Imagination. The word brings so much to mind for us today. If there’s one thing that everybody can agree on for children, it’s the need to help them develop a vivid imagination through school, play, and well… everything they do. Or perhaps, ‘develop a vivid imagination’ is the wrong way of putting it.

“Every child is born blessed with a vivid imagination,” said Walt Disney. “But just as a muscle grows flabby with disuse, so the bright imagination of a child pales in later years if he ceases to exercise it.”

So maybe it’s not children who need to develop an imagination, it’s us adults who need to rekindle it. 

Maybe the problem is school. Maybe we’re the ones who educate students out of imagination and creativity, as Sir Kenneth Robinson has claimed. In a TED talk from 2007, entitled “Do Schools Kill Creativity?” he argued that we have rethink schooling entirely for our new era because of how our organized structures of school only focus on one type of “academic achievement.” This has become a popular idea and might be connected to another recent movement in education: Howard Gardner’s idea of multiple intelligences. There isn’t just IQ, but other imaginative and creative areas of intelligence that traditional schooling disregards or at least categorizes as not as valuable. In addition to verbal and mathematical intelligence (which are often prominent in standardized testing), Gardner posits that there are visual-spatial, bodily-kinesthetic, musical, interpersonal, and other intelligences. The multiple intelligences theory has had its critics. One article said,

Gardner’s theory has come under criticism from both psychologists and educators. These critics argue that Gardner’s definition of intelligence is too broad and that his eight different “intelligences” simply represent talents, personality traits, and abilities. Gardner’s theory also suffers from a lack of supporting empirical research…. Despite this, the theory of multiple intelligences enjoys considerable popularity with educators. Many teachers utilize multiple intelligences in their teaching philosophies and work to integrate Gardner’s theory into the classroom. (see Gardner’s Theory of Multiple Intelligences (verywellmind.com))

Some parts of this idea resonate with a postmodern retreat from any standards in education. Everyone has their own special intelligence area, no matter plummeting math and reading scores. Perhaps there’s also a fair bit of sentimentality about childhood in our talk about imagination. But on the other hand, many of these other types of intelligence that Gardner proposed are staples of the classical tradition: music, gymnastic, the prudence to engage with other people in the human world, and the rhetorical skills to persuade and communicate well interpersonally. Maybe Gardner is just repackaging lost arts of the classical tradition as a new psycho-educational theory. Of course, we’ve all probably felt in our own lives how the drudgery of school or work or daily life can seem to socialize us out of imagination and our creative intelligences. 

But it’s not just one side of the aisle that is saying we need to reinvigorate education and modern life with imagination. Anthony Esolen, a conservative Catholic professor and social commentator, wrote a witty book entitled, 10 Ways to Destroy the Imagination of Your Child. It’s written kind of like C.S. Lewis’ Screwtape Letters, with biting irony showing us what not to do. For Esolen the culprits of our loss of imagination actually is the result of our anti-traditionalism. It’s because we’ve lost or abandoned things that progressives would decry, like the power of memory in school, or because we are “effacing the glorious differences between the sexes.” We’ve lost traditional childhood games, and won’t let kids pick their own teams anymore. We overly separate children from the adult world, and we deny the existence of transcendent and permanent things, we also keep children indoors too much because we’re afraid of them getting dirty or hurting themselves. (I rely partly on Justin Taylor’s review on the Gospel Coalition for this assessment.)

To his list from over a decade ago we could add a host of growing modern phenomena:

• Overstimulation through media
• Over scheduling in “activities” and lack of free play
• Loss of fairy tales and quality imaginative literature in school
• Focus on career prep, practicality, STEM, standardized testing and grades

So perhaps we can land on a thesis with surprising contemporary agreement: we need more imagination in childhood and in school. But our agreement may be only surface deep, as the devil really is in the details.

What is imagination anyway? How do we cultivate it? What might Christianity and the classical tradition have to say about the matter? I hope to open the discussion for us of some of these very big and daunting questions. First, we’ll discuss what imagination is and how we use our imaginations all the time in all sorts of ways. Second, we’ll consider how we can cultivate the imagination in our classes and subjects, before concluding that a well-developed Christian imagination should be an important goal of our schools. 

