because it possessed} "beautifuX coXors,"

"clear water," aad "distiact Xlaes#" §a»bigity*s picture waa

daaeribad aa' "auch too dark," "ao color at all," aad "just a

mass of darkaeas** Children who preferred the picture con*

ceded that it waa aot admirable because of the dark tomes but

stated that it possessed a "calm" atmosphere*

Xa this grade prefereacee for Mir6*a "Saob Svealag at

the Priaceaaea" took a aXight drop* Favorable coaaeata weret

"Picturof, seeas gay Xlke a party;* "more Xlfe la the picture,"

4f

and "colors bright#" Other eMldren disliked this picture

for mm® of the sm% reasonss "the colore are to© gaudy |11

"colors clash*" "figures unattractive," and "not a pleasing

arrangement*K

"fell©* Christ" by Gauguin was preferred to Rubens'

"Crucifixion" even though most, of tit# children eoraented that

they were more faaillar with, the latter picture* Reasons in

favor of "fellow Christ" v«rn "simple drawing,*1 and "very

colorful*" These findings would seem t© bear out the belief

that some children prifir bright or light color in paintings

regardless of familiarity of subject witter*

Typical coisiaeats Jgr children of ®rad,e fXyOU*>«»Xn this

grade four pairs of paintings were presented to determine

color preferences in paintings*

Curry* s "l»ine Storm" was paired with Homer1 s "A Horth-

easter." Both boys and girls gave the former painting the

higher percentage of preferences* So»e cosnients concerning

the preferred painting were* "Horses see* to anticipate the

stora;" and "Color Is not as dull as in the other painting*"

Benton* s "Louisiana &ice Fields" was preferred to

wfhr@shing* by lash* Children's unfavorable ©oanaenta on

"Threshing" weres "People don't seen busy!" "Xt looks like

pasted paper instead of a painting;" and "too bright in one spot*"

"Snob Evening at the .Princesses" by Klr6 was preferred

by a majority of boys and girls in each section* Typical

eoswents were* "Both pictures seen lasature;" "color ssmother

in 111*4*s picture,* and "Xlee's picture not well painted*"

10

Fissarro's "Street la toman* was preferred to 9trill©*s

"tme do Moat Cenis" for the fallowing reasons* "lines more

distinct;" "more detail;" ami "purer color.*

iSlJffl M i f f

% e children who participated in this study seemed to

prefer realise in painting to the aemi-afcstraet style* Find*

lags disclosed that of the fife pairs of paintings pretested

in this category, the ehildren preferred the more realisti-

cally represented paintings* fhe immediate choices showed

that preferences for the more realistic paintings were 69*36

per cent for the hoys and 77*90 per cent for the girls in

the four combined grades* The reactions changed to 71.95 per

eent for the boys and 76*12 per cent for the girls following

study* Again, as in the "Frequently Mated Masterpieces1*

'Category, girls9 preferences appeared store stable than those

of the toys* Table 11 shows the preeentage of preferences

according to treatment of subject matter.

I M S t i saa»wg & «hUdr«» 2£ Or«d« V—Zfc« two plctDTM

seleeted to represent this category were Mare*a "Tower of line

Horses" paired with Boiiheur*® "Morse Fair*" fhe latter pic-

ture was included in two of the reference lists and ranked

sixth in Morrisons stndy.^ 'the percentage of boys* pref-

erences for the s««l-abstract paintings was hi#er than that

of the girls* . It is also significant that children in the

UIbid.

51

TABLE IX

COMPAMSOI Of Pft£F£E£3fC£S ASeOBBING fO T E M W E H T OF S08-

mt MATTES in mimnm rnmm A W AFTER • mm ' IsaBadiata Gheieaa

Kala F<ml« faatiam ™ Section

Grade f ; A i ; a 0 A B

Towtr of Blue Soraaa by Mar®

Mors# Fair by Bonbsur , 5©.§ 50.0

40.0 60.0 :

21.S 71.2 1

42.8 ; 57.2

29.0 71.0

24*1 75.9

Grade VI Yfcc&t* Daauvllla

by Bufy Grand Caaal, fault# • by Tttraar:

17.1 ;

32.9 ^

47.1

: 52.9

17.1

32.9 ; 0.0 .

