Georg Tappert was a painter who came into action in the 1920s' art reform current in Germany and after World War I. During this time he got the spirit of reform; the most important thing of modeling expression is "searching for one's own image, developing it, and having one's own interpretation." He taught this spirit of art reform of the 1920s' to students at the Art College in Berlin after the break down of Nazism, and indicated its development possibility. This spirit became the foundation of the postwar reformation of Art College, and it succeeded in its development to lead to the present age.

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The changes of children reflect the changes of society and changes of adults, and the responsibility lies with adults. Children are a mirror of society. There are children's inspirations which can only be felt by means of listening to invisible things and emptying the mind while trying to feel them with all of the senses. The purpose of education is to equip children with the solid power and a big heart to feel, think and realize the joy and meaning of conceiving and materializing their dreams and wishes. Art education in primary education is entrusted with an important contemporary mission. Here, how to perceive the positives in children's formative activities is discussed from various viewpoints.

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This research is not intended to construct logical approach of learning of art or guidance of art education but to find essential initiatives of art activities from how children expand the plastic activity. Here, we reveal a root of initiative of expression by observing children's stream of consciousness of the plastic activity. Children's plastic activity such as "sandplay" is an activity that evolves with connection of each "individual policy." That is, children generate "stream of consciousness" through the whole experience of plastic activities "sandplay" and enjoying the plastic activities in a chain of other's consciousness. In other words, "sandplay" draws up on each other's relationship or plastic consciousness and in consequent, evolves the individual's spirit, supports her/himself, to bring happiness in her/himself. This means children who participate in plastic activities are experiencing something similar to that of a real artist.

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This article systematically verifies the issue whether there is any evidence for the assertion in the study Reviewing Education and the Arts Project by the team led by Ellen Winner under the auspice of Harvard Project Zero that art and music contribute to improve the achievements in other subjects. In this discussion, the following three items were re-evaluated in the relations between arts and other subjects: (1) Does the learning of arts contribute to improve the achievements of other subjects? (2) Relation between the achievements in English class and art, and (3) Does the learning of arts brew creativity? Then, re-evaluated at the results of analysis of music, dance and mathematics. At the result of REAP and based on the information learned in the REAP symposium, this discussion re-evaluated the validity of a series of comments by Winner and the art education conducted in the United States, and examined the justification of art education such as the viewpoint of cognitive psychology from "Transfer of learning" by Project Zero.

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The purpose of this research is to establish a criterion for analyzing how students write about art; to examine the factors of learning appreciation from a viewpoint of expertise. At first, this research defines the expertise of writing about art from the three following points: (1) the levels of appreciating behaviors, (2) the diversity of appreciating skills, (3) the sophistication of context. Meanwhile an art writing software program is administered to 32 university students. According to the criterion, the results of writing are analyzed. The records of students' performance on the software program are collected and classified into 4 types. However the relationship between the types and the results of writing is not clear. On the other hand, the factor of students' disposition is confirmed to be important according to the case-study results. Specifically, students are able to improve their writings better, when they have their own questions about a painting from the beginning and search for their answers with appropriate reasons during writing.

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Perspective is known in general as linear perspective, chiaroscuro and color perspective. But a picture which is in two-dimensional expression has been painted using various perspective techniques adapted to the times and purposes. This paper describes a trial teaching in drawing various perspectives for upper grade pupils who are beginning to have an interest in perspective drawing expression technique. This study made the children understand the difference of perspective occurs by the difference of culture and history. Through this study, the children would learn there is no single way of looking, and that could widen and deepen their flexible way of thinking. This study would broaden their point of view and would have an effect for building up their character.

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The aim of this essay is to examine through a narrative analysis of an interview on creating experiences of collage how the physical experiences lead to a mental "self-understanding." The analysis shows that the creating process consists of "self-dialogue" presenting within selves "inner-others" like "inner-models," noticing differences from them and styles of selves, and then self-understanding. In the process, one can find oneself in one's life through narrating one's creating process afterward.

