The In-Depth Studio Approach: Incorporating an Art Museum Program into a Pre-Primary Classroom

By Trimis, Eli; Savva, Andri | Art Education, November 2004 | Go to article overview

The In-Depth Studio Approach: Incorporating an Art Museum Program into a Pre-Primary Classroom


Trimis, Eli, Savva, Andri, Art Education


With the advent of Discipline Based Art Education (DBAE), student contact with original works of art was considered central to curriculum planning and art museums became of particular importance in the study of art (Clark, Day, & Greer, 1987). Art museums can be important educational resources for young children if educational programs in these settings encourage students to interact with artworks in meaningful ways (Durant, 1996; Epstein & Trimis, 2002; Kerlavage, 1995; Lund & Osborne, 1995).

In Cyprus, art appreciation has been introduced in early childhood classrooms but it is rarely applied. When it is applied, art appreciation happens mainly through the use of visual aids such as painting reproductions and slides (Sawa, 2003). Except for some interesting programs applied in early childhood settings or educational programs initiated by museums, young children in Cyprus appear to have few real artwork experiences. Visits to art exhibitions usually consist of school field trips with no preparation or reflection opportunities. Archeological sites, monuments, museums, and sites or institutions where art can be appreciated are easily accessible in Cyprus. Actual visits to these sites, however, are rare. In the case that visits are made, they are usually not linked to the everyday art activities of the children in the classroom, either before or after a visit.

While new programs in art education are developed, implemented, and evaluated, teachers try to understand how an art museum experience can enhance and enrich children's art learning. One way to take advantage of a museum visit is to consider it as one component of a three-part unit that consists of preliminary preparation, a museum visit, and follow-up work (Hooper-Greenhill, 1991).

Recent literature refers to the significance of incorporating stimuli gained from visits to art museums and places of cultural interest into classroom practice (Epstein & Trimis, 2002; Xanthoudaki, 1998). Trimis (1996) introduced the indepth studio approach, an art instruction method that emphasizes the development of young children's firsthand knowledge of each visual arts medium before attempts are made to see how similar art activities are carried out in the real word (e.g., an artist's studio or an art museum).

We implemented the in-depth studio approach as part of a larger study of museum education in Cyprus.1 The approach enables students to explore materials and techniques in-depth and to progress in developmental stages (preliminary, enrichment, production, reflection). The program has two thrusts: making art and looking at art. Basic elements of this program include the child, space (area, place, land, locality, location, village, or town), and flexible time. The program was based on:

a. A three-part unit model, consisting of children's preliminary work, the visit itself, and follow up art activities in the classroom (Hooper- Greenhill, 1991); and,

b. The philosophy and principles of the in-depth studio approach in which emphasis is given to knowledge of each visual arts medium before and after visiting workplaces and museums in general (Epstein & Trimis, 2002).

Our aim was to introduce preservice teachers to ways of implementing programs that link museum education with art activities in the classroom. At the same time, the preservice teachers explored children's responses during art classroom activities and their visit to the museum. Our investigation encompassed three phases: (1) creating art during art activities in the classroom; (2) a visit to a contemporary art museum and the construction of meaning about contemporary artworks; and (3) making art after visiting a contemporary art museum.

Preservice early childhood teachers participated in an art museum program with young children at the Nicosia Municipal Arts Center in Cyprus. Initially, preservice teachers visited the art museum with their art professor in order to become informed about the place and the art collection. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

The In-Depth Studio Approach: Incorporating an Art Museum Program into a Pre-Primary Classroom
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.