Artistic Styles and References
Artistic Styles: Key Takeaways
Exploring Artistic Styles
Research one of the artistic styles from below and create a collage of art images that best represent this style. Provide informative descriptions of each art images. You can also find a poem or related text that reflects the specific artistic style.
- Abstract (late 19th century): Originating in Europe in the late 19th century, abstract art in painting, design, and sculpture has a geometric design; it is simplified from its natural appearance. Hilma af Klint, Piet Mondrian and Joan Miro focused their art on basic abstractions of line, form, colour, tone, and texture.
- Abstract-Expressionism (1946-1960): Artists like Wassily Kandinsky and Jackson Pollock produces highly imaginary interpretations of people, animals, places, concepts, and themes. This style of art is known for its uniqueness, creativity, freedom of expression, emotional intuition, and spontaneity. The images in abstract expressionist art are not taken from the visible world. Expressive qualities such as dynamism, mystery, lyricism, and sensuousness are present in this style of art
- Cubism (1907-1914): Artists such as Lyubov Popova, Pablo Picasso, George Braque, and Ferdinand Leger were part of an avant-garde art movements in the early 20th century; this movement influence music, literature, design, and architecture. In Cubist art, the subjects are deconstructed, analyzed, and envisioned or reassembled in cubes and other abstract forms. The subject to the art is presented from multiple angles and perspectives. To learn more about the way Pablo Picasso’s style revolutionized art please open the link here.
- Expressionism (20th century): In this artistic style, the expression of inner emotions and visions are highlighted with bold colours, abstract forms, and strong brushstrokes. Expressionism was an extension of the Impressionist movement in art. Painters such as Vincent Van Gogh, Emily Carr, Paul Gauguin, Jacques Rousseau, Edvard Munch, and Henri Matisse produced art works that reflected powerful emotional states. Rather than creating a life-like world, expressionist and post-expressionist painters created a world of feeling, spirit, and form. Cubism, expressionism, futurism, and post-expressionism, and other forms of abstract art were part of the “modernist movement” in art, architecture, philosophy, and literature in the first half of the 20th century. This movement reflected the growth of technology as well as the industrialization and urbanization that swept across nations. Painters like Georgia O’Keefe were among the leading artists in the modernist art movement in America. World War I and ongoing political tensions and conflict also influenced the subject matter in modernist styles of art. To read more about Modernism in Art please open the link here.
- Gothic (12th and 13th century): Gothic is a general term that applies to all art in the Middle Ages. Gothic churches and cathedrals such as the Chartres Cathedral, Notre-Dame in Paris, Durham Cathedral in northeast England, Westminster Abbey in London, and Canterbury Cathedral in southwest England are known for their grandeur and intricate stained glass work, jeweled ornamentation, sculptures, and vaulted ceilings. Gothic art included elements of Romanesque, Byzantine, and Islamic art. . Gilded panel paintings and richly decorated books and manuscripts were often on religious themes.
- Impressionism (1860s-19th century): The emphasis on this new way of creating art focused on the effects of sunlight on landscapes, freedom of expression, and the “impression” of reality rather than an idealized or perfect life-like appearance that was prevalent in art in previous centuries. Artists such as Claude Monet, Mary Cassatt, Berthe Morisot, Edward Degas, Renoir, and Edward Manet were among the most well-known Impressionist painters To learn more about Impressionism please open the link here and to learn about Post-impressionism please open the link here.
- Realism (1848-1860): Realist artists like Gustave Courbet and Jules Bastien-Lepage portrayed life as it really was; everyday life images of individuals at home or at work on farms and in fields or factories became the subject of well-known Realist works. Jean Francois Millet’s “The Gleaners” portrayed three peasant women gleaning stalks of wheat in a field. The American Realist painter Winslow Homer portrayed the daily life of individuals at sea or at work in their local communities.
