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DOCUMENT RESMIE ED 347 099 SD 019 927 AUTHOR Stankiewicz DOCUMENT RESMIE ED 347 099 SD 019 927 AUTHOR Stankiewicz, Mary Ann, Dd.; Zimmerman, Enid, Ed. TITLE Women Art Educators II. PUB DATE Apr 85 NOTE 235p.; For related document, see SO 019 926. PUB TYPE Historical Materials (060) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS American Indians; *Art Education; *Art Teachers; *Females; Folk Culture; Foreign Countries; Interviews; Primary Sources; *Sex Role; *Sex Stereotypes;.*Womens Studies IDENTIFIERS Borneo; Cole (Natalie Robinson); Ellsworth (Maud); Freyberger (Ruth); Halvorsen (Ruth Elise); Hollingworth (Leta Stetter); Huntoom (Mary); India; Indonesia; Pearson (Adelaide); Prang (Mary Dana Hicks); Rouse (Mary Jane) ABSTRACT In this monograph, the story of achievements and struggles of a number of women art educators from the past, in both formal and informa2 educational settings, is documented. There are two recurring themes in this collection of 14 essays: (1) a focus on individual educators in more traditional academic settings, and (2) the role of woman folk artists or traditional women craft artists in their native cultures. "Mary Jane Rouse: Portrait of a Dynamic Art Educator" (E. Neal). outlines the career of a dedicated teacher and a powerful administrator. "Mary Dana Hicks Prang: a Pioneer in American Art Education" (M. Stankiewicz) recounts Prang's development as an art educator who helped to popularize art and oversaw the growth of the Prang Educational Company. "Adelaide Pearson of Blue Hill, Maine" (A. DZamba) presents the life of an art teacher and social reformer whose life was shaped by the Progressive Era at the beginning of the twentieth century. "To Test All Things: The Life and Work of Leta Stetter Hollingsworth" (E. Zimmerman) presents information about a pioneer psychologist and educator who wrote about the relationship between intelligence and art talent. "Mary Huntoon: Artirt, Teacher, and Therapist" (S. Hagaman) outlines the background of an artist, art educator and administrator, and one of the first U.S. art therapists. "Natalie Robinson Cole: The American Cizek?" (P. Smith) compares the teaching philosophy and techniques of Cole with the Austrian educator Franz Cizek. "Maud Ellsworth: Art Educator and Master Teacher (L. Salkind) details the career of Ellsworth, the chair of the art education department at the University of Kansas and a leader in the art education movement in the Midwest and the nation. "Ruth Elise Halvorsen: An Advocate of Art for All" (A. Gregory) is an interview with Halvorsen, the second woman to be president of the National Art Education Association. "Lowenfeld's First Graduate Student: Rmth Freyberger" (M. Majewski) discusses, through an interview, the career of Freyberger from her early school days to appointment as Professor Emerita at Illinois State University. "Julia B. Schwartz: Mathematician-Turned-Art Educator" (L. Bradley) chronicles the career of a national leader in art education. The volume concludes with "Women Folk Artists as Educators" (K. Congdon) and *The Changing Role of Native American Women as Teachers of Art" (L. Zastrow). (PPB) edited br Gmarr cAnn Stankiewicz GEnid Zimmerman US t(eiummwr of EDUCATION Ortice c Fdruceorml Ifteesitli and tmonwetteri THIS EDUCATIONAL RESOURCES.INFORMATON "PERMISSIONTO REPRODUCE CENTUR IERIC) MATERIAL IN ANCROFICM ONLY ;#45document NeeMen teprodured HAS BEEN GRANTED SY reconferl from me DerpOn at orgert)/aoon coirnsong r MIA*, carve ha** teen rnade to ortosov EN fOrodliKOon oasahly Pom15 vow rs pp7u0n*stattglal ChM dtxu ~I do no" necessatoy rporeserltofficoal °Ent pOkoA ol Policy TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)-- sponsored br the Warr °Rouse Memorial °Fund at Gindiana Tniversitr and the BEST COPYMAILABLE cWomen's Caucus of the °National GArt 'Education 'Association WOMEN ART EDUCATORS II edited by Mary Ann §tankiewicz and Enid Zimmerman sponsored by the Mary Rouse Memorial Fund at Indiana University and the Women's Caucus of the National Art Education Association Indiana University Bloomington, Indiana 3 April, 1985 dedicated to Mary Jane Rouse and to our children Rebecca Aemilia Ebitz Eric Harold Zimmerman Laura Rose Zimmerman a special thanks to Judy Anderson for typing the manuscript tor this monograph CONTENTS PAGE INTRODUTION Mary Ann Stankiewiez and Enid Zimmerman 1 MARY JANE ROUSE: PORTRAIT OF A DYNAMIC ART EDUCATOR Eleanor Neal 9 MARY DANA HICKS PRANG: A PIONEER IN AMERICAN ART EDUCATION Mary Ann Stankiewicz 22 ADELAIDE PEARSON OF BLUE HILL, MAINE Anne Olga Dzamba 39 TO TEST ALL THINGS: THE LIFE AND WORK OF LETA STETTER HOLLINGWORTH Enid Zimmerman 64 MARY HUNTOON: ARTIST, TEACHER, AND THERAPIST Sally M. Hagaman 82 NATALIE ROBINSON COLE: THE AMERICAN CIZEK? Peter Smith 100 MAUD ELLSWORTH: ART EDUCATOR AND MASTER TEACHER Leni Salkind 114 RUTH ELISE RALVORSEN: AN ADVOCATE OF ART FOR ALL Anne Gregory 131 RUTH M. EBKEN: A CONCERNED ART EDUCATOR Anne Gregory 148 LOWENFELD'S FIRST GNADUATE STUDENT: RUTH FREYBERGER Margaret Mary Majewski 160 JULIA 3. SCHWARTZ: MATHEMATICIAN-TURNED-ART