What Is Imagination?

First, let’s try to answer the question “What is Imagination?” It’s one of those terms we’re happy to use all the time, but I’m not sure anyone really knows what we’re talking about. Is it just another word for creativity? Or is it a faculty of the human mind? Is imagination just something we use at Disneyland, or when reading fantastical literature, or is it more far reaching than that? Well, I think the latter in both cases. The imagination is an ability of ours as human beings that deeply informs who we are, how we think, and how we live and relate to others, even if we don’t consider ourselves a very imaginative person. 

When I am trying to define important ideas like this, I often go to Aristotle, that great philosopher, at least as a starting point. Avid readers of Educational Renaissance will no doubt be laughing here, because have been writing on Aristotle’s intellectual virtues for a few years already. But you will remember that, no, imagination is not one of the intellectual virtues, and I’m not about to make it one. I don’t even think the imagination is mentioned in Aristotle’s Nicomachean Ethics… but I was reading Aristotle’s De Anima (“On the Soul”) this summer for a series on The Soul of Education and having unthinkingly assigned myself the absurd task of imagining up a talk on imagination some months ago for the ACCS Endorsed Teacher Training Workshop at Coram Deo Academy (where I serve as Principal), I happily happened upon a passage where Aristotle does in fact define imagination. And I think his definition actually helps us as educators to understand what we’re really after for our students.

The word ‘imagination’ in English pretty clearly features the word ‘image’ in it. And Aristotle roughly defines it as the faculty of bringing images before the mind. In Greek the word is phantasia which comes from a word for light and vision, having a similar idea. It’s the ability to bring pictures before your mind that you are not currently seeing or experiencing; in fact, for Aristotle, it could be more than just pictures, it could include other senses like smells or sounds. It is not sense or memory, because if imagination were just limited to what we were experiencing or had experienced, it would be very limited. The very power of imagination is that we can blend and expand on those things we have seen or experienced from our memories, creating something new. It is a synthetic faculty, bringing together disparate things to make of them something that did not exist before. In that sense, imagination is not like the intellectual virtues which for Aristotle are always true, it’s not knowledge or understanding, because those can’t be false but imagination can be. We can have “vain imaginations” as scripture says, but we can also have the glorious imaginings of faith, where we walk precisely not by our sight.

I hope you can see that on this definition, imagination actually looms larger in education than Disney could have imagined. Imagination is connected to memory, creative production and thought. It is like a master faculty of the human mind that underlies all sorts of more developed intellectual abilities. On this definition, then, I would assert that Disney’s claim that children are born with a vivid imagination is plainly false. Children are certainly born with an imaginative ability that they will naturally use as human beings, but it’s only the trained and developed imagination of the great painter or artist, engineer or writer, that is vivid and alive to its full potential. 

It certainly is possible that children would begin to disuse their imaginative and creative abilities in some areas through traditional schooling, but it is likewise true that they are learning to imagine in ways that they never could have on their own, if it weren’t for us. J.R.R. Tolkien did not lose his imagination by learning Latin and Greek and old English and history. It was the store of memories that he gained through his studies that allowed him to build a compelling imaginative world that arguably exceeded the depth and breadth of any imaginative writer before him. 

I use the example of Tolkien because I think it illustrates the point well. But I think there is a real danger in limiting our view of imagination to fantastical literature only. Imaginations of all different sorts underlie all of the subjects that we teach and in fact our very lives. I mentioned before the possibility of good or bad imaginations. Scripture would teach us to consider that some human imaginings are fleshly, worldly and stereotyped, while others might be spiritually led and philosophically grounded. Aristotle himself asserts that “imagination may be false.” 

