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This article was downloaded by: [Florida State University]On: 06 October 2014, At: 14:29Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registeredoffice: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK
The Journal of Economic EducationPublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/vece20
Using Art (Paintings, Drawings, andEngravings) to Teach EconomicsMichael Watts a & Chineze Christopher aa Purdue UniversityPublished online: 04 Oct 2012.
To cite this article: Michael Watts & Chineze Christopher (2012) Using Art (Paintings, Drawings,and Engravings) to Teach Economics, The Journal of Economic Education, 43:4, 408-422, DOI:10.1080/00220485.2012.714317
To link to this article: http://dx.doi.org/10.1080/00220485.2012.714317
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THE JOURNAL OF ECONOMIC EDUCATION, 43(4), 408–422, 2012Copyright C© Taylor & Francis Group, LLCISSN: 0022-0485 print/2152-4068 onlineDOI: 10.1080/00220485.2012.714317
ECONOMIC INSTRUCTION
Using Art (Paintings, Drawings, and Engravings)to Teach Economics
Michael Watts and Chineze Christopher
The authors provide a brief review of how economists have dealt with art in their research andmore popular writings, and then consider the case that has been made for using art and other visualmaterials in general education and—in very few cases—to teach economics. A new Web site on Artand Economics is introduced that makes it easier for economics instructors to find and use art withtheir students. They discuss several different ways of using the art in classes, and provide a table withover 50 paintings from the Introduction slide show at the Web site to illustrate the range of economicconcepts and issues that can be taught with art.
Keywords art, artists, paintings, teaching economics
JEL codes A12, A20, A22, Z11
BACKGROUND AND LITERATURE REVIEW
Like economists, artists often study “the ordinary business of life.”1 Many well-known artists havepainted at least some works featuring daily activities, and some artists specialize in that genre ofpaintings. So it is not really surprising that examples of consumption, goods and services, pro-duction, labor, occupations, specialization, natural resources, capital resources, markets, publicgoods, elections, money, banking, financial crises, unemployment, poverty, wealth, and discrimi-nation have been featured in paintings, drawings, and engravings. Or as John Dewey phrased thatidea in 1932, in a series of lectures that became his book Art as Experience (1934/2005), art is away to capture the experience of life, and to transmit that experience to those viewing art. Dewey
Michael Watts (e-mail: [email protected]) is a professor of economics, and Chineze Christopher (e-mail:[email protected]) is a doctoral student in economics, both at Purdue University. Watts is the corresponding au-thor.
The authors thank Jane Anderson, Mara Gallo, John Fasshnacht, and Robert Wakeland for their work with the Web siteon Art and Economics described here. The Web site was developed with support from the Calvin K. Kazanjian Foundationfor Teaching Economics. Jonathan Wight, Marc St-Pierre, and KimMarie McGoldrick provided helpful comments onearlier versions of the paper.
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ART AND ECONOMICS 409
argued against those who wanted to separate art from experience, and called for including art ingeneral education rather than putting it on a pedestal for a cultural elite engaging in conspicuousconsumption and leisure.
Many economists have studied various aspects of the economics of art, and a few have con-sidered broader impacts of art on economic history, and even on the field of economics. Forexample, in John U. Nef’s Cultural Foundations of Industrial Civilization (1958), focusing on the“aesthetic basis of civilization” in periods after the renaissance “cult of delight”—which he notedwas also central in Macaulay’s historical writings—Nef argued that “The coming of civilizationdepended also upon the spread of good form in the arts and in the art of living, upon a clarifica-tion and a discipline in the instruments used by artists in achieving their results in every media”(p. 123). He noted that while methods for mass producing inexpensive products proceeded farmore rapidly in England than in France from the mid-sixteenth to the mid-seventeenth century,France was able to hold to and advance the search for quality in production and consumption,which also shaped the kind of industrial civilization that developed in Western Europe. Nef con-cluded, “There is an important sense in which the dedication of the Europeans to the constructionof a beautiful Europe, by the strengthening of fine craftsmanship in the service of the crown andthe various ranks of the nobility and higher bourgeoisie, was essential to industrialism” (135).
Currid (2007), not an economist, provided a similar (albeit updated) argument in her book onhow fashion, art, and music drive the New York City “Warhol Economy.” Zablotney (1999)reviewed artistic images of commerce produced in late-eighteenth-century London. Nygren(1988) reviewed money as a theme in American painting. Moore (2004) offered a heterodoxperspective on the relationship between political economy and art, but still stressed the linksbetween economic structures and conditions and art.
