Visual arts education

<h2 id="approaches">Approaches</h2>

Art is often taught through <a href="/facts/Drawing/DA7GfHNW">drawing</a>, painting, sculpture, installation, and mark making. Drawing is viewed as an empirical activity which involves seeing, interpreting and discovering appropriate marks to reproduce an observed phenomenon. Drawing instruction has been a component of formal education in the West since the <a href="/facts/Hellenistic_period/q6BgQsaF">Hellenistic period</a>.<a class="footnote-ref" id="fnref:1" href="#fn:1">1</a> In <a href="/facts/East_Asia/D8yGVCQX">East Asia</a>, arts education for nonprofessional artists typically focused on brushwork; <a href="/facts/Calligraphy/lFIUgDeW">calligraphy</a> was numbered among the <a href="/facts/Six_Arts/XT34aM0t">Six Arts</a> of gentlemen in the Chinese <a href="/facts/Zhou_dynasty/70beuGpa">Zhou dynasty</a>, and calligraphy and <a href="/facts/Chinese_painting/yff76oFM">Chinese painting</a> were numbered among the <a href="/facts/Four_arts/R9M6Kl6y">four arts</a> of <a href="/facts/Scholar-official/Jtw4hjyU">scholar-officials</a> in imperial China.<a class="footnote-ref" id="fnref:2" href="#fn:2">2</a>
An alternative approach to art education involves an emphasis on imagination, both in interpreting and creating art. Many educators will ask their students "Why do you think the artist made this choice?", once they have given an answer, they will give them the context of the piece, then ask them again. This is to get students to consider the deeper meaning behind works, rather than just showing them a pretty picture. Art education is also about experimentation and purposeful play and linking their art to conceptual messages and personal experiences.<a class="footnote-ref" id="fnref:3" href="#fn:3">3</a> Allowing students to connect a piece to emotion, helps them better understand how the artwork connects to the artist and their subject, developing their critical thinking skills. Alternative approaches, such as <a href="/facts/Visual_culture/TNYCrC9s">visual culture</a> and issue-based approaches in which students explore societal and personal issues through art, also inform art education today.<a class="footnote-ref" id="fnref:4" href="#fn:4">4</a>
Prominent curricular models for art education include:

<ul><li>A sixfold model divided into "Creative-Productive, Cultural-Historical and Critical-Responsive" components in some provinces of Canada<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a></li>
<li>Discipline Based Art Education (DBAE) came to favor in the United States during the 1980s and 1990s, and it focused on specific skills including techniques, art criticism and art history. Heavily backed by the Getty Education Institute for the Arts, DBAE faded after the Institute ceased funding in 1998.<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a></li>
<li>Teaching for Artistic Behavior (TAB) is a choice-based model that began in the 1970s in Massachusetts in the United States.<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a> TAB suggests that students should be the artists and be guided on their own individual artistic interests.TAB based curricular models have increased in popularity as classroom culture shifts from preference of direct instruction to student-centered and Inquiry-based learning.<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a></li></ul>
In addition, especially in higher education in the <a href="/facts/Liberal_arts_education/YtUI0rgu">liberal arts</a> tradition, art is often taught as "art appreciation", a subject for <a href="/facts/Aesthetic/FSD8f7oF">aesthetic</a> criticism rather than direct engagement.<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a>
Some studies show that strong art education programs have demonstrated increased student performance in other academic areas, due to art activities' exercising their brains' right hemispheres and delateralizing their thinking.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> Also see <a href="/facts/Betty_Edwards/zYrfQYqx">Betty Edwards</a>' <a href="/facts/Drawing_on_the_Right_Side_of_the_Brain/zYrfQYqx">Drawing on the Right Side of the Brain</a>.
Art education is not limited to formal educational institutions. Some professional artists provide private or semi-private instruction in their own studios. This may take the form of an <a href="/facts/Apprenticeship/6K8BRMRQ">apprenticeship</a> in which the student learns from a professional artist while assisting the artist with their work. One form of this teaching style is the <a href="/facts/Atelier_Method/wnP7RaA5">Atelier Method</a> as exemplified by <a href="/facts/Gustave_Moreau/3JaP5VFa">Gustave Moreau</a> who taught Picasso, Braque and many other artists.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a>