This brings us to the first and perhaps the most important point for us to remember as classical Christian educators about the imagination. The imaginings of the heart may be deceitful, they may lead us astray. This is so important to know as we are shepherding our students morally and spiritually. But it is also key academically. The problem in science or math or history class may be that the students imaged into their own mind an inaccurate representation of the truth that we are trying to teach them. We must work with them to correct the picture that they think they know and help them imagine appropriately. Often, this entails going back to the source images, storyline, details. We have to get them to talk out and explain the picture they have in their minds, so that we can surgically assist them in altering it. This process can be difficult; it’s more difficult if we aren’t even aware of how things went wrong. This is also why getting the initial exposure of the vision of some truth right is so important: it’s easier to teach something the right way first, than to struggle with trying to reteach again and again and again.

But before we go too far into applications of this understanding of the imagination, we need to pause and detail just how broad this faculty of imagining really is. A few weeks ago my dad was visiting us from California. And I asked him what he thought about the imagination. My dad is a Christian therapist or counselor, so I guess I shouldn’t have been surprised that he immediately brought up the role of the imagination in mental health and addiction. He talked about how in dealing with challenging and painful circumstances, healthy individuals are able to, in some sense, escape or find positive refuge in imagining a calm and peaceful environment of some kind. He teaches his clients to do this. It made me think of a poem by William Wordsworth that I memorized in high school and taught in some of my first years of teaching:

I wandered lonely as a cloud

That floats on high o’er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

Continuous as the stars that shine

And twinkle on the milky way,

They stretched in never-ending line

Along the margin of a bay:

Ten thousand saw I at a glance,

Tossing their heads in sprightly dance.

The waves beside them danced; but they

Out-did the sparkling waves in glee:

A poet could not but be gay,

In such a jocund company:

I gazed—and gazed—but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,

They flash upon that inward eye

Which is the bliss of solitude;

And then my heart with pleasure fills,

And dances with the daffodils.

Did you catch that last stanza? Seeing this pleasant nature scene provided Wordsworth with a type of wealth, that he could then recollect, imagine again to himself afresh when in “vacant or in pensive mood.” He had gained the ability to cheer his heart against the trials of life. This is part of what our children miss, when they don’t have time in nature.

So, there is this positive role that imagination plays for aesthetics, for quality of life, and even for developing good taste for the higher pleasures. This is part of what a rich classical education is meant to give our students. But negatively, my dad also discussed the role of the imagination in addiction, how addicts will imagine to themselves beforehand the satisfaction of their desire. This shows us that the imagination is a moral and spiritual faculty, that requires self-control and training to focus on, to think on, as Paul says, “whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise” (Phil 4:8). The content of our and our students’ imaginings matters and it’s not something we should leave up to chance. Charlotte Mason, the British Christian educator of the late 19th century, also discusses the positive moral value of giving students a vital relationship with every area of knowledge. Without this, human beings are more easily a prey to the lower and immoral pleasures on offer in our world.

In addition, imagination plays a role in living a prudent and virtuous life through our ability to imagine possible futures. Through imagination we can anticipate the negative consequences of our actions. While we can’t know the future, we can envision potential futures playing themselves out based on how we act and how we would imagine others to act in response. We can also imagine where we want to go in our lives, in our organizations, and we can develop an ideal vision of the future that can serve as our NorthStar while working out the day-to-day realities that befall us. This is how imagination plays in to the intellectual and moral virtue of prudence, both for individuals and for groups of people. We can only act prudently for our own good when we can imagine what will be good for us.

For this to happen our memories need to be stocked with real-world experiences and surrogate experiences through literature and history. This is why the saying, “Those who don’t know history are doomed to repeat it,” has such cache. But reading itself requires imagination for true understanding. We must actively picture to ourselves what we are reading about. Reading is not a passive experience. And in fact, one of the great strengths of reading over more entertainment-focused media, like the screen, is that the mind must do more work to imagine to itself a vision of the content read. Don’t get me wrong! Children can’t picture to themselves what they’ve never seen. But passive entertainment does not stoke a child’s imagination. Reading aloud is a lost art, and we should help students develop their imagination through lots and lots of practice.