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This paper is a basic research which makes 3D animation production, as educational material in the real class room of art education. In this paper, I reconfirmed a current result of my research, paid attention to the conception of PBL tutorial and child's peer supports as a concrete instruction method of 3DCG expression on an educational site in the elementary school and the junior high school, and examined the possibilities, the problems that should be overcome, and the expected effectiveness, concerned with whether instruction of making 3D animation work is actually possible or not.

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This article focused upon the nine-year continuous art education from grade 1 to 9. In this study the new educational system combining elementary and lower secondary school in the model schools admitted by Japanese Ministry of Education (MEXT) was outlined. Also, the art education policy in the art and craft section of the Japanese National Course of Study was reviewed. The literature review of the MEXT model schools and the private educational study groups was implemented to clarify the present conditions and perspectives in the art education practices in terms of the following issues: (1) the art educational policy between elementary and lower secondary school, (2) the features of art educational practices in the model schools by MEXT, (3) the features of art educational practices in the private study groups, (4) the key points for the implementation of the nine-year continuous curriculum frame work

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This paper looks back across numerous practical examples of teaching materials developed taking Shiko Munakata and Jomon culture, local cultural assets, as their subject matter, and makes a number of observations on the meaning and logic of appropriating such assets for use in teaching materials. In a broad sense, taking something and using it as teaching material involves being mindful of the aim of the lesson, and putting together a practical methodology for the whole of the lesson in order to realize that aim. In this case, use as subject matter and teaching material (in a narrow sense), plus differences between the individual methodologies (lesson format and method of instruction, use of duplicating media etc.) are clarified. Using as teaching material in a narrow sense means exploring and composing lesson content divorced from any individual methodology. Here the relationship between the process of conversion into teaching material as part of the development of teaching material, and the aforementioned processes, is clarified and found to be the originality underpinning lesson content in schools.

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This paper reexamines the concept of "design by the child" in the process of design that took place in the general education of our country for the first time, and tries to get suggestions about the meaning and the way of existence of design education in the general education. From the historical materials such as educational magazines since the renewal of the course of study in 1958, I considered the creation of the principle of design education in the general education by analyzing the concept of "design by the child" which the design researchers showed at the time.

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The objective of this study is to clarify the philosophy and actual practice of the Owatonna Art Education Project through an analysis of those books published by the project. The Owatonna Project aimed to reconstruct the concept of art and develop a fundamental course in the study of art for the school through the research of the arts in the daily life of the typical American community. It is pointed out that the project was effected by the pragmatism aesthetics. This project, however, could not reconstruct the concept of art and art education, let alone social institutions. On the other hand, the project attempted to reproduce the social, political, economic constitution of typical America.

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"Kids Arts College" is a new school established in Kyoto University of Art and Design. Nature and the arts are the key concepts of the education. The dialogue and the collaboration by the child and the adult invent educational practice. Jurgen Habermas's communication theory and Joseph Beuys's enhanced art concept made clear a democratic dynamism of a social creation that is practiced in "Kids Arts College". The art became the concept of creativity that includes a social creation.

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This article considers art education for children in society, standing at a problem that the aim of the recent practice of the art education isn't generally easy to be understood. And it also considers the course that the art education has developed in society, and the formation of the practice of art education, from the viewpoint of diversity in art. First, by examining about the diversity in art in education, this article describes the peculiarity of the receipt of art in Japanese society and the child art since the modern age. Next, retracing the course in which art education has been popularized in society and the methods of the practice has diversified recently, this article explains that the methods are based on diversity in art that had surfaced through the consciousness change in the modern paintings and the birth of art as action. Last, since this article describes that the aim of art education based on the diversity in art is "experience of value", it considers the ideal formation of the practice of art education in society.

