Studies in American Culture by Joseph J. Kwiat; Mary C. TurpieReview by: E. Maurice BlochArt Journal, Vol. 20, No. 3 (Spring, 1961), p. 194Published by: College Art AssociationStable URL: http://www.jstor.org/stable/774241 .

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the origins of Australian art. He is also deeply concerned with their work because of its im- pact on Europe, which was greater than its content and style would indicate. He shows how the artists of the expeditions, in order to meet the needs of the scientists, broke with the idealizing tradition of contemporary neo-clas- sicism so as to provide a vehicle for the care- ful empirical study of nature. From their work arose an international school of "scientific" delineators, who sought somehow to accommo- date their products to the requirements of aesthetic "good taste" until in the second half of the nineteenth century they were supplanted by photographers.

Professor Smith's thesis, developed in stud- ies at the Warburg Institute, is that under the influence of science upon art, the South Pacific artists created a new type of landscape, specific rather than conventional, which he calls "typi- cal landscape." How far this influenced Euro- pean painting in general is a moot question, but there is abundant proof of its influence on British and French literature, exceedingly well discussed in this book. One of the principal manifestations, which the author calls "soft primitivism," is the corroboration which the work of both artists and writers gave to the concept of the noble savage expressed by J. J. Rousseau. This was gradually effaced in the early nineteenth century by the theory of the ignoble savage (hard primitivism) expounded by missionaries. Their prejudicies destroyed the interest in the figural art of Pacific peoples that had begun to appear in the late eighteenth century and discouraged for decades the col- lecting of these artifacts.

ROBERT C. SMITH University of Pennsylvania

Studies in American Culture, ed. Joseph J. Kwiat and Mary C. Turpie, 233 pp.

Minneapolis: University of Minnesota Press, 1960. $4.75.

Intended as a tribute to the late Professor Tremaine McDowell, long-time chairman of the Program of American Studies at the Uni- versity of Minnesota, and a pioneer in the field, this volume also admirably fulfills its purpose in bringing together a series of papers which represent the various disciplines traversed by the area. All of the contributors are distin- guished scholars who have at one time or another actively participated in the Minnesota program.

In a modest way, this compilation is a re- capulation of work accomplished to date in American Studies (also known variously as American Civilization, or American Culture), taking cognizance of the many problems still confronting the student in the field. When it is realized that developments for an integrated study of American culture can be dated only within relatively recent times, this presentation of contributions to the area is both gratifying and impressive, especially in terms of the diver- sity of interest and treatment.

The sixteen scholars who have contributed to the volume are specialists in literary history and criticism; social and intellectual history; and political, economic, and social theory. It is perhaps regrettable that a demonstration of the

the origins of Australian art. He is also deeply concerned with their work because of its im- pact on Europe, which was greater than its content and style would indicate. He shows how the artists of the expeditions, in order to meet the needs of the scientists, broke with the idealizing tradition of contemporary neo-clas- sicism so as to provide a vehicle for the care- ful empirical study of nature. From their work arose an international school of "scientific" delineators, who sought somehow to accommo- date their products to the requirements of aesthetic "good taste" until in the second half of the nineteenth century they were supplanted by photographers.

Professor Smith's thesis, developed in stud- ies at the Warburg Institute, is that under the influence of science upon art, the South Pacific artists created a new type of landscape, specific rather than conventional, which he calls "typi- cal landscape." How far this influenced Euro- pean painting in general is a moot question, but there is abundant proof of its influence on British and French literature, exceedingly well discussed in this book. One of the principal manifestations, which the author calls "soft primitivism," is the corroboration which the work of both artists and writers gave to the concept of the noble savage expressed by J. J. Rousseau. This was gradually effaced in the early nineteenth century by the theory of the ignoble savage (hard primitivism) expounded by missionaries. Their prejudicies destroyed the interest in the figural art of Pacific peoples that had begun to appear in the late eighteenth century and discouraged for decades the col- lecting of these artifacts.

ROBERT C. SMITH University of Pennsylvania

Studies in American Culture, ed. Joseph J. Kwiat and Mary C. Turpie, 233 pp.

Minneapolis: University of Minnesota Press, 1960. $4.75.

Intended as a tribute to the late Professor Tremaine McDowell, long-time chairman of the Program of American Studies at the Uni- versity of Minnesota, and a pioneer in the field, this volume also admirably fulfills its purpose in bringing together a series of papers which represent the various disciplines traversed by the area. All of the contributors are distin- guished scholars who have at one time or another actively participated in the Minnesota program.