- Renaissance (13th to 17th century): The Renaissance was a transformative time in art, architecture, science, literature, music, medicine, and all key areas of thought and creative expression. There was a revival of classical learning, an increased awareness of the natural world and a more complex view of human nature. The Renaissance followed the ornate Gothic period. Giotto, Leonardo da Vinci, Sofonisba Anguissola, Michelangelo, and Raphael produced vibrantly coloured paintings. Biblical scenes often included portraits where subjects evoked complex emotional states, scenes from classical Greek and Roman myths and legends, and contemporary life.
- Surrealism (1924-1945). This artistic style is known for its fantastic images could be expressions of dreams and the unconscious. (Kohl and Solga, 1996). Everyday objects (e.g. a train, clock, chair, hat, etc.) are re-configured and reimagined in surprising ways. Art movements such as expressionism, symbolism, and surrealism reflected the increasing interest in psychology, dreams, the unconscious, and paranormal experiences. Well-known surrealist artists include Marc Chagall, Rene Magritte, and Salvador Dali. “Surrealism aims to revolutionize human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement’s artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional. At the core of their work is the willingness to challenge imposed values and norms, and a search for freedom” (The Tate Gallery, London, UK).
- Ukiyo-e (Edo Period) (1615-1857): Ukiyo-e means “pictures of a floating world (everyday life.” Inspired by Japanese folklore, myths and legends of warriors and heroes, natural landscapes and seasons, and the everyday life of Japanese people. Some of the prints featured idealized “floating worlds” of luxury and pleasure. Favourite subjects in ukiyo-e prints were kabuki theatre actors, beautiful courtesans, entertainers, and fashionable women. Some of the prints featured fantastical creatures such as ghosts and demons (Library of Congress, 2023). Other common ukiyo-e print figures were historic and mythical warriors and heroes, and fantastical creatures such as ghosts and demons. The Ukiyo-e was a style of artistic woodblock printmaking. Suzuki Harunobu, Utagawa Hiroshige, Katsushika Hokusai’s Thirty-Six Views of Mount Fuji is a series of wood block prints that highlight richly illustrated landscapes with Mount Fuji as a focal point. The prints were collaborative endeavours of four experts that included the designer/artist, the engraver, the printer, and the publisher.To learn more about the Ukiyo-e style of printing making please open the Metropolitan Museum of Art link here.Other artistic styles include:
Resource: Kohl, M.A., & Solga, K. (1996) Discovering great artists: Hands-on art for children in the styles of the great masters. Bright Ideas for Learning.
References
Albers, F., & Sanders, J. (Eds.) (2010). Literacies, the arts, and multimodality. National Council of Teachers of English (NCTE).
Anderson, R. (1989). Calliope’s Sisters: A comparative study of philosophies of art. Pearson.
Arias, J. (2008). Teaching ethnography: Reading the world and developing student agency. English Journal, 97(6), 92-97.
Auden, W.H. (1963). Van Gogh: A self-portrait (Letters revealing his life as a painter selected by W.H. Auden). E.P. Dutton & Co.
Barton, D., & Hamilton, M. (1998). Local literacies: Reading and writing in one community. Routledge.
Barnett, S., Burto, W., & Cain, E. W. (2006). An introduction to literature. Pearson.
Bate, J. (2001) The Song of the Earth. London: Macmillan.
Beier, J. (2013). Visual literacy: Untimely transmogrification of the problem. Visual Arts Research,39(1), 35-51.
Blackburn Miller, J. (2020). Transformative learning and the arts: A literature review. Journal of Transformative Education, 18(4), 338-355.
Blass, L., Vargo, M. , & Wiesniewska, I. National Geographic Society. 21st Century Reading: Creative Thinking and Reading with Ted Talks. New York: Cengage Learning. 2015.
Blake, W. (1757-1827). Songs of innocence and experience. Dover Thrift Editions. 1992.
Booth, D. (1995). Images of nature: Canadian poets and the Group of Seven. Kids Can Press.
Bryson, S.J. (2002) Ecopoetry : A Critical Introduction Salt Lake City: University of Utah Press.