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Second-generation Bauhaus educators (including those related to the Itten-Schule) contributed to the art education curriculum at the Staatliche Schule fur Kunst und Handwerk Saarbruken during the postwar period. The author illustrates this fact through examples in literature, research on references, and interviews with graduates. First, the effects of Bauhaus education by Otto Steinert and Hannes Neuner are examined. Then based upon work produced during classes taught by Boris Kleint and Oskar Holweck, it is shown in concrete terms that there was active use of the ideas of Johannes Itten in art education during that period. The author also covers the education of professional art educators and exhibition activities at the school, and subsequently points out that the principle members of Bauhaus' second-generation educators contributed to postwar art education and activities, and gathered in Berlin in the 1930s. The author also addresses the importance of noting that these educators formed the foundation for art education in the postwar period.

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This study aims to investigate the influences and role of the publication of "Design", the Korean design magazine, on the design education in Korean higher education in the 1970s. I have firstly reviewed the magazine "Design", from the first issue to volume 31 (October, 1979) and secondly analysed the interviews with two people: Lee Young-hye and Park Noh-seok. Lee Young-hye is the president of the Design House which is the publisher of the magazine, "Design", and Park noh-seok is the professor of the design department of the University of Ulsan. The interview analysis has focused on investigating the correlation between the design education in Korea and the magazine, "Design". In conclusion, it has been found that "Design" played a role not only as an information-giver on design, but also as a textbook in educating students.

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The objective of this study was to investigate young children's process of drawing in the transition from the pre-schematic to schematic developmental stage, where they acquire a concept of forms. We examined how these young children experimented with and developed forms. We observed and collected data on children's drawing activities during pretend play where their imagination was encouraged. Focusing on moments when they were groping for specific forms, we analyzed the data to explore the situations and environments that young children confronted. Two findings were demonstrated: first, children's ideas that emerged in the middle of play led them inevitably to seek new drawing forms; and second, spontaneous interaction with friends was effective in helping them develop meaningful forms.

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This thesis develops issues in the education of design. In the education of design, much has been made of creating works and studying basic design, such as color and structure. On the other hand, the viewpoints from the roles and functions of design itself, such as enriching our lives more, or making use of design in our lives, have been weak. The problem of the distance between the knowledge of general design whose notion is expanding, and the study of design which does not change causes confusion in the education of design. In this thesis, I approach the education of design in two ways. One way is to reconsider the notion of design, that is to say, how "design" is defined in general. The other way is to demonstrate the position of the education of design in postwar art education in junior high schools through following the changes of the government course guidelines. Through these two ways, this essay examines the issues and the abilities in the education of design.

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The mobile which Alexander Calder created is original and an attractive work. A purpose of this paper is to clarify the relation of the postwar design education and mobiles as teaching materials. Therefore I show how the mobile had been discovered as a teaching material. Next, as a field of vision of the education that the mobile has been taught, I considered Solid and Space in the learning of construction, one of the methods of design education. In this study, the mobile has been used as the teaching material which was appropriate for the fundamental learning of design education.

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In this study I consider the practice of Kazuo Nagao who was a teacher at Kamo Agricultural and Forestry School in Gifu Prefecture in the early period of Showa. He wanted to use trees for industrializing, and by this he had the ideal viewpoint of wanting to rejuvenate the village. There was a device of the guidance to learn the educational view of voluntary self-learning of students such as "one person one student, selfcorrection, mutual education" and "correct knowledge and technology" at the curriculum. However, the practice did not take root in the area. In addition, I considered the practice of Taisuke Yamashita of the Furukawa Elementary School in Gifu Prefecture, where woodwork was rooted more as a local industry for the same period, and as a result it is an example of the manual arts course in the local district.

