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Complete teaching texts with lesson plans:

 

  • B600 Teacher's Guide (54 pages) with two 17" X 22" Posters
  • B603 Portaits Unit (114 pages teaching guide includes lesson plans) with three 17" X 22" posters and two Filmstrips - 23 Photo Images and 24 Art Images

 

Includes custom-designed "See For Yourself" 3-ring binder 

 

 

About "See For Yourself"

 

"See For Yourself" is a Watercolor Sequential Teaching Method with which teachers get dramatic painting results with almost every student in just 15 1-hour sessions.

 

The program was developed, tested, and validated, involving 34 Art Educators and over 6,600 Students, in the Jefferson County School System, Colorado, in 1984.

 

Once test data came to hand, the program was evaluated by Dr. Stanley Madeja, Chairman of the Department of Visual and Performing Arts, University of Northern Illinois, who found the results to be outstanding both artistically and educationally.

 

Additionally, over 120 Administrators and Parent Groups gave input to the development of the program.

 

With organization, management and lesson plans built into the program, educators are able to spend more time helping students to achieve creative growth.  By helping students to 'see', they also develop the fundamentally important process of 'learning how to learn' for themselves.

 

Students, educators, and parents are astounded by the dramatic artistic accomplishments students are able to achieve from the "See For Yourself" program.  As one student exclaimed: "It's nice to have someone tell you how great you're doing, but it's even greater when you can see for yourself!"

 

"See For Yourself" was adopted by School Districts throughout the United States, including The Department Of Defense, for use in schools on American Military bases in various parts of the world.

 

With the exception of the last remaining subject units offered here, texts for the B601 Mountain Landscapes and B602 Flowers units of this phenomenally successful program have, sadly, been out-of-print since 1994 and are no longer available.  

 

Texts for B600 Teacher's Guide and B603 Portraits Unit . 

 

      

                                                Before Instruction                                                   After Instruction (same student)

 

 

 

Please send any questions and comments, together with interests you might have in any of the items you see on our website.

 
ArtLink
  
Telephone: 610-732-0661
 
 
also
 
 

 
 

 
 
 
History of the Seal of the City of Philadelphia 
 
 
Philadelphia City Seal Raised Relief Sculpture
...the only one of its kind in the world!
 
A remarkable piece of artwork created by David Cook, one of England's
leading Paper Sculptors 
 
 
 
 
About the Sculpture
 
The ArtLink project to create this sculpture began in 1995 with research of the history of the city seal. Precise design and color images of the seal were then obtained from the City of Philadelphia and sent to David Cook in the UK, one of England's leading paper sculptors, where exact colors of the seal were matched and manufactured by Chromacolour, London, UK.
 
  • Sculpture crafted with Bockingford 140 lb and 230 lb watercolor papers
  • Showcase built in Philadelphia by antiques restoration specialist, Nigel Taylor
  • Sculpture Image 36" diameter
  • Showcase 48" W X 48" L X 6" D

 

Showcase colors matched to 19th century color swatches by Benjamin Moore, Philadelphia.

 

          Inner showcase and mounting board color

 

  • #584 Blue from 19th century color sample of paint manufacturer F. W. Defoe Company, Chicago

 

          Outer showcase color

 

  • Van Deusen Blue #HC-156 in the Historical Color Collection from 18th and 19th centuries, Benjamin Moore, Philadelphia

 

 

Photos showing detail of the sculpture
 
 
 
 
 
 
 
 
 
 
City Seal atop the 'Rocky' steps at The Philadelphia Museum of Art
 
 
 
History of the Seal Of The City Of Philadelphia
 
The Seal Of The City Of Philadelphia was selected and adopted by Common Councils of the city on February 14, 1874, and has since prevailed as the seal still used today.
 
The history of the seal goes back to 1683, when William Penn declared himself the Proprietor and Governor of the city.  Not an unreasonable claim at that time, since Penn opted to take land rather than cash from Charles II as repayment for investments owed to his deceased father - about 42,000 square miles west of New Jersey.
 
Before the seal as we know it today was adopted, its design changed several times, in 1683, 1701, 1789 and 1874.
 
