Bryant & Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD

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National Art Education Association

Art and the Mentally Retarded ChildAuthor(s): Antusa P. Bryant and Leroy B. SchwanSource: Studies in Art Education, Vol. 12, No. 3 (Spring, 1971), pp. 50-63Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/1319961 .

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ART AND THE MENTALLY RETARDED CHILDANTUSA P. BRYANT and LEROY B. SCHWAN

IntroductionChildren who are classified as mentally retarded often are denied art experiencesbecause the art teacher feels that the retarded cannot profit from art instruction. Atthe other extreme, retarded children are given an overabundance of art and other

"physical" ype activities to compensate for their lack of mental acumen.Tests of aptitude in the graphic arts have been developed and are useful indeterminingart ability. The most widely used tests are:1. The GravesDesign Judgment Test,1which is intended to measure the degree towhich an individual perceives and responds to the basic principles of aesthetic order- unity, dominance, variety, balance, continuity, symmetry, proportion, and

rhythm.2. The Meier Art Judgment Test,2 which is intended to measure aesthetic judg-ment in a "global"manner.3. The Knauber Art Ability Test,3 which is used to measure art ability in 15 dif-ferent areas and may be used in grades7 through 16.4. The Horn Art Aptitude Inventory,4which was designed as a screening devicefor applicants requestingadmission to schools of art.5. The McAdoryArt Test,5which is an older, less used test, published in 1929.

None of these tests was designed to be used with mentally retarded children, norhave they been correlated with intelligence tests. The entire field of aesthetics hasbeen largely neglected by psychologists.6Little or no basic research has been done inthe area of aestheticsfor childrenwho are mentally retarded.Research on artistic abilities is still in a most primitive stage. Most of the tests

have been left as they were when first designed as much as 30 years ago withoutfollow-up research or revision. The nature of artistic aptitude remains an unsolvedand neglected problem.7Despite this dearth of basic research, teachers and administrators, who haveunderstood neither the nature of impaired intellectual functioning in children northe nature and the function of art education for this type child, have articulatedpractices that have resulted in a few good art education programsand a lot of badones for childrenwho are mentally retarded.Artistic ability probably does not correlate highly with intellectual ability. Retard-

ed children usually have problems in addition to specific low intellectual functioning,but this aspect (low intellectual functioning) is the primary debilitating condition.Thus, mental retardation has been defined as an intellectual condition resulting inintellectual functioning greater than one standard deviation below the populationmean of the child's age group and accompanied by impaired maturation, learning,and social adjustment. On a test instrument such as the WechslerIntelligence Scalefor Children (WISC), a score of 71-89 is considered borderline intelligence, and ascore of 70 or below is considered mentally deficient. In practice, most elementary

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ART AND THIE MENTALLY RETARDED CHILD

and secondary schools use I.Q. scores of between 50 and 75 to indicate educablemental retardation;and childrenwith such scores are placed in special classes.Textbooks on art education for children often include chapters on art educationfor atypical children (See Gaitskell and Gaitskell;8 Hastie and Schmidt;9 Lin-dermann and Herberholtz;l1Lowenfeld and Brittain;1 Wackowiak and Ramsey;12and Wankelman, Wigg, and Wiggl3). Conant14among others, has written that artplays an important role in the education of children who are mentally retarded andoften is the means to their habilitation. Because of a lack of basic research, he andother textbookwritersas well as classroomteacherscannot substantiatethese claims.The thesis of the authors of this paper is that children with impaired mental abili-ty are capable of both expressing themselves artistically and of understanding artforms. They believe that a good art program can be a profitable experience for suchchildren.To test the above thesis, the writersdeveloped a two-phase, two-year art educationproject, during the 1967-1968 and 1968-1969 school years. The first phase was con-cerned with planning and continued for nine months. The second phase was an im-plementationphase and continued for about six months.

Phase One: PlanningPurpose.