Bruchac, J. and Caduto, M.J.. (1997). Keepers of Life: Discovering Plants Through Native American
Stories and Earth Activities for Children. Fulcrum Publishing.
Bruce, H. (2011). (Green)ing English: Voices howling in the wilderness? English Journal, 100(3), 12-23.
Blass, Laurie, Vargo, Mari, & Wiesniewska, Ingrid (2015). National Geographic Society. 21st Century Reading: Creative Thinking and Reading with Ted Talks. New York: Cengage Learning.
Buckelew, Mary Bellucci. “The Value of Art in the English Classroom: Imagination, Making the Tacit Visible.” English Journal, 92.5:49-55. 2003.
Buell, L. (1995) The Environmental Imagination: Thoreau, Nature Writing and the Formation of American Culture. Cambridge and London: Harvard University Press.
Burnaford, G., Aprill, A., & Weiss, C. (Eds.). (2001). Renaissance in the classroom. Lawrence Erlbaum.
Buscaramurty, D. (2017). The modern touch of an old master. The Globe and Mail. Retrieved from: https://www.theglobeandmail.com/arts/inside-the-process-behind-kent-monkmans-art/article37126241/
Cahnmann-Taylor, M. & Sanders-Bustle, L. (2017). Art-informed pedagogies in the preparation of teachers in the United States. Routledge.
Cahnmann-Taylor, M. & Siegesmund, R. (2017). Arts-based research in education: Foundations for practice. Oxford Research Encyclopedia of Education.Publisher: Oxford University Press. Retrieved April 9, 2023 https://www.researchgate.net/publication/338410345_Art-Informed_Pedagogies_in_the_Preparation_of_Teachers.
Capra, F. (2018). The turning point: Science, society, and rising culture. Flamingo.
Capra, F. (2023). Essays on Ecoliteracy. Retrieved April 9, 2023. https://www.ecoliteracy.org/article/new-facts-life
Carey-Webb. A. (2001). Literature and Lives: A Response-Based, Cultural Studies Approach to Teaching English. National Council of Teachers of English (NCTE).
Carson, R. (1989/1950). The sea around us. Oxford University Press.
Carson, R. (1962). Silent Spring. Houghton Mifflin.
Chang, C. Art in Community. Ted Talk. 2015. National Geographic: Ted Talk Lesson Plan Guides. Cengage Learning. 2016
Chapman Hoult, E. (2012). Adult learning and la recherché feminine. Palgrave Macmillan.
Christianson, Linda. Teaching for Joy and Justice. Milwaukee, WI: A Rethinking Schools Publication. 2012.
Clark, C., & Rossiter, M. (2008). Narrative learning in adulthood. New directions for adult and continuing education (pp. 61-70). Jossey-Bass.
Coates, T. (2015). Between the world and me. Spiegel and Grau.
Collins, D. (2023). Scientists discover pristine deep sea teeming with life.The Guardian, Retrieved April 18, 2023 https://www.theguardian.com/environment/2023/apr/18/scientists-discover-pristine-deep-sea-galapagos-reef-teeming-with-life
Corea, J. (2023). Global citizenship education powered by art. https://www.creativityculturecapital.org/blog/2021/09/13/global-citizenship-education-powered-by-art/
Cornett, C.E. (1999). The arts as meaning makers: Integrating literature and the arts. Merrill.
Coughlin, M., & Gephart, E. (2019). Ecocriticism and the Anthropocene in nineteenth century art and visual cultural. Routledge.
Curtiss, D. (1987). Introduction to visual literacy: A guide to the visual arts and communication. Prentice Hall.
Csikszentmihalyi, M. (1996). Creativity: The psychology of discovery and invention. Harper Collins.
Dalven, R. (Introduction by W.H. Auden). (1976). The complete poems by Cavafy. Harcourt Brace & Company (A Harvest Book).
Das, S., Dewhurst, Y., & Gray, D. (2011). A teacher’s repertoire: Developing creative pedagogies. International Journal of Education & the Arts, Vol. 12(15). Retrieved April 9, 2023 Retrieved [date] from http://www.ijea.org/v12n15/.