<h3>Apprenticeship</h3>

Historically art was taught in Europe via the <a href="/facts/Atelier_method/wnP7RaA5">atelier method</a> system<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a> where artists took on apprentices who learned their trade in much the same way as that of <a href="/facts/Trade_guild/cWSyNP50">guilds</a> such as the <a href="/facts/Stonemason/kzvdRB4A">stonemasons</a> or <a href="/facts/Goldsmith/L1xlgt2o">goldsmiths</a>. During their free time formal training took place in art workshops or, more often, in homes or alone outside. It was in these ateliers that artists learned the craft through apprenticeship to masters, a relationship that was controlled by guild statutes. Florentine contracts dating from the late 13th century state that the master was expected to clothe and feed the apprentice, who was called upon to be a faithful servant in return. An apprentice often paid the master during the early years of his education; assuming the apprenticeship was productive, the student would be compensated later in his training. Northern European workshops featured similar terms.<a class="footnote-ref" id="fnref:13" href="#fn:13">13</a>
Initially, learning to draw was a priority in this system. <a href="/facts/Michelangelo/uKw8rLk4">Michelangelo</a> recommended that a young painter spend a year on drawing alone, then six years grinding colors, preparing panels and using gold leaf, during which time the study of drawing would continue. Another six years would be required to master fresco and tempera painting.<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a>
Historically, design has had some precedence over the <a href="/facts/Fine_arts/eCVxehXE">fine arts</a> with <a href="/facts/Design_school/M6I4bxmM">schools of design</a> being established all over Europe in the 18th century. These examples of skill and values from the early European art inspired later generations, including the Colonists of early America.

<h3>Cultural appropriation within the classroom</h3>
Individuals who employ <a href="/facts/Cultural_appropriation/flXNW2fo">cultural appropriation</a> have the ability to produce works of considerable aesthetic merit.<a class="footnote-ref" id="fnref:15" href="#fn:15">15</a> Using properties of art from different cultures such as decoration or emulation of creative process can foster a greater understanding and appreciation of crafts from different cultures. This technique can be appreciated in the production of African or Native-American mask making projects, where students emulate technique and explore new material use and construction methods which esteem those practices of different cultures.<a class="footnote-ref" id="fnref:16" href="#fn:16">16</a>

<h2 id="by-country">By country</h2>
<h3>Argentina</h3>
The leading country in the development of the arts in <a href="/facts/Latin_America/Qmx9Jx2a">Latin America</a>, in 1875 created the National Society for the Stimulus of the Arts (Sociedad Nacional para Estímulo de las Artes), founded by painters <a href="/facts/Eduardo_Schiaffino/Xg1FBAQ1">Eduardo Schiaffino</a>, <a href="/facts/Eduardo_S%C3%ADvori/sSbfkMb8">Eduardo Sívori</a>, and other artists. In 1905, their guild was rechartered as the National Academy of Fine Arts (Academia Nacional de Bellas Artes), then in 1923, on the initiative of painter and academic <a href="/facts/Ernesto_de_la_C%C3%A1rcova/GIKKpVND">Ernesto de la Cárcova</a>, became a department in the <a href="/facts/University_of_Buenos_Aires/Jr5Hg023">University of Buenos Aires</a>, under the name of Superior Art School of the Nation (Escuela Superior Nacional de Bellas Artes). Currently, the country's leading educational organization for the arts is the <a href="/facts/Universidad_Nacional_de_las_Artes/7LJ6L3MC">UNA Universidad Nacional de las Artes</a>.<a class="footnote-ref" id="fnref:17" href="#fn:17">17</a>

<h3>Australia</h3>
Australian Universities which have Visual / Fine Art departments or courses within their institutions have moved from Studio Based teaching models, associated with Art Schools, to more integrated theoretical / practical emphasis. University of Western Australia has moved from a master's degree with theoretical emphasis to a theoretical BA Art degree.
Studio based teaching initiatives integrating contextual and media elements have been implemented as part of a national Studio Teaching Project<a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> supported by the Australian Learning and Teaching Council (ALTC) since 2007.