.00.0

27.3

; 72.7

fM# Horseman % fialtareix

Mouatad Officer ©£ tfea Smard toy Oarieault

; 20.1

79.9

11.0

if .a

5.4

94.6

6.1:

91*7

0.0

w . o

trad® VII

If&adneap© Witli Tallow Birds by Klaa

Moat* St. Yieiilra ' by Cezanne

50.0

50.0

70.6

29.4

54.5

45*5

#©*© 20.0

24.9

71.1

arada Till'

8 W U Life, Mandolin by Braque

The Blaa '?««« by Matiaaa

13.2 17.6

«2.4

12.5

«7.5

29.2

7©*«

20.0 ;

:10.0 ;

52

TABLE IX~-Coatiimcd

Qh&lma After Study

NaX«

'''' '

F««&1«

Section

'"a 0 : : A 9 : a i A B C D

i } • * 86.5

42.3 57*7

37*9 6a.i

47*0 53.0

20.4 79 J

47.7 §2.3

11*2 66.7

- 36.3 i 63.7

26.0 74.0 iHll

22.7 #-.5 •35.7 10.1 0.0 : 22.7 23.3

77*3 91.5 : #4.3 *9.9 100.0 7 7 . 3 7 6 . 7

hJk*W ; 10.0 0 . 0 0.0 6 . 3 0 . 0 6.3

*ta 90 #0: 100.0 1 0 0 . 0 93.7 100.0 ; 93.2

9 . 5 7 0 . 0 7 0 . 6 55 .5 *9.5 21.9 ; '20.®

90*5 : 30*© ^ 29*4 44.5 : 10.5 : w a : 30.0

1 6 , 7 10. 2 1 4 . 0 9 . 9 2 f*2 2 5 . 0 ' 1% 1%

93.3 . ti.t : #6.0 90.1 70.d 75.0 ' #3#0

53

High Acadenic Aptitude Group were less attracted to til* semi-

abstract painting than were the children in the other sections.

It is possible that the children of the High Acadenic Aptitude

Group recognised the "Horse Fair* as,. the more traditional

picture and based their preferences on that factor rather

than on the degree of realism involved in the picture* Typical

comments ©a Marefs picture were* ••lever saw a blue horse 1m*

fore;" fines to© chAppy;" and "horses to® crowded." ^hildron

preferring Bonheur* s picture made the following comments*

"Xhla picture is seen mere often;* "true to life;* and "Horses

are drawn so that they seem real."

Typle.1 cotta«nt» )£ cMidrm o£ SEggj V£,»Bafy«»

at i>oauville," which appeared on two of the reference lists,

was paired with turner*# ••Grand Canal, Venice." The latter,

which is s»re realistically treated, received the higher per-

centag® of preferences. Comments on 0ufy*s picture werei

"Poles are tali and heavy for such small boats;" "picture too

cluttered!" "picture too sketchy;" and "picture not well

painted." Boys of the High Academic Aptitude Qroup reactod

m m favorably to Dufy»s picture than did the boys or girls

of the other groups# There were no notable differences in

choices made by girls of a High Academic Aptitude Group and .

girls of the other sections of the saate grade.

Delacroix's "Horseman" was paired with Sericanlt's

"Mounted Qfficor of the Guard." In all sections of this grade,

54

tli* latter received the higher percentage of both boys* and

girls9 preferences. Consents en Delacroix*s picture included!

•It1 a just a bunch of lines;" end "There ie no eolor in this

picture.* Gericault's picture drew such comments ass "Man ie

welldre83ed;aa lot of action," and "nice colore•*

Typical eoimaeata children $£ grade fll»*wfhe lenit-

abstract painting, Klee's "Landscape with Tellow Birds," was

preferred by a alight margin by the boys of two sections# It

received equal acclaim with Cezanne*s "Mont ft. fietoire* by

the boys of the High Academic Aptitude §romp« Girls of thie

group preferred Xlee*s picture, but the girls of the other

two aectione preferred Ceaanne9s picture* Klee's picture

drew aueh coaaente mat "Birde add beautiful color to the pic-

turej* *$11118 make the picture inter eating;™ and "nice ar-

rangement." Unfavorable comments &n Qmmm*s picture weres

"too much green color in it," "to© much background," and

"too plain."

