Looking at and

Talking about Art

with Kids
Craig Roland, Ed.D.
School of Art & Art History
University of Florida
rolandc@ufl.edu

If we want to understand a work of art, we should look at the talk about in class, abstract and nonobjective works can and
time in which it was created, the circumstances that determined should be introduced as children become more receptive and
its style and art expression as well as the individual forces that led knowledgeable of art.
the artist to his form of expression.
• Viktor Lowenfeld As beginning viewers, children’s responses to works of art are
often idiosyncratic and unpredictable. They’re happy to talk
about what they see in a work of art. They’re honest and con-
Since the early 1980s, the field of art education has embraced crete. They’re also story-tellers by nature and their responses
a comprehensive model of teaching art in schools. One of the often reflect a desire to interpret works of art in narrative form.
basic tenets of this model is that in addition to providing stu- From a teacher’s perspective, this means that a question like
dents with opportunities to create their own works of art, “What’s going on in this picture?” can often lead to a lively
teachers should bring them into meaningful contact with classroom discussion. In order to keep the dialogue focused on
works made by adult artists. This is accomplished by structur- the work itself, follow-up question like “What do you see that
ing integrated learning experiences involving aesthetics, art makes you say that?” or “What makes you think that?” are
criticism, and art history along with studio production activi- helpful and allow the children to support or revise their
ties. answers based on their observations of the work.

Children enjoy looking at and talking about works of art. It is also important to consider that helping children to under-
Teachers can effectively build upon this interest by engaging stand and to appreciate the art of others is not a matter of sim-
children in guided discussions about art reproductions shown ply spewing forth facts and information about the work being
in class or 'real' works of art shown in museums. In planning shown. Rather, the goal of introducing children to the world
these encounters with art, it is important to consider that chil- of art is to help them to become perceptive and sensitive view-
dren base their understandings of and responses to new stim- ers of the works of art they will encounter in their lives. In
uli on what they know about their own immediate world. It is order to achieve this goal, children must become actively
also important to recognize that children have a questioning involved in looking at and talking about art. Learning facts
frame-of-mind and are often curious about the works of art about a particular work is beneficial to this process; but what
they see in their everyday lives. Therefore, when working with that work communicates to a child and how it does that is the
beginning viewers, teachers should select works of art for study bottom line! If children are encouraged to become personal-
that relate to the experiences and interests of their particular ly involved with the works of art they see, each encounter they
group of students and use their questions and response to have with the world of art becomes more interesting, more
guide the art inquiry process. meaningful, and more lasting.

For instance, children are often eager to talk about works that The following ideas are intended to suggest ways teachers can
depict family relationships, other children, animals, sporting help their students to learn more from their encounters with
events, and familiar activities. Works that are mysterious, art. Since no grade-level distinctions are given, teachers will
strange, or humorous will also capture and hold the attention need to select or adapt those strategies that are appropriate for
of most children. While representational works are easier to their classroom situation, students, and curriculum.
What’s so special about a work of art?
Before talk about art begins, children should understand the
difference between seeing an original work of art and an art
reproduction. A simple way to help establish between the two
is to put examples of both on display and than ask children to
contrast their difference. For instance, children might notice
that:
• A work of art is an original—one of a kind—whereas
a reproduction is a printed copy of the original work.
• A work of art may be bumpy and shine differently
across its surface whereas a reproduction is even in
texture.
• The original work of art is often much larger than a
reproduction of the same work.
• The reproduction may not have the same colors as the
original work.
• A work of art is more valuable than a reproduction.
• A reproduction can be seen in a book or a store
whereas a work of art is often seen in a museum or an
art gallery.

What should we look for in a work of art?

Although children tend to focus their attention on subject
matter, a work of art has many other aspects that can be
observed and discussed. For instance, in looking at and talk-
ing about a work of art, children should be encouraged to con-
sider:
Subject Matter—the people, trees, buildings, or objects
and the way in which they are represented. When was it made?
Sensory Qualities—the lines, colors, shapes, values, or Knowing when a work of art was created can be made more
textures in the work and how they are organized through meaningful if children can identity a period of time with
harmony, variety, balance, emphasis, and unity. something they already know about it. Three ways to help
Emotional Aspects—the emotional quality, meaning, children make such connections are:
mood, or symbolism in the work and how it is achieved.
Technical Aspects—the medium, materials, processes, Using Visual Clues
techniques, and style employed by the artist to create the Recognizing that things about the work make it appear
work. modern or old (e.g., the way people dress, modes of
Context—the time period and culture in which the work transportation, the condition of work itself ).
was produced and the ways in which these aspects influ-
enced the subject matter and techniques of communica- Using Personal Time
tion that the artist used to create the work. Relating the work to events within the child’s experience
(e.g., “This work was made when your grandfather was
your age” or “this was made about the time you were
born.”)