In a modest way, this compilation is a re- capulation of work accomplished to date in American Studies (also known variously as American Civilization, or American Culture), taking cognizance of the many problems still confronting the student in the field. When it is realized that developments for an integrated study of American culture can be dated only within relatively recent times, this presentation of contributions to the area is both gratifying and impressive, especially in terms of the diver- sity of interest and treatment.

The sixteen scholars who have contributed to the volume are specialists in literary history and criticism; social and intellectual history; and political, economic, and social theory. It is perhaps regrettable that a demonstration of the

the origins of Australian art. He is also deeply concerned with their work because of its im- pact on Europe, which was greater than its content and style would indicate. He shows how the artists of the expeditions, in order to meet the needs of the scientists, broke with the idealizing tradition of contemporary neo-clas- sicism so as to provide a vehicle for the care- ful empirical study of nature. From their work arose an international school of "scientific" delineators, who sought somehow to accommo- date their products to the requirements of aesthetic "good taste" until in the second half of the nineteenth century they were supplanted by photographers.

Professor Smith's thesis, developed in stud- ies at the Warburg Institute, is that under the influence of science upon art, the South Pacific artists created a new type of landscape, specific rather than conventional, which he calls "typi- cal landscape." How far this influenced Euro- pean painting in general is a moot question, but there is abundant proof of its influence on British and French literature, exceedingly well discussed in this book. One of the principal manifestations, which the author calls "soft primitivism," is the corroboration which the work of both artists and writers gave to the concept of the noble savage expressed by J. J. Rousseau. This was gradually effaced in the early nineteenth century by the theory of the ignoble savage (hard primitivism) expounded by missionaries. Their prejudicies destroyed the interest in the figural art of Pacific peoples that had begun to appear in the late eighteenth century and discouraged for decades the col- lecting of these artifacts.

ROBERT C. SMITH University of Pennsylvania

Studies in American Culture, ed. Joseph J. Kwiat and Mary C. Turpie, 233 pp.

Minneapolis: University of Minnesota Press, 1960. $4.75.

Intended as a tribute to the late Professor Tremaine McDowell, long-time chairman of the Program of American Studies at the Uni- versity of Minnesota, and a pioneer in the field, this volume also admirably fulfills its purpose in bringing together a series of papers which represent the various disciplines traversed by the area. All of the contributors are distin- guished scholars who have at one time or another actively participated in the Minnesota program.

In a modest way, this compilation is a re- capulation of work accomplished to date in American Studies (also known variously as American Civilization, or American Culture), taking cognizance of the many problems still confronting the student in the field. When it is realized that developments for an integrated study of American culture can be dated only within relatively recent times, this presentation of contributions to the area is both gratifying and impressive, especially in terms of the diver- sity of interest and treatment.

The sixteen scholars who have contributed to the volume are specialists in literary history and criticism; social and intellectual history; and political, economic, and social theory. It is perhaps regrettable that a demonstration of the

specific methodology now being developed by the historian of American art, a fledgling area of investigation itself, is not represented. Pro- fessor Kwiat's excellent article on "Robert Henri and the Emerson-Whitman Tradition," evolving his thesis relative to Henri's indebt- edness artistically to the thought of Emerson and Whitman, is the single instance in which art data plays a significant role.

Professor Henry Nash Smith, one of the chief contributors, sees no "ready-made" method for American Studies yet in view, and states that "the best thing we can do . . . is to conceive of American Studies as a collab- oration among men working from within aca- demic disciplines but attempting to widen the boundaries imposed by conventional methods of inquiry" implying a sustained effort of the student of literature to take account of socio- logical, historical and anthropological data and methods, and of the sociologist or historian to take account of the data and methods of schol- arship in the fields of the arts."

In another essay, Professor Robert E. Spiller attempts to clarify the picture in terms of "American Studies, Past, Present, and Future." He points up the battles fought and won in the various fields of American literature, his- tory, and the social sciences, some of those cultural rebellions which actually paved the way for the appearance of an American Studies movement. Instead of echoing the yet distant hope for a unified methodology expressed by Professor Smith, he sees the greater value to the scholar in an American Studies program that is free to explore and experiment with method, learning the technique of other disci- plines and discovering "broader and deeper truths about man's experience in a single time and place than would be available to the more specialized researcher."