How can we cultivate imagination in our classes and subjects?

Well, we can begin by ruling out some things. We don’t cultivate this active faculty of the imagination through iPads, screens, videos, and edutainment. These are crutches for the imagination. It’s not that children should never experience the delights of video; images delight the mind and can help to stock the memory, but if all their imaginative work is done for students, this will not give them the practice of drawing from their own stock of memory to creatively render ideas to themselves through their imagination. Everything in its place. Our world has no lack of exposure to images by way of screen. So instead, we want to provide for them the vibrant life-giving materials of a Christian and true imagination, and engage the memory, then prompt creative production with true, good and beautiful models. The key here is that students do not have everything handed to them on a silver platter, but just enough to get their minds going. We don’t want to overstimulate. 

So what should we do? Well, parents should provide their children with hours of uninterrupted imaginative play. This provides children with the possibility of imaginative flow. We all know how detailed imagination and creativity take time and thought. If every minute of every day is schedule for children, there is no margin, no open space for this. While much of this applies to parenting and not teaching, schools too should beware of the modern temptation to fill every minute and pack every afternoon and evening with sports and extracurriculars. We have a tendency as a culture to believe that more is always better. Chris Perrin of Classical Academic Press has been keen to remind us that the origin of the word ‘school’ is the Greek word ‘schole’ which meant leisure. Often we are going at anything but a leisurely pace at school, and this has negative ramifications for children’s imagination. 

At the same time, this fact about imagination helps be on our guard against some modern ideology around attention span. When pundits claim that a child of a particular age only has a 10 minute or 15 minute attention span, we should be incredibly skeptical. That same child could be glued to the TV for hours on end, exercising perfect attention. Or that child could spend hours at the craft table with crayons and scissors and nothing but his vivid imagination. And yes, the child might struggle to attend to a new and abstract concept in math for which he has not been given any concrete or pictorial representations. Attention span for children is not a fixed entity. It is possible that if your students are struggling to attend that you have not set up the knowledge in such a way as to engage their imagination. 

How else can we cultivate the imagination? Well, I mentioned reading aloud, and so I would be remiss as the author of A Classical Guide to Narration not to call for the narration of classical literature after one reading aloud. If you didn’t know, narration is a practice where students are asked to tell back in detail after a single reading of some rich text. Instead of summarizing or analyzing, the student who narrates has to imaginatively relive the text as he tells it all back point by point. It’s this imaginative recreation of a story or description or explanation that seals this new knowledge in long term memory and engages the imaginative powers of the student. It will over time help students develop a rich verbal and linguistic imagination. 

In order to help students do this well as part of our lessons we should be sure to prepare them for the rich text that will be the main feature of each new lesson. For example, we can set up the reading by providing them with the right images of real plants, animals, buildings, geography, or items, that are featured in the text. We want them to understand it, and so we should provide them with the vivid images that will make sense of the story or scientific explanation. They will naturally then use those images as they narrate the text in front of the class or to a partner later on. 

Another important way to develop the imagination of our students is through Artwork Study, or Picture Study, Charlotte Mason called it. The idea is to place before students the pictures, paintings and artwork of our greatest artists from down through the ages. Give them a couple of minutes to take it all in quietly. Turn the reproduction over. Then have students recount as many details as they can before discussing it. This does not require special training in art or art history to do. We can stock the memory and learn the language of our great visual artists and in this way develop the visual imagination of our students. I could go on to talk of nature study and natural history outdoors. Learning to name the plants and animals in our own area is a wonderful way to start, as is basic sketching of our findings in a nature journal during our excursions.

Of course, we don’t want to leave out geometry and spatial reasoning, as if there were not an imagination proper to mathematics. This calls for a slow, deliberate movement from concrete to pictorial to abstract. In other words, whatever curriculum we use we should be sure as teachers to provide the imagination with the raw materials it needs in the proper order or sequence. Artistry in any area requires a detailed vision of what could be. We want to help students gain the developed imagination of design thinking and engineering. This may in fact be why we value manipulatives and scientific experiments, because they help lead to a mathematical and scientific imagination.

