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The article discusses the drawing "A Sacrifice to Jupiter" by the French Baroque artist Bon Boullogne and owned by the Metropolitan Museum of Art in New York City, with particular focus given to the drawing's style and provenance. The question of whether the drawing should be attributed to Bon Boullogne or to his father Louis Boullogne is examined, and the author's assertion that it was executed by the son due to its similarity to a verified drawing titled "Medea and Her Sons" is commented on. A brief overview of Bon Boullogne's career is also presented.

The article explores the relationship between architectural drawing and body. It emphasizes that drawing conveys an external reality of knowledge and desire as these bodily engagements are the literal and figural subject of drawing. It stresses that drawing serves as an act of the architect to affect others that corresponds to the difference between touching the body and grasping it. It asserts that the act of producing a drawing in architectural sense is also a contemplation of the limitations of the body.

The article examines secondary preservice teachers' favorite past reading experiences and considers their reflections regarding the implications of those experiences to improve reading instruction. The research techniques used include comparison analysis of the responses from the preservice teachers to survey questions, using quotes and drawings from the teachers to illustrate categories and themes, and reviewing several reading strategies to promote content area achievement. Sample questions used in the study are given. It was found that the preservice teachers wished for school reading texts that was relevant.

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This article presents information on a leaf of pencil sketches by artist and poet William Blake titled "A Pastoral Figure and Other Sketches." The recto drawings, to which the verso sketches are related, are dominated by a young male seated under a tree. Several of the previously unpublished verso sketches continue themes and types known from the recto. All the verso drawings were probably executed at about the same time as the recto images. Motifs evocative of the lyric/pastoral on the one hand, and the bardic/epic on the other, are the most significant images on both recto and verso.

The article describes the subject, textual source and iconography of the series of Saint Mamas drawing created by Jean Cousin the Elder. Saint Mamas tapestries that were woven for the Langres cathedral is said to be among the most admired works of Cousin. His Saint Mamas series include "Amya Petitioning Faustus for the Custody of Saint Mamas" and "Saint Mamas Saved from Drowning." The Metropolitan Museum of Art in New York City acquired one of such drawings, which is said to depict all the hallmarks of Cousin's style. The author claims that the series exemplify Cousin's elegant style.

This paper presents findings from a longitudinal, participant-observation study of one boy's spontaneous drawings from pre-adolescence to adolescence. Themes related to adolescent developmental psychology emerge in the drawings. Feeling, humor, divergent thinking, and love of incongruity characterize the drawings and indicate artistic behavior. Drawing from memory and borrowing image, style, or technique were distinguished from drawing from pictures and replication. The former strategies provide technique, yet permit free ideation which the latter restricts. While artistic behavior in drawing may include borrowing, it also involves idiosyncratic expression, imagination, restructuring, and metaphorical thinking. [ABSTRACT FROM AUTHOR]

The article examines the history of a sixteenth-century black chalk drawing of a young man by Michelangelo Buonarroti at the Art Museum of Princeton University in New Jersey. There are assumptions that the drawing is the work of his pupil but thorough examination show that it is the product of his own artistry. It is something he show to his pupils when he feels impatient with their accomplishments prompting him to show them his own efforts and invention.

The article discusses the history of the artistic works and illustrations by Pierre Bonnard. He was highly acknowledged for his magical tricks and being a seasoned illustrator. It is explained that the collaboration of the effort of Bonnard and Efstratios Eleftheriades (Tériade) in creating a compilation of their drawings is due to their relationship dated back during their work as art critic for the newspaper "L'Intransigeant." It is also stated that Bonnard informed Tériade that he was painting landscape scenes and that he found the contact with nature beneficial to his mental and physical being. They then started planning to create a book that will contain their art works and their implication. His works include "Parisian View through a Window," and "Woman on the Beach."

The authors discuss their research concerning the drawing process of children. They believe that earlier influential theories on the process and nature of drawing, such as those put forth by Dale Harris and Rudolf Arnheim, are inaccurate and misdirect theorizing about the actual drawing process. In their investigation, they began with the assumption that a drawing of an object is not a representation, but a sign. They investigated the manner in which the drawings of young people are influenced by outside sources and sought to learn how images are developed, modified and adopted. They believe that the child learns to draw by noting initially that other people make drawings and conclude that without models to follow there would be little or no visual sign making by children.