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Creativity is generally thought about as a special function of the brain, but it is not so, and it should be thought of as an environmental world perception. A perception of new invariants (affordance) in the drawing is a true perception in the ecological meaning, and it in itself is connected directly with the creation of life. To discuss these, at first, I examine the theory of the ecological psychologist J. Gibson, about the perception of a transmitted picture (an image). Next, I try to connect this theory to a thought of G. Deleuze and a thought of J. Krishnamurti. (J. Krishnamurti is a religious thinker born in India, and he is also an educator.) And I consider the creative meaning of the perception in the drawing.

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In this article, I considered the collaborative organization of activity in the process of making a video letter with participant perspectives. In this case, three children constructed the activity through making a video letter. Their communications increase in density gradually while making the video letter, and they shift to reflective communication. Their individual action shifts to evolving a division of labor that consists of announcer, cameraman, and director. Their activity was organized for what is not yet there. They made a collective activity system by collaboration for their object. In short, the activity they organized is a collective instrument to create an object. Their learning occurs as distributed cognition.

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After the Second World War, the first and the second generation of bauhaus have contributed to the change of artistic expression and the world of Art Colleges with the help of bauhaus pedagogy. In Germany, with their activities of higher education, they changed the traditional art colleges and art academy. In the USA similarly, bauhaus pedagogy created academic artistic changes, and gave big impact upon the art education of higher education in the country. In this paper, we will research into the New bauhaus as Reformative Art School in Chicago in the 1940-50s and Contribution of bauhaus Pedagogy. (Thanks to Special Collection Center in University of Illinoi at Chicago for using of literature (Article), "Peter Selz, Richard Koppe, The Education of the Art Teacher. School Arts. April 1955" in Collection "John Walley Papers", Box 7.)

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In this paper, we examined the evaluation of the "ability to conceive ideas and concepts," one of the evaluation criteria for the "ability to think and decide independently," which is one of the guideline concepts in the "Art", and "Drawing and Crafts" departments. It is also a standard to evaluate the "ability to think and decide independently" in the Four Academic Performance Standards" presented by the Minister of Education, Culture, Sports, Science, and Technology; we confirmed its historic background and characterization. At the same time, we employed an approach of our own based on the Taxonomy of Educational Objectives by B.S. Bloom and the theory of "expressive objectives" by E.W. Eisner. We also reexamined the "ability to conceive ideas and concepts" as an "ability to think and decide independently" through a series of discussions and examinations based on actual classes of the author. As a result, it was learned that, as we are capable of accumulating experience by utilizing certain opportunities in innumerable formative art expressions existing in our familiar surroundings and in the natural world, it is effective and useful to expand the range of "instructional objectives" for subject matter and to organize forums to build closer relationships among students.

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Movies as contents were made to support art education lessons for students in the elementary school teacher-training course, and as supplementary teaching materials they were made available as video podcasts. The content is strategies of the color drawing or painting material for children. This paper describes a result of the practice of the method and the content of the delivery, about where the video podcast technology is located in the past of IT and art education research, and states the advantages.

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The study aims to analyze the influence of the learning environment on building children's self-esteem, and to verify the educational utility of mutual art appreciation. I conducted two classes for fifth graders in an elementary school, using one of them as an experiment group and the other as a control group. In order to examine the influence of the learning environment on the formation of self-esteem, the experiment and control groups were compared. In addition, two psychometrics were measured during the pre-and post-tests. As a result, at the post-test, the experiment group demonstrated a higher self-esteem score than the control group. Thus, it can be concluded that the learning environment influenced and tended to help in building the self-esteem of children through mutual art appreciation.

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The purpose of this research is to examine the kind of pictures that current junior high school students want to draw. We examined pictures from two perspectives: realism and individualism. To achieve our purpose, we presented junior high school students with a questionnaire regarding drawings during art class. One of the questions asked participants to select one of three drawings of varying levels of realism that he/she would like to draw him/herself. The ratio of students who selected the most realistic drawing was about the same as the ratio of students who selected the least realistic drawing. These results suggest that current junior high school students favor both drawings with high levels of realism and drawings with low levels of realism.

