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These two fields are briefly described below and their relationship to each other is illustrated by AARON and Rose. During the latter half of this century there has been a sea change in theories concerning the psychology of drawing and in particular children’s drawing. In the first half of this century drawings were studied as static artifacts that were believed to reflect the child’s mental images or concepts. It was supposed that the symbolic or linguistic nature of such representational thought caused children’s drawings to 16 deviate from visual realism towards ‘intellectual realism’.
Nishihara, H. Representation and Recognition of the Spatial Organisation of Three-dimensional Shapes. Proceedings of the Royal Society of London.. 1978. Vol. B. 200. pp. 269-294. 15 Arnheim, Rudolf. Art and Visual Perception, a psychology of the creative eye. London: Faber and Faber, 1956. 16 Luquet, G H. Les dessins d’un enfant. Paris: Alcan, 1913. 17 Freeman, N H. Strategies of representation in young children. London: Academic Press, 1980. 18 See ref 15. 19 Freeman, N H. Process and product in children’s drawings.
The angles are undifferentiated, being represented by the simplest angle offering the greatest contrast between elements, the right angle. Thus Rose illustrates the plausibility of Arnheim’s assertion that this is the process that operates in children’s drawing. Figures 7 and 8 show Rose’s experience and representation of a scene containing a cow and a man holding a bucket. Notice that the man has been drawn as if seen from the front and the cow as if from the side, despite the fact that they face in different directions in the experience model.