          
 
            
 
Following the Charter of 1701, a new seal was designed - a quartered shield showing clasped hands in the upper left-hand quarter, a sheaf of wheat in upper right, balanced scales in lower left, and a full rigged ship in lower right.  This seal design remained in use until 1789.
 
By 1789, the Revolution changed the status everything  and a new seal was adopted.  The shield in the center was divided into three horizontal compartments - the upper containing a plow with bare hand at one end, an imageless panel in the middle, and a ship in full sail in the lower.  Beneath the shield the date 1789 in Roman numerals.  Around the outer edge the words "The Seal Of The City Of Philadelphia."  
 
This was the most artistically designed seal the city ever possessed, and was in use until after the Consolidation of the city in 1854.  The concept for the design of this seal was taken from a painting entitled "Arms of the City of Philadelphia" by a famous painter of the time, Thomas Sully, and remains the basis for the city seal used today.
 
"Arms of the City of Philadelphia" painted by Thomas Sully (1783-1872) 
 

 
 

 

 

Pioneers in Art Education

 

Florence Cane "The Artist In Each Of Us" 1951 - the only book ever published by Ms. Cane, who understood and demonstrated how to get children to unearth the artist within them. 

 

This extremely rare, long out-of-print book, is one of the most important publications an Art Educator could ever wish to read.  To recognize the significance of this book, it is worth quoting the opening paragraph in the forward by Harvey Zorbaugh, then Director of the Counseling Centre for Gifted Children, New York University.

 

"This is a story that is warm with living.  It is told by a remarkable woman - an artist, not only with brush and canvas, but also with human relationships.  It is a story built out of creative moments in her life as a teacher and in the lives of those whom she taught.  It is a story that will thrill all who thrill to the growth of children."

 

In her preface, this is Florence Cane's opening paragaph:

 

"My work is founded on the belief that every man is born with the power to create.  This power is of the spirit and through its use man awakens and grows." 

 

At the heart of her book, Ms. Cane defines her theory and method, and maps a clear course of study with exrecises, easily extractable lesson plans, and 23 color and 166 black and white images.

 

ArtLink is presently working on bringing the theory and teachings of Florence Cane to publication with a Teacher's Guide, Lesson Plans and Art Materials needed for the classroom. 

 

Biography  

 

Florence Cane was born in 1882 and died in 1952. She was the second oldest child out of four siblings. Margaret was younger than her. As a child, Cane was outgoing and friendly. At the age of eight she started a diary, which she titled "Things My Mother Does to Me That I Won't Do To My Children."

 

Because of her love for making things as a child, she decided early on to be an art teacher. Her experience with teachers who inhibited her creativity and also with those who encouraged it gave her the idea to learn more about what made a good art teacher. During the time in which Cane was a child the use of feelings as a source for creative art making was not popular among art teachers.

 

Florence believed that the person and the product (art) should be integrated. Movement, feeling, and thought were functions that combined help one achieve this integration. Daughter Mary Cane Robinson said of her mother, "Florence developed her style, her method, from an intuitive search for ways to stimulate the creative process in each person she was teaching; then she put it into a form that she could convey to others" (1983).

 

Florence Cane taught privately in her own home in addition to teaching at the Walden School. She also lectured to teachers groups and for a few years had a school of her own in Rockefeller Center. Later, she became the director of art for the Counseling Centre for Gifted Children at New York University. Ms. Cane held this position for fourteen years. 

 

Florence Cane wrote The Artist in Each of Us in 1951. This is the only book she published. She was known as an open, positive, and eager woman. She was a suffragette and really worked for women's causes.

 

Ms. Cane and her husband, Melville both did personal therapy with Jungian analyst Dr. Beatrice Hinkle. They were quite influenced by the philosophy of George Gurdjieff. One aspect of this philosophy was the term "essence"; which was to mean the intrinsic, unchanging part of a person. Florence used drawing and painting as a means to help her students to find their "essence".

 

Cane stressed physical health. She believed that with a higher state of consciousness one could move beyond driven behavior to a state in which one could be free to choose. Like her sister, Cane was influenced by Eastern thought and philosophy. Florence had stated "the direction of my teaching has been towards the liberation and growth of the child's soul through play and work and self-discipline involved in painting" (Cane, 1932 p42.) 