SEBissl ' M # > M M M m si 3ZX&S i m — " s t m ut»,

Mandolin" by Braque, was paired with "The Blue Vase# by

Katiese, Children in all sections of this grade preferred

the latter picture* typical cements weret "Xou can under-

stand it better than the other picture;" "better arrangement,"

"brighter colors." Cosnente on Brake's picture weret "It

eeess as though everything will fall at any so«eatf* un-

interesting, *"and "colors too dull."

If

M ^ f « f M M l M lippslM Preferences Ife fitellw

To determine Aether age of pupils Blight be a factor la

determining eholees, two pairs of paintings that were also

used to represent two other catagoriaa wart shown to each

section is Grades f through Till. In the "Frequently Sdsted11

category the paintings war# "Sunflowers" by fan Gogh and

"Flowers" by Radon*. It was discovered that thara was an In-

crease 'In tha percentage of choices for tha frequently Hated

masterpiece made by the children with each age*!#?®!! 62*27

per cent of the tan-year-old children preferred the frequently

listed masterpiece before study and their preference increased

to 64*25 par cant following study* the twelve- and thirteen-

year-old children preferred the frequently listed masterpiece—

79* 9* and $0,10 per cent respectively—before study. On thase

two age-levels, preferences for the frequently listed master-

piece increased t© 83.77 and £5*14 per cent respectively#

following'study*

Tha second pair of pictures used to test preferences

relative to age groups was chosen from the "Color* category!

Kirtf#a "Snob Evening at the Princesses" and Rise's "Puppet

Show." Findings disclosed that the children in the tan-year-

old bracket were less attracted to Mir6*s brighter painting

(6&*9& per cent following study) than were children of the

other age brackets. The percentage increased to 72*62 per

cent for the eleven-year-old children! 79*25 per cent for the

twelve-year-old children; and 77*92 per cent for the thirteen-

56

year-old children* These figures would indicate that 1% 1®

not always the younger children who prefer bright colors la

their choices of paintings* Table X shows the percentage of

preferences used to determine the influence of age on the

choices made by children.

Influence fff Sex Subjects on gMldre»*.a m. m m m " '

The sex of pupils did not sew to influence their choices

in such categories as "Color" and "treatment of Subject Matters"

however, the category in which opinions widely differed was

"Sex of Subjects*" The children in Qradea ? through Till

preferred the painting with the female subject by a majority

of 53*2 per cent*

In Grade ?# there were varied opinions among the boys*

Two sections almost unanimously (90*0% per cent) preferred

the painting in which the figure represented was feaale* fhe

©tiler two section# unanimously preferred the painting with the

male figure# fhe opinions changed very little following study#

The flrls in all sections of Grade f preferred representations

of their own sex in paintings* This was evidenced by the

94*55 por cent preference before study and the 93*40 per cent

preference following study* On thla grade-level two pairs of

paintings represented this category, mesa paintings were.

"Infanta Margarita Theresa" by fela^ues paired with "Don Juan

Alvarta* by Qoya and "Miss Bowles" by Reynolds paired with

Qoya's "Don Manuel Qsorlo,"

57

t A l I * 1

Q w m m u m w j g s S ^ S t m » * « o w i aoggbbiiig t o AOS OF WJPIM BEFOBE AMD AFfBR S t i f f

Xssm«diat« E n a c t i o n s

Nil*

$®eti©a

Painting* Ag# A i : c . 1 A ; B

a . Stt&fl0*«r« •

hf Jm O n # ,,

i&,r A# : fc#

70*6 . 29*4

70.5 • 29 .5

•66.7 3 3 . 3

; 6 2 . 5 : 37*1

?$•§ ; t§»# : 50.0 ; 10 .0

a . Stt&fl0*«r« •

hf Jm O n # ,, U*4'. " #* b . 6 0 , 6

39 .4:

76.9 : 23.X

1 6 6 . 7 33.3

' 70.0 : 30.0

80 .0 20 .0

flmera by ' Red@n

12«?

13.2

f*

a . b .

100 .0 0*0

100.0 0 . 0

: 94.1 $.9

57.1 42.9

7 6 . 3 : 23.7

66.7 ; 33.3 •

1 d2.6 : i7*4

91.6 8 . 4

76 .9 23.1

i i . t • xa.i

IU . Snob Sv«ni.ng

At til*

: 1 0 . 5 t. t>.

