The child does not have to be obliged to respect the adult concept on ' ' what he is bonito' '. The infantile drawings or paintings do not need to please for the external or aesthetic effect. At this moment, the infantile art cannot exert effect of what oportunizar the pleasure and the joy of the creation, resulted of spontaneous manifestations better. The important one is the process of the child? its thought, its feelings, its perceptions, in short, the reactions to its environment. 4.4? Motivations for the Artistic Expression Are notable, when verifying the infantile artistic expression, that has differences between what the child sees and what express in its art a time that, in its artistic work, express only what is important for its perception at that moment. A good one pertaining to school motivation consists of sensetizing some of the relations that previously remained passive or was not used. Of course, these relations move, and are necessary to adjust the motivation to the necessities of the child who grows.
The child must be displayed the experiences capable to develop its qualities of perception, and not simply imposed the attempts that, for they at that moment, are simply inconceivable. The child, the proper act to create can supply new glimpses, perspectives and new understanding to them for the future action. ' ' Probably, optimum preparation to create either the proper act of criao' ' (BRITTAIN, 1977 P. 16) To provide to it chance to it to create, constantly, with the knowledge that it possesss is the best preparation for its future act, its creation. So that it has a creative artistic experience, the relation between the artist and its half one is necessary. It is the interaction of the symbols, I of the environment that supplies the necessary elements to the abstract intellectual processes. The man learns through the directions and how much bigger it will be to the chance to develop increasing sensitivity and greater the awareness of all the directions, greater will be also the learning chance.