<h3>Egypt</h3>
The first modern art school in Egypt was opened in 1908 as the Cairo College of Fine Arts.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> These early art schools largely taught the Western aesthetic traditions. As a result, after independence there was an effort to incorporate Egyptian and Middle Eastern traditions into art and art appreciation courses.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a> However, the process was slow; students at Cairo College of Fine Arts were not able to major in non-European art history until 1999.<a class="footnote-ref" id="fnref:21" href="#fn:21">21</a>

<h3>France</h3>
The first academy, the <a href="/facts/Acad%C3%A9mie_royale_de_peinture_et_de_sculpture/kj4A7dYG">Académie royale de peinture et de sculpture</a>, was founded in 1648.
Nowadays, artistic education, which includes visual arts education, is a mandatory part of the school education from the second cycle on<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a> (six years old) and runs until the end of the <a href="/facts/Lower_secondary_school/l1I61k1U">lower secondary school</a> (collège).
There are art-focused classes (classes à horaires aménagés) in some schools that provide advanced art education in parallel to the normal primary or lower secondary education. In the <a href="/facts/Secondary_school/GjEqd0fa">upper secondary schools</a>, it is possible to prepare a <a href="/facts/Baccalaur%C3%A9at_technologique/mpnh2q2p">baccalauréat technologique</a> in sciences and technologies of design and applied arts (STD2A, former F12).
In <a href="/facts/Tertiary_education/WMN5RpeC">tertiary education</a>, dedicated schools propose a diplôme national des métiers d'art et du design (DN MADE, national diploma of art and design professions) with several diplômes des métiers d'art (DMA, bachelor's degree in art professions), and then diplôme supérieur d'arts appliqués (DSAA, master's degree in applied arts).

See also: <a href="/facts/%C3%89cole_des_Beaux-Arts/copYngLD">École des Beaux-Arts</a>
<h3>Italy</h3>
<a href="/facts/Art_school/M6I4bxmM">Art schools</a> were established in Italy as early as the 13th century, starting with a painting school in Venice founded by a Greek painter named Theophanes around 1200.<a class="footnote-ref" id="fnref:23" href="#fn:23">23</a>

<h3>The Netherlands</h3>
The Dutch Art Teachers Association (Nederlandse Vereniging voor Tekenonderwijs) was founded in 1880 and began to publish a monthly magazine in 1884.<a class="footnote-ref" id="fnref:24" href="#fn:24">24</a> Since the late 20th century, the growing diversity of Dutch society has made Dutch art and art education increasingly <a href="/facts/Multicultural/jDbm9eo5">multicultural</a>.<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a>

<h3>United Kingdom</h3>
Formal art education emerged in the United Kingdom in the early 19th century, motivated in part by a desire to match the quality of design work being done in France.<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a> The model initially adopted was that of the German commercial schools.<a class="footnote-ref" id="fnref:27" href="#fn:27">27</a> <a href="/facts/Albert,_Prince_Consort/R2QynoEy">Prince Albert</a> was particularly influential in the creation of schools of Art in the UK.<a class="footnote-ref" id="fnref:28" href="#fn:28">28</a>
Currently in the UK, the art curriculum is prescribed by the government's <a href="/facts/National_Curriculum_(England,_Wales_and_Northern_Ireland)/avJa5cYI">National Curriculum</a> except in <a href="/facts/Public_school_(United_Kingdom)/dsmX27hH">public</a> or fee paying schools.<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a> <a href="/facts/Prince_Charles/EJItVkdz">Prince Charles</a> has created <a href="/facts/The_Prince%27s_Drawing_School/6M5pnMBC">The Prince's Drawing School</a> in <a href="/facts/Hoxton/YljrM6nz">Hoxton</a> to preserve the teaching of academic drawing.

<h4>AccessArt</h4>
AccessArt is a British arts <a href="/facts/Charitable_organization/x8frlCm4">charity</a> and <a href="/facts/Membership_organization/5kRFA0Yu">membership organization</a>, working across the <a href="/facts/United_Kingdom/kuPAILt2">UK</a> to further 'the advancement of visual arts education'.<a class="footnote-ref" id="fnref:30" href="#fn:30">30</a><a class="footnote-ref" id="fnref:31" href="#fn:31">31</a> It is the leading provider of digital visual arts resources in the UK,<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a> with over 22,000 schools as paying members,<a class="footnote-ref" id="fnref:33" href="#fn:33">33</a> using AccessArt's educational materials in their teaching.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a>
Founded in 1999 by <a href="/facts/Royal_College_of_Art/kBV2vjw6">Royal College of Art</a> graduates, Paula Briggs and Sheila Ceccarelli and registering as a charity in 2004.<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a><a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> Projects include:

Inspire: A celebration of children's art, <a href="/facts/Fitzwilliam_Museum/4Qwv35cx">Fitzwilliam Museum</a>, <a href="/facts/Cambridge/gNRdbmwK">Cambridge</a>.<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a><a class="footnote-ref" id="fnref:38" href="#fn:38">38</a><a class="footnote-ref" id="fnref:39" href="#fn:39">39</a><a class="footnote-ref" id="fnref:40" href="#fn:40">40</a> [December 2019 – March 2020]"The first exhibition of work made by primary school children at The Fitzwilliam Museum in its 250 year history and was designed in partnership with AccessArt."<a class="footnote-ref" id="fnref:41" href="#fn:41">41</a><a class="footnote-ref" id="fnref:42" href="#fn:42">42</a><a class="footnote-ref" id="fnref:43" href="#fn:43">43</a>"The Inspire project demonstrates how a regional art museum can serve as a hub for teacher training and development and support the development of a community of practice around art and design education."<a class="footnote-ref" id="fnref:44" href="#fn:44">44</a>
<h3>United States</h3>
Main article: <a href="/facts/Art_education_in_the_United_States/8Kd3nKuP">Art education in the United States</a>

The study of art appreciation in America began with the Artists of Today Movement in the late 19th century and began to fade at the end of the 1920s. Picture study was an important part of the art education curriculum. Attention to the aesthetics in classrooms led to public interest in beautifying the school, home, and community, which was known as "Art in Daily Living". The idea was to bring culture to the child to change the parents.<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> The picture study movement died out at the end of the 1920s as a result of new ideas regarding learning art appreciation through studio work became more popular in the United States.
American <a href="/facts/Philosophy_of_education/oRXGJday">educational philosopher</a> and <a href="/facts/School_reform/U7GUEoJz">school reformer</a> <a href="/facts/John_Dewey/ljz3mzpf">John Dewey</a> was influential in broadening access to art education in the United States in the late 19th and early 20th century.
Since <a href="/facts/World_War_II/2efV5L1U">World War II</a>, artist training has moved to elementary schools, and contemporary art has become an increasingly academic and intellectual field. Prior to World War II an artist did not usually need a college degree. Since that time the <a href="/facts/Bachelor_of_Fine_Arts/KpRFJADr">Bachelor of Fine Arts</a> and then the <a href="/facts/Master_of_Fine_Arts/bugR7BzX">Master of Fine Arts</a> became recommended degrees to be a professional artist, facilitated by the passage of the <a href="/facts/G.I._Bill/y9VRvxHz">G.I. Bill</a> in 1944, which sent a wave of World War II veterans off to school, art school included. University art departments quickly expanded. American artists who might once have studied at bohemian, craft-intensive schools like the <a href="/facts/Art_Students_League_of_New_York/HQyDLh2S">Art Students League</a>, <a href="/facts/Black_Mountain_College/sjbLDEgt">Black Mountain College</a>, or the <a href="/facts/Hans_Hofmann/afQTap0r">Hans Hofmann</a> School of Art in <a href="/facts/Greenwich_Village/yqbBHchP">Greenwich Village</a>; began enrolling at universities instead. By the 60s, The <a href="/facts/School_of_Visual_Arts/lpmlWVmX">School of Visual Arts</a>, <a href="/facts/Pratt_Institute/6Tt2NRQV">Pratt Institute</a>, and <a href="/facts/Cooper_Union/jqbmQ9eV">Cooper Union</a> in New York City and other art schools across the country