As this conception necessarily alters from time to time, influenced by all sorts of subtle changes in the social organism (manifesting themselves in what we call Taste), as well as by fundamental economic conditions, so the ideas of what are the true methods in art teaching change also.
Naturally in a time when scepticism is so profound as to reach the temerity of asking such a question as “What is art?” there need be no perceptible shock when inquiries are instituted as to the best methods of art teaching. As important witnesses in the great case of the position of art in general education, or commercial interests v. the expansion of the human mind and the pleasure of life—methods of art teaching have to be put in the box. What do they say?
Well, have we not the good old (so-called) Academic methods always with us?
Royal College of Art: Design School Craft Classes, Gesso, under Mr. G. Jack
Cabinet designed and decorated in Gesso. By J. R. Shea
The study of the antique by means of shaded drawings, stumped or stippled “up to the nines” (if not further), leading on to equally elaborate life-studies, which somehow are expected to roll the impressions of eight, ten, or more sittings into one entirety—and wonderfully it is done, too, sometimes.
Royal College of Art: Design School Craft Classes, Pottery under Mr. Lunn
Group of Pottery designed and executed by
the Students