A Christian Classical Imagination

All this seems to follow from the fact that the imaginative faculty is responsible for bringing new images to our minds from the storehouse of our memory. Integration and synthesis are the acts of the creative imagination. This imagination is a far-reaching master faculty of the mind, and we would do well to recognize how crucial it is to cultivate it in school.

So I conclude that a Christian imagination and a well-informed classical imagination, trained in the liberal arts and sciences, fed on the Great Books and Great Conversation, full of true, good and noble ideas, is a if not the major outcome that we are seeking in our sort of education. We want our students to be imaginative in this sense.

In Mere Christianity C.S. Lewis wrote something striking about what it means to be original that has stayed with me. He said,

“Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.”

I think that what Lewis said of originality applies to how we think about cultivating the imagination in school. Imaginative expressions should aim at truth-telling. The best developed imagination, originality itself, actually comes from submission to the truths of the Great Tradition, of Christianity first and foremost, but also the best that has been thought, said, written, painted, composed, experimented before us. 

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The Visual Arts in the Classical Tradition

The visual arts have encompassed everything from painting and sculpture to architecture, tapestry, furniture, pottery, and more recently photography. The visual arts have been a part of the human experience since prehistoric times, with cave paintings being some of our only means of understanding the earliest civilizations, since the visual arts predate written language. In fact, wherever civilizations have emerged, the visual arts have been produced. We often think of the sculpture of ancient civilizations such as Greece and Rome. Included amongst these ancient works are artifacts from Eastern civilizations such as China, the Middle East such as Egypt and Babylon, and the Americas such as the Aztecs, Incas and Mayans.

In the Western tradition, the guilds that developed during the Middle Ages shaped our understanding of the visual arts. In order to become a master who could take on apprentices, artisans would have to produce a “chef d’oeuvre” or a masterpiece (also referred to as a magnum opus). By the time of the Renaissance, this masterpiece idea led to advancements in architecture and painting, particularly through the application of mathematical formulas that enabled the building of taller structures, such as the dome on the Florence Cathedral, and the discovery of linear perspective by Brunelleschi in the early 1400s. Virtuosity became the litmus test for true masters, and artists continued to push the envelope of effects that could be created on the canvas. Painting in particular took on epic proportions in part due to the promotion of the great artists in Vasari’s publication of Lives of the Most Eminent Painters, Sculptors and Architects (1550). Art history was now created and the personalities of individuals such as Leonardo da Vinci and Michaelangelo came to dominate the landscape of painting for generations to come.

In and amongst this personality-driven approach to art history, the creation of works of enduring beauty and significance were produced in a succession of art movements down through the centuries. What gives these creations such significance is the fact that they are idea-driven works with religious and philosophical insight. For instance, the famous Creation of Adam by Michaelangelo is simultaneously a religious interpretation of Adam’s creation by God showing an intimate connection between God and his creation. At the same time, we can see the philosophical humanism of the Renaissance in the details of the painting, such as the depiction of God in human form, an outline of the human brain behind God, and an idealized depiction of Adam.

Picture study, then, becomes this valuable treasure trove of idea-rich artifacts that have historical significance as the means by which some of the most important aspects of Western culture are handed down through the ages. Through works of art, we encounter truth, goodness and beauty in ways that can cultivate the affective domain. They say a picture is worth a thousand words. I’m not certain one can create some sort of equivalency between art work and the written word. That being said, a classroom and a course of study ought to incorporate the visual arts alongside all the other areas of the curriculum from literature to history and from science to mathematics.

How to Do Picture Study

Our ability to teach a picture study lessons does not rely on any expertise we bring to the subject, but on a clear and consistent method of interacting with works of art. In fact, picture study can be approached just like reading a text, only the “text” we are “reading” happens to be of a visual nature. I cannot stress this point enough, as there ought not to be the thought that one must have studied art history or gained some competency as an artist in order to teach picture study. If you find yourself lacking in expertise, great! You get to encounter works of art alongside your students, growing in your own appreciation of artists and their works.