Debes, J. L. (1969). The loom of visual literacy. Audiovisual Instruction, 14(8), 25-27.
Dewey, J. (2005/1934). Art as experience. Penguin.
Dewey, J. (1980/1934). Art as experience. Perigree Books/C.P. Putnam’s New York.
Dickinson, E.(1830-1886). Selected poems. Dover Thrift Editions. Dover Publications.
Dungy, Camille T., ed. 2009. Black Nature: Four Centuries of African American Nature Poetry. Athens, Georgia:
University of Georgia Press.
Dickens, R. (and designed by N. Butler) (2006).The Usborne art treasury. Usborne House.
Dickinson, Emily. 2013. “Experiment to me.” Wikisource. https://en.wikisource.org/wiki/Experiment_to_me.
Elkins, J. (Ed.) (2008). Visual literacy. Routledge
Dozier, Lynn (2017). “Art as Text: Seeing Beyond the Obvious.” English Journal, 106(6):29-34.
Edugyan, E. (20210. Out of the sun: On race and storytelling. Anansi Press.
Efland, A. D. (2002). Art and cognition: Integrating the visual arts in the curriculum. Teachers College Press.
Egan, K. (2001). The cognitive tools of a child’s imagination. Retrieved April 9, 2023. http://ierg.ca/wp-content/uploads/2014/04/cog-tool-childrenI.pdf
Egan, K. (2005). An imaginative approach to teaching. Jossey-Bass.
Egan, K., & Judson, G. (2016). Imagination and the engaged learner: Cognitive tools for the classroom. Teachers College Press.
Eichler, Karen. “Creative Communication Frames: Discovering Similarities between Writing and Art.” Readwritethink.org
Eisner, E.W. (2002). The arts and the creation of mind. Yale University Press.
Eisner, E.W. (2003). The arts and the creation of mind. Language Arts, 80, 34-344.
Fisher, Douglas, & Frey, Nancy. Improving Adolescent Literacy: Content Strategies at Work. Toronto: Pearson.2012/2016.
Fragos, Emily. Art and Artists (Poems). New York: Alfred A. Knopf.
Freire, P. (1997). Pedagogy of the oppressed. Seabury (Originally published in 1970).
Frye, N. (1991). The educated imagination. University of Toronto Press.
Gates, H.L. (Ed.) (2002). The classic slave narratives: The life of Olaudah Equiano, The history of Mary Prince, the narrative of the life of Frederick Douglass, and incidents in the life of a slave girl. Signet Classic.
Glee, K. (n.d.). 91 ways to respond to literature. Retrieved April 10, 2023 https://www.sisd.net/cms/lib/TX01001452/Centricity/Domain/2640/91WaystoRespondtoLiterature.pdf
Goleman, D. (1995). Emotional intelligence. Bantam Books.
Goleman, D., Bennett, L., & Barlow, Z. Eco Literate: How educators are cultural emotional, social, and ecological intelligence. Jossey-Bass.
Graves, D. Bring Life into Learning: Create a Lasting Literacy. Portsmouth: Heinemann, 1999.
Greene, M. (1978). Landscapes of learning. Teachers College Press.
Greene, M. (Ed.). (1995). Imagination, community, and the school. In Releasing the imagination: Essays on education, the arts, and social change (pp. 35-52). Jossey-Bass.
Greenberg, J. (2001). Heart to heart: New poems inspired by 20th century American art. Abrams Books for Young Readers.
Gruenwald, D.A. (2003). The best of both worlds: A critical pedagogy of place. Educational Researcher, Vol. 32 (4), pp. 3-12.
Haeckel, E. (2012) Art forms in nature. Prestel Publishing. (originally published in 1899, Berlin, Germany).
Hartman, P.M., Berg, J., Schulaer, B., and Knauer, E. (2019). Using Artistic Response Strategies Meaningfully in the English Language Arts Classroom. NCTE. Urbana Illinois, National Council of Teachers of English. In Macro, K. J., & Zoss, M. (2019). A symphony of possibilities. (p. 137). NCTE.