21.1 ? a . 9

66.7 31*3

: 55 .0 45.0:

' 2 9 . 5 7 0 . 5

xoo.o;

0*0 71# 4

w iPr

f*l n c e a s e s fey Mire

: 11.6 ' ft* to*

6i«7 :

11*1 54»5 4 5 . 5

§}•$ : 46.2 100.0 • 0.0

' #0.9 3 9 . 1

b* Pmpf©fc Show

by Klee

12*7

13.2

a. to*

A* : Is#.

100 .0 0*0

90.9 9.X

7M 26.2

$74.: 42.9

; -#3*3 ' 16.7

66.7 33.3

9 5 . 0 • 5.0

Tf.l 20*9

66.7 : #3'##

di.4 1*.2.

TAMM X-

53

Choice* After Study

M*I« FmaI*

Section g«eti©»

0 ' •I; : A; B C D A B ; c ' I

71»&:

28.2 55*0 45.0

<§$•$ 31*2 52.4 17*6

60.0 4Q*Q

75.1 24.9

; 75.6 24. 4

71.4 28.6

71*ft 23.2

75.0 25*0

66.7 33.3

; 90*1 49.5

1 63.9 36.1

66.7 j 33.3

65.3 3V.7

80.0 20.0

^ 59.1 40*f

5©*0 50,0

100*0 0*0

94.1 5*t

i 7t*f 4&X#X "11

76.1 n*9-

60.0 40*0

*1*2 16*7 !

100.0 0.0 35*1

' *1& - % fv# jp 23*7

9 M 4.2

to*t f . l

8 |* l Ml f f

7S.9 21.1 39.1

47.4 12 J

• 7 f . i 21*2

JS1# *i 41* *

35.0 65.0

100.0 ®»©

as.7 14.3 •

84.2 15*$

63*5 ' 36.5

64*9 3 5 a

I n»® 2l«2

: 72.7 */*£ 61. § 3S-S

100.0:

, :®.o ; 60»5 ; 39*5

: 70.4 : 29*6

2:1 100.0

0.0 1 * 1 88.9 11*1

90.0 : 20*0

1 m*$ . 16*7

ft0*0 20.0

77** 22.2

81.8 16.2 1 H ; 26.6

71A /.3ft**

*3.3 16.7

i i . i . 18*2

77. d 22.2

19

la Grade VI the boya and girls preferred the painting in

which the sex was fMtli) however, choice was not so pronounced

as that of the fifth-grade children. Boys* preferences for

the paintings in which the subject was female were' 76*53 per

cent before study and 85*07 per cent following study* Girls*

preferences for the female subject wire SI.4 per cent before

study and §9*t per cent after study* la this grade "Two

Little Circus Girls* by Eenolr was paired witli •The Artist's

Sons" by Subens*

In Grade VII both boys and girls, as groups, preferred

the paintings la which the subject was female i however, the

boys preferred the female subject more than did the girlat

d0*07 per cent before study and 90*23 per cent following

study for boys; 50*17 f^r ©®®tbefore study and 35*63 per cent

following study for the girls* •Finkie* by Lawrence was

paired with Gainsborough's •lime Boy* for this grade-level*

Xn all the eighth-grade sections, a large majority of

both boys and girls preferred the painting in which the fig-

ure represented was *al«. This was true both before and after

the paintings were studied* the painting with, the female

figure was less realistic and, as has previously been stated,

the participants in this study seem to set realism as a

standard for quality in painting* This nay possibly account

for the low percentage of choices of the painting showing a

feaaale figure* this .pair of paintings was "Touag Girl in a

White ftress* by Matisse and "The lifer Boy* by Manet*

60

the consistent preferences of both boys and girls of

drados fl throng Till for the MM sex subject Is supported

by Xats*s observations that s«x differences tn preference

teorts decreased stsadily until the sixth grade, when the

difference disappeared entirely.1* His finding however, was

rnds la ths contrast of traditional and aodern paintings

category. Table XI shows ths co«pariaen of preferences for

paintings according to aex of subjects both before and aftsr

study*

Saisti flffWWHW M °hUdr«a a£ S a 4 s I--Bey» <dw pr«-

ferred "Infanta Margarita Theresa" by fsUsquss indicatsd

that they would have voted for "Bon Juan Alvarez" had ths

subject been dressed "as boys should,* The former picture

appeared on four of the reference lists and ranked thirty-

third in Morrison's list.16 Many of the girls who disliked

the dress of the female subject related that they found the

elathing of the Bale subjest even sore objectionable.