The purpose of this phase was two-fold:1. To develop a test instrument to (a) assess initially a pupil's knowledge of theelements of art, and (b) determine the results of art instruction provided by theresearchers.2. To develop, demonstrate,and refine several art lessons which could be used in astandardmanner with groups of children.

Procedures,Phase ISample.

The subjectswere enrolled as pupils in three differentschool systems:1. Faribault State Hospital and School, a hospital and school for mentally retardedadults and children administeredby the Minnesota Department of Public Welfare.2. Owatonna State School, a school for emotionally disturbed, educable mentallyretarded children and youths administeredby the Minnesota Department of PublicWelfare.3. Three schools (Lincoln Junior High School, Lime Valley Elementary School,and Union Elementary School) from the Mankato (Minnesota) Public Schoolsystem.Table 1 provides information about the subjects' chronological age, intelligencequotient, and school.

Test Development.The investigators first constructed an instrument known as the Bryant-SchwanDesign Test. Essentially, the instrument is a perceptual and vocabulary test thatmeasures a pupil's perception of the five basic elements of art, namely: line, color,

shape, value, and texture. The entire test is composed of a total of 120 items, equally

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TABLE1C.A., I.Q., AND SCHOOLOF SUBJECTSN - 65

No. ofSchool Children C.A. Range I.Q. RangeFaribault 17 14-18 23-57Owatonna 10 8-15 50-75Lincoln 18 14-18 50-80LimeValley 7 7-10 25-50Union 13 6-9 50-80

divided into five sub-tests (Line, Color, Shape, Value, and Texture) and furthersub-divided into two parts: Part I, a matching test for art perception, and Part II,an identification test for art vocabulary. The highest raw score obtainable for anypart of the test is 12.Training Sessions.

Two lessonswere taught to each of the classesincluded in the study. In each of theart lessons taught, the pupil was motivated to create an imaginaryinsect, a monster,a flower, or an abstract design. The materials used were styrene, cake tempera,muslin, toothpicks,block printing ink, pipe cleaners, construction paper, string, andglue. Many of these materials were explored by each of the children using theirsenses. They smelled, touched, tasted, looked at, and listened to the materials. Themethods and techniques of rolling, poking, dipping, twisting, brushing, or gluing theart materials were demonstratedearly in each lesson, which included an element orprinciple of design; i.e., positive or negative line, repetition, varying types of lines,shapes, and form. The children were asked to look for lines and shapes in flowers,twigs,and leaveswhich were brought to class.Discussion.

Some observationsmade during this phase follow:1. The mentally retarded child is capable of reacting to specific art media.Furthermore, he is capable of expressing himself artistically with the use of thesespecificmaterials.2. It seems that a mentally retarded child, with an I.Q. score in the range of 23-80, can handle any art material that is given to him, provided directions are madesimple and that enough repetition is allowed. The trainable child was not as quickmotorically nor was he as well coordinated as the educable child. However, bothgroups:

a. Mostly accepted the activities provided for them.b. Concentrated on their activities with very minimal direction and guidancefrom the art teacher.c. Completed each project within 30 minutes.d. Produced original designs.e. Expressed pleasure over the researchers'coming to work with them and desirethat they come back to do more work with them.

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ART AND THE MENTALLY RETARDED CHILD

Phase Two: ImplementationPurpose.

The purposeof this phase was to find answersto the following questions:1. To what extent can children who are mentally retarded perceive and acquireknowledge of the basic design elementsof art?2. Can these children produce original art work with their knowledge of design(limited as it may be) ?3. What is the relationship between one's art knowledge and his obtained in-telligence score?

Procedures, Phase IISample.Thirteen pupils, who composed the entire special education class at the WilsonCampus School, the laboratory school of Mankato State College, were included inthe study. They ranged in chronological age from 8-0 to 12-9. Table 2 shows theirC.A., as well as M.A. and I.Q. scores obtained on the Peabody Picture VocabularyTest, Form A.

