Sentimentalism as a genre is known for its association with melodramatic 19th-century novels, such as Stowe’s Uncle Tom’s Cabin or Alcott’s Little Women. But, as a cultural tendency, sentimentalism can be found in a range of 19th- and 20th-century cultural, social, and political phenomena, with philanthropic and educational projects chief among them. The legacy of sentimentalism in art education needs to be recalled when attempts are made to consider race in relation to K–12 art classrooms, as well as with class, disability, and gender dynamics. In this article, I make reference to the Hampton Album, a series of photographs taken in 1900 by Frances Benjamin Johnston, and I focus on three major thinkers to begin assessing the sentimental influence in art education, and gesturing at a pedagogical approach that more thoroughly integrates the role of ongoing conflicts and the intransigence of imbalances in power.

情感主义作为一种流派而闻名，它与19世纪的戏剧性小说联系在一起，例如斯托的汤姆叔叔的小屋或奥尔科特的小女人。但是，作为一种文化趋势，在19世纪和20世纪的各种文化，社会和政治现象中都可以找到情感主义，其中以慈善和教育项目为主导。当试图考虑与K-12艺术教室，班级，残疾和性别动态相关的种族时，需要回顾艺术教育中的情感主义传统。在本文中，我引用了汉普顿专辑，是弗朗西斯·本杰明·约翰斯顿（Frances Benjamin Johnston）于1900年拍摄的一系列照片，我主要关注三位主要思想家，以开始评估艺术教育中的情感影响，并以一种教学方法来做手势，以更全面地整合正在进行的冲突和不平衡的顽固立场当权的。