The Project
The Impact of the Montessori Method on the Quality of Art Education
A project titled "The Impact of the Montessori Method on the Quality of Art Education," by Dr. Mirjana Batinić, was awarded a grant through The Arts Education Scheme by Arts Council Malta. The project is based on practical and theoretical research conducted with primary school learners at Casa Maria Montessori.
Through this project, stude
A project titled "The Impact of the Montessori Method on the Quality of Art Education," by Dr. Mirjana Batinić, was awarded a grant through The Arts Education Scheme by Arts Council Malta. The project is based on practical and theoretical research conducted with primary school learners at Casa Maria Montessori.
Through this project, students had the opportunity to explore various art techniques using different media. The lessons traced the development of art in Malta across different historical periods, from the Neolithic age to Contemporary art, covering Prehistory, Antiquity (Phoenician, Rome), Middle Eastern Art (Islamic), Mediaeval Art (Byzantine), Renaissance, Baroque, Modern Art, and Contemporary Art.
In order to enrich their learning experiences, the learners visited numerous museums and galleries, aiming to gain new knowledge, spark creativity and imagination, and broaden their horizons.
The theoretical aspect of the project involved research based on practical experience, incorporating learners' artwork and several interviews with experts from related fields. These findings have been compiled and published as a book.
Ultimately, the project was presented through an exhibition showcasing the learners’ artwork.
This project has received support from the Arts Council Malta.
Project Content
PREHISTORY
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
ANTIQUITY (PHOENICIAN ART, ANCIENT ROME)
The prehistory lesson involved visits to prehistoric sites and the National Museum of Archaeology to enhance understanding of the visual environment. The topic was art in context. Learners explored space and form with different senses, like visual perception, tactile experience, and spatial understanding. They examined details, shapes, sizes, materials, colours, and other elements related to temples, statues, and artefacts. In the classroom, learners formed a circle and worked sitting on the floor. All the necessary materials were placed in the centre for easy access. The outdoor visual environment played a key role in learning activities, initiating emotional, associative, and intellectual experiences. It facilitated the exploration of the language of art, nurtured critical thinking, and prompted discussions on topics relevant to the learners, encouraging expression and communication.
ANTIQUITY (PHOENICIAN ART, ANCIENT ROME)
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
ANTIQUITY (PHOENICIAN ART, ANCIENT ROME)
The lesson on Antiquity (Phoenician art, Ancient Rome) involved creating collage masks inspired by Phoenician and Roman masks. Learners sat in a circle on the floor, with materials conveniently placed in the centre for easy access. The materials were readily available, allowing the children to work independently and express their creativity through colour and shape choices. However, the teacher assisted with cutting to preserve the original artwork after some masks were damaged. The learners directly drew on coloured papers, which were cut and glued onto cardboard. Their artwork combined imagination, observation, and memory, often transforming into imaginative pieces with fictional stories.
Several masks created by seven-year-old girls exemplify the emotional and associative aspects of the lesson. These masks exhibit feminized details, including long eyelashes, rosy cheeks, heart motifs, "gold" and "silver" earrings, and necklaces. The intellectual component involved discussions about the masks' meanings, masking, carnival traditions, Phoenician art, and Ancient Rome. The children naturally formed groups based on their interests and ideas for mask creation, exchanging thoughts on their design, purpose, and symbolic representation.
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
The lessons on Middle Eastern art (Islamic) and Medieval art (Byzantine) shared a common focus on decorativeness, particularly highlighting the renowned Maltese tiles. Activities included drawing patterns, making cardboard stencils, and utilising the gelli plate printmaking technique. This technique provided the freedom to explore and experiment, moving away from overly precise tasks. The main characteristics of these lessons were playfulness, creativity, imaginative exploration, appreciation for abstract beauty, the joy of using a roller and printing paint on a soft gelatine plate, anticipation of the outcome, and cultivating patience while waiting for their turn.
The lessons on Middle Eastern and Byzantine art were productive and enjoyable for the learners due to the incorporation of the gelli plate and its fast results. The children eagerly awaited their turn and the exciting moment when the printed paper would reveal the outcome. This lesson exemplified a constructivist or "discovery" model of learning, where learners gained knowledge through hands-on engagement with materials rather than direct instruction. This approach nurtured their intrinsic motivation to learn.
RENAISSANCE
RENAISSANCE
MIDDLE EASTERN ART (ISLAMIC) AND MEDIEVAL ART (BYZANTINE)
Lessons on Renaissance art focused on figurative drawing and painting portraits while observing each other. Learners formed groups of two and sat in a circle on the floor.
We explored the dominant themes of Renaissance thought, including humanism, individualism, rationalism, and virtue. We highlighted the contrast between medieval art's abstract forms and Renaissance art's representational forms, such as portraits and depictions of everyday life.
The drawings were created using a combination of dry drawing techniques, including soft and hard pencils and pastels. One learner expanded the subject matter to include family members, while another child drew portraits of all the children in the group and the two teachers present. All children created portraits of multiple classmates. Initially aiming for realism, the children later added imaginative visual narratives to enhance their drawings.
Painting involved three watercolour techniques: wet on wet, wet on dry, and watercolour washes. Children had a choice to use at least one of these techniques, and they predominantly opted for the familiar wet on dry technique. However, one outstanding piece emerged using the watercolour washes technique. Methodologically, this lesson followed a similar approach to the previous one, where the children focused on drawing.
BAROQUE
RENAISSANCE
MODERN ART
Portrait painting continued in the lesson on Baroque art, but we shifted from observational painting to reference painting. Learners observed the reproductions of paintings of Michelangelo Caravaggio and Matia Pretti and used them as motifs. The learners explored the characteristics of Baroque art, including its deep colours and dramatic use of light and dark backgrounds. They were encouraged to incorporate chiaroscuro, which involves strong contrasts between light and dark. To achieve these effects, they utilised the grattage technique. The two groups took different approaches in their artistic explorations.
The first group used oil pastels to paint their motif, and covered it with black acrylic paint. They proceeded to scratch off most of the acrylic paint. The second group created abstract compositions with oil pastels, and covered it with black acrylic paint. They scratched line drawings from the acrylic paint.
In accordance with the Montessori method, the papers were positioned vertically on easels and the blackboard. Working on a vertical surface offers various advantages, including the development of gross motor skills, stability in the shoulder and elbow, improvement in wrist and pencil grip, enhanced hand-eye coordination, spatial awareness, core strengthening, muscle coordination, and freedom of movement.
MODERN ART
RENAISSANCE
MODERN ART
The lesson started with a circle discussion on previous art periods, followed by a discussion on Modern art focusing on rhythm and contrast. Students engaged in auditory and spatial experiences, actively listening and observing. They participated in rhythmic clapping and dancing movements to understand rhythm and contrast. Once familiar with these concepts, they applied them to the visual world.
The lesson objectives included identifying different types of lines based on their flow, character, and meaning while recognising the importance of sketch drawings. Students had the opportunity to observe and learn about various types of lines. The goal was to engage the learner's intellect, emotions, imagination, and body for more effective and comprehensive learning. The learners expressed their understanding by drawing flowers using felt-tip pens of different thicknesses.
CONTEMPORARY ART
CONTEMPORARY ART
CONTEMPORARY ART
The final lessons on Malta's art development focused on Contemporary art.
The first lesson involved creative play. The learners draw and paint half of an animal's body. They began with the upper body of one animal and continued with the lower body of another animal on a separate paper, eventually connecting the corresponding body parts. In other words, one animal was created by two children. They used watercolours, pencils, and ink for this task.
The goals were fostering active learning by promoting teamwork and independent work skills, using art for critical thinking, creativity, and problem-solving.
Another lesson introduced the collagraph printing technique, providing freedom in decision-making and the working process. The learners could choose motifs, colours, and application methods (monochrome or polychrome). Learners independently used a roller for printing, allowing them to grasp the work process and characteristics of collagraph printing. Initial prints were challenging, with some barely visible due to fast-drying thin layers of paint, while others had stains from thick layers or fingerprints. These experiences helped learners understand paint application and proper spreading. The learning goals included fostering development, independence, and taking ownership of the learning process.