Testing.The subjects were administeredForm A of the Peabody Picture Vocabulary Testfor the purpose of obtaining a measureof intelligence which could later be correlatedwith scores on the Bryant-Schwan Design Test. Upon completion of this test, thesubjectswere administered the Bryant-Schwan Design Test, developed during PhaseOne of the study. This latter test was administered in part or in full twice more dur-

ing the courseof the study. The appropriatesub-test (i.e., Line, Color, etc.) was ad-ministeredto the pupils soon after three art lessonswere taught them on a given area(Line, Color, etc.). The entire test was re-administeredat the end of 15 art lessons.

TABLE 2PEABODY PICTURE VOCABULARY TEST,FORM A, SCORES OF 13 PUPILS ATWILSON CAMPUS SCHOOLPupil C.A. M.A. I.Q.

1 12-3 6-3 592 10-0 7-6 903 8-0 6-8 804 10-9 7-3 695 9-6 6-1 706 11-0 6-10 667 11-6 12-11 1088 12-9 10-7 859 8-5 7-1 9210 10-10 7-3 6911 9-5 7-10 9012 8-6 6-3 7613 11-6 8-7 77

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Immediately after the first administration of the Bryant-Schwan Design Test, thestandard lessons were commenced. Fifteen lessons, each of one-half hour duration,were given over a period of seven and one-half weeks, or two lessons per week.In each lesson, new words dealing with the element of design under study werewritten on the blackboard and repeated in unison by the class members. These wordswere mentioned many times during each lesson. A gain in knowledge of these artterms was the primary objective of the lessons. Finished or completed art productswere of secondary concern.Results.

In terms of the five art elements, the pupils scored highest on the Color sub-testfollowed by the sub-tests on Value, Shape, Line, and Texture, in that order. As seenin Table 3, the scores obtained on the pre-test showed evidence of pupil strength inperceiving color, shape, line, value, and texture, but of some weakness in identifyingthe same art elements through the use of art vocabulary.

The obtained differences between the test administrations yielded 12 scores thatare significant at the .05 level. The probability is good that the gains shown here aredue to systematic teaching, if the test instrument is both reliable and valid (SeeTable 4). These significant scores were obtained on the sub-sections Line, Color,Value, and Texture. The children made some gain on the sub-section Shape, but thedifferences obtained were not significant.

TABLE 3MEAN SCORES OF PARTS I AND II ON LINES, SHAPES, COLORS, VALUES,AND TEXTURES ON THREE TEST ADMINISTRATIONS

Pre-Test Interim Test Post-TestI II I II I II

LineMeans 11.76 6.46 11.53 7.53 12.00 7.53SD .44 2.76 .88 1.39 1.66ShapeMeans 12.00 7.23 11.92 7.61 12.00 7.92SD 1.88 .28 3.10 2.22ColorMeans 12.00 9.76 11.92 10.69 12.00 10.46SD 1.59 .28 1.11 1.56ValueMeans 11.53 7.76 11.92 8.84 12.00 8.00SD .97 2.05 .28 2.44 2.88TextureMeans 11.30 4.92 11.38 7.53 12.00 7.92SD 1.32 2.87 .87 3.50 3.28Grand TotalMeans 58.61 36.15 58.69 41.38 60.00 42.00SD 1.76 5.37 1.70 7.28 7.37

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TABLE 4TESTS OF SIGNIFICANCET

Line: Part I PT IT .848IT AT 1.897*PT AT 1.897*Part II PT IT 1.257IT AT .000PT AT 1.205Shape: Part I PT IT .999IT AT .999PT AT .000Part II PT IT .382IT AT .291PT AT .859Color: Part I PT IT .999IT AT .999PT AT .000Part II PT IT 1.717*IT AT .434PT AT 1.120Value: Part I PT IT 1.377IT AT .999PT AT 1.720*Part II PT IT 1.217IT AT .660PT AT .392Texture: Part I PT IT .175IT AT 2.550*PT AT 1.897*Part II PT IT 2.082*IT AT .289PT AT 2.482*Total: Part I PT IT .113IT AT 2.769*