EDUCATOR Linda S. Bradley 181 WOMEN FOLK ARTISTS AS EDUCATORS Kristen G. Congdon 192 THE CHANGING ROLE OF NATIVE AMERICAN WOMEN AS TEACHERS OF ART Leona M. Zastrow 210 TRADITIONAL WOMEN ARTISTS IN BORNEO, INDONESIA AND INDIA Betty LaDuke 219 INTRODUCTION Mary Ann Stankiewicz and Enid Zimmerman This second monograph in the Women Art Educators series has been aptly named Women Art Educators II. With a little imagination and the addition of one word and the change of another the title of this monograph might read, Women were art educators too. Indeed they were. We, as contemporary art educators, are standing on the shoulders of giants and giantesses. In this monograph, the story of achievements and struggles of a number of women art educators from the past, in both formal and informal educational settings, is documented. Two themes resonate through the monograph. The biographies offer multiple models of women's roles in the field of art education and the papers about atypical groups focus on the theme of women art educators teaching in non-traditional contexts. The two themes interact as individual women art educators in more traditional academic settings have been affected by the culture that surrounds them whereas women folkartists and Native American and Asian women artists and teachers provide alternate models for study. The women art educators featured in Women Art Educators II all were affected by their places in history. Mary Rouse, to whom this vomume is dedicated, was a product of her time as much as Mary Dana Hiss Prangwas of hers. Both women came to art education after pursuing other interests: both were single parents combining career with child rearing. How different, however, was the experience of a professional woman in the late nineteenth century from one in the mid-twentieth century. Whereas, Mary Rouse was recognized as a researcher, writer, editor, and teacher by hercolleagues in art education, Mary Hicks was often hidden behindfeminine modesty which kept her contributions to the Prang art education textssimply a part of a large collaborative effort. Both women contributed to educational efforts for women, Rouse as teacher and mentor atIndiana University and Hicks through her wcrk with the Social ArtClub of Syracuse. There is another indication of how times havechanged for women. In the nineteenth century, higher education for women was rare;advanced degrees almost unknown, so many women participated inwomen's clubs as one means to personal growth. Mary Rouse, on the other hand, was able to create an educational climate withinthe graduate program in art education at Indiana Universitythat encouraged women to develop as art educators, researchers,and professional women. While Rouse's life was cut short, Mary Prang lived anexceptionally long and active life. She was able to complete an advanced degree inher seventies, demonstrating a life-long love of learning. Another trait found in both Rouse and Prang issocial consciousness. Both women were sensitive to the social issuesof their day, including the women's movement. Social consciousness also is apparent in the biography of Adelaide Pearson whose art educationwork was conducted outside the boundaries of the public school. Pearson was a wealthy young woman who did not have to workfor a living; like many similar womenof ner day, she made volunteeractivities into meaningful work. Not only was she a participantin the settlement house movement, but she contributed to the war effort during World War I, supported the library in her adopted home town of Blue Hill, Maine, and ran an art education program there. Her work in Blue Hill with the Rowantrees Pottery recalls ideas of John Ruskin and William Morris about the importance of art industries for improving social conditions. Like Mary Rouse, Leta Hollingworth was a researcher. Unlike some of the other women in this monograph, she was not primarily an art educator. Her field was educational psychology and her research focused on a number of area!, includingwomen's issues and talented students. Her research about artistically talented students demonstrates the contribution to art education of work done in other disciplines. Art education also has formed the basis of other fields of research and professional activity. Mary Huntoon began as an art educator but changed to art therapy when that field was in its infancy. Natalie Cole, on the other hand, has remained an art educator while emphasizing a therapeutic approach to art teaching and expanding her curriculum to include a variety of arts. In the biography of each of these women, we see the power of the conception of art as a force for personal development. While Franz Cizek and Viktor Lowenfeld are often cited as the male models for this approach to art teaching, women have shared it as well. Maud Ellsworth, like Mary Rouse and Mary Dana Hicks Prang, included writing art textbooks for children among her professional accomplishments. Like the Prang series of texts, published over half a century earlier, The Ellsworth andAndrews' series, Growing.
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