1. Since childhood, a man has indifferently accepted emotions arising from all things in circumstances. He must be able to arrange them in order and to distinguish good ones from bad. To do this, above all, he should have the object to emit bad emotions. its space is, then, an expression, a painting. 2. As for children, we can regard the development of painting as the emotion's. And in them, each step is different from other's. Thus, We must search for psychological changesoccurred in children, classify them with the type of painting and concretely analyze emotional conditions. 3. To develop the painting and the originality, We should be free to express the emotion regardless of its form. But the freedom mentioned here is not the dissoluted but one for the sake of extension of personality. 4. Since our emotions are ripened by external impetus, We should have help from intentional impetus in order to develop the emotion. 5. To normally express the emotion, there should be the organic connection between a preschool child and a postschool child. Therefore, We have a consistency in education of fineart. For convenience, before I discuss on it, I will lay stress on 'the process of expression.' Therefore, I will not set up a field of appreciation separately but put it within 'the process of expression' eventually, I will treat it together with 'the material presentation' in theprocess of expression. 6. Because the painting involves all capacities (sene, per ception, emotion, technique), we should regard the cultivation of capacity as well as emotion as involved in the painting according to an individual and a step. Here the technique, namely the cultivation of capacity, means the supplemental function that serves to pictorical activity. *In this study, I will try to prove relation-role between the painting and the expression of emotion by experimental research and empirical field study.