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This paper first of all makes children's own works-the production of which is motivated by subject matter such as their emotional lives and worldviews-the object of fully-fledged art appreciation education. Doing so in some respects connects children to the universality of art appreciation, for example by ranking their works alongside examples of fine art and cultural treasures that have emerged from the exploration of humanity over the centuries. When older children appraise their own works, there is a certain recognizable pattern, and the validity of this in terms of the science of art is discussed in accordance with American theory on the development of aesthetic sensibilities. Then, by conducting a close artistic-scientific study based on this, a number of questions are devised and set as viewpoints. Secondly, a practical methodology implemented on multiple occasions was used to verify that the experience of appraising one's own works using a questionnaire is effective in nurturing a wider appreciation of art works, and the ability to appraise them.

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This thesis deals with the connection of Yuji Ishiguro (the teacher of the elementary school in Akita Prefecture) and "jiyuga" education in Akita Prefecture. 1. Ishiguro wrote the documents about "jiyuga" education in 1921. It was the only thesis about "jiyuga" education in Akita Prefecture at that time. This thesis researched about the necessity of "jiyuga" education, the respect for the children's expression and the importance of the picture after the Post-Impressionists. 2. Ishiguro gave the result of the practice of "jiyuga" education in the Chikuzan Elementary School in Akita City from 1922 to 1923.

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The present research focuses on "mayoimichi (doodling)," an art education practice of Haru Madokoro, and considers its significance and related issues. "Mayoimichi (doodling)" intends to mean everything from flat-plane components such as "playing with lines" and "scribbling" to three-dimensional components using materials. Inspired by the "maze play" of children, Madokoro made this his subject for his own, unique design education. As the present research method, investigation was made of documents related to design education, chiefly of the writings and written materials of Madokoro. As a result, it was learned that through "mayoimichi (doodling)," which takes as its subject the desire of children to express themselves, Madokoro attempted to reconstruct "kousei kyouiku (design education)." It was also made clear that, from around the beginning of the 1960s, an issue was that the methodology of basic design became a priority in design education.

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This paper tries constructing logic of learning as signifiance in art education. Firstly, we confirm that feature of art education is children generating signs through their sensitivity. Secondly, we investigate it from two sides. One side is the construction of signs. Another side is the deconstruction of signs. By children using their own power, both are possible. The two sides realize learning as signifiance.

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This paper discusses the possibility for and content of "Art Education Wiki," an art education site opened on the Web. A type of web application, called Puki Wiki, was used to create "Art Education Wiki," that allows users to edit web pages while sharing knowledge with others online. The user-participative style encyclopedia, Wikipedia, was used as a reference for the construction of a glossary for "Art Education Wiki." The site is intended to be utilized by users (who are interested in art education) in various ways, such as the compilation of a glossary for art education, an introduction to papers and teaching materials, a place to present one's digital content, etc. It demonstrates one model of an art education implementation on the Web through the creation of a site that aims at a participative/cooperative style Web site construction and the introduction of art educational content.

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In recent years, attention is being paid to Environmental Art as an activity to solve environmental issues. But to create a teaching material of Environmental Art, realization of a representation activity as a sure learning, that won't end as empiricism or a principle of events is needed. Therefore, to use Environmental Art as a teaching material, adequate consideration of why it is needed, what kind of content or method is desirable, and what kind of ability children can cultivate is necessary. This research is about considering the structure of learning, the significance and the effect of using Environmental Art as a teaching material for children in representation activity, through the teaching practice "Art of a Firefly-Mushroom".

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The key to establish art and art education is "visual perception". Visual perception is born in the brain by learning. This discussion stands on such assumption and suggests the art education as an education of visual perception. In the past and today, and perhaps in the future, culture and trend occurs with people's perception, appearance, thoughts-in other words the particular visual perception. Art does this visual perception in form. Therefore, learning art results with the learning of visual perceptions under certain culture and trends. The discussion focuses on 3 aspects: meanings of visual perception, changes of art styles as the history of visual perception and the treatment of visual perception in Japanese art and craft education. As a conclusion, the art and craft education expected under today's social circumstances could be explained as the "education of visual perception" which nurtures visual communication capability through art appreciation and expressions.