Some prominent economists’ concerns about cultural and creative issues influenced by socialand economic institutions have been featured in their writings, and influenced and/or been in-fluenced by the social circles in which they moved (e.g., see Throsby [2011] on John Ruskin;Balisciano and Medema [1999] on Lionel Robbins; and Goodwin [2011] on Keynes and theBloomsbury group). Wight (2006) reviewed arguments on using literature, painting, and theother “noble arts” to develop individual character in Adam Smith’s The Theory of Moral Senti-ments and Lectures on Rhetoric and Belles Lettres. Smith even claimed that using literature andart to do this was more effective than having people read philosophers’ works on ethics.
The role of income in encouraging or discouraging the quantity and/or quality of art has beenconsidered by some economists; for example, Nef (1958, 152) endorsed Plato’s identificationof the two main causes of a deterioration of the arts: wealth and poverty,2 while Barber (1999,2011) considered the effects of the drop in national income during the Great Depression onpublic support for the arts. The relationship between income and art has been taken up by othersocial scientists, too. For example, in an article that prompted responses from four prominentsociologists, Lizardo (2008) argued that the “stratification” of ownership and consumption of artwas better predicted by educational attainment than by income.
Not surprisingly, most of the work economists have done on art analyzes various aspects ofmarkets for art, across many genres, time periods, and locations. To list only a few such examples,see Goetzmann, Renneboog, and Spaenjers (2011), Galenson (2008), and Solkin (1992). Othereconomists have dealt with public good aspects of art (e.g., Van Houdt 1999; Goodwin 2005; andZuidrvaart 2011). Tyler Cowen (1998, 2002, 2005) has carved out a special niche in investigatingthe effects of market forces and international trade on cultural heritage and expression.3
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410 WATTS AND CHRISTOPHER
Turning to the literature on promoting more effective teaching and learning in economics andother subject areas, there are many studies on visual learning styles, promoting students’ abilityto visualize mathematical or other quantitative relationships, and how instructors can use visualdisplays (including videos and animation) to improve teaching in different disciplines (e.g., Linand Atkinson 2011; Thomas, Place, and Hillyard 2008; Woolner 2004; Goldfarb 2002; Gahegan2000; Flood, Heath, and Lapp 1997; and Sinatra 1986). But Mahzarian Ranaji (quoted in Berrett2012), a Harvard professor of psychology, recently claimed “There’s no evidence, zero, thatteaching methods should be matched up with different learning styles. It’s intuitively appealing,but not scientifically supported.” A case for featuring art in general education to develop deeperunderstanding and complex and subtle aspects of critical thinking, building on ideas from Dewey(1934/2005) and more recent work on learning theory by Bruner and Vigotsky, is presented inEisner’s (2004) The Arts and the Creation of Mind.
Very little work on visual learning has been done for economics teaching and classes per se,but Boatman, Courtney, and Lee (2008) found that a preference for visual learning had a positiveeffect on student learning in introductory economics classes, while Cohn et al. (2001, 2004) foundthat using graphs in principles classes had negative or no significant effect on student learning, andlater investigated factors related to student attitudes about graphs, and the relationship betweenthose attitudes and students’ performance in economics classes.
This broad but brief literature review shows that art has drawn the interest of many economists,dating back to the time that economics emerged as an autonomous discipline, but especially overthe past 50 to 75 years. Despite that, economists have not generally tried to use art to makeeconomics more visual, memorable, or even beautiful in their teaching, or to take advantageof paintings and other forms of art that deal with economic ideas and issues and the ordinarybusiness of life. In the rest of this article, we describe and provide examples of how that can bedone, highlighting a new resource that makes it easier for instructors to do that.
ART AND ECONOMICS: A WEB SITE FOR ECONOMICS TEACHERS
At a new Web site (https://intra.krannert.purdue.edu/sites/econandart/Pages/Home.aspx), a seriesof PowerPoint slide shows featuring paintings, prints, drawings, etchings, and lithographs areavailable for classroom use. There is no charge for using the site, but users must agree not todownload, copy, or print the images of the artwork.4
There are currently four types of slide shows available: (1) an introductory set of slides,providing a brief rationale for using art to teach economics, and an overview using over 50 worksof art to illustrate a wide range of economic concepts and issues; (2) several slide shows on specificeconomic topics and issues (including “Labor, Occupations, Specialization, and the Division ofLabor”; “Leisure and Recreation”; “Natural Resources and Agriculture”; “Capital Resourcesand Technology”; “Money, Banking, Financial Crises, and Bubbles”; “Demographics and LifeCycles”; and “Economic Functions of Government, and Public Choice”; (3) slide shows on worksby individual artists, including Norman Rockwell, Diego Rivera, and the Breughels; and (4) a“Coming Attractions” slide show showing a few examples of works that have been collected forslide shows on many different topics that are still under development, currently including “Goodsand Services”; “Scarcity, Choice, and Opportunity Cost”; “Markets and Exchange”; “Income
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ART AND ECONOMICS 411
(Absolute and Relative), Income Distribution, and Happiness”; “Discrimination”; “Altruism andCharitable Works”; “Urbanization”; “Risk and Entrepreneurship”; “International Economics”;“Property Rights and Enforcement”; “Economic Systems”; “Soviet Art”; “WPA Art”; and slideshows on other individual artists, including Thomas Hart Benton, Jacob Lawrence, KatsushikaHokusai, William Hogarth, and H.D. Tylle.
