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Chapter V: The Cognitive Revolution: Consequences for the Understanding and Education of the Child as Artist

The vision of the child--indeed every child--as the prototype of the artist is not a recent concept; but a regard for children's art as having aesthetic value is primarily a twentieth-century phenomenon. With artists like Klee, Kandinsky, and Picasso emulating the simplicity and power of childlike images, psychologists, philosophers, and educators have taken heed. These scholars look to children's art not only for its honest and direct expression of children's understanding of the world, but also for its aesthetic content. Therein they find the seeds of aesthetic perception and production that flower in the work of the professional artist. When embraced by nineteenth-century commentators, the view of the child as artist may seem a romantic perspective. When children's art is taken seriously by twentieth-century scientists, the perspective assumes a different hue. The "brute facts" about child art have not changed in the century and a half of adult looking. The drawings that aesthetician Corrado Ricci collected from the elementary schools of Bologna for his 1887 book, L'Arte dei Bambini, could appear in a book on children's drawing today. What has changed is scholars' and researchers'