The modern man, through learning about and appreciating all painting cultures, has acquired a new outlook on the medium. Owing to that, the old ideals of beauty based on technical mastery, with their burden of illusionism, have become out of date and been replaced by tendencies with a shocking, clashing character, based on individual originality. In the place of copying nature, a new formal organization of a work of art has emerged. We appreciate its quality and its strength of expression. We associate the value of a painting with its construction and individual uniqueness, independence and invention. The modern man is multicultural, and so art is often created regardless of cultural boundaries and limitations, freely taking and using whatever it needs. In this situation, the question arises, how making art should be taught, if everyone seems to acquire it by themselves and in their own way? It would be a mistake to adopt a passive attitude of non-involvement towards students’ work. After all, we do not exist in a vacuum and we fall under various influences. Therefore the guidance of the teacher should be carefully planned and aimed at two goals: it should make students immune to accidental influences and provide the right atmosphere for their creative interests, so that even initially hesitant ideas would develop interestingly and without impediment. It is beyond doubt that supervising a student’s creative output is a complex task that requires great insight. Painting created by students often constitutes a fluid and untamed fabric of individual expression.