Charlotte Mason spells out what picture study looks like in her sixth volume, A Philosophy of Education:

We recognise that the power of appreciating art and of producing to some extent an interpretation of what one sees is as universal as intelligence, imagination, nay, speech, the power of producing words. But there must be knowledge and, in the first place, not the technical knowledge of how to produce, but some reverent knowledge of what has been produced; that is, children should learn pictures, line by line, group by group, by reading, not books, but pictures themselves. A friendly picture-dealer supplies us with half a dozen beautiful little reproductions of the work of some single artist, term by term. After a short story of the artist’s life and a few sympathetic words about his trees or his skies, his river-paths or his figures, the little pictures are studied one at a time; that is, children learn, not merely to see a picture but to look at it, taking in every detail. Then the picture is turned over and the children tell what they have seen,––a dog driving a flock of sheep along a road but nobody with the dog. Ah, there is a boy lying down by the stream drinking. It is morning as you can see by the light so the sheep are being driven to pasture, and so on; nothing is left out, the discarded plough, the crooked birch, the clouds beautiful in form and threatening rain, there is enough for half an hour’s talk and memory in this little reproduction of a great picture and the children will know it wherever they see it, whether a signed proof, a copy in oils, or the original itself in one of our galleries. We hear of a small boy with his parents in the National Gallery; the boy, who had wandered off on his own account, came running back with the news,––”Oh, Mummy, there’s one of our Constables on that wall.” In this way children become acquainted with a hundred, or hundreds, of great artists during their school-life and it is an intimacy which never forsakes them.

Charlotte Mason, A Philosophy of Education, 214-215.

Let’s break this down into some clear steps. First, notice that the interest students bring to picture study is innate and universal. Children are predisposed to bring their own intelligence and imagination to the task of viewing works of art. All we need to do is place before them a healthy diet of various great paintings and they devour the meal quite readily. Second, the children encounter the works of art themselves by way of prints. Today we have access to so many via the internet. We can print out copies on printer paper, or can purchase postcard sized reproductions. Hanging great artwork on the walls is another means of placing these works of art in front of them.

With this philosophical framework in mind, let’s turn to the method itself. The lesson begins with a short reading about the artist and the artwork. This shouldn’t be too lengthy, only enough to spark interest in the painting to be looked at in the lesson. Then the students look at one painting at a time. This is a full-focused immersion in the painting. Mason has the children “look at it, taking in every detail.” They can spend several minutes just looking at the print, noticing quite a number of highly specific details. Once the print has been looked at, students turn the picture over and narrate what they have seen. Notice how narration occurs just like we would expect of students reading a literary or historical book. They tell back the details they have noticed: colors, people in the picture, obscure items in the background, little details we ourselves may never have noticed. We will take a look at how we can develop art vocabulary in a moment, but for those just beginning, children can use simple descriptive language to tell back what they see.

I generally have students turn the picture back over to do another round of observations. This time they will notice items shared by other students. Sometimes debates emerge as to what some of the obscure objects might be. At other times, a teacher can focus their attention on key details, such as the source of light, the nature of the subject, the use of color, the development of perspective, and a host of other topics that helps develop their understanding of art.

A lesson of this sort – a short reading, focused attention on one painting, narration, and discussion – does not take very long. In fact, such a lesson is a great one to have in hand on days where there’s only a short amount of time between other classes. If you have a good set of prints, it is easy to distribute a set and encounter another new painting by the artist being studied. The simplicity of the method means that over the course of weeks and months, the student accumulates a good number of paintings of a single artist. The students develop a sense of the artist’s style and immediately notice similarities between paintings studied according to this method. Over many years, as they encounter numerous other artists, they develop a sense of differences in style.