As a kind of proving ground for a discus- sion of the many problems still facing Ameri- can Studies, and of the far-flung range of possibilities in terms of the specialized areas it encompasses, this compilation of essays not only serves to do proper honor to a leader in the field, but also serves as a welcome herald for the future.

E. MAURICE BLOCH University of California at Los Angeles

Thomas Munro and Herbert Read

The Creative Arts in American Education: The Interrelation of the Arts in Secondary Education: The Third Realm of Education, 65 pp. Cambridge: Harvard University Press, 1960. $2.50.

The state of present day art education offers elements of confusion. One has but to look at the variety of publications that purport to deal with art education or to observe current prac- tices in our schools to experience the elements of this confusion. To be sure, there has been significant growth in the "importance" attrib- uted to art education if only measured by the numbers of teachers, schools, museums, etc. that are identified with the problem of en- hancing aesthetic awareness. I fear, however, that this growth rests heavily on a limited base; we have much to accomplish toward identify- ing the larger and more operational dimensions

specific methodology now being developed by the historian of American art, a fledgling area of investigation itself, is not represented. Pro- fessor Kwiat's excellent article on "Robert Henri and the Emerson-Whitman Tradition," evolving his thesis relative to Henri's indebt- edness artistically to the thought of Emerson and Whitman, is the single instance in which art data plays a significant role.

Professor Henry Nash Smith, one of the chief contributors, sees no "ready-made" method for American Studies yet in view, and states that "the best thing we can do . . . is to conceive of American Studies as a collab- oration among men working from within aca- demic disciplines but attempting to widen the boundaries imposed by conventional methods of inquiry" implying a sustained effort of the student of literature to take account of socio- logical, historical and anthropological data and methods, and of the sociologist or historian to take account of the data and methods of schol- arship in the fields of the arts."

In another essay, Professor Robert E. Spiller attempts to clarify the picture in terms of "American Studies, Past, Present, and Future." He points up the battles fought and won in the various fields of American literature, his- tory, and the social sciences, some of those cultural rebellions which actually paved the way for the appearance of an American Studies movement. Instead of echoing the yet distant hope for a unified methodology expressed by Professor Smith, he sees the greater value to the scholar in an American Studies program that is free to explore and experiment with method, learning the technique of other disci- plines and discovering "broader and deeper truths about man's experience in a single time and place than would be available to the more specialized researcher."

As a kind of proving ground for a discus- sion of the many problems still facing Ameri- can Studies, and of the far-flung range of possibilities in terms of the specialized areas it encompasses, this compilation of essays not only serves to do proper honor to a leader in the field, but also serves as a welcome herald for the future.

E. MAURICE BLOCH University of California at Los Angeles

Thomas Munro and Herbert Read

The Creative Arts in American Education: The Interrelation of the Arts in Secondary Education: The Third Realm of Education, 65 pp. Cambridge: Harvard University Press, 1960. $2.50.

The state of present day art education offers elements of confusion. One has but to look at the variety of publications that purport to deal with art education or to observe current prac- tices in our schools to experience the elements of this confusion. To be sure, there has been significant growth in the "importance" attrib- uted to art education if only measured by the numbers of teachers, schools, museums, etc. that are identified with the problem of en- hancing aesthetic awareness. I fear, however, that this growth rests heavily on a limited base; we have much to accomplish toward identify- ing the larger and more operational dimensions

specific methodology now being developed by the historian of American art, a fledgling area of investigation itself, is not represented. Pro- fessor Kwiat's excellent article on "Robert Henri and the Emerson-Whitman Tradition," evolving his thesis relative to Henri's indebt- edness artistically to the thought of Emerson and Whitman, is the single instance in which art data plays a significant role.

Professor Henry Nash Smith, one of the chief contributors, sees no "ready-made" method for American Studies yet in view, and states that "the best thing we can do . . . is to conceive of American Studies as a collab- oration among men working from within aca- demic disciplines but attempting to widen the boundaries imposed by conventional methods of inquiry" implying a sustained effort of the student of literature to take account of socio- logical, historical and anthropological data and methods, and of the sociologist or historian to take account of the data and methods of schol- arship in the fields of the arts."