Both boys and girls preferred "Mies Bowles" to "Bon

Manual Osorlo" although the girls sseaed to like "Bon Manuel

Osorio" *ore than did the boys. The foraer picture was listed

three ti»es in reference lists and ranked twenty-fifth by

Morrison.17 Again the children found "Bon Manuel Osorio"

"colorful and cute" but preferred "Miss Bowles* because ©f

the "sweet" expression.

15Elias Kats, ft* clt.. p. 53.

l6Jeanette G. Morrison, og. eit«, p» 15# 17Xbld«

61

1ST W TT

SOMPAEISOW OF mflttMGKS F01 PAIMOTOS AGOGKOXItt TO sex of mmmrn before km m r m study

Iffiffitiiat# Cboleii

M i Finals

" $i«tl«A Section Grade ? ; A : 1 : « § ; A tk

m

Infixits Margarita ' Theresa by ~

Bon Juan Alirara? by . Goya

Miaa BowIm fey li«ytt©14s Don Manuel Oaarle by ' Goya

09.0;

11.0 «?.©. 13.0

91»*

B»2 • 93.2

; 6.3

0.0

:ioo«o 0.0

100.0

; 0*0:

xo©*t 0.0

100.0

100*0

0.0 ;10©#i

0«0

1

: 0,0 : 100.0

; 0.0

Qra4a VI Two &it>tl« Cirous Girls by R«noir

Tk« Artist*• Son by Rubin* '

69*1;

30*9

*m* o : 30.0

: 95.5

4.5

r 90.2

f*#

dl«Q

19*0

Grade ¥11 •Plnkii* by kawr«iic« The Blus Boy by Gainsborough

: 83.0

17*0

70,9

: 29.1

36.3

13«7

' 37.9 ; 62*1

31*0

62*0

Pk*m,mL A1

fjfcXX Touag Girl im a Wfeita Br«aa by Matliaa

Tb« Fif®r Bey by Maati ' 20.0 SO.O

0*0 ioo*o

u.O 100.0:

IO4O 90.0

0*0 100.0

62

tms n—£gs&ass&

Nal#

SMtlen

100.0 94

90.9

$Z«k

10 100

*3

Typical m m m % » Jx children of Grade ¥1.—Eenoir»s

"Two Little Circus Girls" was paired with Rubens9 "The Artist's

Sens.® Boys in all classes prifirrtd the fervor picture over

the latter# Reasons weret "Boys art wearing make-up,® and

"Boys are dressed too faney." aesBaeats on Renoir*s picture

weret "plain* and

SESSS iffiMm M .SMMfifE a£ §riii fl|.--4ai»sboro*igh**

"Blue Boy" which appeared on four of the reference lists and

ranked twenty-fourth In Morrison*s list, was paired with

Lawrence's "Pinkie," which was orx one of the lists* The boys

and girls in all sections of the grade preferred the latter

picture} however, after study there was a sharp increase in

girls* preferences for the "Blue'Boy#* ©hildreii stated that

although they could find nothing objectionable about the

•Blue Boy," they preferred I«ewrei»e#s painting wm «»eh wore#*

Reasons given were: "Picture seems peaceful!* "very pretty

girl," "pleasant expression," "cool, clear background*"

fynleal eoaaients Jgg children og grade ¥XXI,-~The two

paintings presented were Manet*a "Fifdr Boy" and "loung Qirl

in a White Ores®* by Matisse* The former picture was included

once in the reference lists* Reasons given for choice of

Kanet'a picture were* "Colors show up well against the back*

grouadf* "Boy seems concerned about whatheis doing;* "well drawn

and painted** Reasons for rejection of Matisse's

16Ibid*

64

pictura# warai *<UrX has m faataraaf* *nat good arrang«*antj"

*too mmh fc&ita oGXori* and •fcaekgrotmd net aia@©tlu*

Itiflaance ©JT 8e&#Xagti® Achievement

M t S u i m l ^ i i l e i l l l

fliara «ara dUffaraaaa® in efcLldra&'a tfe*l.*a« according

t© aekolaatie atatms, In t&a "Prtquantly l ia tad

eatagary these differences wara aara pronounced than In any

@t&®r eatagar?• K*a afeiXdran of tfea Higji Aemdamie Ajjtitada

Croups a l M i t eonaiataatXy imsforraA tfca tmqmntlf Xiatad

saatarpiaeaa* Diaia finding# ara aa&aiataat with tkaaa af

la ta who atatad that "Graatar preference f a r tradit ional

paintings seemed to be raiatad to higM* I* Q«, while Xaaa

prei&rm&e im t radit ional paintings aaatnad t@ ba raXatad t#

lower X* Q»**9

10 • #IXia« U t i f fg* j H » # J>* 59.

