Drawing and Painting: Children and Visual Representation


John Matthews

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  • Front Matter
  • Back Matter
  • Subject Index
  • Series listing

    Mollie Davies: Movement and Dance in Early Childhood

    2nd edition 2003

    John Matthews: Drawing and Painting: Children and Visual Representation

    2nd edition 2003

    Marian Whitehead: Developing Language and Literacy with Young Children

    2nd edition 2002

    Rosemary Roberts: Self-esteem and Early Learning 2nd edition 2002

    Cath Arnold: Child Development and Learning 2–5 – Georgia's Story 1999

    Pat Gura: Resources for Early Learning 1997

    Chris Pascal and Tony Bertram: Effective Early Learning – case studies in improvement 1997

    All titles are available from Paul Chapman Publishing http://www/paulchapmanpublishing.co.uk

    The 0–8 Series

    The 0–8 Series edited by Professor Tina Bruce, deals with essential themes in early childhood which concern practitioners, parents and children. In a practical and accessible way, the series sets out a holistic approach to work with young children, families and their communities. It is evidence based, drawing on theory and research. The books are designed for use by early years practitioners, and those on professional development courses, and initial teacher education courses covering the age-range 0–8.


    View Copyright Page


    This edition is dedicated to Joseph Ng


    ‘Children draw for fun.’ (Georges Luquet, 1923, p.1)

    Series Preface

    The 0–8 Series has stood the test of time, maintaining a central place among early childhood texts. Practitioners have appreciated the books because, while very practical, the series presents a holistic approach to work with young children, which values close partnership with families and their communities. It is evidence based, drawing on theory and research in an accessible way.

    The 0–8 Series, now being revised and updated, continues to deal with the themes of early childhood which have always been of concern and interest to parents, practitioners and the children themselves. The voice of the child has, since 1989, been under threat in education. Each author has made an important contribution in their field of expertise, using this within a sound background of child development and practical experience with children, families, communities, schools and other early childhood settings. The series consistently gives a central place to the interests and needs of children, emphasising the relationship between child development and the socio-cultural learning with which biological and brain development is inextricably linked. The voice of the child is once again being understood as being important if children are to develop and learn effectively, and if adults helping them to learn (teaching them) are to be effective in their work.

    The basic processes of communication, movement, play, self-esteem and understanding of self and others, as well as the symbolic layerings in development (leading to dances, reading, writing, mathematical and musical notations, drawing, model-making) never cease to fascinate those who love and spend time with children. Some of the books in this series focus on these processes of development and learning, by looking at children and their contexts in a general way, giving examples as they go. Other books take a look at particular aspects of individual children and the community. Some emphasise the importance of rich physical and cultural provision and careful consideration of the environment indoors and outdoors and the way that adults work with children.

    As Series Editor I am delighted to reintroduce the 0–8 Series to a new readership. The re-launched series enters a more favourable climate than the original series, which survived (and flourished) in a hostile climate of literacy hours for four-year-olds, adult-led learning, and a lack of valuing diversity, multi-lingualism, imagination and creativity. This revised and updated 0–8 Series will inform, support and inspire the next generation of early childhood practitioners in the important work they do, in a climate which will encourage rather than undermine.

    I look forward to seeing the impact of the 0–8 Series on the next decade.

    Professor TinaBruceLondon Metropolitan University October 2001


    Dr John Matthews has expanded the popular first edition of his book to share with readers the work he has done in Singapore. He has also made enriching reference to his grandchildren and their artistic and expressive development.

    The book resonates with respect for the creativity of children, and gives practical help to those living with and working with babies and young children. His work is powerfully underpinned with evidence from the research literature. He shows great courage in holding steadfastly to an approach to teaching art which draws on evidence available, and which is supported with clusters of theories that do not contradict each other. He also gives the views of those who take a different stance.

    His work has earned him an international reputation as a scholar in his field, and yet he has never lost touch with his practical work with children. His enjoyment of working with them in home or early years settings beams out on every page, as he writes with obvious fascination for the way children develop in their visual representations, especially through mark-making.

    The book gives a ‘can do’ message to practitioners and those training them. Although he shows us Ben's paintings and drawings, which are exceptional in every aspect, he also shows us how we can help every child in every cultural context to develop the ability to represent in paint, drawings or constructions, and so enrich thoughts, ideas, imagination, feelings and relationships, as well as technical prowess.

    The first edition was a much loved text for many practitioners. The second edition, with its cross-cultural and cross-generation perspectives, looks likely to offer those in the field of early childhood training and practice another gem.

    TinaBruce, Series Editor September 2002


    The debts to Piaget, Luquet, Chris Athey, Alan Costall, John Willats, Colwyn Trevarthen, Esther Thelen and Linda Smith are obvious. The encouragement of Brent Wilson, Elliot Eisner, Anna Kindler and Dennis Atkinson has been important to me. I also owe a great deal to Dennie Wolf, Rebecca Chan and the late, great, Nancy Smith. My thanks, of course, to Ben, Joel and Hannah Matthews.

    I am also grateful for the support of my colleagues in Visual and Performing Arts, National Institute of Education, Nanyang Technological University, Singapore, and to Dr Li Lian Chang and Dr Ken Ung.

    I would like to especially acknowledge the help of Linda Matthews. Most of my better days came from her.

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