art club essay

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From the Daily Journal archives

The importance of art clubs in schools.

By Joe Spina
Nov 12, 2018

I teach medieval history and American history at Bayside Academy located in San Mateo. I have held an art club every Wednesday during lunch for the past few years; the club’s name is Dragons, Anime and Manga Art Club. Early in my teaching career, I found that many students desire the need to create art, I have witnessed art helping students with their social, emotional and academic development. My call to action is simple, but profound: Teachers — start an art club and allow students to create art pieces that they desire, without any boundaries or restrictions.

By hosting an art club that allows for free expression from students they can feel open to experimenting and creating from their imaginations. Students have unique ideas and powerful imaginations and need the space to work through their artistic expression on their own terms, without any objectives and boundaries. I have found that by allowing students to create openly, they produce pieces that are unique to their individual desires. For example, a student a few weeks back has been experimenting with water coloring, and then he had the interesting and striking idea to place clear tape over the water coloring giving the pieces a vivid and profound effect. I expressed to the student I was amazed by his creativity and his openness to take such an artistic risk in the moment. Additionally, students are free to make mistakes, which result in the students making discoveries because mistakes do make the brain develop and grow.

Interestingly, the club is a refuge that draws interesting and unique artists. Some students who are not artists do wander in to the club but since they are allowed to create freely they quickly discover that they too are an artist — naturally. Some students will simply sit, eat their lunch and listen to music — and they may not even produce a piece, but the key factor is that they are allowed to find their level, daydream and make their art when they wish. Above all else, the students are highly social and as they sit, create, eat, chat and listen to music; they learn that they are in control of their artistic destiny in the moment. When I began the club, I was under the impression I had to run art tutorials, directly teach weekly club lessons and head art projects. As I noticed that students open up their individual artistic expression when left on their own, I decided to let the club members create pieces on their own terms.

The club receives art supplies donated from community members. For example, a teacher on the Peninsula named Pam has been a silent benefactor for the club since the beginning. Through her support, the club has been able to hold art raffles, use great art materials and enjoy art books. I have also reached out to the San Mateo Lion’s Club and they have generously donated funds to the club. These actions demonstrate that community members play an important role in student’s artistic development as well. I am truly thankful for the support from community members, such as Pam and San Mateo Lions members who have offered their assistance. We stand on the shoulders of giants.

Teachers! Start an art club, make a difference and the rewards will present themselves.

Joe Spina is a teacher of medieval and early modern times and U.S. history at Bayside Academy in San Mateo.

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50 fabulous Art Club ideas

They say great minds think alike. Well, here is a collection of ideas pooled together by art teachers everywhere. If you have a great idea, write us , and we’ll add your idea. Meanwhile, here are 50 ideas to get you started. Some can be done virtually, and some with low or no budget.

Inktober during October. Prompts can be found here .
Host an open studio where art club members can bring a friend. I used to do this near course sign-ups!
Pendulum painting. Directions for pendulum painting are here . Or better yet, watch one being done here .
Execute a mural at your school. Inspiration here .
Play Art Games. Some favorites: WatchamaDrawit , Pictureka , Roll-a-Miro , HUES and CUES , Mythical Creatures Drawing Game & Animal Art Ideas , Starving Artists Game , Das Kunst-Memo , The Art Matching Game , Modern Art , A Fake Artist Goes to New York , Artsy Fartsy , Doodle Face Game , Starting Lines , Ready, Set, Draw!: A Game of Creativity and Imagination , Art Out of the Box: Creativity games for artists of all ages , Telestrations , Doodle a Droodle , Colorbrain, Bob Ross the Art of Chill , Happy Little Accidents, Scavenger Art: Creative challenges for curious kids

Learn to tie-dye or batik; it is always a hit!
One teacher did ongoing collaborative relief portraits of our administration using fruit loops and different colored Cheetos. Conan Cheetos Portrait – Cheesy Art – Conan O’Brien
Some schools reported painting school or local store windows for homecoming or for the holidays.
Paint with residents at a local nursing home.
Pumpkin carving contest or a gingerbread house contest.
Valentine’s Day cards. See a great project from My Art Lesson link here:)

Host a college visit with portfolio reviews.
Have an alum visit during college break to talk about their experience at art school and show work.
Community Projects such as Empty Bowls or the Memory Project .
Host a draw-a-thon.
Create an ABC book for students in grade 1, illustrated by your art club members.
Do Oreo cookie carvings. Wait, you haven’t heard about this? Check this out , and then buy your Oreos in bulk here .
Participate in monthly Art Dares and Art Challenges such as at Art Prof.
Host a gift night where students can come in and make a gift for someone.
Take a field trip to a museum.
Host a Bob Ross paint along.

Painted Rocks! Buy your river rocks in bulk here . Ideas and instructions here .
Sticker Mule to create art club stickers
Fundraiser activity idea: gift wrapping for teachers with gifts for the Holidays
Origami! Origami paper can be found here . Origami instructions are found here .
Have parents or local residents who work in an art-related career visit to talk about their careers.

Learn to yarn bombing.
Make linocut cards.
Make chia pets out of clay; video how-to here .
Make homemade sketchbooks. Instructions and ideas are here .
Watch an art movie or documentary (obviously, screen it first to see that it is appropriate for your school and age students). Examples: Girl with a Pearl Earring , Loving Vincent , Exit Through the Gift Shop .
Learn calligraphy.
Make zentangles. Lesson idea here . I love using this micron pen set , and I cut down white cardstock . Some great resources for Zentangle patterns can be found in these books that I highly recommend: Zentangle Basics 1 , Joy of Zentangle , Zentangle Sourcebook
Shibori Tie-Dye for fabric or paper workshop
Found object collage, Loise Nevelson style.
Create styrogami. All you need are Xacto knives and styrofoam cups.
Do you have a ceramic program? Make a mug, and then have a hot chocolate party. Another possibility, good for both virtual clubs and in-person, is to decorate a paper Starbucks cup. See examples on Pinterest .
Host an art drive. What is an art drive? Where families donate art supplies that are sitting around unused. Items might include Digital Cameras, markers, paper, crayons, etc.
Hold a trashion challenge; ideas here .
Try gelatin printing, how to make your own plate , and a lesson .
Try making neurographic art .
Make an exquisite corpse drawing. Instructions here .

Make painters tape murals.
Create a Chihuly-inspired sculpture like this one .

Everything you want to know to launch and run a successful Art Club

Twenty five NEW ideas for your art club!

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Art Club Benefits

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82 Questions to Ask about Art

Inside: Why classroom art discussion is a vital part of art education and 82 questions about art you can use in your classroom.

If you are stumped about how to lead a discussion about a work of art, use this list of art questions to give you some ideas!

As art teachers, we know the importance of creativity and the joy of making something with your own hands, but we also know the power of looking at the artworks of others.

Looking at art is an emotional, independent experience. Each person looking at a work of art will view it through the lens of their life and draw different meanings based on what they see. Talking about art allows us to break free of our solitary interpretations and uncover new insights.

Classroom art discussions are a launching pad for creativity, collaboration, and cognition. By exposing our students to works of art, giving them the space to examine their reactions, and opening a dialogue to share their thoughts, we help them develop empathy, connect with history, flex their critical thinking and observation skills, and consider the human spirit.

If you haven’t done it before, starting a classroom art discussion can be intimidating, but the benefits are worth overcoming the nerves. Below you’ll find 82 questions you can use to start and extend conversations about works of art with your classes. If you’d like more guidance, check out my five tips for leading a meaningful classroom art discussion .

Grab this art questions list and an artwork from 10 Artworks Perfect for an Art Criticism Lesson for older students or 20 Great Artworks to Look at with Young Kids for younger children, and start talking about art with your students!

Pair these questions with art cards for a variety of engaging art appreciation activities! Learn how to make a DIY art collection and start a weekly masterpiece presentation in your classroom in this post .

Want all of these art questions plus printable question cards in a free PDF download?

Free Resource!

82 Questions About Art

82 questions you can use to start and extend conversations about works of art with your classroom. Free download includes a list plus individual question cards perfect for laminating!

