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On growth and form : Thompson, D'Arcy Wentworth, 1860-1948 : Free Download, Borrow, and Streaming : Internet Archive

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Includes bibliographical references and index

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Forty years ago, the Calouste Gulbenkian Foundation UK Branch published The Arts in Schools: Principles, practice and provision. This seminal report was hugely influential with Local Authorities, which then managed the country's schools. It paved the way for the arts to be included in England's first National Curriculum in 1988 and inspired many professional arts organisations to engage with the education sector for the first time.

Forty years later we do not have the sustained and equitable practice and provision that The Arts in Schools envisioned. Accountability frameworks have marginalised the arts within schools, which do not have parity with other subjects as part of a broad and balanced curriculum. Many of the structural support systems for delivery have been eroded; arts GCSE and A Level take up is declining; and the pandemic has further diminished the opportunities for arts learning experiences.

Four decades on from the publication of The Arts in Schools there is a growing body of international evidence asserting the value of the arts in the lives of children and young people across a range of metrics, but this awareness has not been absorbed within our education policy and systems. On the 40th anniversary of the 1982 report, A New Direction will convene a new conversation on the value of the arts for young people in and beyond schools by examining the current state of play, what we have learnt and lost over the intervening decades, and what a new set of recommendations could look like.

Find out more

Our new 'scene setting' report provides more information about The Arts in Schools, the context in which it was written, the immediate impact it had, and how things have changed in the past 40 years.
Download here
This visual timeline also gives an overview of key developments across the political, social, educational, and arts landscape since the report's publication.
Download here
What next?

Over the coming months, A New Direction will bring education and arts leaders together with young people to review, interrogate, and debate where we go from here.

The final The arts in schools: foundations for the future report will be published in the new year. Subscribe to our newsletter to stay up to date, and get involved in the conversation on social media using the #ArtsinSchools hashtag.

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Forty years ago, the Calouste Gulbenkian Foundation UK Branch published The Arts in Schools: Principles, practice and provision . This seminal report was hugely influential with Local Authorities, which then managed the country's schools.

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Art and The Child : Richardson Marion : Free Download, Borrow, and Streaming : Internet Archive

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Source: Digital Library of IndiaScanning Centre: Allama Iqbal Library, University of KashmirSource Library: Allam Iqbal Library Kashmir UniversityDate…

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Johnstone (1941) 'Child Art to Man Art' 

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Johnstone (1941) 'Child Art to Man Art' 

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Child Art to Man Art : Johnstone, William : Free Download, Borrow, and Streaming : Internet Archive

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The research project 'Art School Educated: Curriculum Change in UK Art Schools 1960-2010' investigated the impact of art education on artistic production in Britain. A comprehensive history of UK art schools and their impact on the history of modern British art had not been undertaken, despite the schools' distinguished contributions to cultural life. This project therefore aimed to build towards such an account by identifying the decisive reforms in the curriculum of the major London art schools from the 1960s to the present day, exploring how these new curricula related to the output of the artists represented in Tate's collection and seeking to shed light onto the interrelated histories of fine art teaching and artists' relationships with society.

Funded by the Leverhulme Trust, the study, which began in 2009 and concluded in 2014, looked at a fifty-year period in British art, starting with the publication in 1960 of the first report of the Coldstream Council, which had supposedly had a transformative effect on the structures of art teaching at higher education level. The project quickly focused on the London art schools, but some comparative work was conducted with schools outside of the capital, especially with Leeds, Leicester, Coventry, Cardiff and Newcastle. The team also built valuable international contacts, especially with Scandinavia, that might support and encourage future work on the theme.

Based at Tate, the project sought to exploit the art museum's role as a mediator between teaching institutions, the community of artists and the public. Art schools can be immensely competitive, with institutional and individual artistic reputations constantly being contested and their histories retold. It is a sphere, however, in which Tate has few conflicts of interest and the project team sought to position themselves as neutral observers as they studied the key moments and issues in this history.