Formal Elements of Art

I myself never studied art in any formal way. There has always been an appreciation, but my own study of art began when I started teaching picture study in the way outlined. It has become one of my favorite subjects to teach, and along the way I have fallen in love with the landscapes of William Turner, the works of Caravaggio still move me, and the philosophical ideas of Eduard Manet still compel me. One of the best ways to help students (and sometimes ourselves) to encounter art is to develop their art vocabulary. Here I’ll lay out the basic or formal elements of art: line, shape, space, texture, color, light.

Taking the first three together – line, shape, space – these are essential to the way an artist conveys three dimension in two-dimensional representation. We can find lines, whether well articulated or implied in the work of art. Sometimes the lines are straight, angled, curved or otherwise. Many times the lines move our eyes throughout the painting or focus our eyes on the subject. With shape, we are looking at the basic shapes being used – such as circles and triangles – and how they are arranged. All of these exist in the space depicted on the canvas. Are the shapes of flowers, vases and fruits placed on a table? Do ships sail on a rolling sea? Is there a window behind a lady in a portrait that gives a sense of the setting? All of these questions point to the use of space.

Texture, color and light are effects that play with our perception of what is happening in the picture. Artists use these effects to create visual realism or to trick the eye through impressions. Texture gives the sense of roughness or smoothness. Even without touching the painting, the eye gets the impression that there is a tactile aspect to the painting. As to color, even a basic understanding of the color wheel can help students see the use of contrasting colors – such as blues and oranges – or the use of warm and cold colors – red hues versus blue hues. The concept of light pertains to the way a source of light plays off of objects, so that there are faces that appear brighter and faces that appear darker. You can often look for shading to identify where the source of light is located.

As you prepare lessons for your students, bringing in these formal elements can open new lines of observation. I recommend choosing one or two formal elements per painting during the second round of observations. I might say, “Okay, this time when we look at our painting, look at the way our artist has used color.” Then I would have students tell back what colors they found, where they are located, contrasts they see, interesting or odd uses of color, and so forth.

Art Movements and Artistic Techniques

Mason recommends reading from a biography of the artist being studied. There are many biographies that can be found for the most prominent artists throughout history appropriate for whatever age level you are working with. The goal with these readings is to understand the personal life of the artist, perhaps their early years, where they studied art, breakthrough moments in their career. Most biographies will indicate what sort of art movement the artist contributed to or was reacting to. For instance, Claude Monet was a prominent figure in the impressionist movement in France during the late nineteenth century. Unpacking what impressionism was as a movement gives a sense of the historical setting as well as the techniques used by artists associated with that movement.

Using impressionism as an example, we know that it was a movement that was reacting to the art of the establishment which has become very staid and formal. Eduard Manet expressed the philosophical concept that “art is artifice,” an idea that inspired a controversial new art scene to emerge. There’s a sense of rebellion amongst the impressionists. As a movement, the artists of this scene contributed to a cultural revolution associated with the modernism of the late 1800s. We can trace some of the tendencies to break with tradition in later art movements to the ideals of impressionism, such as the depiction of everyday life scenes rather than classical or historical subject matters. The irony is that today impressionist art is looked upon as some of the most beautiful artwork ever produced, but in its day the original audiences of these works of art were scandalized by much of what was produced during this era.

The techniques associated with impressionism are tied to the philosophical ideas these artists espoused. For instance, the quick and unblended brush strokes create blurred effects where they eye perceives objects in the painting, but can also see splashes of paint and brushstrokes. In some cases, the canvas itself is left untreated and peaks out amongst the brush strokes. When observing these paintings in a museum, you will often find people standing very close to the painting to see the individual brushstrokes and then moving away from the painting to more clearly see the subject matter of the painting. The brushstroke techniques used by impressionist painters gives a sense of lightness and energy to the paintings, in part because the activity of the artist remains visible in the completed work.

As you read about artists, there will emerge a strong connection between the historical setting of the artist and their works as well as specific techniques that artist used and developed over the course of a career. These readings enable students to see items in the paintings they observe and provide even more language for them to describe what they are noticing.

Hopefully this exploration of picture study has inspired you to incorporate paintings into your classroom or school. No matter what subject you teach, works of art can make lessons come alive.

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