Understanding Art Testing: Past Influences, Norman C. Meier's Contributions, Present Concerns, and Future Possibilities

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Understanding Art Testing: Past Influences, Norman C. Meier's Contributions, Present Concerns, and Future Possibilities DOCUMENT RESUME ED 302 496 SO 019 608 AUTHOR Clark, Gilbert; And Others TITLE Understanding Art Testing: Past Influences, Norman C. Meier's Contributions, Present Concerns, and Future Possibilities. INSTITUTION National Art Education Association, Reston, Va. PUB DATE 87 NOTE 140p. AVAILABLE FROM National Art Education Association, 1916 Association Drive, Reston, VA 22091. PUB TYPE Books (010) -- Collected Works - General (020) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aptitude; *Art Expression; *Children; *Childrens Art; Creative Art; Educational History; Elementary Education; Freehand Drawing; Literature Reviews; *Testing IDENTIFIERS *Meier (Norman C); Meier Art Tests ABSTRACT This collection of 10 papers focuses on art testing and Norman C. Meier's role in this area of study. The titles written by Gilbert Clark are:(1) "Early Inquiry, Research, and Testing of Children's Art Abilities"; (2) "Norman C. Meier: A Critique of His Tests and Research"; and (3) "Recent Inquiry and Testing of Children's Art Abilities." The titles by Enid Zimmerman are: (1) "Norman C. Meier's Story of Frustrations and Accomplishments"; (2) "Meier's Interlinkage Theory of Special Ability: Art Aptitudes of Children and Creative Processes of the Artist"; and (3) "Art Talent and Research in the 1920s and 1930s: Norman C. Meier's and Leta S. Hollingsworth's Theories about Special Abilities." Marilyn Zurmuehlen has written: (1) "Questioning Art Testing: A Case Study of Norman C. Meier"; (2) "An Historical Look at Developing Art Tests: Norman C. Meier and His Students"; and (3) "A Psychologist Studies Artists." The last paper, "Implications for the Future of Inquiry, Research, and Testing of Children's Art Abilities" includes an excerpt from a conversation among the three authors. The book also contains a selected chronology of publications on inquiry about children's drawings and testing of art abilities and an extensive bibliography that corresponds with the chronology. Drawings, charts, and black and white photographs are included. (DJC) Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** - 1 .. z. :zz :z.111 111IV.:11:g; 18i:11` '161? ::: . ::::- :11 ........ *4-',1111IT.1:1111 inys III ....vows'::111 los Sea -1-----1---t ----T i 1- li1 i fir 7-1 1 --t, --T-- i--# i i -I---' -;- 1 -....="7.1 ---i-4--T ---7 -{ . !, 1 1 __, ____1 _,_'__'..---1 -'-k-- ''t--Y.-- 4- i T -t : . --1 .----- --7-1-t -Ti--1 -"-- " -: ; 1 L - -4_ -i-------t-., , Etta* nisiElsinn gni6E121 NN gill IRE I II iT...;r - n n 74: 0 ic;i1':L111 1510;` NAME 101 PM nib= 1141111'- "PERMISSION TO REPRODUCE THIS U.S DEPARTMENT OF EDUCATION Office of Educational Research IMATERIAL IN MICROFICHEONLY and Improvement HAS BEEN GRANTEDBY ED' ICATIONAL RESOURCES INFORMATION CENTER (ERIC) X This document has been reproducedas D. 6. ekvNon/ receivedfrom the person or organaabon originating it Minor changes have been made toimprove rey,oduction Qualify N-;:"..:::,::. TO THE EDUCATIONALRESOURCES Points of vusw or opsruons stated in this docu- 'INFORMATION CENTER mere do not necessarily represent official ' (ERIC)." OERI positronor policy r) 2 UNDERSTANDING ART TESTING: Past Influences, Norman C. Meier's Contributions, Present Concerns, and Future Possibilities Gilbert Clark, Indiana University Enid Zimmerman, Indiana University Marilyn Zurmuehlen, The University of Iowa The National Art Education Association Copyright 0 1987 National Art Education Association 1916 Association Drive Reston, Virginia 22091 Cover design by Marilyn Zurmuehlen 4 UNDERSTANDING ART TESTING: Past Influences, Norman C. Meier's Contributions, Present Concerns, and Future Possibilities Preface: Enid Zimmerman i Chapter 1: Early Inquiry, Research, and Testing of Children's Art Abilities. Gilbert Clark 1 Chapter 2: Norman C. Meier's Story of Frustrations and Accomplishments. Enid Zimmerman 19 Chapter 3: Meier's Inter linkage Theory of Special Ability: Art Aptitude of Children and the Creative Process of the Artist. Enid Zimmerman 26 Chapter 4: Art Talent and Research in the 1920s and 1930s: Norman C. Meier's and Leta Stetter Hollingworth's Theories About Special Abilities. Enid Zimmerman 36 Chapter 5: Norman C. Meier: A Critique of His Tests and Research. Gilbert Clark 46 Chapter 6: Questioning Art Testing: A Case Study of Norman C. Meier. Marilyn Zurmuehlen 60 Chapter 7: An Historical Look at Developing Art Tests: Norman C. Meier and His Students. Marilyn Zurmuehlen 68 Chapter 8: A Psychologist Studies Artists. Marilyn Zurmuehlen 75 Chapter 9: Recent Inquiry, Research, and Testing of Children's Art Abilities. Gilbert Clark 86 Chapter 10: Implications for the i-ucure of Inquiry, Research, and Testing of Children's Art Abilities. Gilbert Clark, Enid Zimmerman, and Marilyn Zurmuehlen 143: Chronology:Inquiry About Children's Drawing Abilities and Testing of Art Abilities. Gilbert Clark ifsr References: 47-1 e 6 1 List of Figures