In another essay, Professor Robert E. Spiller attempts to clarify the picture in terms of "American Studies, Past, Present, and Future." He points up the battles fought and won in the various fields of American literature, his- tory, and the social sciences, some of those cultural rebellions which actually paved the way for the appearance of an American Studies movement. Instead of echoing the yet distant hope for a unified methodology expressed by Professor Smith, he sees the greater value to the scholar in an American Studies program that is free to explore and experiment with method, learning the technique of other disci- plines and discovering "broader and deeper truths about man's experience in a single time and place than would be available to the more specialized researcher."

As a kind of proving ground for a discus- sion of the many problems still facing Ameri- can Studies, and of the far-flung range of possibilities in terms of the specialized areas it encompasses, this compilation of essays not only serves to do proper honor to a leader in the field, but also serves as a welcome herald for the future.

E. MAURICE BLOCH University of California at Los Angeles

Thomas Munro and Herbert Read

The Creative Arts in American Education: The Interrelation of the Arts in Secondary Education: The Third Realm of Education, 65 pp. Cambridge: Harvard University Press, 1960. $2.50.

The state of present day art education offers elements of confusion. One has but to look at the variety of publications that purport to deal with art education or to observe current prac- tices in our schools to experience the elements of this confusion. To be sure, there has been significant growth in the "importance" attrib- uted to art education if only measured by the numbers of teachers, schools, museums, etc. that are identified with the problem of en- hancing aesthetic awareness. I fear, however, that this growth rests heavily on a limited base; we have much to accomplish toward identify- ing the larger and more operational dimensions

to support a discipline of art education. Two essays "The Interrelation of the Arts in Sec- ondary Education," the A. J. Inglis Lecture given by Thomas Munro, and "The Third Realm of Education," the W. H. Burton Lec- ture given by Herbert Read, are contributions toward this end. The volume is the first in a series to be published by Harvard University Press, dealing with major issues in elementary and secondary education.

It is particularly fitting that essays have been published together. Perhaps more than any two persons now living, these men have given con- ceptual leadership to the field of art education. Indeed, my main regret regarding the volume is the necessary brevity (doubtless imposed by the lecture format) that prevented the expan- sion of key points in each of the essays.

Munro proposes that education in the arts, as in other subjects should ideally be cumula- tive. He calls for the identification of "vertical" relationships as might be discerned at various growth and developmental levels as well as "horizontal" relationships between the arts and other subjects. As he puts it "the main prob- lem before us in curriculum building, whether we realize it or not, is to select from world culture, and in particular from present West- ern Culture, that which seems most important for American youth to learn today, and in what sequence. .. ." "As yet, we have hardly begun to state the problem, in educational theory or in public debate." Our failure to do so has resulted in the ambiguity and uncertainty that often times characterizes comparitive argu- ments for art education in relation to educa- tion in the sciences.

Read's arguments tend to repeat points al- ready made in one of his earlier efforts "Edu- cation through Art." Central to his essay is Plato's thesis: art should be the basis of edu- cation. Read goes on to propose that aesthetic play is fundamental to education. He draws heavily on the writings of Coleridge, Schiller, and Marx in expanding upon this thesis. In developing his rationale, Read reports on some of his observations while visiting the People's Republic of China. He does so all too briefly, raising many questions along with his implied generalizations. What is of key interest is his reference to the Chinese attitude of "walking on two legs," of maintaining a balance be- tween the humanities and sciences as well as between theory and practice. He suggests that this has been achieved in China "because there is a tradition which after two thousand years is an unquestioned assumption, namely, that education must begin with self-development, and that productive work is an essential phase of such education."

In toto, the impact of the essays contained in "The Creative Arts in American Education" is not one of specific ideas developed in depth. Rather, one derives a sense for the larger ques- tions to be posed for art educators: identifying the content and continuity for education in the visual arts; establishing the relationships among the arts and their implications for the educational process; clarifying the relationships between study in the studio disciplines, the history of art, and art criticism. The educa- tional task involves helping people to transform the diverse elements of their experience into

to support a discipline of art education. Two essays "The Interrelation of the Arts in Sec- ondary Education," the A. J. Inglis Lecture given by Thomas Munro, and "The Third Realm of Education," the W. H. Burton Lec- ture given by Herbert Read, are contributions toward this end. The volume is the first in a series to be published by Harvard University Press, dealing with major issues in elementary and secondary education.

It is particularly fitting that essays have been published together. Perhaps more than any two persons now living, these men have given con- ceptual leadership to the field of art education. Indeed, my main regret regarding the volume is the necessary brevity (doubtless imposed by the lecture format) that prevented the expan- sion of key points in each of the essays.

