This lavishly illustrated book gives a comprehensive and scholarly account of children's understanding and appreciation of art and their developing ability to produce their own pictures. It discusses the main influences on children's picture-making, and considers the intriguing question, does children's art follow the same pattern of development as the history of art? As well as discussing the artistic development of typically developing children, the book also includes a discussion of children with intellectual disabilities and those with a talent for art, some of whom are children with autism.

This book examines the development of drawing and painting from several currently dominant theoretical perspectives and examines empirical data on the art work of children who are ordinary, talented, emotionally disturbed, and atypically developed due to

(Applause Books). Shirley Temple was a phenomenon, a child star whose talent and personality earned her a permanent place in Hollywood history. The extraordinary six-year-old entertainer struck a chord with audiences all over the globe. Her career sparked a marketing sensation, spurring the production of anything and everything bearing her image-from dolls to tin whistles-in all corners of the globe, both authorized and unauthorized. Despite the decades-long interest in everything Temple, never before has there been a lavishly illustrated art book examining the phenomenon that was Shirley Temple as a child star in the 1930s. Many of the rare and unusual Shirley Temple collectibles have never been featured in print. Along with an informal, concise history of the childhood career of Ms. Temple (featuring film stills, many never-before-seen photographs, and personal snapshots of Shirley as well as several taken by her), this book is a visual treat befitting the magic of the most famous child star of all time, as well as the Golden Age of Hollywood.

This book offers an illustrated introduction to understanding and fostering children's drawing. It examines step-by-step discovery of proportion and perspective, the typical early errors - the tadpole figures, chimneys sliding off roofs, the huge air gap between ground and sky - and explains why children often depict not what they see, but what they know is there. Art, argues Maureen Cox, can be used or abused in assessing personality and diagnosing problems. As long as we believe drawing is a mysterious gift, only very highly motivated children will make progress. She concludes by suggesting how parents and educators can help foster the talents of both ordinary and exceptionally gifted children.

Although central to theories of cognitive development, the concept of representation remains subtle and elusive. This collection of papers reflects a variety of individual emphases, none of which are mutually exclusive. The papers have been arranged in four groups, mainly along lines of related subject matter but also to illustrate different aspects of the development of representation. In Piaget's theory, representation is defined as "the making present of an object which is not present to the senses" (Furth 1969). Representation has both a figurative and an operative aspect. The organisation of the content of the representation (the figurative aspect) depends on the operations of thought or on the schemes co-ordinating action. This use of the term is applic able both to internal representations, such as visual images and to external representation, such as children's drawings. However, it presupposes no necessary relation between a mental image and a graphic representation. The first part of the book consists of papers on children's drawing. The operative aspect of representation emerges in the serial ordering problems encountered by young children who produce "tadpole" figures (Freeman Chapter 1). The figurative aspect of graphic representation is vividly illustrated by the drawings of the autistic child Nadia (Selfe Chapter 2). One further issue which emerges concerns the relation between linguistic and graphic representation.

“Will inspire, inform, and delight those of any age who areengaged in—or by—the arts.” — The Horn Book Renowned children’s literature authority Leonard S. Marcus speaks with twenty-one of the world’s most celebrated illustrators of picture books, asking about their childhood, their inspiration, their creative choices, and more. Amplifying these richly entertaining and thought-provoking conversations are eighty-eight full- color plates revealing each illustrator’s artistic process in fascinating, behind- the-scenes detail. This inspiring collection confirms that picture books matter because they make a difference in our children’s lives.