The purpose of this case study is to examine the nature of the teaching in the painting and drawing program at Florida State University. Aspects to be considered in this case study will include the philosophy of the program as represented in its written materials, the programís stated and practical educational goals, and the programís teaching strategies and envisioned outcomes for undergraduate students as articulated and modeled by the permanent faculty. To best achieve its goals, this study has drawn profiles of the teaching of painting and drawing studio classes at one American university with particular emphasis on the context of the rationales and methods of instruction practiced by the permanent faculty. To further contextualize the findings and assumptions appropriate pertinent literature is integrated into the discussion. In that context, this study aimed to add to the currently limited body of qualitative research on teaching painting and drawing in higher education in Florida. Using a method of in-depth interviews, document analysis, and participant observation, within FSUís painting and drawing program during one semester, individual instructors were interviewed and four studio courses were observed. Each courseís objectives, subject matter, structures, techniques/media taught, teacherís teaching philosophy, instructional techniques, motivation, issues and concerns, grading strategies, and studentsí artwork were examined. In addition, contextual material also consisted of official departmental documents and website information to set a context for the examination. Data were analyzed and coded qualitatively, and interpretations and an evaluation were presented thematically in narrative fashion. Furthermore, a synthesis/interpretation helped readers to understand the character of the case. Finally conclusions were drawn, and implications from those conclusions were discussed. The literature suggests that in Western research, there is a professional distance existing between practicing artists who teach in art departments and scholars who teach within art education departments. There is a gap in the literature on teaching painting and drawing in higher education, representing a need for this study and the findings of the study provide some key ideas to help better understand the state of these subjects in higher education. A general conclusion based on the cited interviews and observations of the professors who took part in this study reveals several positive aspects of the drawing and painting program at Florida State University, particularly in the sense that the ideologies that support the teaching methodologies and practices are in clear alignment with the stated goals of the department. Despite some fluctuations in terms of the actual methods used to present, analyze, and critique material produced by students, there is almost a sense of unanimous agreement that the goals stated as core principles by the Department of Art are correct and acceptable. The following are seen as the most salient aspects of the Department of Art with all of the material and resources considered: 1) Foundational skills development: building a solid foundation for the beginning-level students which refers to the fundamental skills and techniques in drawing and painting 2) An emphasis on personal creativity versus rigorous adherence to particular artistic styles, practices, or ideologies. 3) Directions of courses are more based on the students as opposed to a rigid lesson plan on the part of the professor; thus further emphasizing creativity while at the time leaving the course(s) open to further areas of exploration. 4) A stated goal of allowing students to make mistakes in order to best teach them through example and 5) A diverse integration of elements of art history and new technology (as opposed to textbooks) to teach conceptual ideas. From the findings of this study, two weak areas need to be addressed for the program which include a lack of full preparation on the part of the student body for the foundational skills/techniques and a lack of updated and/or adequate studio space for faculty to best practice. From this case study, implications for researching teaching practice in higher education in United States emerge. Several questions might be considered as research topics for future study, including the perceived role that a foundation program plays in the teaching and learning at a college art department studio, the role of studying old masterís materials and techniques in teaching painting and drawing in a contemporary studio classroom, the methods and techniques adopted by college instructors for cultivating studentsí creativity in studio art learning, the relationship between drawing and painting in contemporary college studio teaching. Aside from this, a cross-cultural comparative study of teaching painting and drawing in higher education between China and the U.S.A could be investigated to see what parallels and differences emerge and if they are culturally based or rather influenced by disconnected artistic traditions.