Art Education in the United States refers to the practice of teaching art in American public schools. Before the democratization of education, particularly as promoted by educational philosopher John Dewey, apprenticeship was the traditional route for attaining an education in art. Alongside John Dewey, Elliot Eisner was a leading advocate for the inclusion of art in modern curriculum. Since the first introduction of art in public schooling in 1821, art education in the United States has faced many changes and many stages of growth. Early art education in the United States Art education was first introduced to public schooling in 1821 as a result of the need for architectural designers during the Industrial Revolution. As public schooling began to grow nationwide, so did subjective interest in art instruction. In the 1870's, some states began to provide funds to their public schools in pursuit of developing art curriculum. Around this time, art materials, like paint and paper, began to improve in quality, allowing art instruction to expand beyond classic methods. Art apprenticeships began to lose commonality in the 19th century, and independent art schools became the main path for pursuing a career in art. Picture study movement, before World War II Art appreciation in America accelerated with the "picture study movement" in the late 19th century. Picture study was an important part of the art education curriculum. Attention to aesthetics in the classroom led to public interest in beautifying the school, home, and community, which was known as “Art in Daily Living”. The idea was to bring culture to the child to in turn change the parents. Picture study was made possible by the improved technologies of reproduction of images, growing public interest in art, the Progressive Movement in education, and growing numbers of immigrant children who were more visually literate than they were in English. The type of art included in the curriculum was from the Renaissance onward, but nothing considered “modern art” was taught. Often, teachers selected pictures that had a moral message. This is because a major factor in the development in aesthetics as a subject was its relationship to the moral education of the new citizens due to the influx of immigrants during the period. Aesthetics and art masterpieces were part of the popular idea of self culture, and the moralistic response to an artwork was within the capabilities of the teacher, who often did not have