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She said: We travelled a lot, and, more than museums, we visited archaeological sites, religious places. , 1996:112). When Cox described the psychological traits and environments of eminent women artists, he found that most had been ‘stimulated by the availability of cultural stimuli and materials related to their fields of eminence’ (Stariha & Walberg, 1995:270). By way of contrast, however, artist Alexis Smith had a playful fascination with ‘making’ things. , 1996:110). For Alexis Smith this was not art, perhaps because the media that he used were not conventional ones involving paints or line drawing.

In each case, a parent was involved in the child’s early play experiences, influencing their early development as an artist. Formal study of the discipline of art followed much later. Take the example of Lucy, a professional potter. Her mother recalled that when the children were young, they lived in a regional Australian town where they were able to play outdoors with abundant natural materials. They played with red mud, sand and water, and left moulded objects in the sun to dry. It seemed a natural progression when, as a young adult, Lucy was drawn to another natural material as her chosen medium of expression; she began to work with clay.

1997) The arts and education reform: Where is the model of teaching for ‘the arts’ ? Arts Education Policy Review, 98(3), January/February, 2–9. W. (1996) Development of creative processes in children. Creativity from childhood through adulthood: The developmental issues. A. Runco, 72 (summer), pp. 31–41. San Francisco: Jossey-Bass. Schiller, W. ) (1996) Issues in Expressive Arts Curriculum for Early Childhood. Amsterdam: Gordon and Breach Publishers. Schiller, W. & Veale, A. (1996) The arts: The real business of education.

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