Table 1 lists the paintings and drawings included in the introductory slide show, the name ofthe artist, the date the work was done, the gallery or museum in which the work is displayed (ifapplicable), at least one major economic concept or issue that is illustrated in the work, and abrief synopsis of how the artist depicted the economic content. The format of the table broadlyparallels the table in Watts and Smith (1989), which identified passages from works of literatureand drama dealing with economic concepts, issues, and themes. The order of paintings in table 1follows the order in which they appear in the introductory slide show on the Web site.
Table 1 will be useful to someone deciding whether or not to use the Web site, and demonstratesthe wide range of economics content reflected in the art. But indirectly, it also makes anotherimportant point, because the difference between looking at the paintings and looking at the listof art and the verbal descriptions in the table could hardly be more stark and simple. In a word,the artwork is visual. In a few words, it is often stunningly visual. But on the other hand, someworks were painted to show aspects of life that are painful, grim, or ugly, such as poverty,discrimination, disease, or the inherent loss of resources associated with war and various naturaldisasters. Whether the art is beautiful, stark, or intentionally ugly and horrific, however, it istypically memorable because of its visual impact. In many cases, the works are also memorablebecause the visual impact is used to create a stronger emotional impact than lectures, textbooks,or graphs. Taking advantage of that in the classroom requires some planning and care, and at timesmay even entail the risk of upsetting some students; but used effectively, it can be an importantasset in engaging students.
Some pieces of art have less direct visual impact until students learn more about the work. Inmany cases this happens because the art presents a “story” that only has meaning for those whounderstand the story being told.5 For example, in a painting by Moretto da Brescia from the 1540s,a wealthy young man wearing an ermine cape is sitting at a table with a collection of ancient goldcoins, looking decidedly unhappy. In the language of the period, he suffers from melancholy. Thereason for that is provided by the inscription on his cap, in Greek, which translates as “Alas, Idesire too much.” Knowing that, the painting becomes a remarkable representation of the ideasof scarcity and unlimited wants.
Other paintings are allegorical or mythological, once again requiring some explanation for mostcontemporary viewers. For example, Domenichino’s painting from 1616–18, Apollo and NeptuneAdvising Laomedon, depicts the story from Ovid’s Metamorphosis in which the founder of Troyagrees to pay the two gods (disguised as mortals) for their expertise on how to build the walls ofthe city so that they will never be taken by land or sea. The walls are built to those specifications,but when Laomedon refuses to pay the gold he promised, the Trojans eventually pay the pricefor that breach of contract and property rights. Today most people only know the Helen of Troy,Paris, and Achilles story; but was it love or economics that led to the fall of Troy? Or was Helenperhaps also an example of a kind of property, at least as seen by some characters in the Iliad?
Hans Holbein’s allegorical Triumph of Riches and Triumph of Poverty are perhaps the mostfamous of the paintings and drawings by many artists that look at the causes and consequences of
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TAB
LE1
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ofC
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ngra
ving
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abor
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ecia
lizat
ion;
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kers
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me
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412
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TAB
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ense
;Opp
ortu
nity
cost
Wre
cked
war
plan
esfr
omW
WII
ata
salv
age
and
recy
clin
gfie
ldin
Eng
land
.K
atsu
shik
aH
okus
aiT
heG
reat
Wav
eof
fK
anag
awa
1830
–32
Art
Inst
itute
ofC
hica
goR
isk;
Ent
repr
eneu
rshi
pA
huge
rogu
ew
ave
thre
aten
sbo
ats
wit
hsa
ilor
s. (Con
tinu
edon
next
page
)
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TAB
LE1
Pai
ntin
gsin
the
Intr
oduc
tion
Slid
eS
how
for
the
Art
and
Eco
nom
ics
Web
Pag
e(C
ontin
ued)
Dat
eof
Eco
nom
icco
ncep
t,is
sue,
Art
ist
Titl
epa
intin
gG
alle
ry/M
useu
mor
them
eD
escr
iptio
n
Ale
xand
reH
ogue
Dus
tBow
l19
33Sm
ithso
nian
Am
eric
anA
rtM
useu
m,
Was
hing
ton,
DC
Ris
k;N
atur
alre
sour
ces;
Agr
icul
ture
Seve
redr
ough
t,be
fore
win
dbre
aks
and
othe
rm
etho
dsto
redu
ceer
osio
nw
ere
adop
ted.
