這項研究經由定量和定性的內容分析的研究方法，調查女性與男性呈現於日本中學的美術課本。在研究社群中，內容分析早已經證明分析教課書的文字和圖像是有信度的方法。
本研究採用定量和定性研究，以回答三個問題：
1. 教科書中所介紹藝術作品的性別動態。
2. 在教科書中所有描繪到女性和男性的圖像情況。
3. 在教科書的文本中所呈現女性與男性的性別角色。
從十八本美術課本的分析中，發現教課書中大多數是介紹男性藝術家的藝術作品，只有少數的女性藝術家的藝術作品被介紹。儘管如此，在教科書中出現女性的圖片與男性圖片的數目幾乎相同。同時，女性與男性的圖片都被描繪為社會期待的角色。這些圖片中男性較多被歸類非居家的角色，並且是藝術和創造性的角色。然而，在所有的教科書的句子中，並沒有明顯的表現出性別刻板。
這項研究讓藝術教育證明教科書的內容分析是一個批判教育學的好例子。這項研究結果支持經由批判教育學，教育工作者要將不同的觀點列入在美術教學課程中。未來的研究，建議更進一步調查此特定問題，並且提出更具體和有說服力的成果，以便日本女性受到限制的問題可以更廣泛地被認知到。

This research investigated eighteen Japanese middle school fine art textbooks for the presentation of women and men by quantitative and qualitative research methods through the use of content analysis. The use of content analysis for this research was quite equivalent since the research technique has been known for its reliability both textual and image analysis of textbooks for the presentation of women and other groups in the society.
This analysis employed both quantitative and qualitative to answer three research questions:
1. The gender dynamic of art works introduced in the textbooks.
2. The role all the images shown in the textbooks portray women and men as having.
3. The presentation of women and men in sentences (texts).
The analysis of the eighteen fine art textbooks revealed that the number of
art works by male artists introduced outnumbered that of artworks by female artists. This finding came despite that fact that images of women appeared in the textbooks had almost equal number as that of images of men. Also, the images of both women and men had tendency being portrayed as having socially favorable role. The images of men were likely to be characterized non-domestically and to have art and creative role. The sentences in all the textbooks, however, did not show significant result showing gender-stereotypical expression.
This research represented the addition of art education to demonstrate that content analysis of textbooks represented one of many examples of critical pedagogy. The result of this study would seem to support the arguments of educators calling for the inclusion of diverse perspectives in the curriculum of fine art through critical pedagogy. Further investigations regarding to this particular issue has been suggested for more concrete and persuasive outcomes in order to obtain wider recognition of inequity from which Japanese women have been constrained.

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