Harvey, Stephanie, & Daniels, Harvey. Collaboration: Inquiry Circles in Action. Portsmouth, NH. 2009.
Holbrook, S. How to read and write about poetry (2nd edition). Broadview Press.
Holmes, N. & McKay. D.(2009). Open wide a wilderness.
Huber, R. (2023). Lesson Plans on Heroes and Myths.
Canadian nature poems. Wilfred University Press. Retrieved April 9, 2023
https://www.wlupress.wlu.ca/Books/O/Open-Wide-a-Wilderness
Jackson, N., & Sinclair, C. (2006). Developing students’ creativity: Searching for an appropriate pedagogy. In N. Jackson, M. Oliver, M. Shaw, & J. Wisdom (Eds.) Developing creativity in higher education (pp. 118-141). Routledge.
Jackson, N., Oliver, M., Shaw, M., & Wisdom, J. (2006). Developing creativity in higher education: An imaginative curriculum. Routledge.
Jackson, N., & Shaw, M. (2006). Developing subject perspectives on creativity in higher education. In. N. Jackson, M., Oliver, M. Shaw, & J. Wisdom (Eds.). Developing creativity in higher education (pp. 89-108). Routledge.
Jago, Carol. Read More, Know More. English Quarterly. CCTELA. 2014. Retrieved April 9, 2023. https://www.youtube.com/watch?v=FMWMWBf7VuE
Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32(1), 241-267.
Jimenez, S. (2018). Creatively communicating through visual and verbal art. Yale National Initiative.
Johnson, K. (2019). Heads, hearts, and museums: The unsettling pedagogies of Kent Monkmans Shame and prejudice: A story of resilience. The Canadian Journal for the Study of Adult Education, 31(2), 35-50.
Jocson, Korina (Editor). Cultural Transformations: Youth and Pedagogies of Possibility. Cambridge, MA: Harvard University. 2013.
Jordan, R. M., & DiCicco, M. (2012). Seeing the value: Why the visual arts have a place in the English language arts classroom. Language Arts Journal of Michigan, 28(1), 27-33.
Keats, John, & Shelley, Percy Bysshe. The Complete Poetical Works. The Modern Library/Random House.
Kendall, Tim (Editor). Poetry of the First World War. Oxford University Press. 2013.
Kelly, D. (2022). Professor Maura Coughlin expands environmental perspectives around the world and in her classroom. Retrieved April 9, 2022 https://news.bryant.edu/professor-maura-coughlin-expands-environmental-perspectives-around-world-and-her-classroom).
King-Shaver, B. (2005). When text meets text: Helping high school students make connections with literature. Heinemann.
Koch, K., & Farrell, K. (1985). Talking to the sun: An illustrated anthology of poems for young people. The Metropolitan Museum of Art and Henry Holt and Company.
Kohl, M.F., & Solga, K. (1996). Discovering great artists: Hands-on art for children in the styles of the great masters. Bright Ideas for Learning.
Kress, G.R. (2003). Literacy in the new media age. Taylor & Francis Group.
Kress, G.R., & van Leeuwen, T. (1996). Reading images: The grammar of visual design. Routledge.
Laws, J.M. Tan, A., & Lygren, E. 2020. How to Teach Nature Journaling: Curiosity, Wonder,
Attention. Heyday.
Lawrence, Lipson, R. (Ed.). (2005). Artistic ways of knowing: Expanding opportunities for teaching and learning. New Directions for Adult and Continuing Education, Vol. 107. Jossey-Bass.
Lawrence, Lipson, R. (2017). Participatory Visual Methods: revisioning the Future of Adult Education, New Directions in Adult and Continuing Education, Vol. 154, 93-98. Jossey-Bass.
Leggo, C. (2008). Narrative inquiry: Attending to the art of discourse. Language & Literacy, 10(1), 1-22.