Han
sH
olbe
inT
heTr
ium
phof
Ric
hes
1532
Lou
vre
Mus
eum
,Par
isD
istr
ibut
ion
ofin
com
e;H
uman
capi
tal;
Luc
kA
lleg
oric
alfig
ures
repr
esen
ting
the
sour
ces,
cons
eque
nces
,and
mor
alri
sks
ofw
ealt
han
dgo
odfo
rtun
e.M
oret
toda
Bre
scia
Port
rait
ofa
Youn
gM
an15
40–4
5N
atio
nalG
alle
ry,
Lon
don
Scar
city
;Wan
ts;I
ncom
edi
stri
butio
nA
wea
lthy
youn
gm
anis
n’ts
atis
fied;
the
Gre
ekin
scri
ptio
non
his
hat
says
“A
las,
Ide
sire
too
muc
h.”
Bar
tolo
me
Est
eban
Mur
illo
The
Ret
urn
ofth
eP
rodi
galS
on16
67–7
0N
atio
nalG
alle
ryof
Art
,Was
hing
ton,
DC
Altr
uism
The
way
war
dso
nis
forg
iven
and
wel
com
edho
me
wit
ha
feas
t.
Rog
erM
edea
ris
God
lySu
san
1941
Smith
soni
anA
mer
ican
Art
Mus
eum
,W
ashi
ngto
n,D
C
Hap
pine
ss;C
onsu
mpt
ion;
Goo
dsan
dse
rvic
esA
nel
derl
yw
oman
live
ssi
mpl
y,th
inki
ngof
heav
enly
rew
ards
toco
me.
Joac
him
Patin
erL
ands
cape
wit
hSt
.Je
rom
e15
24T
hePr
ado
Mus
eum
,M
adri
dH
appi
ness
;Con
sum
ptio
n;G
oods
and
serv
ices
The
Sain
thas
wit
hdra
wn
from
the
purs
uito
fwor
ldly
good
san
dse
rvic
es,l
ivin
gin
aca
veto
cont
empl
ate
his
spir
itua
llif
ean
dhe
lpcr
eatu
res
inne
ed,i
nclu
ding
ali
on.
Jean
-Lou
isFo
rain
Dan
cer
and
Abo
nne
atth
eO
pera
1925
NA
Lab
or;O
ccup
atio
ns;S
peci
aliz
atio
n;L
eisu
rean
dre
crea
tion;
Inco
me
dist
ribu
tion
Ayo
ung
ball
etda
ncer
talk
ing
wit
ha
wea
lthy
old
patr
onin
ato
pha
tand
tail
s.H
enri
deTo
ulou
se-L
autr
ecA
vril
1893
NA
Lab
or;O
ccup
atio
ns;S
peci
aliz
atio
n;L
eisu
rean
dre
crea
tion
The
arti
st’s
frie
nd—
ada
ncer
atth
eM
ouli
nR
ouge
.L
ucia
Sign
orel
liA
llog
oria
dell
aFe
cond
ita
ede
ll’A
bbon
danz
a
1500
Uffi
ziG
alle
ry,
Flor
ence
Scar
city
;Goo
dsan
dse
rvic
es;
Prod
uctio
n;A
gric
ultu
re;
Pros
peri
ty
Fig
ures
repr
esen
ting
fert
ilit
yan
dab
unda
nce—
espe
cial
lyag
ricu
ltur
alpr
oduc
tion
.One
figur
em
ayre
pres
entB
acch
us.
Fern
and
Lun
gren
The
Caf
e18
82–8
4A
rtIn
stitu
teof
Chi
cago
Goo
dsan
dse
rvic
es;L
eisu
rean
dre
crea
tion;
Inco
me
dist
ribu
tion
Aw
ell-
dres
sed
wom
anat
ata
ble
inan
eleg
antc
afe.
Dav
idH
ockn
eyA
mer
ican
Col
lect
ors
[Fre
dan
dM
arci
aW
eism
an]
1968
Art
Inst
itute
ofC
hica
goA
ltrui
sm;S
elf-
inte
rest
Aw
ealt
hyco
uple
who
coll
ecta
rt,
show
nas
stiff
and
sepa
rate
asth
eir
outd
oor
scul
ptur
es.
