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University Microfilms International300 N INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University M icrofilm s International 300 N. ZEEB ROAD. ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND 8001836 St a n k ie w ic z, M a r y A n n ART TEACHER PREPARATION AT SYRACUSE UNIVERSITY, THE FIRST CENTURY The Ohio State University PH.D. 1979 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 4810G 18 Bedford Row, London WC1R 4EJ, England Copyright 1979 by Stankiewicz, Mary Ann All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs________ 2. Colored illustrations ________ 3. Photographs with dark background ________ 4. Illustrations are poor copy________ 5. Print shows through as there is text on both sides of page_________ 6. Indistinct, broken or small print on several pages throughout 7. Tightly bound copy with print lost in spine ________ 8. Computer printout pages with indistinct print ________ 9. Page(s) _____ lacking when material received, and not available from school or author________ 10. Page(s) ________seem to be missing in numbering only as text follows ________ 11. Poor carbon copy________ 12. Not original copy, several pages with blurred type ________ 13. Appendix pages are poor copy________ 14. Original copy with light type ________ 15. Curling and wrinkled pages ________ 16. Other U niversity M r a d n lm s International 300 N. ZEEB RD.. ANN ARBOR. Ml 48106 '3131 761-4700 ART TEACHER PREPARATION AT SYRACUSE UNIVERSITY, THE FIRST CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary Ann Stankiewicz, B.F.A., M.F.A. ****** The Ohio State University 1979 Reading Committee: Approved BY Arthur Efland Kenneth Marantz Ross Norris Adviser Philip L. Smith Department of Art Education ACKNOWLEDGMENTS Many people have helped me in the process of histori­ cal research which resulted in this dissertation. The faculty of the Department of Synaesthetic Education at Syracuse University gave generously of their time in interviews and conversation on synaesthetic education. I want to thank Dr. Michael F. Andrews for his invaluable help. Dr. Larry Bakke, 0. Charles Giordano, and James Ridlon have always encouraged me in my work. Dr. August Freundlich of the College of Visual and Performing Arts and Dr. David Krathwohl of the School of Education at Syracuse were both helpful in providing information. Sylvia S. Wyckoff, a Syracuse graduate and faculty member, generously shared her memories of art education at Syra­ cuse over the course of many years. I especially want to thank Amy Doherty, Syracuse University Archivist, for all her help in locating mater­ ials for this research. The staff of the George Arents Research Library at Syracuse were most kind in helping a beginning researcher. My thanks also go to all those who answered my letters seeking information on Syracuse people in place as far afield as Kansas and Ohio. ii A special debt of gratitude is owed to Norma Jean Safford, my high school art teacher and fellow Syracuse graduate, for her help on this study and her encouragement over many years. Norma Safford has always been a dedi­ cated art educator and role model for many of her students. Her influence started me on the path that led to this dissertation. My thanks go to Arthur Efland, Kenneth Marantz, and Philip L. Smith, my reading committee, who have given gen­ erously of their time and their knowledge to help me in my work. Thanks also go to Ross Norris, my advisor, for listening on so many occasions and asking the right questions. VITA May 5, 194 8 . Born - Keene, Nev/ Hampshire 1970 ..............B. F. A. , Syracuse University Syracuse, New York 1970-1974 ......... Elementary Art Teacher, Lenox (Massachusetts) Public Schools 1974-75 ........... Work-Study Appointment, Department of Synaesthetic Education, Syracuse University 1975-76 ........... Teaching Associate, Department of Synaesthetic Education, Syracuse University 1976 ..............M. F. A. , Syracuse University, Syracuse, New York 1976-77 ........... University Fellowship, The Ohio State University, Columbus, Ohio 1977-79 ........... Graduate Administrative Associate, Department of Art Education, The Ohio State University, Columbus, Ohio 1978 .............. Ohio State University Graduate Student Alumni Research Award FIELDS OF STUDY Philosophy of History and of Science. Professor Virgil Hinshaw. Philosophy and History of Art Education. Professor Ross Norris. Historical Methods. Professor Clayton Roberts. Philosophy of Education. Professor Philip L. Smith. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ......................................... ii VITA ........................................................ iv LIST OF T A B L E S ............................................vii LIST OF F I G U R E S ............................................vii INTRODUCTION ........................................... 1 Chapter I. ESTHETIC EDUCATION AND THE COLLEGE OF FINE A R T S ....................................... 14 Walter Smith and Massachusetts Normal Art S c h o o l ................................ 15 The College of Fine A r t s .................. 17 George Fisk Comfort ......................... 22 Early Curriculum ........................... 35 N o t e s ......................................... 51 II. PEDAGOGY AND NORMAL A R T ....................... 57 Normal A r t .................................. 57 Arthur Wesley Dow: The Synthetic Method . 6 4 Dow1 s Influence at Syracuse ................ 69 Teachers College ........................... 76 Normal Art in Teachers College ............. 81 Professional Stirrings.... .................. 84 S u m m a r y ....................................... 89 N o t e s ......................................... 92 III. PUBLIC SCHOOL ART AND PROGRESSIVEINFLUENCES . 98 Public School Art under Rilla Jackman . 98 Teacher Preparation in Design and P a i n t i n g .....................................107 Professional Requirements and Changes 1 9 1 7 - 3 4 ....................................... 115 v Chapter Page Catharine Condon and Progressive Education - . 121 N o t e s ............................................135 IV. ART EDUCATION AT SYRACUSE ..................... 14 0 Creativity and Child-Centered Art Education........... ,........................ 141 Syracuse Art Education Curriculum, the F o r t i e s ........... 150 A New Era Begins ....................... 156 N o t e s ............................................176 V. ART EDUCATION INTO SYNAESTHETIC EDUCATION . 180 I The Synaesthetic Education Faculty .... 183 The Ambiance at Syracuse University .... 194 University Self-examination and Reorganization ........................... 199 The Synaesthetic Education Program .... 208 The Synaesthetic Education Philosophy . 214 N o t e s ............................................228 CONCLUSION ................................................ 237 APPENDICES A. Syracuse University Administrators Relevant to Art Education................................ 257 B. Art Education Faculty at Syracuse University 1900-1976 259 C. Graduates in Art Education 1901-1973 .......... 262 D. Sample Curricula ................................ 265 BIBLIOGRAPHY ........................................... 276 vi LIST OF TABLES Table Page 1. Teachers College Enrollment 1906-1916......... 80 2. Art Teacher Preparation in Six Institutions . 152 LIST OF FIGURES Figure Page 1. Practical World of Art Education ............. 6 2. Theoretical World of Art Education ........... 7 3. Comfort's Scheme
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