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"The second generation of Bauhaus people" is a historical category that includes not only Bauhaus graduates but also artists who were fundamentally influenced by Bauhaus and the pedagogy. Gerhard Fietz (1917-1997) and Heinz Troekes (1913-1997) are very important examples of the latter case in Berlin. In this paper, common features (careers and achievements) of them were made clear. For example, they studied modern art in the reformative art schools, closely connected to Bauhaus in the 1920s-30s. After World War II, they contributed to the developments of art and also to the reformation of art education as professors at Art College in Berlin. They succeeded to the fundamental spirit of Bauhaus creatively and activated it. With this term of "the second generation of Bauhaus people", we can grasp the historical dynamics of the influences of Bauhaus and Bauhaus pedagogy as a whole.

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Recent educators and researchers emphasize the necessity of considering visual culture including new media, popular culture and social contexts. Yet the introduction to Art History has been often taught using a lecture-based, "high art" canon even in Japanese academic institutions. This article describes a lesson plan of Art History for digital communication designers who aim to work in the game, movie, web or publishing industry. In this lesson, various historical and contemporary visual works are presented and correlated to character storytelling, icon design, social messages, economical backgrounds as well as physical aspects such as colors and compositions. Students seemed to find more relevance and interest when the theory was taught with hands-on art practice than when they listen to lectures alone.

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Abe Shimekichi is the person who studied handicraft education from the latter half of the Meiji era to the first half of the Showa era. The development of liberal education during the Taisho period influenced the handicraft education as well. As a result of the influence, the creation concept of Abe changed. In this study, I thought about the change of the creation concept of the handicraft education theory of Abe. As for what I understood here, while Abe changed the creation concept delicately from the period of the early days of the study, he did not change the purpose of the handicraft education. This handicraft education theory was suggestion from a teacher-centered way of thinking.

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In this paper, I study the contribution of L. Moholy-Nagy in art education, from his German years to his American years. While Moholy-Nagy formed his modern theory of art expression through his participation in the avant-garde movement as an artist in 1920s Germany, he developed his philosophy about art through his involvement with the anti-Nazism movement as an intellectual exile in America during the 1930s-1940s. Therefore, he wove these ideas into modern art pedagogy and conveyed them to his students through his teaching activities in his school, the New Bauhaus. Thereafter, his students disseminated his ideas, and thus gave rise to a new culture in Chicago through their contribution to "Momentum," the movement for reform in art and art education in the universities.

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I wrote about the role of preschool teachers in art education. There are three roles: the first in relation to the subject setting, the second in relation to the activities of the child, the third in relation to evaluation. I discussed the importance of children's interest in and their grasp of the subject in the stages of development. I provided the example of preschool teachers' verbal and nonverbal interactive language. It is also important to listen to children while engaged in activities.

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This is a study of the birth and development of 'soga kyoiku' (daily life's picture education). My main consideration was the relationship between Humitoshi Sato's teaching method in Nagatoro Primary School in Yamagata Prefecture, and the ideas of the art educator, Ryusuke Akatsu. I gained a greater understanding through Sato's papers in Nagatoro Primary School and Akatsu's books and papers. In conclusion, I found that Akatsu influenced Nagatoro Primary School with ideas rooted in a 'folk lifestyle', 'kyodo kyoiku', otherwise known as 'folk education', which was taught in art. This was complemented with the appreciation of art education, also in the folk style. 'Soga kyoiku' held the view that a folk lifestyle was fulfilling and powerful. As a result, 'soga kyoiku' had a great effect on art education during the early Showa era (1926-1936).