Fred
eric
kW
alke
rT
heVa
gran
ts18
68Ta
teG
alle
ry,L
ondo
nIn
com
edi
stri
butio
n;Po
vert
yA
hom
eles
sG
ypsy
fam
ily
wit
hth
eir
poss
essi
ons
ona
hand
cart
,st
arti
nga
fire
tost
ayw
arm
.(C
onti
nued
onne
xtpa
ge)
414
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ida
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TAB
LE1
Pai
ntin
gsin
the
Intr
oduc
tion
Slid
eS
how
for
the
Art
and
Eco
nom
ics
Web
Pag
e(C
ontin
ued)
Dat
eof
Eco
nom
icco
ncep
t,is
sue,
Art
ist
Titl
epa
intin
gG
alle
ry/M
useu
mor
them
eD
escr
iptio
n
Jero
me
Mye
rsIn
Low
erN
ewYo
rk19
26Po
rtla
ndA
rtM
useu
mR
elat
ive
inco
me;
Hap
pine
ssC
hild
ren
play
ing
ina
New
York
tene
men
t.H
iero
nym
usB
osch
Dea
than
dth
eM
iser
1485
–90
Nat
iona
lGal
lery
ofA
rt,W
ashi
ngto
n,D
C
Cho
ice;
Opp
ortu
nity
cost
;In
com
e;H
appi
ness
As
deat
hen
ters
his
bedr
oom
,am
anis
bese
tby
evil
figur
esen
cour
agin
ghi
mto
keep
wor
king
tom
ake
mor
em
oney
,whi
leot
hers
try
tole
adhi
mto
salv
atio
n.Iv
anL
eL
orra
ine
Alb
righ
tT
hatW
hich
ISh
ould
Hav
eD
one
ID
idN
otD
o(T
heD
oor)
1931
–41
Art
Inst
itute
ofC
hica
goC
hoic
e;O
ppor
tuni
tyco
st;
Buy
er’s
rem
orse
Ado
or/c
offin
wit
ha
wre
ath
show
sth
atch
oice
sth
atco
uld
have
been
mad
edu
ring
life
are
perm
anen
tly
fore
clos
edat
deat
h.G
eorg
eC
atlin
La
Sall
e’s
Part
yFe
aste
din
the
Illi
nois
Vill
age
1847
–48
Nat
iona
lGal
lery
ofA
rt,W
ashi
ngto
n,D
C
Eco
nom
icsy
stem
sE
urop
ean
expl
orer
sw
elco
med
byA
mer
ican
Indi
ans.
Ano
nym
ous,
Kan
oA
rriv
alof
the
Wes
tern
ers
Ear
lyT
hePo
rtla
ndA
rtE
cono
mic
syst
ems
Port
ugue
setr
ader
sar
rive
inJa
pan.
Scho
ol17
thce
ntur
yM
useu
mG
iova
nniM
iche
leG
rani
eri
The
Lot
tery
Dra
win
gin
Pia
zza
1756
The
Rin
glin
gM
useu
m,S
aras
ota,
FL
Mar
kets
;Exc
hang
e;R
ole
ofgo
vern
men
tO
rigi
nall
yca
lled
“A
Cro
wde
dM
arke
tpla
ce,”
the
pain
ting
show
sa
win
ning
lott
ery
tick
etbe
ing
draw
non
the
balc
ony
ofth
eC
ity
Hal
l.A
ndy
War
hol
Mao
1973
Art
Inst
itute
ofC
hica
goE
cono
mic
syst
ems
Mon
umen
talp
ortr
aito
fM
ao-T
se-T
ung,
15fe
etta
ll.
Dom
enic
hino
Apo
llo
and
Nep
tune
Adv
isin
gL
aom
edon
1616
–18
Nat
iona
lGal
lery
,L
ondo
nC
ontr
acts
;Pro
pert
yri
ghts
and
enfo
rcem
ent
Lao
med
onag
rees
topa
yA
poll
oan
dN
eptu
nein
gold
tom
ake
the
wal
lsof
Troy
impr
egna
ble
from
land
orse
a,bu
tthe
nre
fuse
sto
pay.
Troy
fall
s.Jo
seph
Mal
lord
Will
iam
Tur
ner
Spit
head
:Tw
oC
aptu
red
Dan
ish
Ship
sE
nter
ing
Port
smou
thH
arbo
ur
1807
–9Ta
teG
alle
ry,L
ondo
nPr
oper
tyri
ghts
;Inc
entiv
es;
Eco
nom
icro
leof
gove
rnm
ent
The
capt
ured
ship
sw
illb
eso
ldat
auct
ion,
wit
hpr
ize
mon
eydi
stri
bute
dto
crew
sof
the
ship
sth
atca
ptur
edth
em.
Fran
cisc
ode
Goy
ay
Luc
ient
esM
onk
Pedr
ode
Zal
divi
ash
oots
the
Ban
dit
Mar
agat
o
1806
–7A
rtIn
stitu
teof
Chi
cago
Prop
erty
righ
tsan
den
forc
emen
tA
hum
ble
Span
ish
mon
ksh
oots
anin
fam
ous
band
it—
one
pane
lfro
ma
seri
esof
six.
