Download Citation on ResearchGate | Creative and mental growth / [by]Viktor Lowenfeld | Incluye bibliografía }. Creative and Mental Growth has 48 ratings and 1 review. Children are the essence of this book, but more than that, they are the essence of society. Creat. It is fascinating to realize that as children grow and experience the world in both physical and psychological settings, their physical, mental, and creative growth.

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Needless to say, the more sensitive relationships we establish toward experiences in general, the richer is our life, for what is true about the traffic light is also true about flowers, trees, textures, colors, and all that surrounds us. As single brush strokes unite to form new shapes and solid areas, synthesis occurs; and each student, through his own aesthetic awareness, develops a meaningful artistic organization. gtowth

She knows she can repeat it again and again. Of prime significance is the influence of art educa- tion on child growth. This shows clearly that integration can only take place by self-identification. But serious questions can be raised about how much we have been able to educate beyond the making and creatige of objects. There is no implication that by merely adding together the factors Figure 3. Man learns through his senses. In every instance we learn to understand and appreciate the child’s relationship to his experience by identifying ourselves with his presentation.

Full text of “Creative and mental growth”

It is therefore imperative that every child be able to face his own experi- ence. Which are the attributes of an art medium that promotes self-identification? As soon as the child is confronted with the task of following a pre- determined outline, we have prevented him from solving his own relation- ships creatively. To go even further with the self-identification, the teacher should realize that the motions the child is making are for the child different in size from the way they appear to him.

By so doing teachers deprive themselves of the proper functioning of a most effective educational means — environment. Figure 90; Barrett Gallagher, photographer. Creative expression is as differentiated as are individuals. Therefore, any technical accident, such as unintentional shading or running of color, that destroys or changes his concept will interfere with his desire for expression.


Is the green light on top, or the red? One factor that has been identified in the creative process is sensitivity — a sensitivity to problems, to attitudes and feelings of other people, and to the experiences of living.

Rather, we should look upon these as factors to consider in planning an art program. Dad must be strong. This can happen if art education is applied improperly and if a child mdntal urged to do something not appropriate to his development, or even if the child’s work is criticized in a way that is not adjusted to the level of crfative ability to understand. It has been demon- The Importance of Creative Activity in Elementary Education 41 strated that children react differently toward objects or lownefeld on dif- ferent developmental levels.

What can be explained is a procedure.

Creative and Mental Growth

This is as clearly evident in the minds of artists as it is in the minds of educators and psychologists. The Pennsylvania State University, Altogether learning is very complex. For example, if we think that a line is something living, it may move, it may live in friendship with another line, it may go visiting certain places, it may become excited, jump up and down, it may be quiet and calm, it may be aimlessly wander- ing about, or it may be “on business,” going directly to a predestined place.

Ten years later he became head of the newly founded Department of Art Education. It is needless to say that everything Johnny does and to which he is exposed has some influence upon him.

Water color may be an obstacle to his expression. It lies in the nature of a creative experience that they all unite to form an entity. Bob uses the tree only for climbing; apples have no meaning and are therefore not included in his painting.

Four types of experiences seem to be outstanding: This all de- pends on individual needs. It is therefore of little value for the appreciation of a work of art simply to determine the content of it. Fluencv can be thought of as being both verbal and nonverbal, but certainly the creative person has the ability to come up with numerous solutions or ideas on a problem.

In the same way growrh we can identify with colors and tones, we growthh also identify with materials we are using.

Views Read Edit View history. Instead of talking of skills or lowenfeldd characteristics, we would then be more justified in talking about the behavior of lowenfdld and elements of design under various conditions.


Let us analyze the circumstances in which integration occurs and investigate the elements that promote or impede integration. They may even be very proud when they are through with their activity. This knowledge cannot be achieved without a thorough study of what we can expect in modes of expression in the different age groups and on the different mental levels.

Creative and mental growth – Viktor Lowenfeld, W. Lambert Brittain – Google Books

In a well-balanced educational system, in which the development of the total being is stressed, each individual’s thinking, feeling, and perceiving must be equally developed in order that his potential creative abilities can un- fold. This makes him better understand Dad. Again we have to start on the level of the child. All these experiences will either lowenfelx undeveloped, disregarded, or as separate parts in a purely literal interpretation of a subject matter.

As he creates in the spirit of incorporating the self into the problems of others, he learns to creativr his imagination in such a way that it will not be dif- ficult for him to understand the needs of others as if they were his own. About five such papers have been delivered. It may happen that a most “primitive” and from an adult viewpoint, ugly work may be more significant to the child than menatl well-executed to the adult’s eye, pleasing work.

The extension of the frame of reference constitutes one of the most im- portant principles in art education, or indeed, in education in general. For example, “sitting in a swing” will immediately bring to consciousness, in the sensitive child, all kinesthetic feelings of swinging back and forth, even the tickling sensation in his stomach; he menta feel the texture of the rope in his hands, and he will experience the correspond- ing up and down of his motions with that of the horizon.

This extension of the frame of reference has sensitized the child to his own mejtal as well as to the meaningfulness of the drawing area.