Lewis, J.P. (2012). National Geographic Book of Animal Poetry: 200 Poems with Photographs that Squeak, Soar, and Roar! National Geographic Society.
Lewis, J.P. Book of nature poetry. National Geographic Society.
New Directions for Adult and Continuing Education, no. 154, pp. 93-98.
Lewis, P. (2014). National Geographic book of nature poetry: With favourites from Langston Hughes, Naomi Shihab Nye, Billy Collins, and more. National Geographic Society.
Louv, Richard. 2008. Last child in the woods. Updated and Expanded edition ed. New York: Algonquin Books.
Lowis, K., & Pickeral, T. (2013). 50 paintings you should know. Prestal.
MacFarlane, R., & Morris, J. (2017). The lost words. Anansi.
Macro, K. J. (2019). Integrating drama: An embodied pedagogy. In Macro, K.J., & Zoss M. (Eds.). A symphony of possibilities: A handbook for arts integration in secondary English language arts (pp. 65-78). NCTE.
Macro, K. J., & Zoss, M. (2019). A symphony of possibilities; A handbook for arts integration in secondary English language arts. National Council of Teachers of English (NCTE).
Magro, K. (2001). Theories and perspectives of adult learning. In D. H. Poonwassie & A. Poonwassie (Eds.) Fundamentals of adult education (pp. 76-93). Thompson.
Magro, K. (2008/2009). Expanding conceptions of intelligence: Lessons learned from refugees and newcomers to Canada. Gifted and Talented International, 24(1), 79-92.
Magro, K. (2009). Integrating emotional and social intelligence in Language Arts education. Talking Points, 20(2), 2-9.
Magro, K. (2016). Encouraging emotional, social, and cultural literacies in the English language arts classroom. In K. Magro (Ed.). Finding new voice and vision in literacy learning (pp. 200-228). International Centre for Innovation in Education.
Magro, K. (2018). Imagination and inquiry: Creative approaches to encouraging literacy development. Jeunesse: Young Peoples Texts and Cultures, 10.1, pp. 194-206.
Mason, C.Y., & Steedly, K.S. (2006). Lessons and rubrics for arts integration. TEACHING Ex-ceptional Children Plus, 3(1) Article 1. Retrieved [date] from
http://escholarship.bc.edu/education/tecplus/vol3/iss1/art1
https://www.incredibleart.org/files/Rubric.htm
Ontario https://etfoassessment.ca/media/intermediate/rubrics/01_Art%20Project%20Rubric_Tool.pdf
Martin, C. (2004). Ovid: Metamorphoses. W.W. Norton & Co.
Maynard, R., & Simpson, L.B. (2022). Rehearsals for living. Alfred A. Knopf Canada.
McLaughlin, M. & De Voogd, G. (2004). Critical literacy as comprehension: Expanding reader response. Journal of Adolescent and Adult Literacy, 48(1), 52-62.
Metropolitan Museum of Art, New York City. Lessons Plans Integrated Art (Elementary, Middle Years, and Senior High). https://www.metmuseum.org/learn/educators/lesson-plans
Miller, J. P. (2002). Learning from a spiritual perspective. In E.V. O’Sullivan, A. Morrell, and
M.A. O’Connor (Eds.). Expanding the boundaries of transformative learning (pp. 95-102). Palgrave Press.
Miller, J. (2006). Curriculum studies and transnational flows and mobilities: Feminist autobiographical perspectives. Transnational Curriculum Inquiry, 3(2), 31-50.
Mitchell, A. Sea sick: The global ocean in crisis. McClelland & Stewart/Emblem.
Monkman, K. (2018, January 6). Shame and prejudice: A story of resilience (University of Toronto Art Exhibition). The Globe and Mail. https://www.theglobeandmail.com/news/national/canada-150/kent-monkman-shame-and-prejudice/article33515775/
Monkman, K. (2017). Shame and prejudice: A story of resilience. Retrieved April 9, 2023. https://www.youtube.com/watch?v=SxQ4c7mIuOM
Moorman, H. (2006). Backing into Ekphrasis: Reading and Writing Poetry About Visual Art, English Journal, 96(1):49-51.