(Con
tinu
edon
next
page
)
415
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LE1
Pai
ntin
gsin
the
Intr
oduc
tion
Slid
eS
how
for
the
Art
and
Eco
nom
ics
Web
Pag
e(C
ontin
ued)
Dat
eof
Eco
nom
icco
ncep
t,is
sue,
Art
ist
Titl
epa
intin
gG
alle
ry/M
useu
mor
them
eD
escr
iptio
n
John
Phill
ipT
heD
ying
Con
trab
andi
sta
1858
The
Roy
alC
olle
ctio
n,L
ondo
nPr
oper
tyri
ghts
and
enfo
rcem
ent
Aro
man
tic
scen
eof
love
and
deat
hse
tin
Spai
n,li
keB
izet
’sco
ntem
pora
ryw
ork,
“C
arm
en.”
Geo
rge
Took
erW
aiti
ngR
oom
1959
Smith
soni
anA
mer
ican
Art
Mus
eum
,W
ashi
ngto
n,D
C
Gov
ernm
ent;
Publ
icch
oice
;B
urea
ucra
cyA
crow
ded,
depe
rson
aliz
edw
aiti
ngro
omw
ith
peop
lest
andi
ngin
num
bere
dcu
bicl
es,c
augh
tup
ina
mas
sive
bure
aucr
acy.
Piet
erB
rueg
helt
heE
lder
Net
herl
andi
shP
rove
rbs
[als
oca
lled
The
Blu
eC
loak
orth
eTo
psy
Turv
yW
orld
]
1559
Staa
liche
Mus
eum
,B
erlin
Too
man
yto
list
Ove
ra
hund
red
prov
erbs
depi
cted
inon
epa
inti
ng,m
any
wit
hec
onom
icth
emes
.
Pete
rB
lum
eT
heR
ock
1944
–48
Art
Inst
itute
ofC
hica
goN
atur
al,h
uman
,and
capi
talr
esou
rces
Asy
mbo
lic
pain
ting
,oft
enin
terp
rete
das
rebu
ildi
ngaf
ter
the
dest
ruct
ion
ofW
WII
.R
ene
Mag
ritte
The
Hum
anC
ondi
tion
1933
Nat
iona
lGal
lery
ofA
rt,W
ashi
ngto
n,D
C
Nat
ural
reso
urce
s;L
abor
Are
alis
tic
pain
ting
wit
hin
apa
inti
ng,
show
ing
exac
tly
wha
tis
seen
outs
ide
thro
ugh
aw
indo
w.F
rom
alo
ngge
nre
ofpa
inti
ngs
onar
tand
illu
sion
rais
ing
ques
tion
sab
out
the
purp
ose
ofar
tand
arti
sts,
som
etim
eshu
mor
ousl
y.J.
The
odor
eJo
hnso
nC
hica
goIn
teri
or19
33–3
4Sm
ithso
nian
Am
eric
anA
rtM
useu
m,
Was
hing
ton,
DC
Hap
pine
ssan
din
com
e;U
rban
izat
ion
Ayo
ung
wom
ansi
tsin
aC
hica
goho
telr
oom
,rea
ding
am
agaz
ine,
inw
inte
r.It
isha
rdto
tell
ifsh
eis
show
nas
happ
yor
not,
unle
ssyo
ukn
owsh
eis
the
arti
st’s
wif
e,pa
inte
dju
staf
ter
they
wer
em
arri
ed.
Edv
ard
Mun
chT
heSc
ream
1895
Nat
iona
lGal
lery
,Osl
oA
liena
tion;
Ext
erna
litie
sA
figur
eon
aro
adov
erlo
okin
gO
slo
crie
sou
t.Po
ssib
lein
fluen
ces
for
the
pain
ting
incl
ude
red
skie
sca
used
byth
eer
upti
onof
Kra
kato
a,a
near
bysl
augh
terh
ouse
and
“m
adho
use,”
Mun
ch’s
sist
er’s
man
icde
pres
sion
,an
dm
umm
ies
hem
ayha
vere
cent
lyse
enin
Pari
san
d/or
Flo
renc
e.
416
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ART AND ECONOMICS 417
personal success and failure. But here, too, the allegorical figures and content must be explainedfor most modern viewers.
In other cases, the general subject and economic content in pieces of art is apparent, butbackground information about the scene that is shown and/or the artist can be used to make theimage even more interesting and memorable, and to promote class discussions of the art andeconomics. For example, Jerome Myers painted scenes of New York tenements in the 1920sand 1930s, powerfully illustrating issues of poverty and income distribution. But the structureand content of his paintings are more interesting and explained more fully by knowing that nearthe end of his career he said, “Others saw ugliness and degradation there, I saw poetry andbeauty.”6 The poetry and beauty come through in the paintings, and that can be used to raise basicquestions about happiness as a function of absolute and/or relative income and consumption—atopic studied by many economists in recent years (Clark, Frijters, and Shields 2008).