CHAPTER I I I

I t k i i boon tha basie ai» of thl* istaatigatton t# dis»

cover wkathar ehildraa ©f a particular XooaXa prafar a a m i n

pointings saloctad by adults fo r eoursss of study *»d *• «•*»

piia this information for possible assistance to those who

use paintings la their oouraes of study in the eleiaentary

grades*

fhirfcy»sev®a picturee which appeared moat frequently on

eight graded l i s t s of reproductions of ®&st«rplee«a were se-

lected. ftelrty additional paintings wMsb could eonpara with

tilt originally selected paintlnge were chosen fmm a r t books

and froa the vertical f i l ee of the Dallas Public Library.

All paintings selected were•paired with the intention of ,

finding solutions to the following questions:

X* &o thlldren prefer traditionally accepted fiat-urea

even. thou# tfcey do not relets dlraatly to thalr own experiences?

2. Bo children normally lika ligftt or bright colors

battar than dark or dmXX colors in pictures?

3* teas tho ar t is tes treatment of smbjoet »atter in*

finance tha choices made by children?

65

66

4« 0©ea the mx of pupils influence their ehoices of

paintings?

5* Ones the age of pupils affect their choices of

paintings?

6. Art there marked differences in choices made accord-

ing to scholastic status of pupils?

The paintings were presented to 4 0 children—224 boys

and ait girts—of Grades Y through ¥111 in a" Bellas Public

School from §ct@bar# I960, through April, 1961. Moat of the

paintings preeented war* mounted reproductions borrowed fro*

the Dallas Public l*iferary. Oth era vara secured f*m book®

which had illustrations that approximated tfca sisa of the

Mounted pictures.

Ska plainsres vara paired and numbered. Oaa pair was

shown to the children during a designated alaaa period* it

this time, children's first reactions to the two pisturss

were recorded* Immediately following the first presentation,

a two-week period for observation and study was allowed*

Pictures ware than voted on again to aaa whether children's

choices changed following study*

Classrooa atmosphere was kept as naarly the aaae as

possible during the administration of all testa and the mm*

parative stores of choices aiade by children were recorded*

Conclusions

As a result af this investigation* the following con-

elttsions have been drawai

m

X* the results of the test indicate that the children

A # participated in this study preferred the paintings most

frequently found la the retoiaisended lists5 that Is, the

"accepted" ssastarplecos* Kits, in his study of children's

preferences for paintings also noted that children tended to

choose the "accepted* masterpieces.

tm the children seemed to use color as a basis for excel-

lence in paintings* they favored the jointings in which the

coloring was light or bright ever those In which the coloring

m ® dark or dull. Relation to their own experiences did not

seen to affect choices of paintings In which bright or light

colors were involved. Morrison and Idttlejohxis also observed

that color greatly affeeted children's • choices of paintings*

3# fte children preferred paintings in which the treat-

ment of subject aatter was very realistic, the percentage of

choice# for seal-abstract paintings was significantly high,

and indicates that there is a degree of appreciation for the

semi-abstract style of painting.

4* the sen of pupils seemed to influence their shelves

in some categories but not in others* fhere were no aetiee~

able differences in the categories, "Treatment of iabjtet

Matter* and "Color." In the "Frequently Listed Masterpieces*

category the girls chose the "accepted* paintings more fre-

quently than did the boys, this observation was also made

by lata. The one category in which the children** choices

$)&

were strongly divers# was *!«3k of Subjects.11 Children of

Orades f through YXXX preferred the painting with the female

subjeot by a majority of 53*2 per cent# la the fifth grade,

boy* of two sections unanimously favored the painting in

which the subject icfts aale. Ukewiso, the girls ©£ two dif-

ferent sections preferred unanimously the painting in which

the eubjeet was fs«ale. Boys and girl® la the other sections

preferred the painting in which the subject was female by a

majority of #§«$ ptr cent.