PT AT 2.840*Total: Part II PT IT 2.096*IT AT .215PT AT 2.311*PT-PretestIT-Interim testAT-After test or post test*p


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TABLE 5CORRELATIONS BETWEEN SPECIFIC SCORESOBTAINED ON THE ART DESIGN TESTAND THE PEABODYPICTURE VOCAB-ULARY TEST BY 13 PUPILS

Pretest Part I and PPVT I.Q. -.17Pretest Part II and PPVT I.Q. .12Interim test Part I and PPVT I.Q. -.22Interim test Part II and PPVT I.Q. -.06Post test Part I and PPVT I.Q.Post test Part II and PPVT I.Q. .28

DiscussionIn summary,this study suggeststhat special children can learn limited art concepts

through systematic teaching. They also can learn art terminology by direct exposureto concrete objects, which they are able to observe, examine, manipulate, verbalizeabout, react to, and put together in some artistic way. They can get involved in pro-ducing art, which they understand and enjoy. The materials needed in the art lessonsdo not have to be expensive or elaborate; rather, they can be readily procured fromthe home, the school supply room, and the local community store.

Additional research is needed and is being done in terms of standardizing theBryant-SchwanDesign Test and in tryingout other art lessonsusing other art media.

BRYANT-SCHWAN DESIGN TEST*Test Description:

This is an individually administered test in assessing levels of knowledge aboutdesign. The five elements of design to be measured are lines, shapes, values, colors,and textures. Twelve items make up each of the two parts for each of the fiveelements. The first part of each of the elements consists of matching items; the se-cond part consistsof identification items. The entire test is composed of a total of120 items. It takes from ten to fifteen minutes to administer.The kit includes the following: a test manual, a test booklet showing items to beidentified,a box of cards showing items to be matched, and score sheets.

Directionsfor Administeringthe Test:The test could be administeredindividually by teachers, teacher aides, and by any

other person with at least a high school education. The usual factors affecting testperformancesuch as good rapport, optimum testing room conditions, standard testdirections, good physical and emotional conditions of the examinee, etc., should beconsidered.The examinee sits across the table from the examiner. The matching cards arenumbered. Expose the card to the examinee with the number towards the examinerlike this:*Copyrightby Antusa S. Bryant and LeRoy B. Schwan, 1970.

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Examinee

A-I-1Examiner

The five areas to be tested should be given in the order presented in the booklet.Variation in order of testing is allowed. However, when an examinee does not seem tobe interested in the task required, a change in the area (i.e., from lines to colors)might improvethe situation. Such a change in testing ordershould be noted.Specific directions for each of the areas are as follows:DESIGN SCREENING TEST

A. linesPart I - Matching(Use page 1 of the test booklet for all items on this part. Also use the individualmatching cards.)1. Show me a line that looks like this (crookedline).2. Show me a line that looks like this (straight line).3. Show me a line that looks like this (brokenline).4. Show me a line that looks like this (curved line).5. Show me a line that looks like this (thin line).6. Show me a line that looks like this (thick line).7. Show me a line that lookslike this (short line).8. Show me a line that lookslike this (long line).9. Show me a line that looks like this (diagonal line).10. Show me a line that looks like this (bent line).11. Show me a line that looks like this (vertical line).12. Show me a line that looks like this (changing line).Part II- Identification(Do not use matching cards.)1. Show me a crookedline.2. Show me a straightline.3. Show me a broken line.4. Show me a curved line.5. Show me the thinnest line.6. Show me the thickest line.7. Show me the shortestline.8. Show me the longest line.9. Show me a diagonal line.10. Show me a bent line.11. Show me a vertical line.12. Show me a line that changes.

B. ShapesPart I - Matching(Use matching cards for this part. Start on page 2. Turn to page 3 after givingitem 6.)1. Show me one that looks like this (circle).2. Show me one that looks like this (square).