How can economics instructors use the paintings, drawings, and slide shows provided on theWeb site? Let us briefly review some of the options, knowing full well that some instructors willsee other methods.
The simplest and shortest approach, which we have used successfully with both U.S. andinternational classes, is to show an individual piece of art to launch a discussion on an economicconcept or issue, usually with little or no other introduction, and certainly not an introductorylecture on the idea. Using a single piece of art this way often leads to a broad, open-endeddiscussion, with different viewers seeing different ideas or possibilities in the art. This is il-lustrated in Bohanon (2011), who takes his principles classes to a campus art museum, haseach student pick one painting, and write up a brief description of the economic ideas theysee portrayed (in a haiku, a short explanation of the haiku, and what the student sees in thepainting).
Except for the allegorical and “story” paintings described above, it is relatively easy foreconomists to look at paintings or drawings and see economic concepts, issues, or themes—ifthey are depicted. But obviously a major reason for not doing that is the high search costs entailedin finding good paintings to use. That, of course, is a basic rationale for this Web site, andorganizing most of the slide shows by concept or topic.
Once a painting on a concept or topic has been selected to use as a starting point for classdiscussion, the simplest and probably most effective way to proceed is to display the painting forthe class to see and consider for a minute or two. The instructor can then open the discussion byasking a leading question (e.g., “Do you think the characters in Jerome Myers’ paintings of NewYork tenements are shown as happy or unhappy?”). If the painting selected is allegorical or a“story” picture as discussed above, then the relevant background information about the symbolsor story will have to be provided to the students, too.
Even if there is not time for class discussions on all of the topics covered in a course, or forinstructors who are devout (and skilled, one hopes) lecturers, paintings can be used effectivelyat the start (and/or in the middle or end) of otherwise standard lectures, introducing at least thatmuch variety and additional interest to the class session.
A logical “next step” is to use two or more paintings on a related topic. An easy way to dothat is using one painting to introduce a topic and another painting to conclude, review, and sumup the class session. If this is done frequently throughout the course, students quickly adapt tothe format. Many students find it enjoyable and in some ways reassuring to see the conceptsintroduced and reinforced in a visual, nontechnical format.
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418 WATTS AND CHRISTOPHER
A more extensive approach, using many paintings to help teach a concept or issue, is directlysupported by the structure of the slide shows on the Art and Economics Web site, which canusually be shown in full to a class (without extensive commentary or student discussion) in aboutfive to ten minutes. Or the students can be assigned to view a slide show as an out-of-classassignment, and perhaps be required to turn in answers to one or more of the discussion questionsat the end of the programs, which are discussed below.
Interestingly, as the full slide shows, or at least more pieces of art dealing with a commonconcept or issue, are used in classroom presentations, the range of the classroom discussiontypically narrows, becoming more directive and focused, and less exploratory. In other words,this more directed approach uses a set of works of art to help teach or to reinforce understandingof a particular concept or issue.
That is not meant to claim it is better or worse to use the art this way, rather than using just oneor two paintings to initiate a more freewheeling discussion on some broader topic. We see valuein both approaches, and leave the choice or mix of approaches to individual instructors where itbelongs, and in any case will always reside. But to promote the second approach with viewerswho have gone through the full slide shows on particular economic concepts and issues, or worksby an individual artist, each of the slide shows on the Art and Economics Web page, exceptthe Introduction program, ends with a set of discussion questions titled, “Is a Picture Worth aThousand Words?” There are usually between four and eight discussion questions for each slideshow, with most asking viewers to use what they have seen in the art to answer the kinds ofquestions that are regularly featured in undergraduate economics courses. Some examples areprovided below:
From “Natural Resources and Agriculture”:
• Give examples of paintings that show pure “gifts of nature” and natural resources, andothers that show natural resources that have been made more valuable through the use oflabor or capital goods. If labor and capital have been used to make natural resources morevaluable, how would you classify the resource then—as land (natural resources), labor, orcapital?
From “Capital Resources and Technology”:
• Identify examples of capital resources owned by families, private businesses, and the gov-ernment. Which of these three groups do you believe invests the most in capital resources?
• Is capital usually a substitute or complement for labor (skilled and unskilled), and fornatural resources?
From “Labor, Occupations, Specialization and the Division of Labor”:
• Which of the paintings show skilled labor, and which show unskilled labor? How do workersbecome more skilled?
• Are specialized or self-sufficient workers more likely to have high incomes?• What good and bad features of different jobs are illustrated in the paintings? For example,
which of the jobs seem to involve more risk of injury to workers, or doing more interesting
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work in pleasant worksites? How are good and bad features of different jobs likely to affectthe wages or salaries paid to workers in those jobs?