like the <a href="/facts/Kansas_City_Art_Institute/FlWupL9h">Kansas City Art Institute</a>, the <a href="/facts/San_Francisco_Art_Institute/2FXKHf6L">San Francisco Art Institute</a>, the <a href="/facts/School_of_the_Art_Institute_of_Chicago/VFJv5Dd1">School of the Art Institute of Chicago</a>, the <a href="/facts/School_of_the_Museum_of_Fine_Arts,_Boston/bFbyeUeU">School of the Museum of Fine Arts, Boston</a>, <a href="/facts/Princeton_University/n3EPGHBM">Princeton</a> and <a href="/facts/Yale/KUdS6jt1">Yale</a> had become one of the first art academies.<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a> This trend spread from the United States around the world.
Enrollment in art classes at the high school level peaked in the late 1960s—early 1970s. With <a href="/facts/No_Child_Left_Behind/G4Iz7QT7">No Child Left Behind</a> (NCLB)[when?] (which retains the arts as part of the "daily life", but does not require reporting or assessment data on this area) there has been additional decline of arts education in American public schools. The <a href="/facts/United_States_Department_of_Education/VuahmIvb">United States Department of Education</a> now awards Arts in Education Model Development and Dissemination grants to support organizations with art expertise in their development of artistic curricula. After 2010, an estimate of 25% of the nation's public high schools will end all art programs. Various "ed-tech" companies like <a href="/facts/Kadenze/K0gKzAdw">Kadenze</a> and <a href="/facts/EdX/4m5N55qS">edX</a> have attempted to mitigate this loss through online arts education.<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a>
National organizations promoting arts education include Americans for the Arts<a class="footnote-ref" id="fnref:48" href="#fn:48">48</a> including Art. Ask For More.,<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a> its national arts education public awareness campaign; Association for the Advancement of Arts Education; Arts Education Partnership.;<a class="footnote-ref" id="fnref:50" href="#fn:50">50</a>
Professional organizations for art educators include the <a href="/facts/National_Art_Education_Association/4bdpttfd">National Art Education Association</a>,<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a> which publishes the practitioner-friendly journal Art Education and the research journal Studies in Art Education; USSEA (the <a href="/facts/United_States_Society_for_Education_through_Art/vAUESVaU">United States Society for Education through Art</a>) and InSEA (the International Society for Education through Art<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a>).
Education through the visual arts is an important and effective influence in allowing students, from an early age, to comprehend and implement the foundational democratic process emphasized within the United States societal structure.<a class="footnote-ref" id="fnref:53" href="#fn:53">53</a> In 2008, the National Assessment of Educational Progress (NAEP) studied 7,900 eight-grade students in the fields of art and music. The findings of the study concluded that female students earned higher scores than their male peers in both music and visual art.<a class="footnote-ref" id="fnref:54" href="#fn:54">54</a>
<a href="/facts/Olivia_Gude/Y7QNgcGd">Olivia Gude</a>, the 2009 recipient of the National Art Education Association's Lowenfeld Lecture Scholarship, spoke about the numerous ways in which art education is instrumental in forming an informed self- and world-aware citizen. She asserts that:

Through art education, students develop enhanced skills for understanding the meaning making of others. Through quality art education, youth develop the capacity to learn several jobs much easier than others. Most significantly, engagement with the arts teaches youth to perceive complexity as pleasure and possibility, not as irritating uncertainty. Heightened self-awareness is extended to heightened awareness of others . . .<a class="footnote-ref" id="fnref:55" href="#fn:55">55</a>
<a href="/facts/Michelle_Marder_Kamhi/HFge13Bk">Michelle Marder Kamhi</a>, who has written on <a href="/facts/Michelle_Marder_Kamhi/HFge13Bk">art education</a>,<a class="footnote-ref" id="fnref:56" href="#fn:56">56</a> is highly critical of recent trends in the field in the United States and elsewhere. She dismisses much contemporary art shown in major museums as political gestures that are not art.<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a> In "Rethinking Art Education," chapter 8 of her book Who Says That's Art?, she focuses on two trends in the field that she thinks "should be of concern to thoughtful citizens, even to those with little interest in art." For example, an opinion piece by her in the Wall Street Journal was critical of Judi Werthein's Brinco—a "<a href="/facts/Performance_art/lzGqnHpR">performance art</a>" piece that consisted mainly of Werthein's passing out specially equipped sneakers to illegal immigrants—which had been recommended for study by a prominent art educator in an NAEA conference session.<a class="footnote-ref" id="fnref:58" href="#fn:58">58</a>