Using Historical Time

Relating the work to a historical event the child is famil-
iar with (e.g., “This work was made during the time of
knights and castles.”)

George Washington Crossing the Delaware by Emanuel Gottlieb Leutze, 1851.

 When looking at a work of art, students might be
asked to:

describe it.
• What do you see in this picture? What else do you
see?
• What words would you use to describe this painting?
What other words might we use?
• How would you describe the lines in this picture? The
colors? The shapes?
• How would you describe this painting to a person who
hasn’t seen it?
• How would you describe the people in this picture?
How are they like you? How are they different from
you?

relate it.
• What things do you recognize in this work of art?
• What does this painting remind you of?
• How is this painting like the one we just saw? How is
it different?
• How is this picture different from real life?
• What interests you most about this work of art?

analyze it.
What one learns and how one learns is determined in part by the • What is the first thing you notice in this picture? Why
kinds of questions asked. does that stand out to you?
• Barry Beyer • What is the largest and the smallest thing you see in
this picture?
Fat & Skinny Questions • What objects seem closest to you? Further away?
Fat and Skinny questions is a strategy for thinking about the • What can you tell me about the colors in this painting?
differences between questions and the types of answers they • What color is used the most in this painting?
require. • What do you think is the most important part of this
picture? Why?
Skinny Questions: • How do you think the artist made this work of art?
• require simple yes, no, maybe, a one- or two-word
answer, or a nod or shake of the head; interpret it.
• take up little space or time; • What title would you give to this painting?
• offer little information in return; • What sounds would this painting make (if it could)?
• use basic recall of factual, literal information to • What can you tell us about the person in this painting?
generate a response; • What do you think this painting is about? Why do
• discourage interaction and result in generally dull you think that?
discussions. • Pretend you are inside this painting. What does it feel
like?
Fat Questions: • Why do you think the artist made this painting?
• take time to think through and answer in depth;
are open-ended; there is no one right answer; evaluate it.
• require “fat answers” (discussion and explanation); • Why do you think other people should see this work?
• require deeper thought through application, analysis, • What grade would you give the artist for this painting?
interpretation, synthesis or evaluation; Why?
• encourage interaction and provoke more interesting • What do you think is important to remember about
discussions. this painting?
• How well did the artist do on this work? What makes
you say that?
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Some essential questions worth exploring in art
• Where do artists get their ideas? What can we make
art about?
• What can we make art out of?
• What is art? What isn’t art? What is art for?
• What makes some works of art better than others?
How can you tell good art from bad art? What criteria
should we use?
• What work of art do I hate/love the most and why?
• Why do people make art?
• How does an artist know when a work or art is
finished?
• Can anyone make art? Can animals make art?
• Should art be pleasing to the eye? Can art be ugly?
Why would an artist make an ugly work of art?
• Should art make people happy? Should art tell a story?
What should art do?
• Should artists imitate what they see? In what ways
does art represent the world?
• Does something have to be original to be art? Can a
forgery or copy be art? When is it okay to copy in art?
• What is an artist? Are artists the same in every culture?
• What are some different ways to approach art? What
can we learn from studying a work of art?
• What makes an artwork good? Are standards for
determining good artwork the same in all cultures?
• Does art mean the same in every culture? In every
group? Chair by David Hockney, 1985.

Responding to Student Answers

Some constructive ways to respond to student answers
include:
• A simple acknowledgment that the student has
contributed something.
“Thank you Jerry for that answer.”
• Show that you value the student’s contribution by
writing it on the board.
• Paraphrase the student’s answer or ask another student
to do so.
“What I hear you saying is . . .”
• Ask for clarification.
“Can you tell me more about that?”
“What do you mean?”
• Refocus the student’s thinking.
“How does this relate to the work?”
• Summarize the discussion or ask the group to do so.
“What have we learned from this artist today?”

