the emergence of canadian art education

8/8/2019 The Emergence of Canadian Art Education

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The Emergence of Canadian Art

EducationArt education in Nova, Scotia,

Ontario and British Columbia1900-1905

C. L. Brown


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BackgroundIn 1900, Canada was33 years old withonly seven provinces

and 2 territories.Concept of publiceducation was only alittle older than thecountry

Blackboard by Winslow HomerRetrieved from http://www.andrewgrahamdixon.com/archive/readArticle/168


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IssuesResources (urban versus rural schools)Approaches to teacher training

Curriculum prioritiesNew TechnologiesGender

How did the teaching of art inCanada develop out of the teachingof drawing?


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Nova Scotia

Drawing present in education from 1850sBecame an official subject in 1864 with the Free School ActIn 1867, the Journal of Education advocated art instructionby publishing lessons on drawing and colour use.Council of Public instruction also provided drawing

materials for use within schoolsIn 1865, Nova Scotian schools had only 15 students takingdrawingIn 1866, 5% of total student population (3734 students)took drawing.In the following years, the percentage of students takingdrawing rose to 10% of the student population.Art education in Nova Scotia was influenced by the SouthKensington School


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Nova Scotia and Alexander McKay

Born and raised in Nova ScotiaBegan teaching at 15Graduated from Truros NormalSchool at 18 in 185924 year career as teacher and

principal until his appointment in1881, as supervisor for the board ofschool commissioners for the cityof Halifax Retired from his role as supervisor

in 1916Co-founded Victoria School of Artand Design and served as thesecretary on the board of directors.


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Advocate for drawing and art inpublic education but felt thedrawing programs in Nova Scotiawere inadequateAware of South Kensington

School and felt it had the potentialto provide students withmarketable skillsHelped bring Walter Smith toHalifax and Truro to lecture to

teachers on his system of drawingin 1882By 1884, Smiths texts were usedfor all grade levels in all NovaScotian schools


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Arts refining influencewould extend into thehomes via educationDrawing was more than

freehand or industrial itwas also aestheticPicture study and

discussion promotedappreciation of beautyand of morality


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Other Influences in Nova Scotia

The Practical and Manipulative ArtsSir William Macdonald equipped and paidteacher salaries for manual training forthree yearsFunding broad enough to sometimesinclude art and drawing

McFaul, Casselman and AugsburgMcFaul and Casselmans texts replaced Smith textsStill consisted of copying sequence, line and design motifs

with some perspective, figure and landscapeAugsburgs texts replaced theseStill copying but varied media and encouraged students tochange perspective and composition


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Ontario

Exemplar for art education was the South Kensington SystemArt and manual training developed simultaneously in TorontoToronto School board employed Arthur Reading assuperintendent of drawing from 1880Reading authored and oversaw the introduction of a series ofdrawing texts in the city of Toronto (The High School DrawingCourse)Texts by Lucius OBrian, McFaul and Casselman were usedlaterOntario Department of Education concerned withstandardizing instruction, practical applications of drawing,developing draftsmanship in grade school students and theability of regular teachers to teach drawingChief Inspector of Schools James l. Hughes advocated drawingin public education


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Ontario and Jessie P. SemplePrize winning student at

the Collegiate Institute(Toronto) in the 1870s

Teacher for 19 years inthe Toronto systemSupported by James L.Hughes

Appointed Director ofDrawing in 1900 by theToronto Board ofEducation

Retired from role in 1925


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Ontario and Jessie P. Semple

Signalled the end of copy-books and the beginning of artEmphasis on free drawing,drawing from nature, design,decoration and colour workInfluenced by the Americanart education practices, the artsand craft movement and byWilliam Morris and John

RuskinAware of developments in arteducation and of HenryTurner Baileys School ArtsBook


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Ontario and Jessie P. Semple