The project also aimed to understand better the circumstances and conditions that were likely to have determined the artistic training and intellectual formation of the generations of artists whose work has been collected by Tate. The team's conclusions centred on the perceived consequences of two sets of radical changes to UK art school education since 1960. First was the abandonment of the Life Room, the drawing classes at the core of academic fine art education since its invention in the early modern period. Second was the institutional restructuring of the sector during the 1990s and since to bring fine art fully into the university sector and at the same time accommodate the changing image of the artist and new artistic practices (including, for example, the use of time-based and digital media, conceptual practice, installations and performance). With the formal rejection of the Life Room, art education lost a unique signifier whereby pedagogic practice was based on a manual/vocational and intellectual skill comprehended across the academy and recognised as specific to the visual arts.

There are, even now, few substantial secondary sources relating to the history of UK art schools and the work of the team was therefore overwhelmingly concerned with primary material taken from interviews and found in institutional and personal archives in the form of taught course documentation and ephemera. Each member of the research team was trained in oral history techniques at the British Library. It was always recognised that interviews with practitioners and students would be both important but also problematic since such material is richly evocative and has the potential to inform but is also deeply subjective and cannot be used with full confidence unless its claims are checked against other evidence. To help gain this broader perspective the team also conducted research in a great number of archives, including the Tate Archive, the National Arts Education at Bretton Hall, the National Library of Scotland, the archives at the Hatton Gallery, Newcastle, the National Archives, Kew and individual art school archives.

The project concluded with a conference at Tate Britain called 'Art School Educated' in September 2014, in which team members shared their reflections with other panellists and a broader public in four sessions ('Art School Education and the Image of the Artist', 'Drawing and the Life Room', 'The Changing Curriculum' and 'Structural Dilemmas: Art Schools and the FE/HE System'). Another key project highlight was the creation of the display 'Basic Design' at Tate Britain in 2013. This explored a radically new approach to training in art schools in the 1950s and 1960s, looking at the work of key teachers including Roy Ascott, Richard Hamilton and Harry Thubron and that of their students. The display contained archival material and video documentation, and was accompanied by a booklet.

The team went on to produce a monograph, The London Art Schools: Reforming the Art World, 1960 to Now (London 2015), with essays on:

the history of the exhibiting of art students' work

the Life Room

the foundation course (an innovation that saw part-time teachers quadruple in number in four years)

the contribution of William Johnstone, an underestimated figure

the teaching of art history and contextual studies, massively encouraged by the Coldstream Report

the teaching of colour

the architecture of the Chelsea College of Art and Design

the pedagogical shift from criticism to performance, with its origins in group critical practice at St Martin's.

An appendix also provided key information about the histories of individual art schools including department histories and changes of title, the profiles of key teachers and heads, geographical moves and institutional mergers and other changes, key dates and data about student numbers.

Complementing this volume, this site republishes the book's institutional histories and presents excerpts from interviews with the project's protagonists and commentators, as well as films documenting a series of artist-led life drawing masterclasses.

Nigel Llewellyn
Head of Research 2007-15
Tate

Project team:
Catherine Antoni, Administrator
Elena Crippa, PhD student
Lucy Howarth, Research Assistant
Professor Nigel Llewellyn, Head of Research (Principal Investigator)
Alex Massouras, PhD student
Dr Victoria Walsh, Head of Adult Programmes, Tate Britain (Co-Investigator)
Hester Westley, Research Assistant
Beth Williamson, Research Assistant

Editorial team:
Jennifer Mundy, Head of Art Historical Research
Beth Williamson, Coordinator
Susannah Worth, Digital Editor (Research)

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Art School Educated: Curriculum Change in UK Art Schools 1960-2010 | Tate

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The research project 'Art School Educated: Curriculum Change in UK Art Schools 1960-2010' investigated the impact of art education on artistic production in Britain. A comprehensive history of UK art schools and their impact on the history of modern British art had not been undertaken, despite the schools' distinguished contributions to cultural life.

