Since the Visual art is contemporary evaluated school subject during whole period of primary school it is very important that teachers have sensitive relation to children’s visual art expression. Teacher’s relation is seen during all learning process at visual arts, through structuring the criteria for evaluation art products, giving reflexive information to children at the end of unit and sometimes even by assessment of art product. In the research, made on two groups of students on Faculty of Education: future general teachers (teach arts till 5. grade) and future specialists for visual arts, we were looking for the connection between their perception of different artistic masterpieces and their sensitiveness at evaluation of children’s art products. As we find out sensitiveness at evaluation mostly is not problem at students with a general sensitive and positive relationship to different art expression. During the compulsory training at the faculty both groups get familiar with different historical art styles, child’s visual art development, visual art didactics and get possibility of own visual art practice. The main difference between their training is that general teachers have no need to show any particular art talent and get less own visual art practice then specialists for visual arts. That is why there can very soon be noticed a difference between their perception of visual art in general. On one side there are students who are open to uncommonness and rarity in visual art. They show high level of tolerance and express positive attitude to modern art-masterpieces. Students with positive attitude to the different art styles, especially modern art, are in general more sensitive also at evaluation; they have less problems at structuring the criteria of evaluation, at encouraging children during the expression process and they are also more tolerant and stimulating by giving the reflexive information to children. On the other side there are students (mainly future general teachers) who prefer decorative, “nice” and realistic shapes of visual art motives; they are skeptical to the strangeness or disturbance in the art; they often show more negative attitude to the modern art and sign it as irritating and dislikable. These students often succumb to decorative commercial clichés from seeming creative resources (e.g. advertising magazines for manual skills) which have nothing in common with sincere children’s expression. That kind of “art” tasks might lead teacher to evaluate only child’s manual skills and not his/her progress of art uniqueness.

The research was made as a questionnaire with different kind of questions (opened and closed) and the check list which included the pictorial examples of different art-masterpieces and children art products which had to be evaluated by students. The data were analyzed by factor analyze. The research was made on a pattern of 40 students - future general teachers and 40 students - future specials for visual arts. Both groups of students study on Faculty of Education Ljubljana (University of Ljubljana).

The main problem we see is that children might become very insecure about own artistic expression if they are exposed to insensitive and discouraging evaluation in early developmental stages. But we find out that deeper acquaintance with different circumstances or background of arising art-masterpiece and interesting characteristics of it (visual art theoretical specifics: composition, art elements and similar), helps future general teachers to realize uncommonness or strangeness in art more positively. We noticed that students usually transfer that knowledge to perception of child’s arts; they became in general more sensitive and perceive uniqueness and rarity in children’s art products more positively. They even have less problems at structuring criteria of evaluation, at encouraging children during the expression process and they became more stimulating by giving the reflexive information to children.