Moon, B. (1990). Studying literature: New approaches to poetry and fiction. National Council of Teachers of English.
Morse, P. (1989).Hokusai: One hundred poets. George Braziller, Inc. , Publishers.
Myers, N. (Ed.). (1984). Gaia: An atlas of planet management. Anchor Books DoubleDay.
National Geographic Society: Book of Nature Poetry. Washington, DC: National Geographic Society. 2016.
National Galleries of Scotland in association with the Fine Arts Museums of San Francisco and the Kimbell Art Museum (The editors). (2015). Botticelli to Braque: Masterpieces from the National Galleries of Scotland. Trustees of The National Galleries of Scotland.
Orellana, M.F. Immigrant Children in Transcultural Spaces. New York: Routledge. 2016.
The Metropolitan Museum of Art Lesson Plans: https://www.metmuseum.org/learn/education/lessonplans.
New London Group. (1996). A pedagogy of multiliteracies: Designing social future. Harvard Educational Review, 66, 60-92.
Newton, L.D., & Newton, D.P. (2014). Creativity in 21st century education. Prospects, 44(4). 575-589.
Newton, D.P., & Newton, L.D. (2020). Fostering creative thinking in a digital world. International Journal for Talent Development and Creativity, Vol. 8 (1/2), 18-28.
Ohler, J. (2013). Digital storytelling in the classroom: New media pathways to literacy, learning, and creativity (2nd ed.). Corwin Press.
O’Sullivan, E. (2002). The project and vision of transformative education: Integral transformative learning. In E. O’Sullivan, A. Morrell, A., & M. A. O’Connor (Eds). Expanding the boundaries of transformative learning (pp. 1-12). Palgrave Press.
O’Sullivan, E., Morrell, A. & O’Connor, M. A. ( Eds.) (2002). Expanding the boundaries of transformative learning. Palgrave Press.
Orzulak, M. (2006). Reviving empathy and imagination: Arts integration enlivens teaching and learning. English Journal, 96(1), 79-83.
Province of Manitoba, Education and Early Childhood, 2023: Curriculum Guide for English Language Arts: A Living Document, 2021.
Ptak, S. (2006). Transformative learning: What it looks like in the classroom. English Quarterly, 88(1), 2-5.
Qureshi, K. (2006). Beyond mirrored worlds: Teaching world literature to challenge students’ perception of “other.” English Journal, 96(2), 34-40.
Rico, Gabriele Lusser. “Daedalus and Icarus Within: The Literature/Art/Writing Connection.” English Journal, 78.3: 14-24. 1989.
Roethke, T. The collected poems of Theodore Roethke. Anchor Books/Random House.
Romano, T. (2000). Blending genre, altering style: Writing multigenre papers. Heinemann.
Rosenblatt, L. (1978). The reader, the text, the poem: The transactional theory of the literary work. Southern Illinois University Press.
Roukes, N. (1984). Art synectics: Stimulating creativity in art. Davis Publications.
Roukes, N. (1988). Design synectics: Stimulating creativity in design. Davis Publications.
Rundell, K. (2022). Super-infinite: The transformations of John Donne. Faber.
Schlam, C. (2020). The joy of art. Allworthy Press.
Scottish Executive (2004). A curriculum for excellence: The curriculum review group. Edinburgh, Scotland: Scottish Executive.
Sellar, A. (2005). Profile of Norval Morrisseau (pp. 86-88). In Newhouse, D. R., Voyageur, C. J., & Beavon, D. Hidden in plain sight: Contributions of Aboriginal peoples to Canadian identity and culture (pp. 86-88). University of Toronto Press.
Senehi, J. (2013). Storytelling on the path to peace. English Quarterly, 44(1-2), 121-130.
Serafini, F. (2017). Visual literacy. In: Oxford research encyclopedia of education.
Smith, P. (1995). 100 best-loved poems. Dover Publications.