Munro proposes that education in the arts, as in other subjects should ideally be cumula- tive. He calls for the identification of "vertical" relationships as might be discerned at various growth and developmental levels as well as "horizontal" relationships between the arts and other subjects. As he puts it "the main prob- lem before us in curriculum building, whether we realize it or not, is to select from world culture, and in particular from present West- ern Culture, that which seems most important for American youth to learn today, and in what sequence. .. ." "As yet, we have hardly begun to state the problem, in educational theory or in public debate." Our failure to do so has resulted in the ambiguity and uncertainty that often times characterizes comparitive argu- ments for art education in relation to educa- tion in the sciences.

Read's arguments tend to repeat points al- ready made in one of his earlier efforts "Edu- cation through Art." Central to his essay is Plato's thesis: art should be the basis of edu- cation. Read goes on to propose that aesthetic play is fundamental to education. He draws heavily on the writings of Coleridge, Schiller, and Marx in expanding upon this thesis. In developing his rationale, Read reports on some of his observations while visiting the People's Republic of China. He does so all too briefly, raising many questions along with his implied generalizations. What is of key interest is his reference to the Chinese attitude of "walking on two legs," of maintaining a balance be- tween the humanities and sciences as well as between theory and practice. He suggests that this has been achieved in China "because there is a tradition which after two thousand years is an unquestioned assumption, namely, that education must begin with self-development, and that productive work is an essential phase of such education."

In toto, the impact of the essays contained in "The Creative Arts in American Education" is not one of specific ideas developed in depth. Rather, one derives a sense for the larger ques- tions to be posed for art educators: identifying the content and continuity for education in the visual arts; establishing the relationships among the arts and their implications for the educational process; clarifying the relationships between study in the studio disciplines, the history of art, and art criticism. The educa- tional task involves helping people to transform the diverse elements of their experience into

to support a discipline of art education. Two essays "The Interrelation of the Arts in Sec- ondary Education," the A. J. Inglis Lecture given by Thomas Munro, and "The Third Realm of Education," the W. H. Burton Lec- ture given by Herbert Read, are contributions toward this end. The volume is the first in a series to be published by Harvard University Press, dealing with major issues in elementary and secondary education.

It is particularly fitting that essays have been published together. Perhaps more than any two persons now living, these men have given con- ceptual leadership to the field of art education. Indeed, my main regret regarding the volume is the necessary brevity (doubtless imposed by the lecture format) that prevented the expan- sion of key points in each of the essays.

Munro proposes that education in the arts, as in other subjects should ideally be cumula- tive. He calls for the identification of "vertical" relationships as might be discerned at various growth and developmental levels as well as "horizontal" relationships between the arts and other subjects. As he puts it "the main prob- lem before us in curriculum building, whether we realize it or not, is to select from world culture, and in particular from present West- ern Culture, that which seems most important for American youth to learn today, and in what sequence. .. ." "As yet, we have hardly begun to state the problem, in educational theory or in public debate." Our failure to do so has resulted in the ambiguity and uncertainty that often times characterizes comparitive argu- ments for art education in relation to educa- tion in the sciences.

Read's arguments tend to repeat points al- ready made in one of his earlier efforts "Edu- cation through Art." Central to his essay is Plato's thesis: art should be the basis of edu- cation. Read goes on to propose that aesthetic play is fundamental to education. He draws heavily on the writings of Coleridge, Schiller, and Marx in expanding upon this thesis. In developing his rationale, Read reports on some of his observations while visiting the People's Republic of China. He does so all too briefly, raising many questions along with his implied generalizations. What is of key interest is his reference to the Chinese attitude of "walking on two legs," of maintaining a balance be- tween the humanities and sciences as well as between theory and practice. He suggests that this has been achieved in China "because there is a tradition which after two thousand years is an unquestioned assumption, namely, that education must begin with self-development, and that productive work is an essential phase of such education."

In toto, the impact of the essays contained in "The Creative Arts in American Education" is not one of specific ideas developed in depth. Rather, one derives a sense for the larger ques- tions to be posed for art educators: identifying the content and continuity for education in the visual arts; establishing the relationships among the arts and their implications for the educational process; clarifying the relationships between study in the studio disciplines, the history of art, and art criticism. The educa- tional task involves helping people to transform the diverse elements of their experience into

ART JOURI IAL XX 3 194 ART JOURI IAL XX 3 194 ART JOURI IAL XX 3 194

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