The article focuses on a study of the cognitive and perceptual factors in the use of transparencies in drawings of children. It informs that the children of the study were asked to draw a human figure with a type of clothing on. Several deductions are recorded from the test including the fact that the children who drew transparencies scored higher in the IQ test than those who did not. It was found that the transparency shows the difficulty of synthesizing the parts of a figure as a whole. It also comments on the inept attribution of the transparency to lack of planning.

The article analyzes the pen drawing of a crucified monk that appears in two manuscripts in the 15th century. The drawing which is comprised of a crucified monk that is blindfolded, bitten by a snake and attacked by two figures wielding a bow, arrow and a scourge appears in the MS 49 of the Wellcome Institute for the History of Medicine in London and MS 1404 of the Biblioteca Casanatense in Rome. The identical image becomes significant after the ideas expressed in the picture and surrounding texts are determined and retraced. The images in both manuscripts are bilingual miscellanies of unknown date and provenance which are composed of theological didactic and moralizing texts and colored pen drawings.

This paper distinguishes between the type of drawing useful for making pictures and the type of drawing useful for designing. It describes a generative method for the sequential construction of complex images from simple geometric forms. These images are subsequently transformed into representations of some meaningful artefact with further enhancement of their visual complexity. This procedure has been found useful in the teaching of the art of design, and the author argues that its usefulness could be extended to composition even in technological subjects. [ABSTRACT FROM AUTHOR]

The article presents an appeal for outline drawing for little children. To draw starting with a line then with colors of different light and shade are some of the children's exercises in school. Drawing is a form of abstract. A child cannot yet distinguish between visual and tactual perception, so letting them learn about the shapes of things and not about its appearance is suggested. Teacher may help a pupil with his conception on things and stimulate the development of his conventions. The reason why the primitive folk and children use outline is discussed. The children's reason in preferring outline as their medium are their inability to cope with the third dimension art, it forms a more define statement, and the economical and direct mode it presents.

The article focuses on the various level of organizational capacities in children of different ages. It is noted that cognition in children for conceiving events as directed or motivated acts changes with age. The authors of the article conducted a drawing competition asking nineteen boys and nineteen girls in the age group of 7-16 to draw two pictures. Several of those pictures along with their interpretation are presented. A general interpretation has been given to suggest the impact of age on the level of perception and motivation.

The article presents a course study in teaching drawing in elementary school children in the University of Chicago in Chicago, Illinois. Course study is essential in teaching drawing to school children. It is guided by specific methods for the subject matter. Teachers should have continued method of illustration of given themes such as from history and poems from the literature. Drawing materials such as watercolors and crayons motivate school children to participate in the drat\wing activities.

The article focuses on Giuseppe Cesari, known as the Cavaliere d'Arpino, and his drawing achievements. Cesari became very popular in the Roman art world at the end of 16th century and the beginning of 17th century. At the age of thirteen, he became a part of a team of artists and was able to receive the title "Cavaliere di Cristo" from Clement VIII. He is considered a transitional figure who bridges the gap between Roman Mannerism of the previous art and the modern art. His graphic works and drawing include the decorations at S. Giovanni in Laterno, frescoes in the Palazzo dei Conservatori, and the airborne figure of Fame, which is enriched in the collection at the Department of Drawings in the Metropolitan Museum.

The article explains why children do not make images from all kinds of sensory impressions. It is stated that eventhough sensuous images are there for children to grasp, they are there as integral parts of whatever is the focus of their attention. When children are having playful experience, they are becoming oriented to visual imagining and focusing. Meanwhile, sensuous and moving tactile images are absorbed by the visual object and are seen as qualities of the object. In addition, children do not have the ability to relationally sort out sensory aspects that make up an experience. If children were exposed to drawings and paintings of pure color, form, and linear movement, they would be free to let themselves go and bring forth what they feel when drawing and painting.

