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Artisan Or Artist?. A History of the Teaching of Art and by Gordon Sutton

By Gordon Sutton

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The word and the drawing are again clearly opposed in their nature: for the drawing is visible, as the word is audible. The word and the drawing, therefore, belong together inseparably, as light and shadow, night and day, soul and body do. "<66> This was written in 1826. Though others had claimed the child's right to draw in his own way, Froebel would appear to be the first to see, in children's spontaneous drawing, fundamental evidence which could give it educational partity with language.

As a final word, Froebel emphasizes the point that "the work with colours does not in any way mean to develop a future painter. . " Ignoring the mysticism, the romantic symbolism, the exaggerated claims for moral uplift, one must yet admit that colour has been exalted to a position of some importance.

Now form, and whatever may depend on form, reveals in various ways inner and spiritual energy. To recognise this inner energy is a part of man's destiny; for thereby he learns to know himself, his relation to his surroundings, and consequently, absolute being. It is, therefore, an essential part of human educa­ tion to teach the human being, not only how to apprehend but also how to represent form; and, inasmuch as the perpendicular relations (of the vertical and horizontal) aid the development of form-consciousness, the external representa­ tion of these relations as a means for the study and representation of form is based on the very nature of man and of the subject of instruction.

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