From “Leisure and Recreation”:
• How have changes in technology affected the overall amount of recreation and leisureavailable to people, and the mix of leisure or recreation activities they pursue?
• Is the distribution of leisure and recreation equal or fair? Is it more often enjoyed by thosewith more income and wealth, or by males?
From “Money, Banking, and Financial Crises”:
• Do the paintings and drawings suggest ways in which financial crises from earlier centurieswere different from those in the last century or recent decades? Do they suggest keysimilarities? What role does psychology and mob or “bandwagon” behavior play in financialcrises?
• What is money? Is gold always money, or is money always gold? What makes moneymoney? What makes money socially useful and important when things are stable? Whatkinds of problems do financial crises and unstable money cause or make worse?
From “The Role of Government; Public Choice”:
• What kinds of goods and services, including institutional structures, can governmentsprovide that encourage market activity, economic growth, and prosperity? Which of thepaintings illustrate those goods, services, and institutions?
• Do public officials and government workers always represent the best interests of thepeople? Can some kinds of government policies reduce incentives for people to work, save,and invest? Do special interest groups ever acquire too much influence in setting publicpolicies? Which of the paintings illustrate some aspects of these kinds of governmentfailure?
CONCLUSION
An interesting and obvious question, which we have not yet studied in any formal way, is howeffective are the slide shows in teaching concepts and issues, compared to traditional lecturesor to other online and distance learning approaches, or when used in combination with standardlectures or distance learning materials?
Informally, we have asked spouses, friends, and even participants in Learning in Retirementprograms who have seen the slide shows, but in many cases have not taken courses in economics,whether they felt they could at least begin to answer the discussion questions, based just on seeingthe slide shows. Thus far their answers have been strongly affirmative, with only modest quali-fications. “Modest” is actually a literal characterization of some of the qualifications, reflectingsome viewers’ sense of modesty in claiming to understand what many of them view as a difficultsubject. Sadly, in many cases they also noted unpleasant or at least mixed memories of principles
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courses they took as undergraduates, and of their performance in those classes. But overall, interms of using art to teach economics and interest people in economic concepts and issues, wefind these responses and the answers to the discussion questions that the respondents offer quiteencouraging.
A formal study would be interesting, of course, and add to the limited literature noted aboveon visual learning in economics. But even if the cognitive gains are not significantly (let alonesubstantively) different from what students learn in a standard course that is all or mostly straightlecture, there is still a utility maximization argument for using art to help teach economics(including the utility of both students and instructors). Bringing artists’ sense of beauty and truthto economics classes is another way to water what many current and former students view as avery dry field. And many of the students who already like economics courses and instructors willappreciate another way of looking at the topics, based on the ordinary business of life as seen anddepicted by artists.
NOTES
1. Watts (2003) and others made similar claims about literature and drama. Other economists have done thesame for different kinds of cultural media, including feature films, documentaries, music, and animatedfilms and videos. In his article on Adam Smith’s use of the “noble arts,” Wight (2006, 156n) providesa long list of references on using all of these media to teach economics, with the notable exception ofpainting/art. This exception shows that, for the most part, using art to teach economics is untraveledground. Zevin (1980) suggested using artifacts and visual images, including “art” (left at that genericlevel), to teach economics at the precollege level; but all of his specific examples feature artifacts, ordrawings and advertisements of artifacts. In 2011, at the first national conference on teaching economicsand research in economic education sponsored by the American Economic Association Committee onEconomic Education and the Journal of Economic Education, Watts organized a panel discussion thatfeatured presentations on the Web site on Art and Economics featured here, and papers by Bohanon(2011) and Cotti and Johnson (2012).
2. Both economists and art educators have also noted the importance of the rising quantity and value ofleisure time versus time spent working, for example in Greenwood and Vandenbroucke (2005) and White(1975).
3. World history and geography textbooks, even at the precollege level, often use art to illustrate culturaland economic differences across time and nations.
4. Digital images for most of the art are available on other Web sites, such as Wikimedia Commons.5. Optional text screens are now being added to the Web site slide shows to provide background infor-
mation on the economic content shown in the art—especially for these “story pictures” and allegoricalpaintings—and on the artists and the works of art. Only the introductory slide show includes explanatorytext slides as separate screens. The first software platforms used for the Web site, including standard wikiplatforms, did not support the multiple optional text slides. After some customization by informationtechnology (IT) specialists at Purdue University, the current platform will. Optional text slides are nowbeing posted for the introductory slide show, and will be posted for the other slide shows over the nextyear as they are completed.
6. This kind of information will be provided in the slide shows using the optional text slides.
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