National Art Education Association

Palladio by James S. AckermanReview by: Walter B. JohnsonArt Education, Vol. 22, No. 5 (May, 1969), p. 27Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191261 .

Accessed: 16/06/2014 06:25

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.

http://www.jstor.org

This content downloaded from 62.122.76.60 on Mon, 16 Jun 2014 06:25:04 AMAll use subject to JSTOR Terms and Conditions

R111B, now in its fiftieth year, pioneered the manufacture of the first electric kiln for

schools and institutions. The kiln pictured at left was manufactured in 1938, better than

thirty years ago, and is still operating at Indiana State University, in Terre Haute,

Indiana. Although Amaco dependability is 1I Dbuilt into every IllMlB kiln, improvements

in style and design are constantly tested and incorporated into new models. I1l1 kilns

are subjected to the rigorous testing of both the Underwriters' Laboratories, Inc. and the

Canadian Standards Association, and are listed with their re-examination services as

complete firing units. The 1969 1I1I top-loaders feature special vents and a drop

lid for controlled air circulation and better glaze results. IC11 progress extends into

every area of ceramics. Continual testing and experiment with clays, glazes, and dec- :

orating colors insure the potter-student or teacher-the best in supplies and equipment.

For complete details about IlIlI fiftieth anniversary products for the potter, write:

AMERICAN ART CLAY CO., INC. 4717 West Sixteenth Street, Indianapolis, Indiana 46222

R111B, now in its fiftieth year, pioneered the manufacture of the first electric kiln for

schools and institutions. The kiln pictured at left was manufactured in 1938, better than

thirty years ago, and is still operating at Indiana State University, in Terre Haute,

Indiana. Although Amaco dependability is 1I Dbuilt into every IllMlB kiln, improvements

in style and design are constantly tested and incorporated into new models. I1l1 kilns

are subjected to the rigorous testing of both the Underwriters' Laboratories, Inc. and the

Canadian Standards Association, and are listed with their re-examination services as

complete firing units. The 1969 1I1I top-loaders feature special vents and a drop

lid for controlled air circulation and better glaze results. IC11 progress extends into

every area of ceramics. Continual testing and experiment with clays, glazes, and dec- :

orating colors insure the potter-student or teacher-the best in supplies and equipment.

For complete details about IlIlI fiftieth anniversary products for the potter, write:

AMERICAN ART CLAY CO., INC. 4717 West Sixteenth Street, Indianapolis, Indiana 46222

the author's definition of children's art. "Is the art of the young child fine art or non- art? It is neither. It is pictorial language." The act of drawing or painting is fundamentally one of communion. "What he really wants is to talk to himself in pictures." (page 62). It seems to follow from this that the teacher- parent can best function as a provider of both physical and spiritual support. Give the child lots of opportunities to paint and draw, and encourage him to talk about his work. Don't give him coloring books; don't draw for him; and don't provide frustrating materials.

Although there is a danger in the rather oversimplified approach, it is basically a healthy one. The book is particularly valu- able for primary classroom teachers who must teach art with no help from a specialist. The extensive use of illustrations (208) with very illuminating captions is especially good. Unfortunately, the black and white reproduc- tions tend to blend into a muddy grey. But the overall stress on the positive things that teachers and parents with no special training can do, overcomes this weakness and some of the simplistic analysis of children's crea- tivity.

the author's definition of children's art. "Is the art of the young child fine art or non- art? It is neither. It is pictorial language." The act of drawing or painting is fundamentally one of communion. "What he really wants is to talk to himself in pictures." (page 62). It seems to follow from this that the teacher- parent can best function as a provider of both physical and spiritual support. Give the child lots of opportunities to paint and draw, and encourage him to talk about his work. Don't give him coloring books; don't draw for him; and don't provide frustrating materials.

Although there is a danger in the rather oversimplified approach, it is basically a healthy one. The book is particularly valu- able for primary classroom teachers who must teach art with no help from a specialist. The extensive use of illustrations (208) with very illuminating captions is especially good. Unfortunately, the black and white reproduc- tions tend to blend into a muddy grey. But the overall stress on the positive things that teachers and parents with no special training can do, overcomes this weakness and some of the simplistic analysis of children's crea- tivity.

Kenneth Marantz Chicago, Illinois Kenneth Marantz Chicago, Illinois

PALLADIO. James S. Ackerman. Baltimore, Maryland: Penguin Books, Inc. Reprint, 1967. 195 pp. $2.25.

Palladio by Ackerman is a collection of Palla- dio's architectural endeavors throughout Italy. Research has been quite intense of late, and new discoveries are still changing ideas on his works. Ackerman attempts in his monograph to portray this architect of the 16th century in as many ways as possible.

In the preface of the book there is a comprehensive listing of Palladio's work from 1540-1580 with a detailed map locating the numerous villas designed by him.

The student of Italian architecture inter- ested in the works of this man will find that Ackerman has done a very careful and sincere piece of documentation. The photo- graphs contained in this paperback are clear and concise. They were made by Phyllis Massar. This book serves as a fairly good re- source statement for any architectural his- torian interested in works produced by Palladio. It would be well for this book to find its way into an architectural library collection.

PALLADIO. James S. Ackerman. Baltimore, Maryland: Penguin Books, Inc. Reprint, 1967. 195 pp. $2.25.

Palladio by Ackerman is a collection of Palla- dio's architectural endeavors throughout Italy. Research has been quite intense of late, and new discoveries are still changing ideas on his works. Ackerman attempts in his monograph to portray this architect of the 16th century in as many ways as possible.

In the preface of the book there is a comprehensive listing of Palladio's work from 1540-1580 with a detailed map locating the numerous villas designed by him.

The student of Italian architecture inter- ested in the works of this man will find that Ackerman has done a very careful and sincere piece of documentation. The photo- graphs contained in this paperback are clear and concise. They were made by Phyllis Massar. This book serves as a fairly good re- source statement for any architectural his- torian interested in works produced by Palladio. It would be well for this book to find its way into an architectural library collection.

Walter B. Johnson Champaign, Illinois Walter B. Johnson Champaign, Illinois

ART & EDUCATION By Michael Steveni, Westhill College of Education, Birmingham, England

"A stimulant to both jaded and en- thusiastic teachers; few can read on with- out reassessing their own positions and gaining a deepened sense of responsibility."

-Arts Review.

This provocative new book brings a fresh point of view to questions concerning the place and meaning of art at all levels of school education. Showing how art and education are intrinsic to one another and how they interact in the educational proc- ess, the author leads his readers to a re- assessment of the art lesson, the teaching situation, and the use of design, materials, and craftsmanship. Numerous illustrations reinforce the text.

239 pp. $8.95

ART & EDUCATION By Michael Steveni, Westhill College of Education, Birmingham, England

"A stimulant to both jaded and en- thusiastic teachers; few can read on with- out reassessing their own positions and gaining a deepened sense of responsibility."

-Arts Review.

This provocative new book brings a fresh point of view to questions concerning the place and meaning of art at all levels of school education. Showing how art and education are intrinsic to one another and how they interact in the educational proc- ess, the author leads his readers to a re- assessment of the art lesson, the teaching situation, and the use of design, materials, and craftsmanship. Numerous illustrations reinforce the text.

239 pp. $8.95

27 27

This content downloaded from 62.122.76.60 on Mon, 16 Jun 2014 06:25:04 AMAll use subject to JSTOR Terms and Conditions