The research is focused on the creative teaching of fine art and, consequently, on the creativity of students in the learning process of fine art education. We draw from the claim that repetitive motifs are used too often in fine arts classes due to various factors such as the transmission of non-genuine artistic motifs, a lack of connection between the visual motif and selected materials and accessories, drawings for children, colouring books, the excessive display of children's products, the spread of schematic forms between children, adult interference in the works of fine art, the influence of the media, and so on. The aim of the research is to examine the ways in which artistic motifs are planned, mediated and realised, and to prove that, through good direction on the part of the teacher, students demonstrate greater originality and independence in their art, and are therefore well equipped to distinguish between fine art products of different quality. This method of work requires qualified teachers. The empirical part of the research includes experimental research on ninth graders in a primary school. By way of a survey, the teachers first examined their pupils' abilities to distinguish between aesthetic and kitschy items and later introduced teaching improvements, namely in terms of experiencing artistic motifs. To conclude, they checked the students' critical evaluation of works of art from the motif's perspective. These works of art were taken from the permanent collection of the Modern Gallery, where students chose five works of art in which they identified elements of kitsch in each subject. The teachers who carried out the survey among the group were adequately trained to do so. The results of the research results have contributed to a higher quality of fine arts teaching in all aspects of creativity. The guidelines for the planning and execution of the tasks were developed from the research conducted. Instructions on education and the acquisition of appropriate skills for teachers are also provided.