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Education Through Art : Read, Herbert : Free Download, Borrow, and Streaming : Internet Archive

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Campbell, A.D., (2009) 'Marion Richardson and the Crab's Claw'  

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Campbell, A.D., (2009) 'Marion Richardson and the Crab's Claw'  

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CAMPBELL, A. D.. Marion Richardson and the Crab's Claw. Studies in Design Education Craft & Technology, [S.l.], v. 11, n. 1, sep. 2009. ISSN 0305 766.

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The Magic of Coal, Puffin Picture Book

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S.R.Badman, 1941

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Thoma Griffits handbook for lithography demonstrating colour overlays

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Barbaba Jones, Fairground, one in the series of lithographs for school classrooms

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Erno Goldfinger wartime exhibition, illustrated by Puffin artist Sheila Hawkins

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the Design & Industries monthly journal, with regular contributions from Frank Pick, Gordon Russell, Nikolas Pevsner, et al

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artist/lithographer, of of the pioneers of autolithography

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a short introduction to the process of lithography

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https://issuu.com/mcpublishing/docs/the_bath_magazine_september_2018

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classroom pic with pattern work on the sides and girls at the desks Peggy herself designed and had made for school artwork (supplied by Carolyn Trant)

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pictures of class work – communal murals on the walls and individual work on desks (supplied by Carolyn Trant)

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Article from Art and Education, Feb 1970.

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The Art Education Library residency at the Dollhouse Space, Amsterdam, 2020.

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Examples of illustration within the school environment.

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UNESCO symposium 1951

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Marie Neurath & the Isotype Institute. One of the information books for children published 1948 onwards.

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Learning to See, 1970.

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From Open University course Art and Environment (TAD292), 1976-85.

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Bauhaus Books.

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Adaptation of the OU Course for schools.

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Inspiration for the English Foundation Course.

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The life and work of Kurt Rowland, artist-educator.

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Kurt Rowland: Visual Education and Beyond

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Sight and Insight film 1.

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First things first - profile of an inspirational figure in primary education (1971).

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It's child's play, or is it? Prior Weston primary school, just a hopscotch away from London's Barbican Centre, opened in the wake of the 1967 Plowden report looking at early years education. Henry Pluckrose was the school's first headteacher, a forward-thinking educator who downplayed the traditional 'three Rs' in favour of some new ones - relaxation of bureaucracy and respect for the children. A warning to primary school teachers: watching this could make you laugh or cry...

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It's child's play, or is it? Prior Weston primary school, just a hopscotch away from London's Barbican Centre, opened in the wake of the 1967 Plowden report looking at early years education. Henry Pluckrose was the school's first headteacher, a forward-thinking educator who downplayed the traditional 'three Rs' in favour of some new ones - relaxation of bureaucracy and respect for the children.

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A student revolt as relived by the rebels themselves (1970).

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A revolution recollected in tranquillity: the six-week occupation, through June and July 1968, of Hornsey College of Art, North London, with its reasons, programme, course and fate, is fully re-constructed and re-considered by the original protesting students in this film.

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A revolution recollected in tranquillity: the six-week occupation, through June and July 1968, of Hornsey College of Art, North London, with its reasons, programme, course and fate, is fully re-constructed and re-considered by the original protesting students in this film.

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Modelling for Amateurs by Clifford and Rosemary Ellis (1939) 

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Modelling for Amateurs by Clifford and Rosemary Ellis (1939) 

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a series of articles written by John Mansbridge

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published during the war, with evacuee crafts and thrifty activities

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a series of articles written by Clare Barry

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Binyon sisters with their 'Jiminy' puppets with Benjamin Britten on the piano

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Helen Binyon was one of the tutors at Corsham and was a puppeteer as well as a painter and engraver.

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ART AND CRAFT EDUCATION Feb 1937 (Vol 2 no.2) 

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ART AND CRAFT EDUCATION Feb 1937 (Vol 2 no.2) 

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Clifford and Rosemary Ellis wrote several articles about model making for A+CE in the 1930's

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from 20:30 footage of school sculptures, murals and art classes at Corsham. A short interview with Clifford Ellis where he talks about the ethos of teaching artists to be teachers there.