American Gothic by Grant Wood, 1930.

Art Postcard Games Classify art prints according to emotions or moods expressed
in the works. Students may invent their own categories or they
The following games involve students in “structured play” may be given descriptive words such as “exciting,” “playful,”
using small art reproductions to explore art concepts and “calm, “sad,” “indifferent,” and “mad” and asked to sort their
themes. These games require carefully selecting examples and prints accordingly. Select a work from each category and deter-
groups of art works beforehand so as to focus students’ atten- mine what the artist has done to convey the emotion. Share
tion on certain similarities and differences in works of art. results. Identify works which were difficult to classify. Discuss
the personal and universal quality of emotions.
Interpreting Art Works
[This game requires selecting prints with narrative content] Sort art prints according to the nationality of the artist. (See
Have pairs of students select 3 or 4 postcards without know- back of print.) Compare works within each category and
ing the purpose of the selection. Teach or review the parts of a identify similarities. Contrast works among categories and
story such as “the setting” which is the scene for some action, identify differences. Identify interrelationships across groups.
“the plot” which is the unfolding of the action, and “the cli-
max” of the action. Ask the students to arrange their cards in Ordering & Ranking Art Works
a sequence to illustrate an imaginary story. Have them pres- Before doing the following activities, the teacher should
ent their story to others in oral or written form. explain how a continuum consists of two extremes with the
middle portion displaying characteristics common to both
Place a group of cards on a table which are active (abstract or ends.
non-objective) or which show narrative action by realistic fig-
ures. Have pairs of students select one card without knowing Have students rank a group of art prints in order from 1 (least
the purpose of the game. Discuss dramatization possibilities liked) to 10 (best liked) among the group. Share rankings and
together. Determine “rules” of the game (e.g., words or no criteria used to make decisions. Determine why a certain print
words, props or no props, etc.,) Provide students with time to was ranked fifth and the next one sixth. Decide if the group
figure out the action appropriate to their selected card. Place ranking reflects “popular” values among the public. Conduct
all cards in a location so everyone can see them. Each group a survey to verify conclusions drawn.
in turn presents their dramatization. The audience then
makes informed guesses on which work is undergoing drama- Place art prints on a continuum from oldest to most recent.
tization. Discuss the reasons for choices of action made by the Ask students to draw conclusions regarding the history of art
students. Variation: Have students (in groups of 4 to 5) make as reflected in their time continuum. Discuss conclusions and
the “sounds” their selected work would make. The audience indicate the basis for decisions made.
then guesses which card was selected.
Sequence a group of 10 art prints from the most to least beau-
Classifying and Categorizing Art Works tiful. Share the criteria used to justify the order. Discuss the
One of the more interesting games to play with art postcards personal and universal quality of “beauty.”
involves asking students to sort a group of art prints into self-
determined categories. Have each group spread the cards out Place art prints on a continuum according to the depth shown
in front of them and then say, “Place these prints into groups (i.e., infinite/deep space to decorative/flat space). Identify and
that you think go together.” Afterwards, have each group discuss ways artists show depth in a work (e.g., size, color,
explain how they grouped their prints. Identify works which overlapping, perspective and so on).
were difficult to classify Are their similarities in the ways
groups completed the task? Rank a group of art prints in order from 1 (most significant)
to 10 (least significant). Share the criteria used to justify the
Sort a group of art prints into theme categories such as land- order. Find examples of “great art” and determine what makes
scapes, still lifes, portraits and ideas. Possible subcategories them significant.
might include real and imaginary events. Share and reflect on
the results. Discuss characteristics found difficult to classify. Place art prints on a continuum from “active-noisy” to “quiet-
still.” Select a print and ask “What has the artist done to make
Classify a group of art prints according to time periods. For this a . . . . painting?” Try other polar pairs such as warm/cool,
example, works completed in the 14th century, 15th century lonely/crowded or sharp/soft.
and so on. Select the category containing the largest number
of prints and make inferences regarding what the works sug- Have students invent their own art postcard games to play.
gest about the art (and culture) of the time period. Determine
ways to verify conclusions drawn. Share results.

