Children's Art are pictures, paintings, and other artworks made by children. This is also referred to as "children's art" or "children's art".
Video Child art
"Seni anak"
In the main sense this term was coined by Franz Ci? Ek (1865-1946) in the 1890s.
The term "child art" also has a parallel and different use in the contemporary art scene, where it refers to a subgenre of artists depicting children in their works.
The third connotation of "child art" implies an art that is intended to be seen by children, say illustrations in a book for teenage readers. Such art can be performed by a child or professional adult illustrator.
Maps Child art
History
The building to understand the importance of art for children is placed by J.-J. Rousseau (1712-78), J.H. Pestalozzi (1746-1827), John Ruskin (1819-1900), and Herbert Spencer (1820-1903).
The art education agenda for children was discussed at the 1884 International Conference, held in London at the Health Exhibition. The framework of discussion was largely shaped by the expanding design school for the training of children and youth professionals in the United Kingdom, starting from 1852. Some conference participants underlined the importance of creativity, imagination and methodologies specific to the development of children's artistic skills. Ebenezer Cooke (1837-1913) has pointed out that "if a child follows his tendency and draws animals in his own way, acts, and repeats them, describes them, and colors them, he will produce images that may be comparable to the ancient periods of more than one historic school. "Proceedings of the conference, ed. by E. Cooke, published in 1885-86 Journal of Education , published by the Society for the Development of Educational Science.
The first exhibition of European drawings by children was hosted by Robert Ablett (1848-1945) in London, 1890. The first collection of 1250 drawings of children and pieces of statues were assembled by Corrado Ricci (1858-1934), an art historian Italy.
Appreciation of the aesthetics of children's art as not polluted by the influence of adults adored by Franz Ci? Ek, who calls children's drawings "extraordinary and valuable documents". The discovery of the aesthetic quality of children's untrained visual expressions is related to the aesthetics of modernism and, in the case of Ci? Ek, to Vienna Secession.
In 1897, Ci? Ek opened Juvenile Art Class, a weekend school that enforces children's creativity unhindered by adult vocational standards. The initiative is supported by artist friends-Its introduction and opposed by traditional art teachers. Classes receive students 2 to 14 years old for two hours a week, free of charge, without selection. Ci? Ek claims that he works "as an artist, not as a teacher", and is really "learned and not taught". In the work, the theory of developmental stages is disseminated.
The interest of psychologists in the arts of children is reflected in the works of Georg Kerschensteiner (Die Entwickelung der Zeichnerischen Begabung, 1905, on the basis of an analysis of about 100 000 images), Georges-Henri Luquet ( Les Dessins D'un Enfant , 1912, using 1500 images of princess writers from 3 to 8 years), Georges Rouma ( Le Langage Graphique de l'Enfant , Paris, 1913), Karl Karlsberg (1918 ff.), Florence Goodenough, Helga Eng, Robert Coles. According to D.D. Kelly, the dominance of psychological theory Piagetian cognitive psychology marginalized the study of children's artistic psychology, which was revitalized only towards the end of the 20th century.
Child art stages
As children develop, their art passes through several stages. 4 of them for the first time are defined by E. Cooke, under the influence of Herbert Spencer's theory of evolution.
Currently, the stages are generally distinguished as follows:
Scribbling
From around their first birthday their children achieve fine motor control to handle crayons. At first they scribble. The youngest child writes with a series of left and right movements, then up, down and then a circular motion is added. The child seems happy to see the lines or colors that appear. Often, however, children do not pay attention to the edge of the page and the line goes beyond the page limit. Children are often also interested in body painting and, given the chance, will draw in their hands or smear the paint on their faces.
Then, from about their second birthday, a controlled scan begins. Children produce simple form patterns: circles, crosses, and bursts of stars. They also become interested in setting up and can produce simple collages of colored paper, or place stones in patterns. Once the children have written, they begin to name their graffiti.
Pre-symbolism
From about the age of three, children begin to combine circles and lines to make simple numbers. At first, people are pulled without bodies and with arms that appear directly from the head. The eye is often drawn large, fills most of the face, and the hands and feet are removed. At this stage it may not be possible to identify the subject of art without the help of a child.
Then a picture of this stage shows drawings drawn floating in space and sized to reflect the child's view of their importance. Most children at this age do not care about producing a realistic picture.
Symbolism
In this stage of child development, they create an image vocabulary. So when a child draws a cat, they will always draw the same basic image, maybe modified (this cat has lines that have dots, for example). This drawing stage begins around the age of five. The basic form is called a symbol or scheme.
Each child develops his own set of symbols, based on their understanding of what is being drawn rather than observation. Therefore, each child's symbol is unique to the child. At this age, most children develop a "person" symbol that has a proper head, torso, and limb that is in rough proportion.
Before this stage, objects to be attracted by children will appear to float in space, but about five to six years the child introduces a baseline to manage their space. This baseline is often a green line (representing grass) at the bottom of the paper. The numbers stand in this line. Older children can also add a secondary base line for background and skyline objects to hold the sun and clouds.
At this stage the influence of culture becomes more important. Children not only draw from life, but also copy the image around it. They can draw copies of cartoons. Children also become more aware of the possibility of storytelling. An early understanding of realistic space representation, such as using perspective, usually comes from copying.
Realism
As their adult children begin to discover their symbols are limiting. They realize that their scheme for someone is not flexible enough, and does not look like the real thing. At this stage, which begins at the age of nine or ten, the child will be more concerned about whether the image looks like a drawn object.
This can be a frustrating time for some children, because their aspirations go beyond their abilities and knowledge. Some children give up to draw almost entirely. Others, however, become skilled, and it is at this stage that formal art training can benefit the child. The bottom line is dropped and the child can learn to use rules like perspective to better organize the space. Storytelling also becomes smoother and children will start using formal devices like comic strips.
Therapeutic
Art therapy can be an effective way for children to grow and connect with their emotions. Some autistic children have found that drawing can help them to express feelings that they have difficulty expressing otherwise. Similarly, children who face horror like war can find it difficult to talk about what they have experienced directly. Art can help children understand their emotions in this situation.
Criticism
After visiting the children's art exhibition in San Francisco in 1980, educator John Holt stated that, "... An understanding of adultism may begin to explain what I mean when I say that much of what is known as children's art is a discovery adults. "
See also
- Child Psychology
- The development of childhood fine motor skills
- Naive art
- Inside art
- Wang Yani
Further reading
- Anna Stetsenko (1995). "Psychological function of the children's drawings: Vygotskian Perspective". In G. Thomas and Ch. Lange-KÃÆ'¼ttner (Eds.), Drawing and Searching (pp.Ã, 147-158). New York etc..: Wheatsheaf Harvester. (Also in Italian: "La funzione psicologica del disegno infantile: una prospettiva Vygotskiana" (2000).In Bambini , Anno XVI, n. 4, pp. 19-31. Translation and introduction by Prof. Mariolina Bartolini-Bussi)
- Arlene E. Richards. "History of the stage of child art development: 1857 to 1921". 1974.
- Kelly, Donna Darling. Unravel the History of Drawing and the Art of Children . Greenwood Publishing Group, 2004.
- Thorpe, Deborah Ellen. "Young hands, old books: Pictures of children in a 14th century manuscript, LJS MS. 361", Cogent Arts & amp; Humanities (2016), 3: 1196864. [1]
References
External links
- Longitudinal study (N = 1) image.
- Artejunior.com Children's art!.. 100% art, 0% self-esteem.
- Love & amp; Yayasan Seni Anak-Anak
- Artary, Children's Art Gallery
Source of the article : Wikipedia
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