Purpose of art education wasto develop habits of observation,foster good taste andexpression and cultivatecreativityWas invited to contribute tothe Ontario Teachers Manual(1916)Suffragette and strong

supporter of female educatorsFounding member of theLady teachers Association in1885


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British ColumbiaDrawing introduced as a branch of education in 1872 butdrawing was listed as a subject that may be taught1885 recommended text was Walter Smiths Freehand DrawingInfluence from the South Kensington SystemThe science and art master or drawing master at theVancouver Normal School was David Blair, and alumni ofSouth KensingtonAuthored the Canadian Drawing Series texts with John Kyleand focused on the South Kensington model of geometric and

freehand drawingIn the 1907 edition of the Canadian Drawing Series colour anddesign were added as a concession to the newer practices of arteducationBlairs successors, John Kyle and W.P. Weston were also trainedin Britain


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British Columbia and Winifred Gabriel

Passed the 1904 Victoria CentreHigh School examsThe exams include a 2.5 hourfreehand drawing assignmentthat required students to enlarge

an image of a bottleReceived a teaching certificate(second class) at the age of 18Taught for 1 year in Schools onVancouver island- Crofton and

SandwickTypical classroom teacher in arural, one room school and wasexpected to teach all subjectsincluding drawing


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British Columbia and Winifred Gabriel

Temporarily licensedteacher relegated to small,rural schools unless sheattended the Normal

School in VancouverWas poorly prepared andadequate supports were notavailable to help her teachall subjects (includingart) in multilevel, ruralclassrooms


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ConclusionsThe teaching of art in Canada developed primarily out ofthe South Kensington model teaching of drawing in urban

areas. Drawing was generally considered optional andstrongly supported by a few. In both urban and rural areas,

drawing and art instruction was often considered optionalfor a variety of reasons. The presence of drawing or art

instruction in schools was largely based on the supports forand preparation of teachers, teacher aptitude and

preferences. The exception appears to be Toronto because ofthe innovation of Jessie P. Semple. Semples influences

came from Morris, Ruskin and the arts-and-craftmovement; all of which were in opposition to the South

Kensington model.


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ConclusionsThe issues of resources (urban versus rural schools), teachertraining, curriculum priorities, new technologies and

gender were just as problematic for art educators in the pastas today. Generalists were expected to teach all subjects with

proficiency, but with inadequate training and support.In our age of 21st century literacies, art education and

integration are touted as the cure all to students lack ofengagement. Once again, the push is to use art education to

provide students with useful and marketable skills.However, just like in 1900, teacher training and the

supports provided to classroom teachers do not necessarilyreflect the views expressed by districts and government.


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ResourcesDiblasio, M. K. (1992). The road from nice to necessary: Broudy's rationale for art education.

Journal of Aesthetic Education, 26(4), 21-35. Retrieved fromhttp://www.jstor.org/stable/3332714

Efland, A. (1976). The school art style: A functional analysis. Studies in Art Education, 17(2), 37-44.

Retrieved from http://www.jstor.org.login.ezproxy.library.ualberta.ca/stable/1319979

Efland, A. (1983). School art and its social origins. Studies in Art Education, 24(3), 149-157.

Retrieved from http://www.jstor.org.login.ezproxy.library.ualberta.ca/stable/1319735

Efland, A. (1990).A history of art education: Intellectual and social currents in teaching the visual arts.

New York: Teachers College press.

Kay, K. (2009). Middle schools preparing young people for 21st century life and work. Middle

School Journal, 40(5), 41-45. Retrieved from

http://www.nmsa.org/Publications/MiddleSchoolJournal/Articles/May2009/tabid/1927/Default.aspx

Pearse, H. (2006). The dawn of the twentieth century: Art education in Nova Scotia, Ontario, and British

Columbia. In H. Pearse (Ed.). From drawing to visual culture: A history of art education in

Canada. (pp. 103-119). Montreal & Kingston: McGill- Queens University Press.

Stankiewicz, M. (2001). Roots of art education practice. Worcester, Massachusetts: Davis Publications.

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