Questions About Art

What’s going on in this artwork?
What was your first reaction to this artwork? Why do you think you had the reaction?
Does your opinion about the artwork change the longer you look at it? Why?
Describe the lines in this artwork
Describe the colors in the artwork
Which area of the artwork is emphasized by the artist? Why?
Which area of the artwork is most important? Why?
How did this artist use space? ( Space in Art Examples )
How did the artist use balance? ( Artworks that Use Balance )
How did the artist use proportion? ( Examples of Proportion in Art )
How does your eye move through the artwork? What choices did the artist make to make that happen?
Close your eyes and describe the artwork from memory. Why did you remember what you remembered? Why did you forget what you forgot?
How would you describe this artwork to someone who has never seen it?
What elements of this painting seem real?
What adjectives would you use to describe this artwork?
What verbs would you use to describe this artwork?
What elements seem dreamlike or imaginary?
What is strange about this painting?
What is mysterious about this artwork?
What is normal about this artwork?
What is boring about this artwork?
Why is this artwork not boring to look at?
What is exciting about this artwork?
If this painting had sound effects, what would they sound like? ( More activities about art senses )
If this artwork was a brand, what would be its slogan?
What is missing from this artwork?
If this artwork were music, what would it sound like?
If this artwork could dance, what song would it dance to?
What do we know about the artist after viewing this artwork?
If you could ask the artist a question, what would you ask him/her?
Who do you think was this artwork created for? Why do you say that?
How do you think the artist feels about the final product?
How do you think this artwork was made?
Why do you think this artist created this work?
What do you think this artist is trying to say in this artwork? What is the meaning or message?
What’s the story being told, if any?
What do you think happened before this scene?
What do you think happened next?
What emotions do you notice in the artwork?
What emotions do you feel when looking at this?
How do you think the artist was feeling when he created this artwork?
How did the artist use line, shape, and color to contribute to the mood or meaning?
What is the title? How does the title contribute to your understanding of the meaning?
What title would you give this artwork?
What symbols do you notice in the artwork?
What juxtapositions do you notice?
Put your body into the pose of some element of this artwork. How does it feel to be in that position?
What would it feel like to be in this artwork?
What does this artwork remind you of? Why?
How do you personally relate to/connect with this picture?
How can you connect this artwork to your own life?
How might you feel differently about the world after looking at this artwork?
Why do you think you should be learning about/looking at this artwork?
Do you want to see this artwork again? Why?
What do you want to remember about this artwork?
What do you want to forget about this artwork?
Who do you know that would really like this artwork? Why would they like it?
Who do you know that would really hate this artwork? Why would they hate it?
What do you like about this artwork?
What do you dislike about this artwork?
What is beautiful about this artwork?
Why would someone want to steal this artwork?
If you could change this artwork, how would you change it? Why?
What does this artwork say about the culture in which is was produced?
How do you think this artwork was used by the people who made it? What was its function?
Was this intended to be a work of art or not? Why do you think that? How does that impact your understanding of the artwork?
What does this painting say about the world in which we live?
What does this artwork teach us about the past?
How does this artwork teach us about the future?
What was happening in history when this artwork was made? How does that change your understanding of the artwork?
What are the values and beliefs of the culture in which this artwork was made?
How might your interpretation of this artwork be different from someone in another culture?
If you could ask this artwork a question, what would you ask it?
If this artwork had eyes, what would it see?
If this artwork were a person, what would they want to eat for lunch?
If this artwork were a person, what would they look like?
If this artwork were a person, what would their personality be?
If the art could talk, what would it say?
What would this artwork want to do when it grows up?
If this artwork could travel anywhere in the world, where would it go? Why?
If this painting were a person, what job/career would it want to have?
What is this artwork afraid of?

Questions about Art PDF Contents:

82 Questions About Art (List)
82 Questions About Art (Printable Index Cards)
Links to Artwork Suggestions

Printing Instructions:

This post contains Amazon affiliate links. As an Amazon Associate I earn from qualifying purchases.

Download the Printables

This list is available to download in two formats. The first is the list formatted to print in a pdf (2 pages). The second is the questions formatted to print on cardstock to cut out and laminate . (They are designed with this Avery (8577 using Template 8387) Postcard template , so you could also buy the Avery cards and print on them to make it easier).

If you are a member of The Curated Connections Library , you can get this lesson and all of my other resources for one monthly fee. Find out more information at this link .

This article was originally posted on August 31, 2015.

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Reader Interactions

32 comments.

February 7, 2016 at 7:51 pm

Thank you, Cindy. As a middle school art teacher, your prompts are GOLD!!!

February 8, 2016 at 1:57 pm

Thank you! 🙂

April 25, 2024 at 4:44 pm

This is very cool 👍

April 29, 2024 at 7:07 am

Awesome! Glad you’re finding it useful.

September 30, 2017 at 12:52 pm

Great guiding questions. Thank you!

October 1, 2017 at 6:01 pm

You’re welcome!

November 25, 2018 at 1:42 pm

Thank very much for the 82 question. I will take time to look at each one of them.

May 11, 2020 at 1:46 am

Amazing thank you soooo much

October 18, 2021 at 1:15 pm

All docents at the Tucson Museum of Art are receiving a “post Covid” refresher course – these 82 questions are required homework. The effort and insights of the author (Cindy?) are appreciated and currently being put to good use. Thank you.

October 22, 2021 at 8:17 am

That is so awesome to hear! Thank you.

July 21, 2020 at 9:27 am

It’s interesting to know that appreciating art can be an emotional and independent experience. I’m taking Engineering courses right now but visiting a museum once with my friend made me realize how wonderful art is, even if it doesn’t have any direct relation to my chosen degree. It might be a good idea to look into realistic sculptures and start studying art from there.

October 29, 2020 at 10:21 am

Hi These are great! Can’t seem to download can you help?

October 30, 2020 at 8:49 am

I will send you an email to help you get this downloaded.

January 17, 2021 at 10:24 pm

I am interested with this training because this would be a great help for me to enhance my skills in English efficiency.

January 20, 2021 at 12:21 pm

So glad you enjoyed it!

January 18, 2021 at 11:24 am

Hi Cindy! I have tried to download these and keep receiving the art appreciation free resources. I am hoping to utilize them for some parent engagement with my students’ artwork. If you are still able to share the questions about art cards, I would appreciate it tons! Thank you!

January 20, 2021 at 12:40 pm

Check your email, I am sending the download!

March 7, 2021 at 9:52 am

Hi there! LOVE these questions, but the download button doesn’t seem to be working (?)

March 9, 2021 at 12:29 pm

The glitch is fixed! You can now download using the button.

March 21, 2021 at 9:43 pm

It helps me a lot. Thank you.

March 23, 2021 at 11:46 am

Awesome! You’re welcome.

August 4, 2021 at 7:10 am

Thanks for your valuable resources keep sharing the information like this…

October 3, 2021 at 8:29 pm

Hey there, thanks for creating such a great resource. But I cant seem to download it, any help is appreciated. Jess

October 8, 2021 at 7:15 am

Thanks for letting me know! I emailed you.

March 2, 2022 at 1:53 pm

i look forward to read these for my project at school very helpful

March 4, 2022 at 8:20 am

Great, Brianna!

May 8, 2023 at 4:59 am

I can’t get the resource to download 🙁

May 12, 2023 at 6:42 am

I emailed you! Please check your junk/spam if you don’t find my email in your inbox.

September 22, 2023 at 5:16 am

The great resource !

November 9, 2023 at 6:16 am

very informative blog thanks

November 16, 2023 at 11:26 pm

It’s blissful, insightful and enjoyable. This work is artistically done and I appreciate your creativity. Thank you!

November 28, 2023 at 3:27 pm

So glad you found us!

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Free Worksheets!

Free Bundle of Art Appreciation Worksheets

In this free bundle of art worksheets, you receive six ready-to-use art worksheets with looking activities designed to work with almost any work of art.

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Art Essay Writing Guide

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What is the purpose of an art essay?

Generally, an art essay is an essay that talks about art in sculpture, paintings, architecture, music and portraits.

These kinds of essays are used for:

Painting visual pictures: an art essay is an essay that showcases visual arts and creative ideas that people have come up with.
Improving creativity: the whole purpose of art essays is to provide a platform for students to tap into their creative side and vividly paint a picture of a certain image using words.

Art essay topic choice

Like every other essay, there are general tips that should be considered when coming up with an art essay writing topic.

The type of art: this may include a painting, a sculpture or just a simple hand diagram. The type of art is important as it sets out what you are supposed to write about.
What intrigues you about the art: this is the most important part of the essay. The whole art essay is based on what you want others to know about the piece of art.
Personal interests: what you, as a writer, love is very important as it narrows down the topic. It is easier to write on topics that are well-known to you.

There are a number of art essay writing topics to choose from.

Below is a list of topics for an art essay

Differences between Picasso’s concepts and Matisse’s
The history of art in the Netherlands
Differences between Bernini and Borromini
The inspiration behind famous painting
The Mona Lisa
Leonardo Da Vinci
Ancient Roman structures
The sculptures of nude women
Impressionism era of art in Netherlands
The graphics of modern day art
Insinuations behind ‘The Thinker’
The Pieta of Michelangelo
The contribution of Vincent Van Gogh and Piet Mondrian
Flemish Baroque in the 17th century.

The above are some of the good topics for an art essay.

Structure of an art essay

The art essay topics determine the kind of structure to build on. However, most have a standard art essay structure.

Sample of art essay outline

Introduction.

The Mona Lisa is one of the most known paintings in the world. This is the painting of Lisa Gherardini, the wife of Francesco Del Giocondo, believed to have been painted in the 16th century. It is the work of Leonardo da Vinci and it was purchased by King Francis I. The Mona Lisa is currently under the ownership of the French government.

Thesis statement

The Mona Lisa has had a great impact towards the contribution of art in France:

(i) It is one of the most famous paintings in the world. The Mona Lisa is the painting that everyone wants to see. It is so precious that only a copy of it is actually showcased in the museum.

(ii) It has led to the growth of art. The Mona Lisa has inspired artists all over France. There has been a rise of many artists including Camille Pissarro, a painter, and Etienne-Jules Marey, a photographer.

It is clear that the Mona Lisa is the soft spot in France. The French take pride in it and have used it to improve their lives. Besides its contribution to art, it has also placed France among the leading countries that celebrate art. This has therefore created a culture of being drawn to art and it is reflected in their way of life.

The above is a sample of outline for an art essay.

Arts essay tips on writing the introduction

An art essay introduction identifies the art and the artist. Art is diverse, as it could be sculptures, architecture, performing arts or paintings in it. This is where you state why you chose that topic. It also contains a history of the said art and brief details, like who the artist is, the year, the location, etc.

The introduction for an art essay states the thesis. It may be a general statement about the art or a specific aspect of it.

Tips on thesis writing

The thesis statement should be simple and easy to write about. Too complex statements tend to be confusing.

Pick a statement that is closer to your understanding.
Ensure it is as simple as possible.
To avoid irrelevancy, one can have an art essay draft that they can build on.

Tips on the body (transitions, paragraphs, and length)

This is the main part of the essay where you derive analysis based on your point of view. Describe why the art is so appealing to you. Ensure that your defense covers an angle that has not already been covered for uniqueness. For example, one can focus only on the strokes of a portrait. However, ensure that what you describe is relevant to the thesis of your art essay topics.

The essay should not be too long. The sentence construction should also be well done. For this reason, it is advisable to have your points arranged into paragraphs. Ensure that each paragraph is independent and speaks volumes. This ensures that the art essay hooks the reader.

The transition from one paragraph to the next should also be smooth. Using cliché transitions makes the essay boring; therefore, you need to be creative.

Tips on conclusion writing

In an art essay conclusion, one needs to state their opinion. What you think the artists` feelings were and why they decided to paint it the way they did. At this point, you can state the events that contributed to the artist coming up with that art. The conclusion for an art essay requires a lot of research into the background of both the art and the artist(s). For this reason, the references and sources of the information should be cited.

Advice for writers

In art essay writing it is important to first do your research. Art is so diverse and this can be sometimes confusing. The topic to write on should be related to your interests, for example, as a musician, you would find it easier to write about performing arts and music. Besides this, do not plagiarize any work done. Cite and state all sources, making sure that you observe all rules of patent and copyrights.

For you to be a good writer, these art essay tips will be very helpful. The best writer is the one who admits to being in a need of help. The art essay writing guide can also be used to find more about art essay writing steps. Different sources could give different art essay outlines so you need to be careful.

Finalizing the essay

After writing the art essay, it is important to have a clean essay. This calls for proofreading and editing. Proofreading ensures that you do not have any grammatical errors, the art essay outlining is as required, your sentence construction is good and the language used is the required one. Some sites offer art essay writing guide for use when one gets stuck. Proofreading also ensures that the art essay structure is followed. After this is done, ensure that the format used is correct whether APA, MLA or Chicago.

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Benefits Of Art Club In School

Art education holds a pivotal role in fostering holistic development among students. Within this framework, art clubs emerge as dynamic platforms that extend beyond conventional classroom settings, enriching students' academic experience and nurturing their creative potential. In this essay, I will delineate the manifold benefits of art clubs in schools, elucidating how they contribute to cognitive, emotional, and social growth while fostering a culture of creativity and expression.

Firstly, art clubs serve as incubators of creativity, providing students with a space to explore and experiment with diverse artistic mediums. Through hands-on engagement in activities such as drawing, painting, sculpting, and digital design, participants refine their artistic skills and develop a deeper appreciation for the arts. This experiential learning not only enhances their aesthetic sensibilities but also cultivates critical thinking, problem-solving, and self-expression – skills that are invaluable in navigating the complexities of the modern world.

Moreover, art clubs foster a sense of community and belongingness among students, transcending barriers of age, background, and academic ability. By collaborating on projects, sharing ideas, and offering constructive feedback, participants develop interpersonal skills and empathy, laying the foundation for positive social interactions and meaningful relationships. In an era marked by increasing social fragmentation, the inclusive nature of art clubs promotes diversity, tolerance, and mutual respect, fostering a school culture that celebrates individuality and fosters collective solidarity.

Furthermore, participation in art clubs has been shown to positively impact students' emotional well-being, providing a therapeutic outlet for stress relief, self-reflection, and emotional expression. Engaging in creative activities allows students to channel their emotions constructively, fostering resilience and emotional intelligence. Whether through the cathartic process of creating art or the joy of sharing it with others, students develop a deeper understanding of themselves and their emotions, thereby enhancing their overall psychological resilience and well-being.

Additionally, art clubs play a crucial role in promoting cultural awareness and appreciation, exposing students to diverse artistic traditions, perspectives, and histories. By exploring artworks from different cultures and time periods, participants develop a global perspective and cultivate empathy for the experiences of others. This cultural exchange fosters mutual understanding and appreciation, breaking down stereotypes and fostering a more inclusive and interconnected community.

In conclusion, art clubs in schools offer a myriad of benefits that extend far beyond the realm of artistic expression. From fostering creativity and critical thinking to promoting social cohesion and emotional well-being, these clubs play a vital role in nurturing the holistic development of students. As educators and policymakers strive to cultivate 21st-century skills and competencies among the youth, the integration of art clubs into the school curriculum emerges as a promising avenue for fostering creativity, empathy, and resilience – qualities that are essential for success in an increasingly complex and interconnected world.

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The Benefits Of Dual Enrollment For High School Students

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Assess The Benefits Of Diversity In Schools

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Benefits Of Single Sex Schools

As an accomplished academic essay writer, I understand the importance of crafting a well-researched and articulate piece on complex topics. With expertise in various subjects and writing styles, I am well-equipped to meet your needs for an essay on the benefits of single-sex schools. Single-sex education has garnered significant attention in recent years, with proponents and critics alike debating its merits. In addressing this topic, it is essential to provide a comprehensive analysis that explores both the advantages and potential drawbacks of such educational institutions. One of the primary benefits of single-sex schools lies in their ability to cater to the unique learning styles and preferences of students. Research suggests that boys and girls may have different academic needs and thrive in environments tailored to their specific strengths. By separating students based on gender, single-sex schools can create learning environments that are conducive to optimal academic performance. Furthermore, proponents argue that single-sex schools can help mitigate the distractions and social pressures that often accompany coeducational settings. Without the presence of the opposite sex, students may feel more comfortable expressing themselves and engaging actively in the learning process. This can lead to increased confidence and self-esteem, which are crucial factors in academic success. Additionally, single-sex schools have been shown to foster a sense of camaraderie and belonging among students. By creating a tight-knit community focused on a common goal, these institutions can promote collaboration, leadership, and mutual support among peers. However, it is essential to acknowledge that single-sex education is not without its criticisms. Some argue that such schools perpetuate gender stereotypes and limit opportunities for social interaction and understanding between boys and girls. Critics also raise concerns about the potential for reinforcing gender biases and inequalities in academic and career pursuits. In conclusion, the benefits of single-sex schools are multifaceted and deserving of careful consideration. While they may offer advantages in terms of tailored instruction, reduced distractions, and enhanced peer support, it is crucial to weigh these benefits against the potential drawbacks. By providing a nuanced analysis that considers various perspectives and empirical evidence, this essay aims to shed light on the complex issue of single-sex education and its implications for students, educators, and society as a whole....

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Cutting The Arts In Schools Essay

In recent years, there has been a growing trend of cutting funding for arts education in schools, sparking debates about the implications of such decisions on students' holistic development and the broader societal impact. This essay aims to explore the rationale behind cutting arts programs in schools, the potential consequences of this trend, and arguments advocating for the preservation and promotion of arts education. Proponents of cutting arts programs often cite budget constraints and the need to prioritize core academic subjects such as math, science, and language arts. In an era of tightening budgets and competing educational priorities, decision-makers may view arts education as expendable, particularly when faced with pressing needs in areas such as technology infrastructure and teacher salaries. Additionally, the emphasis on standardized testing and accountability measures has led some policymakers to prioritize subjects that are directly assessed on standardized tests, marginalizing the arts in the process. However, the decision to cut arts programs overlooks the myriad benefits that arts education offers to students. Research has consistently shown that participation in the arts enhances cognitive skills, creativity, problem-solving abilities, and emotional intelligence. Moreover, exposure to the arts fosters cultural awareness, empathy, and appreciation for diversity, contributing to students' social and emotional development. By neglecting arts education, schools risk depriving students of essential skills and experiences that are vital for success in the 21st-century workforce and society. Furthermore, cutting arts programs disproportionately affects underserved communities and students with limited access to extracurricular opportunities outside of school. For many students, particularly those from low-income backgrounds, schools serve as the primary gateway to arts education and cultural enrichment. By eliminating or reducing arts programs, schools exacerbate educational inequities and deprive marginalized students of avenues for self-expression, creativity, and personal fulfillment. Advocates for arts education argue that investing in the arts yields long-term dividends, both in terms of academic achievement and societal well-being. Numerous studies have demonstrated correlations between arts participation and improved academic performance, graduation rates, and college readiness. Additionally, vibrant arts programs contribute to the cultural vibrancy and economic vitality of communities, attracting tourism, stimulating local economies, and fostering civic engagement. In conclusion, the decision to cut arts programs in schools has far-reaching implications for students, educators, communities, and society at large. While budgetary constraints and competing priorities may necessitate difficult decisions, policymakers must recognize the intrinsic value of arts education and its transformative potential for students' intellectual, emotional, and social development. By investing in arts education, schools can cultivate well-rounded individuals equipped with the skills, creativity, and empathy needed to thrive in an increasingly complex and interconnected world....

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The Negative Effects Of School Later Start Times Benefiting Teens

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When a child is struggling in school, it can be a difficult and emotional time for both the child and the parents. The child may have a disability. The schools are required by law to provide help for students who are eligible for services. (IDEA, 2014). This is called special education.

Art Integration Essay

Introduction Visual and performing arts tend to act as separate entities within the field of education; considerably isolated from the majority of academia, these sectors are often considered to be secondary or elective options after completing primary education. The arts are an essential part of a well-rounded education, however, when an institute begins a budgeting process, the arts are rarely considered a top priority. For example, during periods of recession many public schools within the United Stated were forced to cut visual, performing and musical arts programs, despite studies that proved the exposure to the arts to be beneficial for students both academically and in extracurricular activities. Learning in an art-infused environment

More about The Art Club Case Study

Philadelphia Sketch Club

By Naomi Slipp | Reader-Nominated Topic

Founded in 1860, the Philadelphia Sketch Club became one of the oldest and longest continually operating American sketch clubs. Open to amateurs, students, and professionals, it became integral to Philadelphia’s artistic history. Initially founded as a weekly workshop by Pennsylvania Academy of the Fine Arts (PAFA) students and alumni, who sought drawing training and criticism, the club began sponsoring exhibitions in 1865, awarding prizes and supporting an artists’ “relief fund.” The Sketch Club continued to sponsor exhibitions and workshops, remaining a vital artistic institution in the city.

In November 1860, sixteen PAFA students and alumni signed a charter for “The Crayon Sketch Club,” to support drawing and structured critique. Adopting the moniker “The Philadelphia Sketch Club” in 1861, their aim “was to stimulate creativity through regular meetings at which members would propose motifs or subjects … for general criticism” and operate the relief fund to support sick or impoverished artists and pay burial expenses. Members met weekly to sketch subjects decided by committee and submit monthly entries. Behavior and participation were policed and members were fined for swearing or failing to produce sketches. The club organized dinners and encouraged camaraderie among members, then limited to men.

Color print featuring cherubs drawing and text that reads "first annual prize exhibition of the Philadelphia Sketch Club held at the Pennsylvania Academy of the Fine Arts".

In December 1865, the club held its first Annual Exhibition at PAFA and offered a $2,000 cash prize for the “finest work illustrative of the great American Rebellion,” the American Civil War then in its final months. Philadelphia sculptor Howard Roberts (1843-1900) exhibited three sculptures alongside works by landscape painter Albert Bierstadt (1830-1902), portraitist G.P.A. Healey (1813-94), marine painter Edward Moran (1829-1901), Hudson River School artist Sanford Gifford (1823-80), and Italian expatriate Charles Caryl Coleman (1840-1928). The Philadelphia-based Evening Telegraph described it as the “most important display of … American works … ever made.”

When PAFA sold its Chestnut Street location in 1870, commissioning a Frank Furness (1839-1912) building at Broad and Cherry Street that opened in 1876, Academy students and alumni utilized and animated the Sketch Club. In the winter of 1873, founding member and art critic Earl Shinn (1838-86) invited Thomas Eakins (1844-1916) to provide biweekly evening life-drawing classes for male members and nonmembers, which continued until 1876 when Eakins took an Academy assistantship. He also lectured on human anatomy and taught watercolor. Club enrollment increased. The club made Eakins a lifetime member, while students created a photographic parody of The Gross Clinic . In 1886, though, scandals surrounding Eakins’s instruction at PAFA and the club led Thomas Anshutz (1851-1912) to charge him with “conduct unworthy of a gentlemen and discreditable to this organization” and forced his expulsion from the club.

In 1874, club member and illustrator Frank Hamilton Taylor (1846-1927) published the “Philadelphia Sketch Club Portfolio,” replicating with photo-lithographs twenty-five original works by club members across twelve monthly volumes. The first folio included caricatures of eighteen members, such as Earl Shinn and Howard Roberts. As club president from 1873 to 1877, Roberts had a prominent role in planning the 1876 Centennial Exhibition , organizing the “Address to the Artists of the United States” at club headquarters and winning a medal for his sculpture Première Pose . The following year, Anshutz premiered his painting Ironworkers’ Noontime , judged an “outstanding work of the show.” Anshutz, who officially joined the Sketch Club in 1877, served as PAFA director in 1909 and Sketch Club president from 1910 to 1912.

Color photograph of Camac Street in Philadelphia

Throughout its early years, the Sketch Club occupied various temporary lodgings, including at 524 Walnut Street, No. 10 Northwest Penn Square, and 1328 Chestnut Street. In 1902, however, the club established a permanent headquarters by purchasing two adjacent row houses on Camac Street, adding a third in 1908. Following extensive renovations completed in 1915, the new headquarters included a skylighted gallery, meeting rooms, an archive, billiard room, library, gardens, sitting room, dining room, kitchen, etching room, and activity spaces, which served an expanded membership. Joseph Pennell (1857-1926), illustrator and president of the club in 1921, called Camac “The Little Street of Clubs,” also home to the women’s arts group The Plastic Club and the Franklin Inn Club . The Sketch Club’s headquarters, 235 S. Camac Street, gained listings on the Philadelphia and National Registers of Historic Places.

By the middle of the twentieth century, membership included a significant number of Pennsylvania Impressionists , master blacksmith Samuel Yellin (1884-1940) and renowned illustrator N.C. Wyeth (1882-1945). However, the club also limited the scope of participation. In an interview published in 2015 by the Woodmere Art Museum, painter Moe Brooker (b. 1940) recalled that artist Julius T. Bloch (1888-1966) boycotted Sketch Club exhibitions in the 1960s because the club refused to exhibit African American artists. Women artists, such as Violet Oakley (1874-1961) and Betty Bowes (1911-2007), exhibited with the club at the first exhibition and won prizes and medals; however, women were not allowed to become members until 1991, when the club became tax-exempt and had to comply with government mandates.

Although challenged by the proliferation of innovative galleries and more inclusive clubs and cooperatives founded since the 1970s, the Philadelphia Sketch Club remained an active part of Philadelphia’s artistic and cultural landscape in the early twenty-first century. By 2019, the Philadelphia Sketch Club retained approximately two hundred active members and ran public art workshops, sponsored exhibitions, and awarded competitive prizes and medals. These activities, and the club’s archive and art collection, including forty-four portraits by Anshutz of club members installed as a frieze in the library, have provided a vital link to Philadelphia’s cultural past and assured the club’s importance to Philadelphia’s art world.

Naomi Slipp is Assistant Professor of Art History at Auburn University in Montgomery, Alabama, has a Ph.D. from Boston University (2015), and publishes on Thomas Eakins, art and medicine, and the history of science. She worked at the Philadelphia Museum of Art in 2005-8 and 2014-15.

First annual prize exhibition of the Philadelphia Sketch Club

Library Company of Philadelphia

In 1865, the Philadelphia Sketch Club held its first annual prize exhibition and offered a $2,000 cash prize for the best work illustrating the American Civil War, then in its final months. The exhibition included work by Howard Roberts (1843-1900), Edward Moran (1829-1901), and Sanford Gifford (1823-80), among others. This chromolithograph print advertised the event.

La Première Pose by Howard Roberts

Philadelphia Museum of Art

Sculptor Howard Roberts (1843-1900), who served as president of the Philadelphia Sketch Club from 1873 to 1877, had an important role in planning for the 1876 Centennial Exhibition and organized the “Address to the Artists of the United States” at the club’s headquarters.

Roberts showed this sculpture, La Première Pose , at the Centennial. Judges praised its subtlety and realism, assessing it to be unequaled by any other works of American sculpture. Although the sculpture’s subject matter shocked many visitors, Roberts won a medal for the piece.

Man Drawing by Thomas Anshutz

Thomas Anshutz (1851-1912), who joined the Sketch Club in 1877, served as president from 1910 to 1912. He studied under Thomas Eakins (1844-1916) at the Pennsylvania Academy of the Fine Arts before becoming a teacher there himself. In 1886, Anshutz forced Eakins’ expulsion from the Sketch Club after scandal emerged surrounding Eakins’ teaching practices, such as recruiting students to pose nude. Anshutz’s art, including this c. 1898 oil painting, reflected the anatomical realism central to Eakins’ teachings and later twentieth-century artists’ focus on depictions of everyday life.

Parody of the Gross Clinic

Thomas Eakins (1844-1916) taught bi-weekly life drawing classes at the Philadelphia Sketch Club from 1873 until 1876, when he accepted a position at the Pennsylvania Academy of the Fine Arts. Eakins taught at the Academy until he resigned in 1886 after being charged with “conduct unworthy of a gentlemen and discreditable to this organization.” This charge had to do with his practice of recruiting students—both male and female—to pose nude for photographs that he used as studies for his teaching and artistic practice. This photograph, featuring his students from the Sketch Club, is a parody of Eakins’ monumental painting The Gross Clinic .

Industrial Group, Lower Schuylkill River by Frank Hamilton Taylor

Historical Society of Pennsylvania

Illustrator Frank Hamilton Taylor (1846-1927), who joined the Sketch Club in 1869 and served as president from 1920 to 1921, published the Philadelphia Sketch Club Portfolio in 1874. Issued in twelve monthly volumes, the Portfolio replicated twenty-five works by Sketch Club members and featured caricatures of club members in its first issue.

Taylor had a successful career as an illustrator. His illustrations for Philadelphia newspapers often drew on themes of industrial development, consumerism, and national heritage. This 1926 watercolor, depicting industry along the Schuylkill River, reflects these themes.

Lock, Key, and Handle by Samuel Yellin

Samuel Yellin (1884-1940), a member of the Philadelphia Sketch Club in the middle of the twentieth century, immigrated to Philadelphia from Poland in 1906. A master blacksmith, Yellin taught ironworking at the Pennsylvania Museum School of Industrial Art until 1920. Yellin’s ornate handwrought ironwork, exemplified in this lock, key, and handle set, adorns many Philadelphia buildings today.

Camac Street Philadelphia

Wikimedia Commons

The Sketch Club occupied various temporary lodgings, including at 524 Walnut Street, No. 10 Northwest Penn Square, and 1328 Chestnut Street throughout its early years. In 1902, it established its permanent headquarters at 235 South Cama Street, pictured in this photograph to the left. The club originally purchased two adjacent rowhouses. In 1908, it acquired a third house. Today, the headquarters is listed on the Philadelphia and National Registers of Historic Places.

Time Periods

Twenty-First Century
Twentieth Century after 1945
Twentieth Century to 1945
Nineteenth Century after 1854
Center City Philadelphia
Art of Thomas Eakins
National Register of Historic Places (Sites)
Painters and Painting
Pennsylvania Impressionism
Philadelphia Ten
Red Rose Girls
Pennsylvania Academy of the Fine Arts
Moran Family of Artists

Related Collections

“Anshutz Portraits,” Philadelphia Sketch Club , 235 S. Camac Street, Philadelphia.

Philadelphia Sketch Club Archive, Philadelphia Sketch Club , 235 S. Camac Street, Philadelphia.

Philadelphia Sketch Club Records, 1860-1949, Archives of American Art, Smithsonian Institution . 750 Ninth Street NW, Washington, D.C.

The Plastic Club Records, 1888-2007, Historical Society of Philadelphia , 1300 Locust Street, Philadelphia.

Related Places

Philadelphia Sketch Club , 235 S. Camac Street, Philadelphia.

Pennsylvania Academy of the Fine Arts , 118-128 N. Broad Street, Philadelphia.

Little Clubs On A Wooden Street (Hidden City)
Eakins on Paper: Drawings and Watercolors from the Collection (Philadelphia Museum of Art)
PhilaPlace: Philadelphia Sketch Club (Historical Society of Pennsylvania)
Philadelphia Sketch Club Records (University of Pennsylvania)

Connecting the Past with the Present, Building Community, Creating a Legacy

Essay Papers Writing Online

Exploring the art of essay writing – a collection of insights and reflections.

Essay writing is a craft that allows individuals to express their thoughts, ideas, and arguments in a structured and compelling manner. It is a form of art that requires creativity, critical thinking, and eloquence. Through the art of essay writing, writers have the power to influence and persuade their readers, sparking new perspectives and inspiring change.

When delving into the realm of essay writing, one explores the nuances of language, the intricacies of rhetoric, and the depth of analysis. Essays come in various forms, from persuasive to analytical, from narrative to argumentative. Each type of essay challenges the writer to convey their message effectively, captivating the audience and leaving a lasting impression.

Through this journey of exploration and discovery, writers discover new insights, hone their writing skills, and find inspiration in the world around them. The art of essay writing transcends mere academic requirements; it becomes a form of self-expression, a tool for communication, and a platform for sharing knowledge and ideas with others.

Unlocking the Secrets

Essay writing is often seen as a daunting task, but with the right approach and strategies, it can become a rewarding and enlightening experience. Here are some key secrets to unlocking your potential as an essay writer:

1. Understand the Prompt: Before you start writing, make sure you fully grasp the essay prompt. Take the time to analyze the requirements and expectations, so you can tailor your response accordingly.

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4. Develop a Strong Thesis: Your thesis statement should be clear, concise, and specific. It is the central idea of your essay, and all your arguments should revolve around it. Make sure your thesis is arguable and sets the tone for the rest of your paper.

5. Revise and Proofread: Don’t underestimate the power of revising and proofreading. Take the time to review your essay, fix any errors, and polish your writing. A well-edited essay will leave a lasting impression on your readers.

By following these secrets and incorporating them into your writing process, you can unlock the full potential of your essay writing skills and create compelling and impactful essays.

The Journey into Creativity

Embarking on the journey into creativity is an exhilarating experience that opens up a world of possibilities and inspiration. As you delve into the realm of essay writing, you have the opportunity to explore your unique perspective, voice, and style.

Creativity in writing is not just about coming up with innovative ideas or flashy phrases. It’s about approaching your topic from new angles, weaving together compelling narratives, and engaging your readers in thought-provoking ways.

Throughout this journey, you may encounter challenges and roadblocks, but these obstacles can be catalysts for creativity. Embrace the process of brainstorming, drafting, revising, and refining your essays. Allow yourself to experiment with different techniques, structures, and approaches.

Remember, creativity is a journey, not a destination. Stay curious, open-minded, and willing to push the boundaries of your writing. Let your imagination roam free and see where it takes you. The journey into creativity is an ongoing and rewarding adventure that will shape you as a writer and thinker.

Discovering the Power

In the realm of essay writing, one of the most powerful tools at your disposal is the ability to convey your thoughts and ideas with clarity and precision. By mastering the art of crafting well-structured and compelling essays, you open the door to a world of influence and impact.

Through the process of writing, you have the opportunity to delve deep into your subject matter, exploring its nuances and complexities. This journey of discovery not only enriches your own understanding but also allows you to share your insights with others, shaping their perspectives and sparking thought-provoking conversations.

As you hone your essay-writing skills, you tap into the power of words to inspire, persuade, and educate. Each sentence becomes a brushstroke on the canvas of your ideas, painting a vivid picture that captivates your readers and leaves a lasting impression.

By discovering the power of essay writing, you unlock a world of creativity and expression that knows no bounds. Embrace the journey, and let your words soar.

Unleashing Your Imagination

One way to unleash your imagination is to brainstorm and jot down all your ideas, no matter how wild or unconventional they may seem at first. By embracing the unexpected, you can discover unique angles and fresh insights that will make your essay stand out.

Inspiration Tip:

Take a walk in nature, listen to music, or read a book that sparks your curiosity. These activities can stimulate your imagination and help you see things from a new perspective.

Remember, the art of essay writing is not about following rules – it’s about letting your imagination run wild and expressing your ideas in a way that is uniquely yours. So, don’t be afraid to take risks, experiment with different writing styles, and explore the boundaries of your creativity. Unleash your imagination and watch your writing come to life!

Embracing the Craft

Essay writing is not just a task or an academic exercise; it is an art form that allows us to express our thoughts, ideas, and emotions in a structured and coherent manner. To truly excel in the art of essay writing, one must embrace the craft with passion, dedication, and creativity.

Embracing the craft of essay writing means approaching each piece with an open mind and a willingness to experiment with different styles, tones, and techniques. It involves honing your skills through practice, feedback, and continuous learning. Embracing the craft also requires a deep appreciation for language, storytelling, and the power of words to create impact and inspire change.

By embracing the craft of essay writing, you can transform your ideas into compelling narratives, persuasive arguments, and thought-provoking reflections. Whether you are writing for academic purposes, personal expression, or professional communication, embracing the craft will help you communicate effectively, connect with your audience, and leave a lasting impression.

Key Points:
1. Approach each essay with passion and dedication.
2. Experiment with different styles and techniques.
3. Hone your skills through practice and feedback.
4. Appreciate the power of language and storytelling.
5. Transform your ideas into compelling narratives.

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Yuri Kozyrev: Photographing 15 Years of Chechnya’s Troubled History

Worshipers leave evening prayer at the Heart of Chechnya Mosque in Grozny, April 17, 2015.Yuri kozyrev—NOOR for TIME

Yuri Kozyrev recalls the winter of 1999 as one of the most trying and tragic of his career as a photographer. It was the eve of Vladimir Putin’s ascent to the Russian presidency, and the height of the Russian bombardment of Chechnya, when entire towns in that breakaway republic were, as the Russians often put it, “made level with the earth.”

Kozyrev, a native of Moscow, documented both of Chechnya’s wars against Russia in the 1990s. The first one, fought between 1994 and 1996, had resulted in a humiliating defeat for Russia. But the carnage was far worse when the conflict resumed under Putin in 1999.

Arriving in Chechnya that fall, Kozyrev’s plan was to find and photograph two men amid the chaos of the Russian invasion. The first was Major General Alexander Ivanovich Otrakovsky, who was then commanding the Russian marines from his encampment near the town of Tsentaroy, a key stronghold of the Chechen separatists. The second was the general’s son, Captain Ivan Otrakovsky, who was serving on the front lines not far from the base, in one of the most hotly contested patches of territory.

The aim, says Kozyrev, was to document the two generations of Russian servicemen involved in the conflict – the elder brought up at the height of Soviet power during the Cold War, the younger in the dying years of Moscow’s empire. After weeks of negotiations, he finally managed to embed with the marines and to track down their general, a stocky man with a sly smile and a distinctive mole on the right side of his nose.

At the time, his command center was in an abandoned storage facility for crude oil, Chechnya’s most plentiful and lucrative commodity – and one of the main reasons why Russia refused to allow the region to secede. “It was incredible,” Kozyrev says of his first encounter with the general. “Here were these commanders living inside of a giant oil bunker.”

He recalls Otrakovsky as a kindly intellectual, nothing like the Russian cutthroats who would later be accused of committing atrocities in Chechnya. The general, whose troops referred to him affectionately as Dyed, or Grandpa, was willing to help Kozyrev. But he explained that reaching his son on the front lines would be extremely dangerous, as it would require passing through enemy territory around Tsentaroy.

That town was well known in Chechnya as the home of the Kadyrov clan, an extended family of rebel fighters whose patriarch, the mufti Akhmad Kadyrov, had served as the religious leader of the rebellion. During the first war for independence in the 1990s, he had even declared a state of jihad against Russia, instructing all Chechens that it was their duty to “kill as many Russians as they could.”

At the start of the second war, however, Kadyrov switched sides and agreed to help the Russians, causing a fateful split within the rebel ranks. While the more recalcitrant insurgents had turned to the tactics of terrorism and the ideology of radical Islam, Akhmad Kadyrov abandoned his previous calls for jihad and agreed to serve as Putin’s proxy leader in Chechnya in the fall of 1999.

That did not stop the fighting around his home village, as various insurgent groups continued attacking Russian and loyalist forces positioned around Tsentaroy. So none of the Russian marines were especially keen to move around the area unless they had good reason, and it took Kozyrev days to convince the Russian commander to allow him to reach the front lines. Eventually Gen. Otrakovsky consented, providing the photographer with an escort of about ten marines and two armored personnel carriers.

They set out on what Kozyrev recalls as an especially cold day, rumbling through fog or mist that made it difficult to see the surrounding terrain. As the general had feared, the group was ambushed. From multiple directions, Chechen fighters opened fire with machine guns and rocket-propelled grenades, forcing the convoy to retreat from Tsentaroy. One of the marines was killed in the firefight; three others were wounded.

When they returned to the base, it was clear from the glares of the troops that they all blamed Kozyrev for the fiasco, he says, and Gen. Otrakovsky advised the photographer to leave in the morning. “He said it may not be safe anymore for me to stay among his men,” Kozyrev remembers.

The trauma of that incident has lingered, weighing heaviest during his later assignments in Chechnya. Today, the region is ruled by Kadyrov’s son Ramzan, who took over after his father was assassinated in 2004. His native village of Tsentaroy has since enjoyed a generous stream of aid for redevelopment, including the construction of a beautiful mosque dedicated to Ramzan Kadyrov’s mother.

The rest of Chechnya has been rebuilt with similar largesse from Moscow, which has poured billions of dollars into the reconstruction of the cities and towns it had destroyed. When Kozyrev returned to Chechnya in 2009, nearly a decade after the end of the war, he says, “It blew my mind. The place is unrecognizable.”

The Chechen capital of Grozny – which the U.N. deemed “the most destroyed city on earth” in 2003 – is now a gleaming metropolis. Its center is packed with skyscrapers, sporting arenas, shopping plazas and an enormous mosque, the largest in Europe, dedicated to the memory of Akhmad Kadyrov.

His clan now rules the region unchallenged, having sidelined all of its local rivals with Moscow’s unflinching support. Throughout the region, portraits of Putin and the Kadyrovs are now plastered on the facades of buildings and along highways. Among the more ostentatious is a gigantic picture of Akhmad Kadyrov astride a rearing stallion, which adorns a building at the end of the city’s main drag – the Avenue of V.V. Putin.

The strangeness of the transformation, and of its architects, still seems astounding to Kozyrev, who last went on assignment to Chechnya for TIME in April. The trips always remind him of Gen. Otrakovsy, who died of a heart attack while commanding the marines in southern Chechnya, about four months after the young photographer had shown up to ask for his help. The general’s son, whom Kozyrev never did manage to find, went on to become a right-wing politician in Russia with close ties to Orthodox Christian conservative groups.

These were the men who executed the war that helped bring Putin to power. “But it was all the decision of one man to bring Chechnya back under control in ‘99. Putin decided to do that,” Kozyrev says. “And it’s incredible, when you think about it. But the men of Tsentaroy turned out to be his most loyal helpers.”

Yuri Kozyrev is a photojournalist and a TIME contract photographer. He is represented by Noor . In 2000, he received two World Press Photo photojournalism awards for his coverage of the second Chechen war in 1999.

Alice Gabriner , who edited this photo essay, is TIME’s International Photo Editor.

Simon Shuster is a reporter for TIME based in Moscow.

Russian marines repel an attack by Chechen rebels near Tsentaroy, Chechnya, Dec. 1999. In September of that year, Russian forces began military action against separatists. Initial operations were confined to air attacks, but on October 1, 1999, Russian troops entered Chechnya. By the beginning of December, the Russians had surrounded the capital Grozny, which they stormed on Dec. 25, 1999. Yuri Kozyrev—NOOR

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Aug 7, 2022
10 min read

The First Chechen War: A Blueprint for Destruction

The First Chechen War was a remarkably bloody and brutal conflict from December 1994 – August 1996, sparked by attempts to crush the Chechen independence movement in post-Soviet Russia. The war ended in a humiliating defeat for the Russian Armed Forces, whilst simultaneously devastating Chechnya (Hodgson, 2003). In this small Republic of around 1.05 million people, some 40,000-80,000 were estimated to have been killed, a further 200,000 wounded, with hundreds of thousands more emigrants and refugees (Kramer, 2005). By the war’s end, Chechnya’s population had been reduced to around 700,000 people; its cities, towns and villages had been obliterated, the traumatised civilian population had been subjected to widespread atrocities by both Russian forces and Chechen rebels, and competing armed factions were left to fill the void created by the complete breakdown of social and governmental order (Kramer, 2005).

This article summarises the events of the war, focusing on the Russian use of systematic heavy bombardment and destruction of Chechen settlements. In doing so, it will show how post-Soviet Russian military doctrine incorporated the acceptance of wide-scale indiscriminate destruction and massive civilian casualties in pursuit of Russian objectives. These methods have been further utilised in subsequent Russian military campaigns in the Second Chechen War, the Syrian War and today in Ukraine, across multiple Presidents, and differing levels of democratic accountability and international engagement. This shows that the destruction of Chechnya, far from being the exception, is a regular feature of direct Russian military intervention.

The First Chechen War: A Campaign of Destruction

The Chechen War took place against the backdrop of instability following the collapse of the USSR, in which some of Federal Russia’s ethnic republics, where ethnic Russians were a minority, began to agitate for independence (Malek, 2009). In Chechnya, where lingering resentments remained over the mass deportation of Chechens to Central Asia by the USSR in 1943 and 1944, former Soviet Air Force general Dzhokhar Dudayev seized power and declared the independent Republic of Chechnya in 1991 (Menon & Fuller, 2000). Several years of instability followed, as pro and anti-Dudayev forces fought, many non-ethnic Chechens fled, and Russia launched several limited and unsuccessful attempts to seize back power (Malek, 2009). The Chechen government’s refusal to abide by Russian President Boris Yeltsin’s 29th November 1994 ultimatum, which demanded that all warring factions in Chechnya lay down arms and surrender, led to the order for the Russian military to take back Chechnya by force (Malek, 2009). The First Chechen War began in earnest with an intensive Russian aerial bombing campaign starting on the 1st of December, which quickly eliminated the Chechen Air Force and struck towns and cities across the region (Malek, 2009).

The First Phase of the war saw a Russian force of 25,000 launch a three-pronged invasion of Chechnya on 11th December 1994, with Russian forces expecting to be in the capital Grozny within three days to mark a quick and decisive victory (Malek, 2009). Instead, as the Russian military moved into the unfamiliar mountainous and wooded terrain, it encountered intensive ambushes and tactical retreats by experienced and determined Chechen forces (Seely, 2001). It took until 25th December to reach Grozny, by which time almost 300 Russian armoured vehicles had been lost along with 10% of their deployed helicopters (Quentin, 2003). Most of Grozny’s Chechen population had fled to the countryside where they had family ties, leaving primarily ethnic Russians in the city with nowhere to go (Akhmadov & Lanskoy, 2010). The Russians, still underestimating Chechen forces, proceeded with a disastrous New Year’s Eve offensive on Grozny. This saw confused and disorientated Russian conscripts decimated as they entered the city, with 2000 killed or wounded within the space of only 60 hours and one armoured column losing 105 out of 120 of its vehicles, and some Russian units abandoned in the retreat (Hodgson, 2003). The morale of the shocked Russian forces hit rock bottom (Hodgson, 2003).

With plans for a quick and easy victory frustrated, Russia poured in reinforcements in January 1995, bringing its forces to 40,000 for a renewed assault on Grozny (Seely, 2001). Noting the inferiority of their troops, Russian commanders sought to employ a new strategy of systematically destroying Grozny block-by-block with air and artillery (Seely, 2001). This method hoped to kill as many defenders as possible, whilst destroying urban cover for any demoralised survivors, theoretically allowing Russian infantry and mechanised forces to advance in mopping up operations with minimal casualties. However, after the start of the bombardment on the 4th of January, Russian progress remained slow. The Chechen rebels employed effective urban guerrilla tactics, with small units emerging from their shelters to ambush Russian forces before retreating, with it taking until February 8th for the final Chechen fighters to be driven from the city (Seely, 2001). The civilian cost was appalling, with some estimates that up to 27,000 civilians were killed in Grozny alone during the five-week battle, representing 6% of the entire city’s population (Hodgson, 2003).

Nevertheless, according to Russian commanders, this was a success. The Russians suffered the same number of casualties in the one-month operation as had been suffered in only 60 hours in the initial New Year’s Eve assault, with the capture of Grozny being a significant morale boost for Russian forces (Hodgson, 2003). Consequently, this method was repeated across Chechnya’s towns and villages which were systemically obliterated to root out Chechen defenders as Russian forces advanced, with some 90% of the Chechen territory under Russian control by April 1995 (Pain, 2001). In territory that had been conquered, Russian Interior Ministry MVD forces would then engage in cleansing operations of villages holding suspected rebels or rebel sympathisers, often engaging in atrocities, including the massacre of over 100 civilians in the village of Samashki in April (Malek, 2009). Furthermore, filtration camps were established in which the civilian population was subjected to mass detention, alongside widespread abuses, to uncover suspected rebels (Malek, 2009).

In June 1995, hoping to take the pressure off the invasion, a Chechen terrorist cell seized a hospital in neighbouring Budyonnovsk taking around 1,500 hostages, to demand a ceasefire. Multiple failed Russian attempts to storm the hospital resulted in 150 hostages being killed before a negotiated ceasefire was agreed upon to bring the Conventional First Phase of the war to an end (Seely, 2001). This allowed the Chechens to regroup, as their fighters reinfiltrated areas taken by the Russians, with their numbers boosted by thousands of foreign volunteers. The Chechen insurgency soon ended the ceasefire in October 1995 to begin the Second Insurgency Phase of the war. Such action inflicted increasingly heavy and demoralising losses on the Russian forces, which were now spread thin across the country where they were vulnerable to hit-and-run raids by Chechen guerrillas, with most Russian casualties occurring in this phase (Pain, 2001). Due to Russian forces being on the defensive, they were less able to make frequent use of the heavy bombardment strategies that had succeeded in the conventional phase. Nevertheless, the utilisation of filtration camps and cleansing operations continued (Malek, 2009). As losses mounted, the Russian media utilised its newfound post-Soviet freedoms to put out grim footage of the conflict, rapidly turning the initially supportive Russian public opinion against the war (Hodgson, 2003). Despite Chechen leader Dudayev being killed by a guided missile strike on 22nd April 1996, the Chechens continued to make gains (Hodgson, 2003).

This paved the way for the Third and final phase, marked by an audacious Chechen assault on Grozny on 6th August 1996, in which 1,500 Chechen fighters infiltrated the city and launched a surprise attack on the 12,000 Russian defenders (Hodgson, 2003). Russian units were forced into isolated groups by the attackers, with Chechen numbers quickly boosted by reinforcements who set up effective defensive positions. After repeated Russian counterattacks were fought off, the Russians surrounded the city and on 19th August General Pulikovsky reverted to the familiar tactic of giving the Chechens an ultimatum of 48 hours to leave the city before an all-out bombardment, this time to include ballistic missiles and strategic bombers (Akhmadov & Lanskoy, 2010). This sparked mass panic amongst the 300,000 civilians still left trapped. As the deadline approached, 50,000 to 70,000 civilians remained inside the city, with all males over 11 considered suspected militants and not allowed through Russian lines. The bombardment began, hitting numerous fleeing columns of civilians, before the arrival of Russian national security advisor General Lebed to the city on 20th August. Lebed was highly critical of General Pulikovsky’s ultimatum and ordered the end of the bombardment and a ceasefire (Pain, 2001). Russian forces were ordered to withdraw from Chechnya on 22nd August 1996, marking a stinging defeat (Akhmadov & Lanskoy, 2010). By 31st August, the Khasav-Yurt Accord was signed formalising the Russian withdrawal and conferring Chechnya de facto independence (Pain, 2001).

Justifying Indiscriminate Destruction as a Tool of War

As evidenced by the First Conventional Phase of the war, Russian forces had the most military success when able to utilise the indiscriminate bombardment of populated settlements as part of an offensive conventional strategy. This method was enabled by the Russian forces fighting an asymmetric war, against an opponent much inferior in number and equipment, allowing the bombardment of Chechen cities, towns, and villages with impunity whilst the Chechens had little means of retort (Hodgson, 2003). This tactic was not just considered effective by Russian commanders, but necessary to make up for the deficiencies of their poorly trained and motivated conscripts (Kramer, 2005). The Second Insurgency Phase of the war saw this tactic become less relevant, as the war spread out into hit-and-run attacks and ambushes. Yet the Third Phase, after the loss of Grozny, saw the commanding Russian general attempt to revert to the first tactic as the default method of dislodging Chechen defenders. As evidenced by Grozny, the costs in civilian life were catastrophic, with one German observer in 1995 stating that Russian forces were willing to slaughter thousands of civilians if it meant killing just 10 or 15 rebels (Malek, 2009). The use of filtration camps, in which an estimated 200,000 Chechens were detained during the course of the war, and cleansing operations, furthered the often indiscriminate abuses meted out to civilians (Malek, 2009).

These appalling civilian casualties were justified by the belief of the Russian military and security hierarchy that most of the Chechen population were either actively involved in resistance, or else complicit in supporting it. General Sergei Stepashin, the head of the FSK Russian intelligence agency at the start of the war, was quoted as saying “to win this war the whole male Chechen population would have to be eradicated” (Malek, 2009, p. 92). A similar view was supported by Russian Major-General Vladimir Serebryannikov, who later estimated that between 80-90% of the Chechen population resisted the Russian occupation forces. Indeed, in 1996, Russian Deputy Defence Minister General Georgi Kondratyev further stated, “it is the entire Chechen population fighting here, not armed bandits” (Malek, 2009, p. 91). Clearly then, the view was widespread that civilians, even if not active combatants, were complicit in opposing Russian forces and were therefore acceptable collateral damage if it meant killing Chechen fighters or supporters. The fact that the bulk of civilian deaths were ethnic Russians, especially in cities like Grozny, is not considered (Malek, 2009). What is perhaps surprising here is that Russia at this point was attempting its transition to democracy, with Boris Yeltsin keen to put forth the image of a Western-style democratic President. Yet for Western observers of the war, Chechnya represented a horrifying level of indiscriminate brutality and disregard for the life of Russia’s own citizens that they might have expected from the USSR, not a Post-Cold War democratic Russia (Malek, 2009). Indeed, the reports of the Samashki Massacre cast a dark shadow over President Clinton’s attendance at Russia’s VE Day celebrations in May 1995, with several Western politicians decrying the brutal Chechen violence (Savranskaya & Evangelista, 2020).

A Blueprint for Destruction

Despite the First Chechen War ending in defeat, the tactics of the systematic destruction of populated areas have been a regular feature of Russian military interventions since then. The Second Chechen War launched by President Putin in 1999 aimed to dislodge the Islamist Militants who had seized power amidst Chechnya’s political vacuum after the First War, with Putin now reframing the conflict as a fight against terrorism (Malek, 2009). Contrary to seeking alternative strategies, the Russian Military simply doubled down on existing methods albeit with overwhelming force. Putin ordered the complete destruction of the already devastated Grozny and of several other Chechen towns in August 1999, as artillery, bombs, rockets, and guided missiles rained down for the next two months – before sending in a 100,000-strong invasion force in October (Malek, 2009). This left Grozny, according to a 2003 UN Report, as the most destroyed city on earth (Brog, 2017). Nevertheless, the capture of Grozny in January 2000 with lesser casualties than in 1995 massively boosted Putin’s popularity, cementing this as a successful tactic (Kramer, 2005).

Furthermore, the Russian intervention in Syria has proven the willingness of Russia to utilise these methods in overseas operations, with this first significant direct Russian military intervention overseas since the fall of the USSR (Lavrov, 2018). This likewise ended with the widespread destruction and large-scale loss of life in the Syrian-rebel stronghold of Aleppo, in which an extensive Russian bombing campaign in 2015 and 2016, including the use of cluster munitions, played a key role in allowing Syrian government forces to seize the city (Graham, 2017). Once again, for Putin this was considered a great success, helping turn the tide of the Syrian War in favour of the Assad regime as a Russian ally. Before the 2015 Russian intervention, Assad’s forces were in a difficult situation holding only one-sixth of Syrian territory, whereas by 2018 after the intervention it held 57% of the territory containing 73% of the Syrian population (Lavrov, 2018). The Russian invasion of Ukraine, after the initial failure to achieve a quick victory by taking Kiev, has once again witnessed Russia fall back onto the use of indiscriminate bombardment to achieve battlefield gains, most significantly in Mariupol (Bachelet, 2022). This has established a clear pattern of widescale destruction of populated urban centres in direct post-Soviet Russian military interventions over the course of nearly three decades. Nevertheless, it is perhaps notable that the Russian Invasion of Georgia in 2008, and the Russian annexation of Crimea in 2014, did not see the utilisation of indiscriminate bombardment. Yet the rapid nature of these two conflicts, with Russian forces achieving their military objectives within the first five days, meant there was little need to utilise such methods (Cohen & Hamilton, 2011; Wither, 2016). Rather, it seems the strategy is one that is resorted to in more protracted campaigns where a quick and easy victory is not possible.

Conclusions

As shown, the Russian invasion of Chechnya from 1994-1996 demonstrated the willingness of the Russian military to engage in the highly destructive strategy of widescale and indiscriminate bombardments of entire cities, towns and villages, to root out even small numbers of combatants, with little regard for civilian life. On a military level, these tactics were considered necessary to cover up the deficiencies of Russia’s conscripted and often poorly trained and motivated soldiers. Yet Russian leaders also justified the indiscriminate nature of these tactics through their belief that the bulk of the Chechen population was either actively involved in the Chechen armed opposition, or at least complicit in their support for it. What is clear is that, in military terms, this was considered a successful method for Russian military leaders in the pursuit of their objectives, with their opponents having little ability to respond. Subsequent Russian military campaigns in Chechnya, Syria and Ukraine, have readily utilised and even intensified this tactic to achieve their strategic objectives. That these campaigns have taken place over a thirty-year period, under two different Russian Presidents, both at home and abroad and with varying levels of domestic and international accountability, shows that the destruction of Chechnya was far from an exception in regards to Russian military intervention. Instead, it appears to be the general rule forming the blueprint for Russian military operations when it expects to be engaged in a protracted campaign.

Bibliographical references

Akhmadov, I. & Lanskoy, M. (2010). The Chechen Struggle Independence Won and Lost , Basingstoke: Palgrave Macmillan.

Bachelet, M. (2022). High Commissioner updates the Human Rights Council on Mariupol, Ukraine, United Nations , Retrieved from: https://www.ohchr.org/en/statements/2022/06/high-commissioner-updates-human-rights-council-mariupol-ukraine

Brog, D. (2017). Reclaiming Israel's History: Roots, Rights, and the Struggle for Peace , Simon and Schuster.

Cohen, A. & Hamilton, R. (2011). The Russian Military in the Georgian War, Strategic Studies Institute .

Lavrov, A. (2018). Russia in Syria: a military analysis, in: Popescu, N. terly, 88:4, 24-31.

Hodgson, Q. (2003) Is the Russian bear learning? an operational and tactical analysis of the second Chechen war, 1999–2002, Journal of Strategic Studies , 26:2, 64-91.

Lavrov, A. (2018) Russia in Syria: a military analysis, in: Popescu, N. et al , eds., Russia´s Return to the Middle East: Building Sandcastles?, European Union Institute for Security Studies (EUISS) , 47-56.

Korostelina, K. & Kononenko, J. (2012). Double victims: the recruitment and treatment of child soldiers in Chechnya, in: Rothbart, D. et al , eds., Civilians and Modern War: Armed Conflict and the Ideology of Violence , Routledge, 96-113.

Kramer, M. (2005). Guerrilla Warfare, Counterinsurgency and Terrorism in the North Caucasus: The Military Dimension of the Russian-Chechen Conflict, Europe-Asia Studies , 57:2, 209-290.

Malek, M. (2009). Russia's Asymmetric Wars in Chechnya since 1994, Connections , 8:4, 81-98.

Menon, R. & Fuller, G. (2000). Russia's Ruinous Chechen War, Foreign Affairs , 79:2, 32-44.

Pain, E. (2001). From the First Chechen War Towards the Second, Brown Journal of World Affairs , 8:1, 7-20.

Seely, R. (2001). The Russian-Chechen Conflict 1800-2000: A Deadly Embrace , London: Routledge.

Savranskaya, S. & Evangelista, M. (2020). Chechnya, Yeltsin, and Clinton: The Massacre at Samashki in April 1995 and the US Response to Russia’s War in Chechnya, National Security Archive , Retrieved from: https://nsarchive.gwu.edu/briefing-book/russia-programs/2020-04-15/massacre-at-samashki-and-us-response-to-russias-war-in-chechnya

Wither, J. (2016). Making Sense of Hybrid Warfare, Connections , 15:2, 73-87.

Visual References

Cover Image: Lowe, P. (1994). A wounded man was helped to safety after a Russian bombing attack killed 18 people, including the American photographer Cynthia Elbaum, in Grozny in December 1994 [Photograph]. VII/Redux. Retrieved from: https://www.nytimes.com/2019/12/10/world/europe/photos-chechen-war-russia.html

Figure 1: Voeten, T. (1995). Grozny, Chechnya, RUSSIA, A Russian APC on patrol in the war-ravaged city [Photograph]. Panos Pictures. Retrieved from: https://library.panos.co.uk/stock-photo/a-russian-apc-on-patrol-in-the-war-ravaged-city/search/detail-0_00032837.html

Figure 2: Chapple, A. (1995). A Chechen volunteer takes cover behind a Russian tank during street fighting in Grozny. The first advances into the city were a disaster for ill-prepared Russian forces, who face a determined resistance [Photograph]. Radio Free Europe. Retrieved from: https://www.rferl.org/a/twenty-years-on-from-the-first-chechen-war/27940170.html

Figure 3: Erken, L. (1995). Grozny, Chechnya. A complete family is dug out of a former shelter in the centre of town. They starved to death, trapped during incessant shelling [Photograph]. Panos Pictures. Retrieved from: https://library.panos.co.uk/stock-photo/a-complete-family-is-dug-out-of-a-former-shelter-in-the-centre-of-town-they/search/detail-0_00001207.html

Figure 4: Bradner, H. (1995). Chechnya, Russian soldiers wearing gas masks examine a mass grave to look for their fallen comrades. Countless unidentified bodies, the majority civilians, were dumped here after the battle for Grozny [Photograph]. Panos Pictures. Retrieved from: https://library.panos.co.uk/stock-photo/russian-soldiers-wearing-gas-masks-examine-a-mass-grave-to-look-for-their/gallery-13-1729-2223-5/detail-0_00007383.html

Figure 5: Evstafiev, M. (1995). A Russian Mi-8 helicopter shot down by Chechen fighters near the Chechen capital, Grozny during the First Chechen War [Photograph]. Wikimedia.org. Retrieved from: https://neweasterneurope.eu/2018/07/10/forgetting-chechnya/

Figure 6: Getty Images (2000). In the second Chechen war from 1999-2000, Russian forces again laid siege to Grozny, and intense fighting lasted weeks [Photograph]. BBC News . Retrieved from: https://www.bbc.com/news/world-europe-60631433

Figure 7: AFP (2016). Hundreds of people have been killed by Russian bombs in rebel-held east Aleppo [Photograph]. Middle East Eye . Retrieved from: https://www.middleeasteye.net/fr/news/russia-slams-uk-russophobic-commends-aleppo-832719976

International relations

Finn Archer

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