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3. Show me one that lookslike this (triangle).4. Show me one that looks like this (rectangle).5. Show me one that looks like this (oval).6. Show me one that looks like this (octagon).7. Show me one that looks like this (hexagon).8. Show me one that looks like this (one-half circle).9. Show me one that looks like this (parallelogram).10. Show me one that lookslike this (cross).11. Show me one that looks like this (trapezoid).12. Show me one that looks like this (star).Part II - Identification(Do not use matching cards. Start on page 2. Turn to page 3 after giving item

6.) 1. Show me a circle.2. Show me a square.3. Show me a triangle.4. Show me a rectangle.5. Show me an oval.6. Show me an octagon.7. Show me a hexagon.8. Show me a half-circle.9. Show me a parallelogram.10. Show me a cross.11. Show me a trapezoid.12. Show me a star.

C. ColorsPart I - Matching(Use matching cards for this part. Start on page 4. Turn to page 5 after givingitem 3, and then turn to page 6 after giving item 6.)1. Show me a color like this (red).2. Show me a color like this (blue).3. Show me a color like this (yellow).4. Show me a color like this (orange).5. Show me a color like this (green).6. Show me a color like this (purple).7. Show me a color like this (blue-green).8. Show me a color like this (red-violet).9. Show me a color like this (yellow-green).10. Show me a color like this (blue-violet).11. Show me a color like this (red-orange).12. Show me a color like this (yellow-orange).Part II - Identification(Do not use matching cards. Start on page 4 of test booklet. Turn to page 5after giving item 3, and then turn to page 6 after giving item 6.)1. Show me the color red.2. Show me the color blue.3. Show me the coloryellow.4. Show me the color orange.5. Show me the color green.



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6. Show me the color purple.Show me the color blue-green.Show me the color red-violet.Show me the color yellow-green.Show me the color blue-violet.Show me the color red-orange.Show me the color yellow-orange.

D. ValuePart I - Matching(Use matching cards for this part. Start on page 7 and turn to page 8 after giv-ing item 5.)1. Show me a squarethat looks like this (light gray).2. Show me a squarethat looks like this (black).3. Show me a squarethat looks like this (medium gray).4. Show me a squarethat looks like this (white).5. Show me a squarethat looks like this (darkgray).6.7.8.9.10.11.

12.

Show me a square that looks like this (yellowishgray).Show me a squarethat looks like this (bluish gray).Show me a squarethat lookslike this (violet gray).Show me a square that looks like this (greenishgray).Show me a square that looks like this (orange gray).Show me a squarethat lookslike this (reddishgray).Show me a squarethat looks like this (browngray).Part II - Identification(Do not use matching cards for this part. Start on pageafter giving item 5.)1. Which one is light gray?2. Which one is black?3. Which one is medium gray?4. Which one is white?5. Which one is darkgray?

6.7.8.9.10.11.12.

7 and turn to page 8

Which gray has yellow in it?Which gray has blue in it?Which gray has violet in it?Which gray has green in it?Which gray has orange in it?Which gray has reddish (purple) in it?Which gray has brown in it?E. Texture

Part I - Matching(Use matching cards for this part. Start on page 9 and turn to page 10 after giv-

ing item 6.)1. Show me one that feels like this (felt).2. Show me one that feels like this (plastic).3. Show me one that feels like this (toothpicks).4. Show me one that feels like this (pipe cleaners).5. Show me one that feels like this (sandpaper).6. Show me one that feels like this (sponge).7. Show me one that feels like this (pebbled plastic).8. Show me one that feels like this (smoothmetal).

7.8.9.10.11.12.

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9. Show me one that feels like this (perforatedmetal).10. Show me one that feels like this (corrugatedcardboard).11. Show me one that feels like this (twine).12. Show me one that feels like this (burlap).Part II - Identification(Do not use matching cards for this part. Start on page 9 and turn to page 10after giving item 6.)1. Show me the one that feels soft and fluffy.2. Show me the one that feels slickand smooth.3. Show me the one that feels hard and bumpy.4. Show me the one that feels furryand fuzzy.5. Show me the one that feels scratchyand gritty.6. Show me the one that feels squishyand bouncy.7. Show me the one that feels bumpy and scaly.8. Show me the one that feels smooth, hard, and slippery.9. Show me the one that feels sharp and pricky.10. Show me the one that feels ridgyand bumpy.11. Show me the one that feels scratchyand hairy.12. Show me the one that feels coarseand fuzzy.

