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Drawing in the art history classroom: Why is it not enough to listen and look?

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Title: Drawing in the art history classroom: Why is it not enough to listen and look?
Authors: Kouneni, Lenia1 (AUTHOR) gk8@st-andrews.ac.uk
Source: Visual Inquiry: Learning & Teaching Art. Oct2024, Vol. 13 Issue 2, p127-143. 17p.
Subject Terms: *Creative ability, *Curriculum planning, *Student attitudes, *Experiential learning, *Visual communication, Art history, Drawing techniques, Materiality & art
People: Raphael, 1483-1520
Abstract: Inspired by the student-centred, experiential, affective and sensory approaches of recent art history, this article discusses the integration of drawing activities in the classroom as an important part of the multimodal art historical pedagogy. It presents as its case study a module on Raphael and His Reception, which incorporates a practice-based seminar entitled 'Drawing like Raphael'. The discussion considers this pedagogical method in theory and practice and reflects on its benefits, challenges and students' feedback. Incorporating drawing in the classroom develops students' sensitivity to the variety of media, grounds and their combinations, giving them an experiential understanding of the meaning of materiality. This article argues that drawing is a creative and fun way to build skills in visual expression and interpretation, but also one that brings affects and emotions to art historical inquiries and encourages students to bring their own thoughts and lived experiences to their art historical studies. [ABSTRACT FROM AUTHOR]
Copyright of Visual Inquiry: Learning & Teaching Art is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
Database: Education Research Complete
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DbLabel: Education Research Complete
An: 188716836
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PubType: Academic Journal
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  Data: Drawing in the art history classroom: Why is it not enough to listen and look?
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  Data: <searchLink fieldCode="AR" term="%22Kouneni%2C+Lenia%22">Kouneni, Lenia</searchLink><relatesTo>1</relatesTo> (AUTHOR)<i> gk8@st-andrews.ac.uk</i>
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  Data: <searchLink fieldCode="JN" term="%22Visual+Inquiry%3A+Learning+%26+Teaching+Art%22">Visual Inquiry: Learning & Teaching Art</searchLink>. Oct2024, Vol. 13 Issue 2, p127-143. 17p.
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  Data: *<searchLink fieldCode="DE" term="%22Creative+ability%22">Creative ability</searchLink><br />*<searchLink fieldCode="DE" term="%22Curriculum+planning%22">Curriculum planning</searchLink><br />*<searchLink fieldCode="DE" term="%22Student+attitudes%22">Student attitudes</searchLink><br />*<searchLink fieldCode="DE" term="%22Experiential+learning%22">Experiential learning</searchLink><br />*<searchLink fieldCode="DE" term="%22Visual+communication%22">Visual communication</searchLink><br /><searchLink fieldCode="DE" term="%22Art+history%22">Art history</searchLink><br /><searchLink fieldCode="DE" term="%22Drawing+techniques%22">Drawing techniques</searchLink><br /><searchLink fieldCode="DE" term="%22Materiality+%26+art%22">Materiality & art</searchLink>
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  Data: Inspired by the student-centred, experiential, affective and sensory approaches of recent art history, this article discusses the integration of drawing activities in the classroom as an important part of the multimodal art historical pedagogy. It presents as its case study a module on Raphael and His Reception, which incorporates a practice-based seminar entitled 'Drawing like Raphael'. The discussion considers this pedagogical method in theory and practice and reflects on its benefits, challenges and students' feedback. Incorporating drawing in the classroom develops students' sensitivity to the variety of media, grounds and their combinations, giving them an experiential understanding of the meaning of materiality. This article argues that drawing is a creative and fun way to build skills in visual expression and interpretation, but also one that brings affects and emotions to art historical inquiries and encourages students to bring their own thoughts and lived experiences to their art historical studies. [ABSTRACT FROM AUTHOR]
– Name: AbstractSuppliedCopyright
  Label:
  Group: Ab
  Data: <i>Copyright of Visual Inquiry: Learning & Teaching Art is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=ehh&AN=188716836
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        Value: 10.1386/vi_00115_1
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      – Code: eng
        Text: English
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        PageCount: 17
        StartPage: 127
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      – SubjectFull: Creative ability
        Type: general
      – SubjectFull: Curriculum planning
        Type: general
      – SubjectFull: Student attitudes
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      – SubjectFull: Experiential learning
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      – SubjectFull: Visual communication
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      – SubjectFull: Art history
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      – SubjectFull: Drawing techniques
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      – SubjectFull: Materiality & art
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      – SubjectFull: Raphael, 1483-1520
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      – TitleFull: Drawing in the art history classroom: Why is it not enough to listen and look?
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            – D: 01
              M: 10
              Text: Oct2024
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              Y: 2024
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