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This paper examines the art education carried out in colleges, art museums, and secondary and primary schools since the 1980s, changes in the content of that education and educational studies, improvements in laws relevant to art education, and economic factors affecting it. In particular, it explores the additional contributions made by art museums to the art education previously carried out in schools, through art appreciation training and workshops. At present, many sites of art education being developed are broader in range and more complex than those of schools or museums. This paper presents a multi-faceted discussion of the effectiveness of education based on the educational theories and methods of "art management," which are suited to large-scale art activities involving production and planning of art projects.

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Finland, the country known as the origin of craft education, has also become known as the world's leading nation in compulsory education, according to the results of the PISA performed by the OECD. This paper examines the conditions of craft education during teacher training in Finland, based on the national curriculum issued by the Finnish National Board of Education, interviews with professors in the Faculty of Education at the University of Jyvaskyla, and the observation of craft education to train teachers who are assigned to a specific class. As a result, I was able to discover certain characteristics such as a focus on group learning and the comprehensive handling of curriculum content.

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To clarify the meaning of children's artistic expression, I assumed that artistic expression is media. I attempted to explain children's artistic expression with Marshall McLuhan's Media Tetrads. The theme "Mysterious world in the box" was practiced by the fifth grade pupils and I investigated their expressions with the question paper. This article is based on the hypothesis of Marshall McLuhan's "Laws of Media". Artistic expression as media extend the child's desire and wish, recover a physical sense, and gain the sense of relief. But the excess of extension obscures the boundary of the reality and the imagination, declines immediate participation in things, realism, and the desires of reproduction.

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The purpose of this paper is to explore the ideological backgrounds of the art educators who insisted the importance of expression based on realism and furthermore to clarify the characteristics of each standpoint by comparing the thoughts of the artists who pursued realism in the art movements with those of art educators. Also, it is another purpose of this paper to organize objectively the art education movements in post-war Japan by regarding realism not as an antonym of modernism but as a current within modernism. This paper will reveal the relationship between art movements and art education movements.

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Yasuo Kuniyoshi (1889-1953), a Japanese painter born in Okayama, was one of the most successful artists in the US in his days. In 2006 the Kuniyoshi Yasuo Project, established by OMA (Okayama Prefectural Museum of Art), published a guide for appreciating his work. The guide includes four lesson plans designed for junior high school students. In this paper we seek to demonstrate the advantage of the lessons shown in the guide. Experimental research is designed and statistical analysis is carried out. The empirical proof is obtained to show the effectiveness of the plans.

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In this article, I examine early modern Japanese girls' art education at Sekiso-sha, which was established in Kobe in the early Showa era and run by the painter Fumiko Kametaka. Most students were girls from affluent, upper class families in the region, and their art lessons were considered to be a luxurious addition to their education. Though those who excelled technically entered their work in public exhibitions, they never became professional painters. Their artistic activities were often called "feminine accomplishments." These girls were expected to become sophisticated mothers, not painters, as their future prospects were determined according to their class and gender. I would conclude that the activities of Sekiso-sha provided a form of art education which was thoroughly circumscribed by social norms of class and gender.

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The implementation rate of the regular test of art class in Nagoya City is 62% (results of a questionnaire with a response rate of 36%) and the rate has decreased compared with the period when the present college students were junior high school students. The contents of the art test have been the same style as the entrance examination implemented fifty years ago. In the United States, the test of visual arts has been carried out on a national scale. Therefore I have examined part of the national achievement test in the U.S. (implemented in 1997 for the 8th grade), through adopting it to some Japanese students equivalent to the 8th grade. As a result, the Japanese students are excellent in the ability of representative drawing, but, as to the ability of analyzing, interpreting, and evaluating the works of art, they are lacking. The future test for art class in schools should be not only for the assessment of "knowledge and understanding", but also should be the systematic assessment including "thinking and judgment," and "skill of". It is not only for the evaluation of student's abilities by a teacher, but also for the student to confirm their own results.

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