In the sixth grade $7*1 pdr cent of the boya and girls

in each section preferred the fainting in which the subject

was female. the feaale sub jest was preferred by 9Q.6 per

cent of the seventh-grade beys bat by enly 15*6 per tent of

the girls* fhe eighth»gr&de children preferred the Male sub-

ject painting by 94«9 per cent* In the pictures used in this

grade the male subject was feasibly mm popular because the

female subject was treated leas realistically*

5* The age of pupils seemed to affect children** choices

fer the frequently listed paintings* the younger children

showed a stronger preference for the leas traditional paint*

lags* Katsva study revealed, the na# tendencies. This could

Indicate that as children grow older they Increasingly acquire

adult standards of evaluation. The difference in choices

according to aggendtd color in paintings la perhaps contrary

to the belief of «any adults that younger children shew

stronger preferences for the brightly colored pictures than

6#

do the elder children* the ten*year~old children of the

Faul i». Dunbar Sthool were 1 ess attracted to the paintings

possessing lighter or brighter eoler than the older children.

6. There were differences la children*s ehoiees accord-

ing to scholastic status. la the •Frequently Listed Haster*

pieces* category, these differences wcr* mm pronounced than

la any of the other categories. The children of the High

Academic Aptitude Groups almost consistently preferred tho

frequently listed masterpieces# Frefereaces la this category

a* well as ethers tend to indicate that the Sigh Aeadcale

Aptitude Groups art airi conventional in their behavior than

are members of the other groups. Kats made the same obser-

vation 1b his study* la the 'Treatment of Subject Katttr*

category, the children In the 11# Acadanic Aptitude Sroupa

favored the seal-abstract paintings less than did the children

of the other groups* This would sees t© indicate that the

High Academic Aptitude Groups are mm conventional la their

behavior tAan are Be&bdrs of the other groups*

Suggestions for Further Besearch

Ike limitations of this study imposed the following

questions which could be useful to those Interested in

further research s

1* What would be the results of this study if it were

administered on different soeio~eeono!ide levels?

n

a* f© what axtaat is## racial background infAaaiiea

ehildran* s efaoieaa?

3* that w©siM be the attara @f e U I 4 m f i choices la

gr&das IMIXOV the fifth gradaf

4* What faetera otla«r than thesa explored ia this study

ml#t dettrmina children's preferences ia fainting*!

5# What results w©mld be obtained froat the sania study

perfonatd over a longtr period of Uae?

B11LX06MPHI

Books

• t a m a , X*rrjr- X*» A n f r i a a a r i i ®£ £hg WorM. nt t t fem,* Mm York, Hairy ^• ISriuas, f | c — . ' '

Cliaaa, Al ice Elizabeth, twmm Paint ing*. Maw Xorlc, Uta F la t * and Miuak 8«qpiS& I a # T ^ f ?SL

Faaria®* IalXy# CXyda Xaaa Martin and Bvalya S ta r t , Our tetttei l l i i - i a * Martin, I . $• Benson and Company,

Hunter, WaMiiia, Ar t 4»®sylafl*Hi SMdi-aa* Auatin, fha l imvarai ty oFfwea i f rasa, I 9 U .

M M s S i a f i '

TCS3r»T»lI.SI; Celud>U 8BiT«» l« r , 1944.

S i r | U i ? i p f i ™ n 2 f i | S s | n , ^ £ f B / f s B ^ e n f * f >

l e W * ' F ? i i r , l l S S ? a to«ri«Be—- Bmvars i ty of l u u

* " " • A u , t i n ' 8 n i " r "

Morrison. Jaaaatta Oartruda* Cki ldran'a Frafa ~ i S H i i c ^ n i i i m | .

m a l a l a i S l i y • l ^ a « 8 5 ' f « S u ^ m U « r i A a s t l n - a « Onl»«r»ity

71

72

Encyclopedias

Praager, Frederick A | £ | # lew X©rk( '

0&tal©gtte#

]Dallas Iad«p©ad«&l; Sehoel D is t r i c t . Audio-Visual R 4 r t i a»i 0rafts*w Bai l** , Bailas Independer Btatr iet* 195S•