Smith, J., & Wilhelm, J. (2010). Fresh takes on literary elements. Scholastic.
Snyder, I. (2007). New media and cultural forms: Narrative versus data base. In A. Adams & S. Brindley (Eds.). Teaching secondary English with ICT (pp. 67-69). Open University Press
Staunton, Brian. Humans of New York. New York: St. Martin’s Press. 2013.
The Empathy Project. www.nationalgeographic.com
Stein, E.C. (2022). Reading and writing about nature: Surviving and thriving. Yale-New Haven Teachers Institute.
Sternberg, R. J., & Lubart, T. I. (1995). Defying the crowd: Cultivating creativity in a culture of conformity. Free Press.
Sternberg, R. (2003). Wisdom, intelligence, and creativity synthesized. Cambridge University Press.
Sternberg, R.J., Jarvin, L., & Grigorenko, E.L. (2009). Teaching for wisdom, intelligence, creativity and success. Skyhorse Publishing.
Sullivan, K. B. (2005). Autophotography in adult education: Building creative communities for social justice and democratic education. In R. Lipson Lawrence. Artistic ways of knowing: Expanded opportunities for teaching and learning. New Directions for Adult and Continuing Education (No. 107, Fall 2005), Jossey-Bass (pp. 33-44).
The New London Group (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Education Review, 66(1), 60-92.
Tucker, A. (2002). Visual literacy: Writing about art. McGraw Hill.
Tsai, K.C. (2012). The value of teaching creativity in adult education. International Journal of Higher Education, 1(2), pp. 84-91.
Tsai, K. C. (2013). Two channels of learning: Transformative learning and creative learning. American International Journal of Contemporary Research, 3, No. 1, pp. 32-37.
Wandera, D. B. (2016). Teaching poetry through collaborative art: An analysis of multimodal ensembles for transformative learning. Journal of Transformative Learning, 14(4), 1-22.
Wagamese, R. (2016). Embers. Douglas & McIntyre.
Wagamese, R. (2012). One story, One song. Douglas & McIntyre.
Walton, S. (2018). Ecopoetry: An Introduction. Companion to environmental studies. Routledge. Retrieved April 9, 2023 https://www.academia.edu/30257528/Ecopoetry_In_Introduction
Weidemann, C., Larass, P., & Klier, M. (2011). 50 women artists you should know. Prestel.
Wenzel, A. (2011).13 art mysteries children should know. Presetl.
White, A. (2019). Exploring the possibilities and tensions of visual responses to literature. In Macro, J.K., & Zoss, M. (Eds.). A symphony of possibilities: A handbook for arts integration in secondary English language arts (pp. 98-120). NCTE.
Whitelaw, J. (2020). Arts-Based Teaching and Learning in the Literacy Classroom: Cultivating a Critical Aesthetic Practice Paperback. Routledge.
Whitin, P. (1996). Sketching stories, stretching minds: Responding visually to literature. Heinemann.
Wilhelm, J. (2004). Reading IS seeing: Learning to visualize scenes, characters, ideas, and text worlds to improve comprehension and reflective reading. Scholastic Publishing.
Williams, R. (2005), Theorizing visual intelligence (pp. 1-27) in Hope, D, Ed. (2005) Visual communication: rhetoric and technologies. Carey Press.
Williams, R. (2003). Theorizing visual intelligence: Practices, development, and methodologies for visual communication. Rochester Institute of Technology, Key Note Address.
Wilson, S. (1975). Surrealist painting. Phaedon.
Wordsworth, W. (1770-1850). Favourite poems. Dover Thrift Editions.
Yale-New Haven Teachers’ Institute, 2023. https://teachersinstitute.yale.edu/pubs
Zaidi, R. (2017). Anti-Islamaphobic curriculums. Peter Lang.
Zoss, M. (2019). Teaching high school English with drawings and large scale visual projects. In K. J. Macro & M. Zoss (2019). A symphony of possibilities: A handbook for arts integration in secondary English language arts (pp. 139-156).