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People around the world make art to:
• seek personal enjoyment and satisfaction.
• express personal thoughts and feelings
• communicate with others.
• create a more favorable environment.
• make others see more clearly.
• provide us with new visual experiences.
• record a time, place, person, or object.
• commemorate important people or events.
• reinforce cultural ties and traditions.
• seek to affect social change.
• tell stories.
• heal the sick.
• adorn themselves.
• explain the unknown.
• worship.
• create an illusion or magic.
• predict the future or remember the past.
• earn a livelihood.
• do something no one else can (or has yet done).
• amuse themselves (or make us laugh).
• make the ordinary extraordinary.
• increase our global understanding. This mask represents “The Cannibal of the
Mountains” and was used in a secret winter cere-
monial, British Columbia, around 1900.
Try This: Display examples of art from various cultures and
time periods. Ask students to speculate on the possible reasons
why the art was made.

Post-It Activity (suggested by Pam Stephens)

Give each group a large study print or poster and a pad of
sticky notes. Pin up the print so everyone in the group can see
it. Ask students not to read any information on the back of
the work. For this activity, only use the visual evidence in the
work of art itself.

Each group should choose a recorder to write for the group

and a reporter who will report to the class.

Ask students to brainstorm words, phrases, or sentences relat-

ed to the work on view. Words can relate to subject matter,
media, meaning, the elements of art, art history, or general
critical observations. The recorder writes the words as they are
generated on the sticky notes and attaches the notes around
Christina’s World by Andrew Wyeth, 1948.
the edge of the reproduction.
Art teaches thinking skills
When the groups finish brainstorming, each member of the
Looking at and talking about art encourages these thinking
group should write a paragraph about the work (2-3 sen-
skills: observing, recalling, analyzing, comparing, question-
tences) using words or phrases generated by the group. Next,
ing, and making choices. Learning about art helps young
share statements within groups and then with the class.
people form and verbalize ideas, thus fostering creative and
critical thinking as well as language skills.

6
In the following activities, students learn about the diverse World Art Fair
nature of art as well as people’s responses to art, and the differ- Imagine that next year there will be a World Art Fair in Paris.
ence between personal preference and judgment. Each country in the world may enter one work of art that
must, in some way, describe or convey what life is like in that
Stranded on a Deserted Island country. The American entry, for example, must in some way
In this activity, students imagine spending one year on a illustrate or convey the meaning of life in the United States.
deserted island and select one work of art from the collection
to accompany them on their lengthy stay. To begin, break the Your team will be given three works from which to select your
class into small groups and provide each group with 10-12 art entry. Once you have made your selection, you need to come
prints that include a range of subject matter and styles. up with an argument that will back up your choice.
Introduce the activity by saying something like: Remember that the work you select should somehow represent
life in America.
“Imagine that you are exiled on a deserted island. You
will have to stay on the island for one year. However, When each team has made their selection, we will hold a class
you are in luck! You may select one work of art to have debate. Each team is responsible for supporting their selection
with you for the length of your stay. Given this situa- and convincing the other teams that their selection is the best.
tion your task is to decide which work of art it will be.
Take time now to scan the art prints on your table (or The object is to win votes from the other teams. When the
on display in the room) and select a work of art to take debating is over, each of you will vote to determine which
with you to the island. When you have made your work of art will represent the U.S. in Paris.
selections, you will discuss your choices within your
group and the criteria you used in making the selec-
tions.” We will then share our selections with the class.”

Follow-up questions when students are discussing their choic-

es with the class include, “What qualities were you looking for
in the work? Was it a difficult decision? Are there similarities
in the works selected by your group as a whole? What works
would you absolutely not take along? Why? Could you live for
one year with a painting that you didn't like?”

School Art Collection

Imagine that a wealthy community member has given your
school a considerable amount of money to purchase ten art-
works to begin a permanent collection of art that will be dis-
played in the offices and classrooms of the school. You have
been chosen to serve on a committee to select the works that
will be purchased.

The task for your committee is to: (1) determine the criteria
for selecting the works to be displayed; and (2) apply that cri-
teria to a group of 20 works submitted by the artists for possi-
ble inclusion into the school’s permanent collection.

• You must select 10 works (no more, no less).

• You must provide reasons for your choices.

During the follow-up discussion with the class, explore the

Milkbone by David Bates, 1983.
similiaries and differences in choices between groups as well as
the reasons given for the choices made.