The article features the French drawing "Birth of Adonis Verso: above, Rinceau; below, Ulysses Relating his Adventures to Penelope (Homer, Odyssey XXIII, 297-309), after Primaticcio," by Jean Cousin the Younger exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing emphasizes on outlines and slight stiffness. She added that the verso and recto have been believed to be made by two artists due to the spareness and carelessness of the draftsmanship.

The article features the French drawings "Theseus and Acheloüs (Ovid, Metamorphoses IX, I-79)" and "Ceres and Arethusa (Ovid, Metamorphoses V, 483-522)," by Jean-Guillaume Moitte exhibited at the Art Museum in Princeton University, New Jersey. The authors stated that the first drawing depicts Theseus in the cave of the river god Acheloüus, who recounts his combat with Hercules. Meanwhile, the second drawing depicts the nymph Arethusa transformed into a stream by Acheloüs.

The article features the French drawing "Diana," by Eustache Le Sueur exhibited at the Art Museum in Princeton University, New Jersey. The authors stated that the attributes of Diana as huntress in the drawing serves as a means to identify the goddness, who appears in a different role. They added that the Paris painting represents Diana as the patron deity of Ephesus, but not giving her the attributes of the Ephesian Diana.

The article features the French drawings "Officers: Two Studies for The Fair at Impruneta" and "Turks: Three Studies for the Il Solimano Etchings," by Jacques Callot exhibited at the Art Museum in Princeton University. The author stated that every figure and every line of the oeuvre of Callot is carefully drawn on paper well before committed to the etching plate. She added that Callot's duty as a court painter is to make exact visual records of theater performances, fairs and festivals.

The article presents the winners under the illustration category in the 2006 Science and Engineering Visualization Challenge of the National Science Foundation in the U.S. The first place awardee was an illustration of five mathematical surfaces by mathematician Richard Palais and graphic artist Luc Benard. They used a computer program 3D-XplorMath for visualizing and traded the facets into a three dimensional-rendering program by applying a glassy texture. The second prize winner was biology teacher Caryn Babaian's multi-conceptual image of Leonardo da Vinci's Vitruvian Man. Her iconic sketch depicted the three concepts of anatomical structure of human body which included rotation, transparency and transverse sections.

Discusses Vancouver-born artist Heather Spears and her drawings of people, specifically premature and newborn infants. How she became interested in babies; Other subjects she has drawn; Importance of her drawings in showing the humanity of sick children and how they are used to educate new doctors; Publications, exhibits and awards she has won.

The article presents information about recent developments related to elementary and middle level science teaching. The Challenger Center for Space Science Education is producing the electronic field trip to celebrate Space Day on May 6, 1999. The program "The Quest in Question," will be aired on May 6 at 1 PM EDT. The Earth & Sky radio series is presenting the 1999 Young Artists Contest for K-12 students. The theme for students' drawings can be taken from any of the Earth & Sky radio shows. The National Gardening Association's newsletter "Growing Ideas: A Journal of Garden-Based Learning," is rich with classroom-tested project ideas. The TerraServer Web site, http://www.terraserver.com, has allowed unlimited access to its largest collection of satellite pictures of the Earth. The areas of Civil War battle-field, the Grand Canyon can be seen online.

The article features the French drawing "Socrates and Alcibiades," by Étienne Bartholémy Garnier exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing has been commissioned with pen and black ink, gray and brown wash and white highlights. She added that the drawing has been exhibited at the Shepherd Gallery in 1977 with the theme "French Nineteenth Century Drawings."

The article features the "Design for a Victory Banner," by Jean Cousin the Younger exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the viewer will be confronted with the puzzling combination of Christian and secular iconography of the drawing. She added that the drawing features a bearded man astriding the eagle and presents a torch of victory to a soldier kneeling before him, who is in turn being crowned by a second angel.

The article features the "Landscape with a Child Holding a Lamb, after Titian," by Antoine Watteau exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the sheet copies a pen and ink drawing by Titian in the Uffizi, Florence. She added that the drawing has been speculated by Parker and Mathey to be made from an early date in Watteau's career. Moreover , the drawing can be identified as a copy after a pen and ink drawing due to the tightness of the outlines.

The article features the French drawing "Project for Painted Decoration for the Galerie of the Château de Tanlay," by Rémy Vuibert exhibited at the Art Museum in Princeton University. The author stated that the drawing uses pen and dark ink, brown wash and white highlights on a tan-washed paper. She added that the classicizing style of the sculptural elements borrowed from ancient sculpture are contained in the framework of illusionary architecture.

The article features the drawing "Youth Examining his Stocking," by Louis Rolland Trinquesse exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the artist's fashionable women and red chalk drawings are highly prized by his contemporaries. She added that the drawing's illusion of light has been portrayed in a sensitive way and the plasticity of the figure is being expressed.

The article features the drawing "Gardens of a Roman Villa," by Paul-Ponce-Antoine Robert exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the treatment of the foliage of the drawing, which uses red chalk and is wetted is very similar to the drawing "Susannah and the Elders" that has been sold in New York. She added that the artist's liberal use of wetted pinceau to give the effect of wash is very distinctive.

The article features the French drawing "Study of a Seated Man and a Hand," by Jean Restout exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing, which uses black chalk and white highlights on blue paper is similar in both technique and subject to Restout's "Study for the Miracle of Madeleine Durand." She added that the predominant subjects of the portraits of Restout have religious aspects.

The article features the French drawing "Studies after Ornamental Details on Giambologna's Neptune Fountain, Bologna," by Pierre Puget exhibited at the Art Museum in Princeton University, New Jersey. The authors stated that the drawing, which uses black chalk is a study of details on the base of Giambologna's Neptune Fountain. They added that drawing is most likely an 18th-century art and there is no watermark present on the drawings.

The article features the French drawing "Landscape," by Jean Pillement exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the landscapes of Pillement are rarely from nature and are influenced by styles of other artists, especially by the 17th-century Dutch maters. She added that the drawing is especially fine in its evenness of technique and quiet beauty.

The article features the French drawings "Tavern Scene" and "Women Around a Well," by Charles Parrocel exhibited at the Art Museum in Princeton University, New Jersey. The author stated that Charles is from a large family of painters, with the most noted of whom is his father Joseph. She added that the Parrocels specializes in huge battle scenes, great decorative paintings and large religious compositions.

The article features the French drawing "Hooded Woman Holding a Child; a Head Verso: Fallen Figure," by Eustache Le Sueur exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing has been believed to be made by another artist since the drawing are bolder and the figures are more solid and sculptural. She added that the drawing is not a study for Hôtel Lambert due to its linear definition of forms and figures.

The article features the drawing "Woman Teaching a Child," by Charles de La Traverse exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing has been attributed to de La Traverse since it features plenty of mid-eighteenth century French characteristics. She added that the drawings of the artist have the same dramatic chiaroscuro and dynamic line and have a more nervous quality and a patchiness in the light and shade.

The article highlights the French drawing "Saint Peter Healing the Sick with his Shadow," by Laurent de La Hyre exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the attribution of the drawing to La Hyre has been questioned by Pierre Rosenberg for he sees an awkwardness in the composition. In addition, Jean-Pierre Cuzin also admitted confusion with the attribution and suggests that the figure types and color range are typical of Simon Vouet.

The article features the French drawing "Porta San Paolo, Rome," by Claude Gellée exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the drawing portrays the Porta San Paolo with the pyramid of Caius Cestius and the Aurelian Walls in Rome. She added that due to the solid quality of the pen strokes, Roethlisberger has dated the drawing to be around 1665.

The article features the drawing "Anacreon with his Mistress and the Young Bathyllos," by Étienne Bartholémy Garnier exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the painting's subject is based on Plato's Symposium and Horace's Epodes. She added that the composition portrays the old Anacreon, who paid homage in his poetry to wine, love and the young Bathyllos.

The article features the French drawing "Angelica Appearing before Sacripante," by Jeane-Honoré Fragonard exhibited at the Art Museum in Princeton University, New Jersey. The author stated that the 150 large pen and wash drawings illustrate an Ariosto's epic poem Orlando Furioso. She added that the drawings exhibit the exceptional virtuosity and freedom of Fragonard's developed works, in which the scene portrayed, occurs in the first canto of the poem.