 

Margaret Naumburg and Florence Cane

 

Margaret Naumburg was first an educator, with undergraduate work done at Vassar and Barnard Colleges. She did Graduate studies with John Dewey at Columbia, as well as Beatrice and Sidney Webb at the London School of Economics. Later Margaret studied with F. Mathius Alexander in England, Dr. William Brown at Oxford, Dr. William McDougall, and Maria Montessori in Italy. Psychology, parapsychology, and physical coordination are some areas that these studies were in. She took her psychological and educational backgrounds to create what would become art therapy.

 

Naumburg was born in 1890. She expressed that as a child she felt constrained and miserable. Her son, Thomas Frank (1983) mentions that "perhaps her feeling both misunderstood and without opportunity to share her inner life during these early years gave her a beginning motivation to battle for less restrictive educational approaches focused on the individual child's emotional needs. And perhaps those early restrictive experiences with her own parents influenced her ultimate approach to art therapy."

 

In early adulthood Naumburg and author-husband, Waldo Frank lived and worked in New York City. They shared a circle of friends and colleagues comprised of many elite creators of the time. This includes people such as painter Georgia O'Keeffe, poet John Marin, and film star Charlie Chaplin.

 

In 1914 Margaret Naumburg started what she called the "Children's School". She later renamed it the Walden School. She wanted to practice her belief that "the emotional development of children, fostered through encouragement of spontaneous creative expression and self-motivated learning, should take precedence over the traditional intellectual approach to the teaching of a standardized curriculum.", as said by Thomas Frank (1983). Her psychoanalytic training influenced her educational methods. At the Walden School, all teachers were encouraged to see a psychoanalyst personally.

 

In 1920, Naumburg invited her sister Florence Cane to teach at the Walden School after she had criticized the way that art was being taught there. Margaret hired faculty according to different principles than were typical of the time. The faculty she hired often did not even have education degrees.

 

In the early 1920's Naumburg resigned as director from Walden and had a son shortly after. Three years later she divorced Waldo Frank. In 1928 she published her first book, which was based on her experience with the Walden School called The Child and the World.

 

Margaret Naumburg did much of her personal therapy with Dr. Beatrice Hinkle, who was a Jungian. Later she did more personal analysis with Dr. A. A. Brill, a Freudian. Freud, Jung, and Harry Stack Sullivan were all theorists who 

influenced her work. Naumburg was also interested in Eastern Philosophy, the occult, psychodrama, parapsychology, modern surrealist art, and primitive art. Those interests played a role in the development of her theories as well.

 

From 1930 on she concerned herself primarily with developing art therapy technique and moved away from progressive education. Naumburg devoted much of her life to the establishment of art therapy as a discipline, which psychiatry as a field, really opposed. "She was forever pointing out that art therapy, with its use of symbolic language and imagery, was often a more effective road to the unconscious than the usual verbal approach of psychoanalysis and dynamic psychotherapy", Thomas Frank (1983).

 

Naumburg was a poet and a playwright in addition to being an academic writer. Academically speaking, she wrote numerous papers and a total of five books in her life. From 1941-1947 she researched under Dr. Nolan D. C. Lewis at the New York Psychiatric Institute. Two books that she wrote stemmed from this research: Studies of the "Free" Art Expression of Behavior Problem Children and Adolescents as a Means of Diagnosis and Therapy (1947) and Schizophrenic Art: Its Meaning in Psychotherapy (1950). In 1953 Naumburg published Psychoneurotic Art and in 1966 she published Dynamically Oriented Art Therapy.

 

Margaret Naumburg taught at New York University into her eighties. She facilitated the beginning of art therapy instruction at the undergraduate level. A graduate program for art therapy was not started until 1969. Margaret Naumburg never held a teaching position on graduate level.

 

The work of Florence Cane and Margaret Naumburg is the basis on which all modern therapeutic art theories and practices are built. They significantly contributed to the fields of art therapy and art education. When Naumburg stopped teaching and started to concentrate on art therapy, she still stressed to art educators the importance of creativity, the intuitive, the nonverbal, and the unconscious. It has been speculated that tensions existed between the two sisters, but that this tension probably caused them both to be more productive.