Directionsfor Scoring:1. Basal and Ceiling - Start with the first item on each part and work forwarduntil the examinee makes five consecutive errors and then stop. The numbers ofthe remaining items for that part should be encircled. Proceed to the next partand do the same. Be sure to stop when five consecutive errorsare made in anypart. Then proceed to the next part. All the areas should be given in this man-ner.2. Recording Responses- An answer sheet is provided in the test kit. To establishceiling, indicate incorrectresponsesby drawing a line through the item number.For example,A. Lines

Part I Part II1. 1.2. 2.3. ---3_--4. 4.5. 5.6. 6.7. ---8. --89. ---10. --_4--_-.t-_ --4_--

12. (The above example shows that the examinee made errorson Item 11 on Part Iand Items 3, 7, 8, 9, 10, and 11 on Part II and was not asked to respondto Item12 on Part II.3. Some items have more than one correct response. If any or all of the correctresponsesare given by the examinee, the item should be regardedas correct. Ifan additional incorrect response is given, disregardthe incorrect response andconsiderthe item correct.



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4. Scoring - The total raw score is the number of correct responses.Unmarkeditem numbers are correct. Simply add all the unmarked items on each part toobtain the raw score. To compute the chronological age, days are droppedunless they are more than 15 in which case an extra month is added to the age.5. Finding Derived Scores- This test is being administeredfor its trial run at thepresenttime. When enough tests have been administered,raw scores will be con-verted into derived scores such as mental age, a standard score equivalent, in-telligence quotient, or a percentileequivalent.LESSON PLANS

Three lessons on each of the art elements (starting with color down to texture)were presented to the pupils between the pretest and the appropriate sub-section in-terim test. An abbreviateddescriptionof LessonsOne to Fifteen follows:Lesson OneObjective:Method:Materials:Motivation:Lesson TwoObjective:Method:Materials:Motivation:LessonThreeObjective:Method:Materials:Motivation:Lesson FourObjective:Method:Materials:Motivation:LessonFiveObjective:Method:Materials:Motivation:Lesson SixObjective:Method:Materials:Motivation:

Using, mixing, verbalizing, and manipulating two of tertiary colorsblue-greenand yellow-orangeFingerpainting and the use of stencilsby cutting or tearingFingerpaint and paperCreating colorful imaginarycreatures

Mixing, verbalizing, using, and manipulating the tertiary colorsblue-violet and red-orangeFound-object printingWatercolorpaint and colorFinding and discussing repetitivepatternsand designs

Discovering and using two of the tertiary colors red-violet andyellow-greenFingerpaint printingFingerpaint, paper, and ceramic tileSniffing, tasting, feeling, listening to, and looking at springflowers

Learning to see, recognize, find, and verbalize about parallelogramsand trapezoidsFinding and perceiving,then drawingCrayonand paperLooking at and finding the shapes in the classroom and discussingthe sizesand shapes

Discoveringand using the hexagon and triangleMonoprinting using hexagon and triangleshapesStyrene, fingerpaint,and paperDiscussing pets and animals at home or in a zoo

Discoveringand using the octagon and crossSticking octagons and crossestogether to make sculptureStyreneand pipe cleanersViewing colored slidesof insects

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LessonSevenObjective:Method:Materials:Motivation:LessonEightObjective:Method:Materials:Motivation:Lesson NineObjective:Method:Materials:Motivation:

Lesson TenObjective:Method:Materials:Motivation:

Learning to recognize, mix, and use the tones of yellow-gray andviolet-grayMixing paint on a palette with a brushTempera paint, stiff brushes,and tagboardPlaying paint salesman and demonstrating how to mix paint

