For example, Dewey's notion of a continuum of experience in which art is an ultimate expression of ordinary experience underlies the fundamental idea in visual-arts education that the process of making art "is a complex one in which children bring together diverse elements of their experience to make a new and meaningful whole" (Lowenfeld & Brittain, 1987, p. 2). This process of interaction with the environment is held to be essential to "developing the urge and attitude toward exploring and investigating other forms and in voicing preferences or being able to discriminate differences more easily at a later age" (Lowenfeld & Brittain, pp. 120-121). To be sure, Dewey does not hold that it is "possible to proceed at once from direct esthetic experience to what is involved in [the] judgment" of works of art (1934, p. 298). But it is an essential point in his theory that, while the work of art is judged by standards that incorporate more than the everyday experience of aspects of the aesthetic, it is necessary to understand how the aesthetic is part of ordinary experience in order to understand how art is experienced.
Read's contributions, especially his early synthesis of psychological findings about art and development, have had a broad influence as well. Read's interest in education per se meant, of course, that more of his ideas are reflected in today's approaches to art education. The moral,