Chapter 1: Figure 1. Thorndike's Scale for the Merit of Drawings by Pupils 8 to Fifteen YearsOld (Four selected images) Figure 2. Thorndike's Test of Aesthetic Appreciation (Sample display) Chapter 3: Figure 3. Meier's Inter linkage Theory of Special Ability Chapter 4: Figure 4. Hollingworth's Theory About the Nature of Abilities and Disabilities Chapter 5: Figure 5. Meier Art Test:1. Art Judgment (Sample item- four image comparison) Figure 6. Meier Art Test: 2. Aesthetic Perception (Sample item- four image comparison) Chapter 6: Figure 7. Norman C. Meier lecturing abouta painting Figure 8. Norman C. Meier as painter 7 Chapter 8: Figure 9. Subject manipulating composition apparatus (Meier standing at left) Figure 10.Three sketches by Oscar Beringhaus of Taos, New Mexico Figure 11.Letter to Norman C. Meier from Jacques Lipshitz Figure 12.Sky People, by Sioux artist Calvin Larvie 8 PREFACE For the past decade, Gilbert Clark and I have researched and written about the development and nurturance of abilities in the visual arts. In our meanderings through this literature, we frequently came across refer- ences to the Meier Art Tests and the Meier-Seashore Art Judgement Test. Clark was intrigued with the idea that there might be some of Norman Meier's papers and research materials at The University of Iowa. In December 1982, he spoke to Marilyn Zurmuehlen, Head of Art Education at The University of Iowa, to ask whether she knew of any archival material that related to Norman Meier. Zurmuehlen responded that she had done some checking and had located Norman Meier's papers in The University of Iowa Archives. Clark and I were excited by this information and we applied for, and received, a grant from Indiana University's School of Education to travel to Iowa and stay for five days to study the Meier archival materials. Soon after our arrival in Iowa, Zurmuehlen accompanied us to The University of Iowa Archives. We previously had made arrangements with the Curator of Archives to have Norman C. Meier's papers available. We were told that we were the first researchers to request the Meier Papers since they had been placed in the University Archives. Wheeled out to us on a cart, as the three of us assembled around a large library table, were seven archival boxes of correspondence, one archival box of personal papers, and four additional archival boxes of reprints, cuts for illustrations, manuscripts and lectures, and slides. A large box contained memorabilia consisting of rewspaper articles, cards, drawings of research apparatus, slides, and photographs. In addition, there was a separate stack of books and tests. For five days, we diligently read and examined these items, occasionally making comments to one another. The Meier papers were not catalogued which meant that we looked at every document, studied every object, and took notes about materials we thought would be interesting to study fur- ther. We did not approach the Meier papers with any preconceived notions except that we were acquainted with the Meier Art Tests that seemed to be somewhat dated and naive in conception. Meier was an inveterate collector and it appeared he never discarded a letter he received nor disposed of a carbon copy of a letter he sent. Copies 9 of his course notes, radio talks, and invited lectures also were filed with his correspondence. The correspondence reflected both positive responses to his work and negative comments about his personal and professional worth. The eight unexpurged files and the beginnings of an unfinished autobiography imply that perhaps Meier was waiting for someone to find this information and tell his story. After five days of perusing Meier's papers, the three of us sat down and exchanged reactions to the data. Our different life experiences, educational backgrounds, and areas of research expertise produced multifaceted responses to the Meier papers. From these differences emerged not only an interest in Meier's life and impact on the art testing movement, but to a much greater extent, Meier's work emerged as one case study in the history of the art testing movement with implications for its present and future status in the field of art education. Our conundrum concerned deciding how we would each describe, interpret, and analyze some of the original source material we had encountered in the Meier papers. Should we write individual papers or collaborate on a group of papers? Methodology and Context "Biography," according to Clifford (1983), "is not a treatise on life but the evoking of life" (p. 57). Archival data that enrich our understanding of a person's life also can serve to demonstrate how a person living at a specific time responded to his or her environment and how that environment affected his or her professional efforts. Historiography involves reconsti- tuting events from the past, using primary sources that form bits and pieces that eventually evoke a semblance of wholeness and unity. Each research- er's reconstitution of events to create unity is to some extent idiosyncratic and dependent upon his or her value and belief systems and chosen research stance.
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