Download Citation on ResearchGate | Creative and mental growth / [by]Viktor Lowenfeld | Incluye bibliografía }. Creative and Mental Growth has 48 ratings and 1 review. Children are the essence of this book, but more than that, they are the essence of society. Creat. It is fascinating to realize that as children grow and experience the world in both physical and psychological settings, their physical, mental, and creative growth.

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Rowdy is digging a hole in the lawn.

His thought process, the ability to think for himself and concentrate on something, becomes stimulated. It is there- fore important to investigate more closely the attributes art media must have to promote self-identification of the child with his experiences.

It would be wrong to think that self-expression means the expression of thoughts and ideas in general terms of content. The child, unable to follow or gain control over his motions and unable to identify with them, would become discouraged and frustrated by such a technique.

Full text of “Creative and mental growth”

How materials behave under different circumstances and conditions will then become a fascinat- ing part of creatove expression or art appreciation see Figure 9.

If in his creative work he con- The Meaning of Art for Education 17 tinually attempts to relate all his experiences, such as thinking, feeling, perceiving seeing, touching, gdowth so onto one another, it must also have a unifying effect on his personality. If he cannot identify with it, the motivation in his experience must be boosted and not the drawing activity! Man learns through his senses.

If the child cannot vreative with the experience, the final product will neces- sarily nental it. To delve into the various areas of develop- ment in art gives new meaning and understanding to child growth which is lowejfeld.

During the medieval period the Church fostered the most contemporary architec- ture. It has been revealed by experimentation and research that more than half of all children exposed to coloring books lose their cre- ativeness and their independence of loweneld and become rigid and dependent. Even in simple experiences like rowing a boat the child can identify purely with the motion he feels in the boat, the subjective kinesthetic sensa- tion, or he may become visually bound up with the spectacle of the environment.


This is the abilitv to think of new or novel responses and is the opposite of the usual or accepted. Through his flexible approaches toward the expression of his own ideas he will not only face new situations properly but will adjust himself to them easily. The Means of Expression. Thus, his emotional relationship will be an important part in his creative process.

If we experience the vastness of the sea with an underlying feeling of loneliness, all by ourselves, it is not the same as if we were ac- companied by the noise of countless people happily splashing in the on- coming waves. Teachers often think if history is illustrated, or interpreted in the art lesson, integration of the two subjects takes place. The cloisters significantly influenced the building of their time.

As a child expresses his fight with the waves as a kinesthetic motion, the design becomes the carrier of his experience — so much so, that one can no longer be separated from the other.

This interchange between social, political, and religious environment and art expression has always been of greatest significance for the understanding of a period. In an art class, motivating toward a greater awareness of details and toward a discovery of differences devel- ops the capacity for analysis.

Viktor Lowenfeld

His painting, like those of crwative children, is not an objective representation. The art medium must conform with the child’s own desire for ex- pression. They must be closely integrated, for it is the individual who uses his media and his form of expression according to his personal experiences. Mentxl is the very opposite of being rigid, or stuck in the rut. Creative and intellectual growth loweenfeld the basis of any educational system, and it is the hope that this book can contribute to an understanding of the importance of this area so as to growgh the education of children a joyful and meaningful experience.

Let’s skate with our crayon on it. We have to differentiate mentall between subject matter and mode of expression. Cody Wheelock rated it did not like it May 19, The creative result may be an abstract expression of the kinesthetic feelings he had while rowing. He may completely identify the abstract motions he lowenceld on the paper with his experience in the boat. There are many more such individual needs to be discussed in the chapter on scribbling, which can only be understood if the general physical and psychological characteristics typical of this stage of development are understood.


You know that soon you will have to go to bed, too. We have heard educators, although intrigued by the beauty of children’s drawings and paintings, asking for the “right” proportions and “good” color schemes. The visually aware child will benefit from such accidents. If the child draws all airplanes alike, it will be a discovery for him to distinguish be- tween big and small planes.

It lies in the nature of a creative experience that they all unite to form an entity.

From its profusely illustrated pages springs a wealth of information on the growth and development of the creative process in the child, from his first uncontrolled scribbles to his high school paintings. The proper stimula- tion then would be to draw from the child a detailed account of experi- ences in order that he identify with them.

Lily rated it really liked it Dec 04, Her mind does not adjust as easily to her environment, and therefore she has established a certain sameness of reactions. In a creative work subject matter and the way in which it is presented form an inseparable whole. To identify with this sensation, we would only have to scribble or draw with our eyes “blank”; that is, not focused at all, looking, as it were, into space.

He includes the apples in his drawing because they are important to him. It is much more important to make the individual sensitive to its values in order that he can relate to it meaningfully. As he thinks of it, his thoughts concentrate on the experience to be painted. On the contrary, it might for the moment deprive him of the security he obviously found in such repetitive statements.

Only the degree of intensity with which we have observed the location will be responsible for our recalling it. Although his own death, and the deaths and retirements of his disciples, have lessened Lowenfeldian political in academia and therefore in teacher educationhis concepts go marching on.

She is tense and has developed a certain emotional inflexibility. The subject matter necessarily deals with con- tents.