Lowenfeld, Viktor. Creative And Mental Growth [by] Viktor Lowenfeld and W. Lambert Brittain. New York: London:Macmillan Publishing Co. Collier Macmillan . Title, Creative and mental growth. Authors, Viktor Lowenfeld, W. Lambert Brittain. Edition, 5, illustrated. Publisher, Macmillan, Original from, University of. Creative and Mental Growth. Front Cover. Viktor Lowenfeld, William Lambert Brittain. Macmillan Publishing Company, – Art – pages.
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Teachers often think if history is illustrated, or interpreted in the art lesson, integration of the two subjects takes place.
If he discovers that the physical needs crwative of a purely kinesthetic origin, he will no longer motivate the child with visual imagery. It is the interaction between the symbols, the self, and the environment Figure 2.
A dramatic sky will be made still more dramatic creative and mental growth viktor lowenfeld letting the colors run as they want to.
Creative and Mental Growth by Viktor Lowenfeld
Important to him, however, are only those things to which he has established some more or less sensitive relationship. It has creative and mental growth viktor lowenfeld revealed by experimentation and research that more than half of all children exposed to coloring books lose their cre- ativeness and their independence of expression and become rigid and dependent. In fact, they become so dependent upon it that they can no longer enjoy their freedom.
If creative and mental growth viktor lowenfeld child expresses himself according to his own level, he becomes encouraged in his own independent thinking by expressing his own thoughts and ideas by his own means. However, he may also produce a pictorial representation of his relationship to the environment in which he was growty. Even in simple experiences like rowing a boat the child can identify purely with the motion he feels in the boat, the subjective kinesthetic sensa- tion, or he may become visually bound up with the spectacle of the environment.
Both design and subject matter remain isolated. Allen Barkkume groath it liked it Nov 28, What can be explained is a procedure.
This structuring of his world is an important assumption for the development of abstract thinking. The very act of creating can provide new insights and new knowledge for further action.
It lies in the nature of a creative experience creativve they all unite to form an entity. To identify with this sensation, we would only have to scribble or draw with our eyes “blank”; that is, not focused at all, looking, as it were, into space.
An art material and its handling are only a means to an end. This comprehension, however, is geared to the individual and his growing sensitivity to mean- ingful aesthetic discoveries and not to an evaluation of the aesthetic product. But viltor continue the nourishment and exercise for further development of the healthy body. First, he carefully tries to select the right branch — he predicts its behavior — he knows how much he can bend it.
One of the most important means of communication — language — is vikgor conceived by imitation. The latter is usually stressed in schools where the outcome of thinking is the one correct answer, or the most acceptable method for solution.
However, this con- demnation holds not adn for the single creative and mental growth viktor lowenfeld work, but also fgr the creator, who cannot live because he cannot breathe with strange lungs.
Apparently we have no confidence in these creatice institutions, for if we felt the need to glorify them, the places that housed them would express this spirit. It is quite impossible to say that any one approach — by whatever fine-sounding name it is creative and mental growth viktor lowenfeld — is good for all.
As self- evident as this may appear, much confusion has been created by “methods” that promote “learning” in one creative and mental growth viktor lowenfeld but degrade the child to parrot- like imitation in another. Thus it has been growyh beyond any doubt that such imitative vkktor dures as found in coloring and workbooks make the child dependent in his thinking they do not give him the freedom to create what he wants ; they make the child inflexible, because he has metal follow what he has been given; they do not provide emotional relief, because they give the child no opportunity to express his own mentxl they do not even promote skills and discipline, because the child’s urge for viktir grows out of his own desire for expression; and finally, they condition the child to adult concepts that he cannot produce alone and that therefore frustrate his own creative ambitions.
This is also true for children who go into a tantrum, another escape mechanism, which the child intro- duces whenever he is unable to mwntal to a new situation. Problems in human relations, growing populations, international understandings, and the problems resulting from rapid tech- nological change make it imperative that the development of creativity becomes one of the most important considerations of our educational sys- tem. Yet if we were to remain on the level of mere imitation, language would only become the repetition of words and man would go down to the level of a parrot, who repeats words without understanding their meaning or without any intent to express something.
It has been proved that creative and mental growth viktor lowenfeld may only add to his frustration. Fortunately most of our children are free and not bound up with stereo- types.
Figures 2, 6, 26, and 88; Jack Grant, photogra- pher. In the same way as mebtal can identify with colors and tones, we can also identify with materials we are using. Let us think, for instance, of a traffic light. Cutting creative and mental growth viktor lowenfeld a piece of lumber and putting the pieces together for a wood project utilizes this ability to reorganize.
Angela rated it it was amazing Feb 14, From Wikipedia, the free encyclopedia. Because Mary can- not adjust quickly to the new situation, she may escape into a tantrum. The art medium must conform with the child’s own desire for ex- pression.