Learning to recognizeand use the tones red-grayand green-graySponge paintingTempera paint, sponges, paperObservingand discussingthe differentgraysin the clouds

Learning to recognize,mix, and use the tones orange-grayand blue-grayStencil printing with a brushTempera paint, stiff brushes,stencil paper, and paperPerceiving patterns and repetition of art elements in children'sclothing

Discovering,using, and verbalizingabout crookedand broken linesSimple weavingBurlap, yarn, and needlesDiscussingand demonstratinghow to make hot pads and matsLesson ElevenObjective: Learning to recognize and use straight,bent, vertical, and horizon-tal linesMethod: Pokingyarn into styrene,like stitcheryMaterials: Styrene,yarn, and a pencil to pokeMotivation: Capitalizing on the uniqueness of the material and demonstratinghow to effectivelyuse itLesson TwelveObjective: Learning to recognize and use curved, short, long, diagonal, andchanging linesMethod: String drawing and printingMaterials: String, glue, wood, brayer,water soluble block printing inkMotivation: Showing slidesof wild animals and discussingzoo animalsLesson ThirteenObjective:Method:Materials:Motivation:

Discoveringrough, smooth, hard, soft, and fluffy texturesCrayonrubbingsPaper and crayonsWalking around the school, finding textures, and discussing them,then rubbingover them

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ART AND THE MENTALLY RETARDED CHILD 63

LessonFourteenObjective: Discovering, recognizing, and using bumpy, sticky, and fuzzy tex-

turesMethod: Making a collageMaterials: Burlap, twine, yarn, corrugatedcardboard,and glueMotivation: Showing slides of stitcheries by a professional, followed by adiscussionLessonFifteenObjective: Learning about sharp, gritty, and prickytexturesMethod: Crayonetching sometimesknown as graffitoMaterials: Crayons, tagboard,and nailsMotivation: Talking about sharp, gritty and pricky things in the classroom andat home and how we know they are that wayAntusa S. Bryantis professor,Department of Special Education, Mankato State Col-lege, Mankato, Minnesota.Leroy B. Schwan is assistant professor,Department of Art, Mankato State College,Mankato, Minnesota.

REFERENCES1 Graves, M., Graves Design Judgment Test, New York: The Psychological Corporation, 1948.2 Meier, N. C., The Meier Art Judgment Test, Iowa City: Bureau of Educational Research and Service,University of Iowa, 1940-1942.3 Knauber, A. J., Knauber Art Ability Test, Chicago: C. H. Stoelting Company, 1932-1935.4 Horn, C. C., Horn Art Aptitude Inventory, Chicago: C. H. Stoelting Company, 1953.5 McAdory, M., The McAdory Art Test, New York: Teachers College, Columbia University, Bureau ofPublications, 1929-1933.6 Freeman, Frank, Theory and Practice of Psychological Testing, New York: Holt, Rinehart, and Winston,1962, p. 461.7 Cronbach, Lee J., Essentials of Psychological Testing, New York: Harper and Row Publishers, 1970, p. 403.8 Gaitskell, C. D., and Gaitskell, M. R., Art Education for Slow Learners, Peoria, Illinois: Charles A.Bennett Company, Inc., 1953.9 Hastie, R., and Schmidt, C., Encounter with Art, New York: McGraw-Hill, 1969.10 Linderman, E., and Herberholtz, D., Developing Artistic and Perceptual Awareness, Dubuque, Iowa:William C. Brown Publishers, 1969.

11 Lowenfeld, V., and Brittain, L., Creative and Mental Growth, New York: Macmillan Company, 1964.12 Wackowiak, F., and Ramsay, F., Emphasis Art, Scranton, Pennsylvania: International Textbook Company,1965.13 Wankelman, W., Wigg, P., and Wigg, M., A Handbook of Arts and Crafts for Elementary and JuniorHigh School Teachers, Dubuque, Iowa: William C. Brown Publishers, 1968.14 Conant, Arthur, Art Education, New York: Center for Applied Research in Education, 1967, p. 78.

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Bryant & Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD