Talent For Drawing Research Articles

Visual arts talent among adolescents with intellectual disability: The global domain approach

Talent in the population with intellectual disability (ID) has to date been investigated in the context of the phenomenon of the idiot savant (Miller, 2005). This pioneering study examined talent in a population with ID through the prism of giftedness and talent theories in the typical population. The goals were to examine: (a) whether the talent of adolescents with ID is expressed only in their drawing ability (specific domain) or whether they would demonstrate high cognitive abilities compared to adolescents with ID without this talent (global domain); (b) the contribution of the participants’ endogenous background characteristics (fluid intelligence, cognitive flexibility and creative thinking) as well as the contribution of an exogenous factor (participation in an art class) to their art measures. An intelligence and cognitive tests battery was administered among adolescents with ID with drawing talent (N = 29) and without such talent (N = 26). Morphological Structural Conceptual Analysis (Elkosho, 2007) was used to assess the drawing ability of students with/without drawing talent as well as their level of commitment to visual arts. The ANOVAs indicated that adolescents with ID with artistic talent exhibited relatively higher drawing skills as well as fluid intelligence, cognitive flexibility and creative thinking. Regression analyses indicated that participation in an art class contributed to the explained variance of the art measures. The findings support the global domain approach and the nurture thesis in visual arts (drawing) in the population with ID. Renzulli's (2020) three-ring model of giftedness might be applicable for the population with ID.

‘Fuck Art, Let’s Dance’: An interview with Chris Morton

Born in Singapore, Chris Morton moved with his family to England as a young child, settling in the north-east in the early 1960s. His passion and talent for drawing was reflected in his love of comics and animation, later with a combined interest in music leading him to underground magazines and posters associated with the hippie counterculture. After having to leave art college early in 1975, he found himself in the right place at the right time and was commissioned to create a graphic identity for a new independent record label based in London – Stiff Records. Still running a design studio in Newcastle, he discusses punk, new wave, typography, print technologies, humour, parody and graphic design with Russ Bestley.

Editor’s Foreword

Mission statements—awkward pairings of fine print and bold-faced idealism—rarely attract much attention. Electronic editions of scholarly journals often don’t publish them, even though they could do so without incurring expense, as print editions cannot. I appreciate the irony but wish to point out one section of the EOR’s statement to readers of both media: “Consideration will be given to submissions on topics relevant to but not centrally concerned with O’Neill, such as . . . work on O’Neill’s colleagues and collaborators in the Provincetown Players.” Hmmm. Granted, Bess Rowen’s performance-review section has kept pace with the Metropolitan Virtual Playhouse’s COVID-era streamings of plays by Susan Glaspell, Neith Boyce, and other pertinent dramatists. Generally, however, the Players have been underrepresented in our pages. EOR 43.2 signals a renewed commitment to their inclusion.The issue opens with eight letters from sometime-Provincetowner Kyra Markham to O’Neill’s biographer Lois Sheaffer, written from Haiti during the reign of “Papa Doc” Duvalier. Best remembered for her painting and, trivially, her youthful relationship with Theodore Dreiser, Markham proves a witty, worldly, sometimes wistful, and occasionally caustic commentator on O’Neill proprio, naturally, but also, per our mission statement, on his “colleagues and collaborators.” Among the subjects of her recollections are Djuna Barnes, Mary Blair, George Cram Cook, Dorothy Day, “Fitzi” Fitzgerald, Susan Glaspell, Mary Pyne, and Ida Rauh. Markham is a skilled epistolist, and Sheaffer’s talent for drawing out his subjects is clear from the increasing openness of her letters. Jeff Kennedy, whose Staging America: The Artistic Legacy of the Provincetown Players is due for publication this fall, expertly introduced and annotated the letters.Of course, there’s more. A strikingly original essay by Gerhart Bleifuss argues for the influence on The Hairy Ape of Filippo Tommaso Marinetti’s distasteful “Manifesto of Futurism” (1909). (“Such gaudy tulips grown from dung,” one might say, after Swift.) Bleifuss offers a provocative and sobering new perspective on Yank, the past’s assassin. “Substantial” seems a just descriptor of the essay, “durable” a good bet. A spirited and informative conversation between dramaturg Beth Wynstra and director Eric Fraisher Hayes—collaborators on the Eugene O’Neill Foundation’s Welded (2022)—transports us from the stokehold of Marinetti’s mind and onto (let’s say) a sun deck of creative coalescence. Welded is a tough play, and I expect more readers than I will appreciate Wynstra’s and Hayes’s elucidations of nuances and potentialities that might otherwise have remained obscure—literally, given Hayes’s fondness for the use of probing flashlights in this production.We’ve “gone long” on the Used Book feature, here expanded from its original 1,500–2,000–word format. David Palmer rises (extends?) to the occasion admirably in his reassessment of Joel Pfister’s Staging Depth: Eugene O’Neill and the Politics of Psychological Discourse (1995). That agile, sometimes chewy study benefits equally from Palmer’s talents as exegete and as hermeneut. Shorter reviews of newer books, commissioned by Zander Brietzke, appraise Patrick Chura’s Michael Gold: The People’s Writer (David Roessel) and Bess Rowen’s The Lines Between the Lines: How Stage Directions Affect Embodiment (Jennifer Buckley). We close with reviews of productions virtual, actual, and filmic by Marla Del Collins, Eileen Herrmann, William Davies King, Dan McGovern, Sheila Hickey Garvey, and yours truly.Sincere gratitude is due to Anabel Cole, Barbara Cole, Lisa Ruddick, and Kyra Markham’s other grandchildren for their genial correspondence and their permission to publish that fascinating woman’s letters. Thanks as well to the representatives of the International Susan Glaspell Society, whose collegiality augers well for the EOR’s future. And, as always, thanks to you, our readers.

Yanchelevichi and the nostalgia of Bessarabian childhood

Idel Ianchelevici, who became a sculptor and illustrator, was born at the end of the first decade of the XX century. He proved from an early age a native talent for drawing and modeling clay on the banks of the Prut River. He had a life permanently under the sign of fortune being surrounded by true friends, who were always by his side Romania, but also in Belgium and France. After the mandatory military service in Galati and the beginning of his artistic career, Ianchelevici left for Belgium for good, where he studied sculpture at the Royal Academy of Fine Arts in Liège. He dedicated his entire life to the art, being supported by his wife, the sculptress Betty Frenay, all the time by his wife. She dedicated her life to her husband and his art, never practicing as a sculptress, considering that two artists was too much in one family. Throughout his artistic life, Ianchelevici used many types of materials in sculpture: gypsum, clay, bronze, stone, marble, and the proper technique for each type of material, including the direct carving of stone and marble. Regardless of the used technique and materials, the motifs related to childhood memories were present in his works his entire life, following him and being part of what he was: motherhood, fatherhood, barefoot small children of peasants, and the animal world even through he never returned to his birthplace.

Interpretation of the Heroine’s Emotional Reconstruction in The Ghost Train

Paul Yee’s imaginary myth The Ghost Train mainly relates the experience of the heroin Choon-yi who is born with the drawing talent that helps those deceased Chinese labors return to China with the guidance of her father in her dream. On the road, she has confronted with many Chinese-Canadian cultural conflicts. Thus, the article will analyze the process of her emotional reconstruction from the aspects of her inner rebellion against the Canadian hegmonism, adaption and integration of the dual cultures, revealing how she accomplished a journey of salvation for nationalities and a pilgrim of seeking herself-growth.

The Contribution of Petrus Camper to the Anatomy and Aetiology of Inguinal Hernias

One of the most intriguing eras in the evolution of hernia surgery is the second half of the 18th century, when surgeons interested, also, in anatomy, started to publish studies on the abdominal wall and the inguinal canal. Petrus Camper (1722–1789), a well-known “praelector anatomiae” of the Amsterdam Guild of Surgeons and Professor of Anatomy and Surgery at the Universities of Franeker, Amsterdam, and Groningen, performed dissections on corpses of children and adults to study the anatomy and aetiology of inguinal hernias. He rejected the prevailing concept of that time that a hernia was caused by “a rupture of the peritoneum” and provided a clear description of the aetiology of hernias in both children and adults. His geometrical measurement of the pelvis and his acquired craftsmanship provided the basis for the development of an effective and reliable truss to treat inguinal hernia conservatively. His artistic and drawing talent rendered him great facility in presenting his anatomical observations of the inguinal canal in a marvelous way. Campers “Icones herniarum” include exceptional anatomical illustrations of inguinal hernias. His anatomic studies allowed the development of hernia surgery based on anatomy rather than barbaric castration by ancient “herniotomists”. Petrus Camper should be considered as a pioneer in anatomy and aetiology of inguinal hernias.

Review: Pierre Koenig: A View from the Archive, by Neil Jackson

Review: <i>Pierre Koenig: A View from the Archive</i>, by Neil Jackson

The painting – unproven or little-known talent of professor Anastas Ishirkov

Prof. Anastas Ishirkov, apart from a remarkable scientist, was also a good writer. Only recently did it become known that he was among the first tourists to have climbed Cherni Vrah in August 1894. The object of the article is Ishirkov's other talent – painting. A small drawing on a postcard is testified to him. An unknown archivist considers Anastas Ishirkov as its creator. Because of this, in the only one account to his authorship the adjective ’unproven’ is used. And his pictorial talent, albeit a little, is already known, as the watercolor have already been seen by a considerable number of people. The drawing is a seal of a lifetime of Bulgarian students in Leipzig. Memorable texts testify that an important part of the student's being was formed by the picnics on Sunday in the vicinity of the city. Among the characters of the painting are the poet Pencho Slaveikov, the lawyer Joseph Fadenhecht, the author of the Bulgarian anthem Tsvetan Radoslavov and Ishirkov himself. Two pictures also show the recipient of the card – Ivan Ivanchev from Lovech. It is possible that unsigned cartoons in the humorous newspaper „Farkat List“ are also the result of the drawing talent of Anastas Ishirkov.

Aligning Talent Acquisition Practices to Strategic Business Objectives

In this article, I outline five different ways in which the talent acquisition function can contribute to strategic business objectives. First, it is necessary to hire employees who are empathetic to the business values, as talent which is able to empathetically connect to end users of business propositions can build enduring value. Second, while building firm-specific human capital has been seen as a difficult project, appropriate talent acquisition practices could signal how specific forms of human capital can flourish in unique organisational ecosystems. Third, talent acquisition can help in building a healthy mix of perspectives by drawing talent from outside to collaborate with internal talent and ensure that there is a constant regeneration of strategic perspectives. Fourth, the talent acquisition function can anticipate technological disruptions and identify talent with high learning agility that can help navigate organisations through such disruptions. Fifth, the talent acquisition practices can resonate with business strategy by being cognizant of business cycles of expansion and efficiency in enabling hiring decisions.

The body and sublimation in a violent male offender

A case study of a violent young man called Stan is presented to understand the nature and function of his violence as he negotiated his way through anxieties about heterosexuality and passivity stimulated by his adolescence. Stan’s early history and the clinical material are used to illustrate Armando Ferrari’s concept of the Concrete Original Object. As his psychotherapy progressed he utilised his talent for drawing to sublimate his violent activity into violent images, which, in turn, enabled him to reflect on his anxieties. Stan’s violence subsided and he was able to engage in a vocation and develop a long-term relationship with a woman.

Keith Ferguson: Texas Blues BassDetlefSchmidt. Anaheim, CA: Centerstream, 2014.

Keith Ferguson: Texas Blues Bass Detlef Schmidt. Anaheim, CA: Centerstream, 2014.During that odd juncture in America in the late 1960s when social and cultural upheavals were prevalent, it was not unusual for some citizens to experience physical violence or the threat of such at the hands of thugs-in many cases, members of police or sheriffs' departments, or vigilantes, or, in some instances, a combination. Civil rights demonstrators and war resistors may be the most notable cases, but there was another variety that existed in that era, in the North and in the South. Males exhibiting longer hair styles and dressing in clothing associated with rock and roll trends including scarves, beads, and shoulder bags were probable targets for harassment, taunting, onthe-spot hair cuttings and head shavings, and outright beatings along rural roads and on city sidewalks, depending in part upon the enlightenment of the law enforcement community in those places. For a time, it was open season on male longhairs, freaks, and hippies pretty much until even the rednecks, jocks, motor he ads, headbangers, skinheads, nerds, greasers, country musicians, and what-have-you started to abandon the regular barber visits, let their hair grow over their ears, sport facial hair, and nearly obliterate the visual distinctions marking the targets for attack.Keith Ferguson had visited London with guitarist Johnny Winter and had traveled to California seeking out musical opportunities. On one return to his hometown of Houston, he looked decidedly different. One night, he and Dusty Hill (later of the band ZZ Top) were pulled over by the Houston police, who relentlessly scorned and bullied them. Thinking fast to avoid ensuing violence, Dusty went nuts and started screaming, 'Oh, hell no, I didn't serve in Vietnam to come home to this!'(38). Although Dusty was not a military veteran, the ruse worked, as the police responded by telling him to calm down and move on. Keith wasn't so fortunate. He took a beating on the trunk of the car. That incident helped determine his next move-to the capital of Austin, a musicianfriendly, university town. It was in Austin that Ferguson made his mark after joining the Fabulous Thunderbirds, a four-piece blues band blessed by none other than Muddy Waters, who, at that time, was a living, Chicago postwar blues giant enjoying a burgeoning career revival with a new, mostly white audience.Despite the attempts in this volume, inscrutable best applies to the late Keith Ferguson (1946-1997), the subject of German native Detlef Schmidt's latest work. Though the standard biographical details are mostly included (identification of parents, name of high school, interviews from friends and fellow musical acquaintances), in the end the reader is left without much material with which to penetrate the self-styled, left-handed bassist. Generous and loyal, he was considered a bit eccentric. Covered with body art before tattoos were popular outside the naval community, he would usually fasten his shirt's uppermost button. Keith liked to wear long wide scarves as headbands and strong gardenia-fragranced colognes. Despite having long hair in that early first wave in 1960's Texas, he cut his hair just as the music audiences in Austin and the nation were beginning to grow theirs. Ferguson was a reptile and lizard maven, a lover of cats (most were named Bob regardless of gender), and an avid post card writer; many of his correspondences to friends and family from the road appear in the pages of the book. He had drawing talent. He was bilingual, having picked up Spanish on the streets and from LPs, and could often be found in music clubs in the Mexican districts of Texas cities, frequently the only gringo present. …

Chris Raschka: Illustrator – United States

Chris RaschkaIllustrator – United States Monica Hagnevik Click for larger view View full resolution The task of a picture book illustrator…is to remember a particular emotion, heighten it, and then capture it in some painted vocabulary, so that the same emotion is evoked in the child. C. Raschka born in pennsylvania in 1959, Chris Raschka did not set out to be an illustrator. Even though he enjoyed drawing, his first love was science which led to a biology degree and an application to medical school. However, Raschka met his wife, and instead, they decided to join the Peace Corps. Raschka’s natural talent for drawing blossomed during their time as cottage parents at a children’s home in St. Croix, US Virgin Islands. Raschka and his wife spent most of their free time drawing and painting. They were able to exhibit and sell many of their paintings before completing their two year stint. Their success caused Raschka to scrap his plans for medical school and try to make a living from drawing. A chance encounter with a children’s book called A Pup Grows Up illustrated by Vladimir Radunsky planted the idea of creating children’s books into Raschka’s head. Watercolors are Raschka’s medium of choice, and while many of his drawings are simple, they are capable of conveying complex meanings. For example, in A Ball for Daisy (2011) the colors on the page slowly change as Daisy’s emotions change. In the beginning of the book, there is a happy yellow undertone that changes to shades of gray reflecting Daisy’s sadness after her ball breaks. In addition to the color changes, the expressions on Daisy’s face also change—from happy and perky to confused and sad. Many of Raschka’s illustrations also exhibit a childishness and playfulness that appeals to all readers no matter how old. In The Hello, Goodbye Window (2005), the drawing of Nanna and Poppy’s house at the beginning of the book is a riot of blues and greens with blobs of gold. These colors come together in a painting that looks like it came straight from the mind of a child. Raschka gives the reader a view of the house through the eyes of a child. The illustrations of the people on the following pages are a little more sophisticated and complex but still carry that same child-like quality. Raschka has earned many awards with his charming illustrations. Among them are two Caldecott Medals (2006 and 2011) and one Caldecott Honor (1994), four Charlotte Zolotow Awards—Highly Commended (2006, 2011, 2012, and 2015), and one previous nomination for the Hans Christian Andersen Award (2012). SELECTED BIBLIOGRAPHY A Ball for Daisy. New York: Random House/Schwartz & Wade Books, 2011. Print. Google Scholar Charlie Parker Played Be Bop. New York: Orchard Books, 1992. Print. Google Scholar A Foot in the Mouth: Poems to Speak, Sing, and Shout. Selected by Paul B. Janeczko. Somerville: Candlewick Press, 2009. Print. Google Scholar The Hello, Goodbye Window. Text Norton Juster. Michael Di Capua Books and Hyperion Books for Children, 2005. Print. Google Scholar Yo! Yes? New York: Orchard Books, 1998. Print. [End Page 63] Google Scholar Copyright © 2016 Bookbird, Inc.

Local processing enhancements associated with superior observational drawing are due to enhanced perceptual functioning, not weak central coherence

Individuals with drawing talent have previously been shown to exhibit enhanced local visual processing ability. The aim of the current study was to assess whether local processing biases associated with drawing ability result from a reduced ability to cohere local stimuli into global forms, or an increased ability to disregard global aspects of an image. Local and global visual processing ability was assessed in art students and controls using the Group Embedded Figures Task, Navon shape stimuli, the Block Design Task and the Autism Spectrum Quotient, whilst controlling for nonverbal IQ and artistic ability. Local processing biases associated with drawing appear to arise from an enhancement of local processing alongside successful filtering of global information, rather than a reduction in global processing. The relationship between local processing and drawing ability is independent of individual differences in nonverbal IQ and artistic ability. These findings have implications for bottom-up and attentional theories of observational drawing, as well as explanations of special skills in autism.

Is superior local processing in the visuospatial domain a function of drawing talent rather than autism spectrum disorder?

This study challenges the prevailing assumption that superior local processing is specific to autism spectrum diagnosis and suggests instead that such processing skill is a function of realistic drawing talent. Fifteen children with autism spectrum disorder (ASD) and 15 without ASD made an observational drawing scored for level of drawing realism and completed 2 tasks that allowed for the assessment of a local processing bias: the Block Design Task in unsegmented and segmented form at three levels of perceptual cohesiveness (minimal, intermediate, and maximal), and the Group Embedded Figures Test. Drawing realism score, not ASD diagnosis, predicted performance on the unsegmented version of the Block Design Task and on the most difficult items—the unsegmented maximally cohesive items. Accuracy on the Group Embedded Figures Test was also more strongly associated with level of drawing realism than ASD diagnosis. Thus, the superior local processing seen in ASD may be due to the drawing talent so often present in those with ASD.

Children gifted in drawing

Although one study has reported that 6% of children with autism spectrum disorder (ASD) have drawing talent, no study has examined the incidence of drawing talent in typical children. We asked 153 children aged 6–12 years to draw a picture of their hand. We scored the drawings for the use of detail, correct proportion, and overall contour; assessed the drawings as above average at each age based on a global assessment; and compared the drawings with those of three identified drawing prodigies. Most children were able to capture the overall contour of their hand; the ability to draw relevant details was not common until age 8; and correct proportion was not seen even in the oldest children. We identified 13% of drawings as above average for the child’s age group. However, even those drawings identified as above average were significantly less realistic than the drawings of the prodigies.

Superior Visual Analysis and Imagery in an Autistic Child with Drawing Talent

Two opposing theories have been proposed to account for the strong visuospatial performance often seen in high-functioning individuals with autism. According to the weak central coherence account, individuals with autism show a local processing bias. They have a superior grasp of the local details of a visual display but fail to grasp global aspects of the display (Happé &amp; Frith, 2006). According to the enhanced perceptual functioning account, individuals with autism have superior local processing as well as intact global processing (Mottron &amp; Burack, 2001). We report a case study of J.G., a 10-year-old child of normal intelligence diagnosed with autism. He experienced expressive language delay, but showed special talents in both drawing and visual imagery. Our tests revealed that J.G. had superior local but poor global processing. This pattern of performance provides stronger support for weak central coherence than for enhanced perceptual functioning.

Realistic Drawing Talent in Typical Adults is Associated with the Same Kind of Local Processing Bias Found in Individuals with ASD

A local processing bias has been found in individuals with autism as well as in typical children with a gift for drawing realistically. This study investigated whether a local processing bias in typical adults is more strongly associated with drawing realism or autistic-like traits. Forty-two adults made an observational drawing (scored for realism), completed four measures that assessed a local processing bias, and completed the Autism-spectrum Quotient (AQ) which assesses autistic-like traits. Drawing Realism score and not AQ score was associated with a local processing bias as shown by performance on two of the tasks. Typical adults who score high in the ability to draw realistically show the same kind of local processing bias found in individuals with ASD.

WILHELM TEMPEL AND HIS 10.8-cm STEINHEIL TELESCOPE

The German astronomer Ernst Wilhelm Leberecht Tempel (1821-1889) owed most of his successes to a 10.8-cm Steinheil refractor, which he bought in 1858. A lithographer, without an academic foundation, but with a strong passion for astronomy, Tempel had sharp eyesight and a talent for drawing, and he discovered with his telescope many celestial objects, including asteroids, comets (most notably, 9 P/Tempel 1) and the Merope Nebula in the Pleiades. Tempel carried his telescope with him throughout his moves in France and Italy. The telescope is now conserved in Florence, at the Arcetri Astrophysical Observatory, where Tempel was astronomer from 1875 until the end of his life. Using unpublished material from the Arcetri Historical Archive, as well as documents from other archives and published material, we trace the history of the telescope and its use during and after Tempel's life, and describe its recent rediscovery and status.

Precocious realists: perceptual and cognitive characteristics associated with drawing talent in non-autistic children.

A local processing bias in the block design task and in drawing strategy has been used to account for realistic drawing skill in individuals with autism. We investigated whether the same kind of local processing bias is seen in typically developing children with unusual skill in realistic graphic representation. Forty-three 5-11-year-olds who drew a still life completed a version of the block design task in both standard and segmented form, were tested for their memory for the block design items, and were given the Kaufmann Brief Intelligence Test-II. Children were classified as gifted, moderately gifted or typical on the basis of the level of realism in their drawings. Similar to autistic individuals, the gifted group showed a local processing bias in the block design task. But unlike autistic individuals, the gifted group showed a global advantage in the visual memory task and did not use a local drawing strategy; in addition, their graphic realism skill was related to verbal IQ. Differences in the extent of local processing bias in autistic and typically developing children with drawing talent are discussed.

It’s Not Just about Curators Anymore: Special Collections in the Digital Age

In January 2008, riding on the coattails of a six-month intensive strategic planning process, the New York Public Library deconstructed its Digital Library Program (DLP) and established an entirely new organizational unit, NYPL Labs. Drawing talent from across the organization, the new unit was formed to take a broader, more user-focused approach to the ever-evolving digital environment and the challenges it represents for service-centric cultural organizations. NYPL Labs represents a shift in the approach to library digitization in that “digital” is understood as an integral part of core activities—an organic feature woven into the life of the library. As . . .