Download Citation on ResearchGate | Creative and mental growth / [by]Viktor Lowenfeld | Incluye bibliografía }. Creative and Mental Growth has 46 ratings and 1 review. Children are the essence of this book, but more than that, they are the essence of society. Creat. Lowenfeld’s Creative and Mental Growth was published and became the single most influential textbook in art.
|Published (Last):||23 January 2013|
|PDF File Size:||2.56 Mb|
|ePub File Size:||7.31 Mb|
|Price:||Free* [*Free Regsitration Required]|
Allen Barkkume rated it liked it Nov 28, Alexa Actionable Analytics for the Web. On the other side this disunity is clearly expressed by an art expression that because of its extreme individualistic character, almost loses its com- municative meaning.
The final product is only the result of the preceding experience. This represents the greatest lowenfelc ing of the meaning of integration.
Creative and mental growth – Viktor Lowenfeld, W. Lambert Brittain – Google Books
His relationship to a dog may be one of love, friendship. East Dane Designer Men’s Fashion. The Spelling Teacher’s Lesson-a-Day: She knows she can repeat it again and again.
To call the child’s attention to the “poorness” of his product would only have a discouraging efifect. These 36 abstract figures are manipulated and reshuflfled from kindergarten through college. It is impossible to live cooperatively and understand the needs of our neigh- bors without self-identification.
However, it is not these figures or their rearrangement that make for mental growth, but rather what these figures stand for.
Our knowledge has registered that. We all know that it consists of three different colored lights.
Full text of “Creative and mental growth”
Altogether learning is very complex. Used at the right time, it should help the child in his desire for self-identification.
This intrinsic value of any art experience seems to be of great educational significance, since it promotes the natural tendency of growth. From the Publisher Children are the essence of this book, but more than that, they are the essence mentap society.
Cutting up a piece of lumber and putting the pieces together for a wood project utilizes this ability to reorganize. On lowenfeod contrary, it expresses his likes and dislikes, his emotional relation- ships to his own world and the world that surrounds him.
This initial intellectual process is an important part in creative activities. During the creative process he not only used his intellect in finding out about the tree, the swing, the fence.
It is self-evident that vicarious experiences lend themselves just as well to creative motivations as experiences the child actually has gone through. Austrian Viktor Lowenfeld — was a professor of art education at the Pennsylvania State University.
If their minds are blocked and move around in stereotypes, their frame of reference needs to be extended. One of the authors of such a workbook defended his method by saying, “I am only interested in promoting better arithmetic — I don’t know anything about art.
What has been said for the appreciation crearive the child’s creative work is basically true also for the appreciation of great works of art. But, except for the arts, the senses are apt to lwoenfeld ignored. Illumination, light, or shadows do not influence the child’s form concept. Literature and Informational Text In order to understand and appreciate the implications of these con- trasting tendencies between art and society, let us compare some phases of the life of an educator of the present with one who lived in a previous culture.
One of the lowenfrld ingredients of a creative art experience is the relation- ship between the nental and his environment.
He learns by experi- ence that the lines of a crayon are different if he puts different pressure on it, that he can use the broad side of the crayon — all this he learns by trial and error, and soon incorporates into his picture.
That they love things is not always an indication that those things are good for them. However, in the field of art, originality is stressed; responding in usual or common ways is not necessarily the lowenffeld answer. In using imitative means, then, it is educationally im- portant that teachers become aware of how imitation is used. Perhaps the swings on the apple tree come first to vi,tor mind. It is therefore important to base any aesthetic appreciation on the reaction of the vitkor, and to expand his aesthetic level from there on.