<h2 id="special-education">Special education</h2>
Art education was combined with special education even before there were reforms to create special accommodations for children with special needs in typical classrooms. When it comes to art, <a href="/facts/Art_therapist/MeLTYwWh">art therapists</a> are often used to connect with students with special needs. However, some art therapists pull students out of the classroom, causing them to fall behind in their other schoolwork such as math, English, and science. Because of this, art therapy is reserved for students who do not have much chance for long-term improvements, but rather short-term developmental skills, or for those who seek to increase their all-round capabilities.<a class="footnote-ref" id="fnref:59" href="#fn:59">59</a>
Special educator Jean Lokerson and art educator <a href="/facts/Amelia_Jones/rr3D9NyI">Amelia Jones</a> wrote that "the art room is a place where learning disabilities can turn into learning assets." Special needs students often come out of their shells and get enthusiastic about creating. Art is also a way that special educators teach their students fundamentals that they may not even realize.<a class="footnote-ref" id="fnref:60" href="#fn:60">60</a>
There are ongoing studies that continue to prove that art and special education go hand in hand. Testing continues to prove that art in any classroom, but especially special education classrooms causes students to be motivated, enthusiastic, and in some cases, even promote learning in other subject areas.<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a>

<h2 id="current-trends-in-theory-and-scholarship">Current trends in theory and scholarship</h2>
The domain of art education is broadening to include a wider range of visual and popular culture. Current trends in scholarship employ postmodern and visual culture approaches to art education,<a class="footnote-ref" id="fnref:62" href="#fn:62">62</a><a class="footnote-ref" id="fnref:63" href="#fn:63">63</a> consider effects of <a href="/facts/Globalism/qUcv4znq">globalism</a> on the production and interpretation of images<a class="footnote-ref" id="fnref:64" href="#fn:64">64</a> and focus renewed interest on issues of creativity.<a class="footnote-ref" id="fnref:65" href="#fn:65">65</a> Within the NAEA, research and publications are being geared toward issues of learning, community, advocacy, research and knowledge.<a class="footnote-ref" id="fnref:66" href="#fn:66">66</a> Since 2016, the Art Education Research Institute (AERI) has held an annual symposium that supports critical, systematic, empirical, and theoretical research and scholarship that addresses key intellectual and practical issues in the field of art education. AERI seeks to promote a broad range of rigorous research practices and methodologies drawn from the arts, humanities, and social sciences to improve inquiry related to teaching and learning in and through the visual arts.<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a>

<h2 id="the-critical-roles-of-visual-arts-education">The critical roles of visual arts education</h2>
Art education plays a critical role in fostering creativity, improving academic performance, and enhancing social and emotional development. Although often marginalized in favor of subjects such as math, science, and language arts, art education provides benefits that are indispensable for a well-rounded education and the development of essential life skills.
Creativity and Critical Thinking: One of the key benefits of art education is its ability to cultivate creativity and critical thinking skills. According to a report by the Arts Education Partnership, students involved in art programs demonstrate greater proficiency in creative problem-solving and critical thinking. <a class="footnote-ref" id="fnref:68" href="#fn:68">68</a> These skills are highly transferable and are in high demand in today’s workforce, particularly in fields like design, engineering, and technology. Art challenges students to think outside the box and explore multiple solutions to a single problem, reinforcing cognitive flexibility needed in real-world situations.
Academic Performance: Art education significantly contributes to improved academic performance. A study by Catterall et al. found that students who participate in the arts are more likely to score higher on standardized tests compared to peers who do not engage in such programs.<a class="footnote-ref" id="fnref:69" href="#fn:69">69</a> These students exhibited better reading comprehension, mathematical achievement, and overall academic success. This link between art education and academic achievement underscores the need to integrate arts into school curricula rather than treating them as optional subjects.
Understanding Math and Science: Art education helps students excel in core subjects like math and science. Studies show that learning through art deepens comprehension and retention in STEM subjects. Research published in Studio Thinking: The Real Benefits of Visual Arts Education found that visual arts activities help students grasp spatial reasoning and geometry concepts.<a class="footnote-ref" id="fnref:70" href="#fn:70">70</a> This spatial reasoning is critical for understanding mathematical principles and scientific visualization. Another study demonstrated that integrating art into science lessons improved memory retention and conceptual understanding among elementary students.<a class="footnote-ref" id="fnref:71" href="#fn:71">71</a> Through hands-on artistic projects, students visualize abstract scientific ideas, making complex topics more accessible.
Social and Emotional Development: Art education supports social and emotional development. Through collaborative projects and individual expression, students learn communication, empathy, and teamwork. The National Endowment for the Arts reported that at-risk students who engage in art activities are more likely to develop a sense of identity and confidence.<a class="footnote-ref" id="fnref:72" href="#fn:72">72</a> They also tend to stay in school longer and are less likely to engage in negative behaviors. The creative process in art-making helps students express emotions, manage stress, and develop resilience.
Fine Motor Skills and Dexterity: Art education helps develop fine motor skills, especially for younger students. Activities like drawing, painting, and sculpting require precision and hand-eye coordination, contributing to fine motor control essential for tasks like writing and typing. Research suggests these fine motor skills are valuable in dexterity-based professions. For example, a study published in the Journal of Surgical Education found that medical students who participated in artistic activities exhibited superior manual dexterity and precision in surgical simulations.<a class="footnote-ref" id="fnref:73" href="#fn:73">73</a> Similarly, research in The Cambridge Handbook of Expertise and Expert Performance noted that deliberate practice of fine motor activities, such as those found in art classes, enhances skills critical for fields like surgery, dentistry, and other precision-based occupations.<a class="footnote-ref" id="fnref:74" href="#fn:74">74</a>
Careers Enhanced by Art Education: Art education enhances skills essential for careers in law enforcement, the military, and forensic science. Observational skills honed through drawing, sketching, and analyzing visual details can significantly improve situational awareness and attention to detail. For example, law enforcement officers who receive training in art-related skills are better at identifying suspects, analyzing crime scenes, and recalling visual information accurately.<a class="footnote-ref" id="fnref:75" href="#fn:75">75</a> In the military, visual analysis and creative problem-solving skills are essential for tasks like map reading, strategic planning, and interpreting aerial reconnaissance imagery. Research in Sparks of Genius: The Thirteen Thinking Tools of the World's Most Creative People shows that many successful professionals, including scientists and military strategists, attribute enhanced observational and problem-solving skills to early experiences in the arts.<a class="footnote-ref" id="fnref:76" href="#fn:76">76</a>

