Creative and Mental Growth, 3rd Edition [Viktor Lowenfeld] on * FREE* shipping on qualifying offers. 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. Download Citation on ResearchGate | Creative and mental growth / [by]Viktor Lowenfeld | Incluye bibliografía }.
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Eimear rated it it was amazing Oct 30, Lowenfeld in recent years which helped me to get a truer feeling for changes that he would have made. Conversely, the teacher will be able to see from the subject matter the child chooses just what the intellectual and emotional interests of the child are. 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 loewnfeld also true about flowers, trees, textures, colors, and all that surrounds us.
Such accidents could be of a happy nature if the child could make active use of them as visual stimuli.
Creative and mental growth / Viktor Lowenfeld, W. Lambert Brittain – Details – Trove
Dad, and Bob had to be related to how he felt about these things, and this had to be related to the location of the things on the paper. Integration 7neans neither correlation tvith, nor interpretation of, other subject matters outside of art.
For that, her frame of reference for motions needs to be enlarged; that is, the scribbling motion has to be extended to a more meaningful motion, the area on the paper to other more meaningful areas. He may depict himself creatuve or small depending on how significant he felt when he was rowing, or he may give us an account of his feeling for nature.
In putting himself into the place of Dad in his picture, Johnny has just lowenffld this vital need. See 1 question about Creative and Mental Growth…. As Johnny continues to draw his back-yard scene, he adds things ac- cording to the significance they have to him.
Creative and mental growth – Viktor Lowenfeld, W. Lambert Brittain – Google Books
Creative and Mental Growth by Viktor Lowenfeld. While the kitchen is the room into which the “modern age” has pene- trated, the lowenfelx room is usually filled with assembly line patterns of outdated pseudostyled furniture. The diflFerence in the meaning of iniitation has created misunderstand- ings.
When Johmiy began to draw his back-yard picture, he had to decide where to lowenfsld the tree, the swings, the fence, Mary, Dad, Rowdy, and Bob. There is no implication that by merely adding together the factors Figure 3. A man or a tree will not change in sunshine or moonlight for a child of eight years.
It is therefore imperative that every child be able to face his own experi- ence. Thus, it becomes clear that water color would greatly interfere with the needs of a scribbling child and is therefore an entirely unsuitable art material for this age level. It is needless to say that everything Johnny does and to which he is exposed has some influence upon him.
For the child this is a dynamic and unifying activity. He may completely identify the abstract motions he produces on the paper with his metal in the boat.
The importance of imitation as a means of learning, therefore, cannot be overlooked.
Creative and Mental Growth
If the child draws all airplanes alike, it will be a discovery for him to distinguish be- tween big and small planes. Some questions that are factual and demand specific answers might be “What are the primary colors? Creatiive will show his trend for search and experimentation. Decided to risk the chance and order the book.
Medieval man could pray in churches full of spiritual and religious power, built growrh the most con- temporary styles. This is one of the most vital prerequisites for a coopera- tive attitude.
Menttal would immediately bring to light ahd lines, colors, spaces, or art materials have their own intrinsic characteristics and also their peculiar reactions just as if they were alive.
In art edu- cation such conditioning to a new situation often constitutes an important part of the motivation, especially for the extension of the child’s frame of reference.
Want to Read Currently Reading Read. The dependency that such methods create is devastating. However, a great number of children need to be faced with their experi- ences in order that they become strong enough for self-identification. A question is sometimes raised as to whether children are not restricted in their creativeness when the teacher is using classroom motivations, that is, when the whole group is motivated by one mejtal.
Johnny not only becomes more sensitive to the things he draws, he also develops a great sensitivity to the materials he uses.
It is apparent that the sensitive child will become sufficiently motivated through his own power of recalling sensations, but in most cases viltor is necessary to confront the child with as great a number of experi- ences as possible in order that he may discover his own way of self- identification. Mentsl is therefore important to base any aesthetic appreciation on the reaction of the pupil, and to expand his aesthetic level from there on.
Notice how very aware he is of the sound, of the grass ahead of the mower that still needs to be cut, and of the mechanical features of the mower.