Lukens[3] finds in his studies of drawing, that in what he calls his fourth period of artistic development, there are those "who during adolescence experience a rebirth of creative power." Zest in creation then often becomes a stronger incentive to work than any pleasure or profit to be derived from the finished product, so that in this the propitious conditions of the first golden age of childhood are repeated and the deepest satisfaction is again found in the work itself. At about fourteen or fifteen, which is the transition period, nascent faculties sometimes develop very rapidly. Lukens[4] draws the interesting curve shown on the following page.
[Illustration: Motor, creative or productive power. Sensory or receptive interest in the finished product.]
The reciprocity between the power to produce and that to appreciate, roughly represented in the above curve, likely is true also in the domain of music, and may be, perhaps, a general law of development. Certain it is that the adolescent power to apperceive and appreciate never so far outstrips his power to produce or reproduce as about midway in the teens. Now impressions sink deepest. The greatest artists are usually those who paint later, when the expressive powers are developed, what they have felt most deeply and known best at this age, and not those who in the late twenties, or still later, have gone to new environments and sought to depict them. All young people draw best those objects they love most, and their proficiency should be some test of the contents of their minds. They must put their own consciousness into a picture. At the dawn of this stage of appreciation the esthetic tastes should be stimulated by exposure to, and instructed in feeling for, the subject-matter of masterpieces; and instruction in technique, detail, criticism, and learned discrimination of schools of painting should be given intermittently. Art should not now be for art's sake, but for the sake of feeling and character, life, and conduct; it should be adjunct to morals, history, and literature; and in all, edification should be the goal; and personal interest, and not that of the teacher, should be the guide. Insistence on production should be eased, and the receptive imagination, now so hungry, should be fed and reinforced by story and all other accessories. By such a curriculum, potential creativeness, if it exists, will surely be evoked in its own good time. It will, at first, attempt no commonplace drawing-master themes, but will essay the highest that the imagination can bode forth. It may be crude and lame in execution, but it will be lofty, perhaps grand; and if it is original in consciousness, it will be in effect. Most creative painters before twenty have grappled with the greatest scenes in literature or turning points in history, representations of the loftiest truths, embodiments of the most inspiring ideals. None who deserve the name of artist copy anything now, and least of all with objective fidelity to nature; and the teacher that represses or criticizes this first point of genius, or who can not pardon the grave faults of technique inevitable at this age when ambition ought to be too great for power, is not an educator but a repressor, a pedagogic Philistine committing, like so many of his calling in other fields, the unpardonable sin against budding promise, always at this age so easily blighted. Just as the child of six or seven should be encouraged in his strong instinct to draw the most complex scenes of his daily life, so now the inner life should find graphic utterance in all its intricacy up to the full limit of unrepressed courage. For the great majority, on the other hand, who only appreciate and will never create, the mind, if it have its rights, will be stored with the best images and sentiments of art; for at this time they are best remembered and sink deepest into heart and life. Now, although the hand may refuse, the fancy paints the world in brightest hues and fairest forms; and such an opportunity for infecting the soul with vaccine of ideality, hope, optimism, and courage in adversity, will never come again. I believe that in few departments are current educational theories and practises so hard on youth of superior gifts, just at the age when all become geniuses for a season, very brief for most, prolonged for some, and permanent for the best. We do not know how to teach to, see, hear, and feel when the sense centers are most indelibly impressible, and to give relative rest to the hand during the years when its power of accuracy is abated and when all that is good is idealized furthest, and confidence in ability to produce is at its lowest ebb.