<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Art_schools/M6I4bxmM">Art schools</a></li>
<li><a href="/facts/Arts_in_education/2o7AYaaY">Arts in education</a></li>
<li><a href="/facts/Arts_integration/kx2lGY5X">Arts integration</a></li>
<li><a href="/facts/Arts-based_environmental_education/P5x27xoj">Arts-based environmental education</a></li>
<li><a href="/facts/Museum_education/6EBQVAzF">Museum education</a></li>
<li><a href="/facts/Performing_arts_education/1dpS7szg">Performing arts education</a></li>
<li><a href="/facts/Teaching_artist/N0eJKDqb">Teaching artist</a></li></ul>

<h2 id="external-links">External links</h2>
<ul><li><a href="https://web.archive.org/web/20040626083521/http://portal.unesco.org/culture/en/ev.php-URL_ID=2916&URL_DO=DO_TOPIC&URL_SECTION=201.html">UNESCO portal about Arts Education</a></li>
<li><a href="https://www.accessart.org.uk/">AccessArt</a></li></ul>

<h2 id="references">References</h2>

<ol>
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<li id="fn:36">"What Makes AccessArt Special?". AccessArt. Archived from the original on 10 July 2024. Retrieved 10 July 2024. <a href="https://web.archive.org/web/20240710223611/https://www.accessart.org.uk/special/" target="_blank">https://web.archive.org/web/20240710223611/https://www.accessart.org.uk/special/</a> <a href="#fnref:36" class="footnote-back-ref">↩</a></li>
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<li id="fn:38">"The Fitzwilliam Museum - Ways of Seeing: Inspire 2020". Fitzwilliam Museum. Archived from the original on 24 May 2024. Retrieved 29 October 2024. <a href="https://web.archive.org/web/20240524111649/https://fitzmuseum.cam.ac.uk/research/projects/ways-of-seeing-inspire-2020" target="_blank">https://web.archive.org/web/20240524111649/https://fitzmuseum.cam.ac.uk/research/projects/ways-of-seeing-inspire-2020</a> <a href="#fnref:38" class="footnote-back-ref">↩</a></li>
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<li id="fn:41">"Inspire 2020 | The Inspire exhibition (December 2019- March 2020) was the culmination of a multi- disciplinary practitioner- led research project". Fitzwilliam Museum. Archived from the original on 11 May 2024. Retrieved 29 October 2024. <a href="https://web.archive.org/web/20240511013401/https://inspire2020.fitzmuseum.cam.ac.uk/" target="_blank">https://web.archive.org/web/20240511013401/https://inspire2020.fitzmuseum.cam.ac.uk/</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></li>
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<li id="fn:43">"Exhibition Booklet" (PDF). Fitzwilliam Museum. December 2019. Archived from the original (PDF) on 3 July 2022. Retrieved 29 October 2024. <a href="https://web.archive.org/web/20220703182224/https://inspire2020.fitzmuseum.cam.ac.uk/assets/Inspire-BookletA4-V05.pdf" target="_blank">https://web.archive.org/web/20220703182224/https://inspire2020.fitzmuseum.cam.ac.uk/assets/Inspire-BookletA4-V05.pdf</a> <a href="#fnref:43" class="footnote-back-ref">↩</a></li>
<li id="fn:44">Noble, Kate (5 August 2021). "'Getting Hands On with Other Creative Minds': Establishing a Community of Practice around Primary Art and Design at the Art Museum". International Journal of Art & Design Education. 40 (3): 615–629. doi:10.1111/jade.12371. ISSN 1476-8062. <a href="https://onlinelibrary.wiley.com/doi/10.1111/jade.12371" target="_blank">https://onlinelibrary.wiley.com/doi/10.1111/jade.12371</a> <a href="#fnref:44" class="footnote-back-ref">↩</a></li>
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<li id="fn:47">Art Schools Go MOOC, With A New Online Platform <a href="http://chronicle.com/blogs/wiredcampus/art-schools-go-mooc-new-online-platform-works-with-art-programs-at-18-colleges/56947" target="_blank">http://chronicle.com/blogs/wiredcampus/art-schools-go-mooc-new-online-platform-works-with-art-programs-at-18-colleges/56947</a> <a href="#fnref:47" class="footnote-back-ref">↩</a></li>
<li id="fn:48">Americans for the Arts <a href="http://www.artsusa.org/artseducation" target="_blank">http://www.artsusa.org/artseducation</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></li>
<li id="fn:49">Art. Ask For More. <a href="http://www.artsusa.org/Public_awareness" target="_blank">http://www.artsusa.org/Public_awareness</a> <a href="#fnref:49" class="footnote-back-ref">↩</a></li>
<li id="fn:50">Arts Education Partnership <a href="http://www.aep-arts.org" target="_blank">http://www.aep-arts.org</a> <a href="#fnref:50" class="footnote-back-ref">↩</a></li>
<li id="fn:51">the National Art Education Association <a href="http://www.naea-reston.org" target="_blank">http://www.naea-reston.org</a> <a href="#fnref:51" class="footnote-back-ref">↩</a></li>
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<li id="fn:53">Gude, Olivia. "Art Education for Democratic Life" Archived 2012-11-13 at the Wayback Machine. Lowenfeld Lecture 2009. National Art Education Association. Minnesota, Minneapolis. 20 April 2009 <a href="http://www.arteducators.org/research/2009_LowenfeldLecture_OliviaGude.pdf" target="_blank">http://www.arteducators.org/research/2009_LowenfeldLecture_OliviaGude.pdf</a> <a href="#fnref:53" class="footnote-back-ref">↩</a></li>
<li id="fn:54">"ED report card". PsycEXTRA Dataset. 2004. doi:10.1037/e483142006-006. Retrieved 2020-09-20. <a href="https://dx.doi.org/10.1037/e483142006-006" target="_blank">https://dx.doi.org/10.1037/e483142006-006</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></li>
<li id="fn:55">Gude, Olivia. "Art Education for Democratic Life" Archived 2012-11-13 at the Wayback Machine. Lowenfeld Lecture 2009. National Art Education Association. Minnesota, Minneapolis. 20 April 2009 <a href="http://www.arteducators.org/research/2009_LowenfeldLecture_OliviaGude.pdf" target="_blank">http://www.arteducators.org/research/2009_LowenfeldLecture_OliviaGude.pdf</a> <a href="#fnref:55" class="footnote-back-ref">↩</a></li>
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</ol>

Visual arts education open-in-new

Visual arts education