1.IntroductionArt creativity remains an integral function of an artist in a school, workshop or studios. In the fifteenth and sixteenth centuries in Europe, an amateur artist working under the apprenticeship system for a master in workshops and schools became very popular (Abaje, 2008, p. 20) This popularity blossomed with young unemployed youths and art enthusiasts wanting to work and be inspired by the great masters in art who had practiced under great masters to learn a vocation (The Guardian, 2008, p. 118). Also during this period, workshop practices became very popular, mostly in Western Europe when draughtsmen were employed by various governments to teach art at the elementary stage. In 1585, a generally accepted consensus came from a crucial meeting in Rome, Italy that assistance must be extended to the youth to build their talents around art. As a result of this agreement, workshops and studios started springing up, firstly in Cologne, Berlin, Munich and Dusseldorf in Germany, where Rembrandt had his educational apprenticeship programme. This programme awareness extended to other big cities and centres in Amsterdam and Rotterdam in Netherland where Vincent Van Gogh trained, From there, the awareness programme moved to Paris, Lyon, Bordeaux, Nancy, Aix en Province, Lille and many other centres in France, where prominent artists like Gauguin, Cezanne, Claude Monet, Edouard Manet as well as great impressionists like Renoir, Chagall, Rapael, Les Freres Nains (The Nain Brothers) and other great artists, underwent artistic training. (Gauvard, 1999, pp. 116-121). At this period, the high demand to practise art stimulated probably movements in Europe. These movements include Renaissance, Cubism, Impressionism and many others. (Idem, p. 122).In Nigeria, for example, the idea of the Catholic mission headed by Reverend Father Patrick Kelly in the 1940s in Ekiti division of the old Ondo province where colonization and Christian evangelism had done much damage to the creative traditions of woodcarving, (Oloidi, O. 2011, pp. 14-16) was surprisingly restored by the Catholic diocese in its attitude to assist in the creative conceptualization in wood carving by the Yoruba in a school directed by Father Kevin Carroll at Oye Ekiti. (Idem, p. 17). Similarly, the Mbari-Mbayo experiments mobilized the youth who were trained free of charge in various artistic formation. The Ori-Olokun workshop also trained youth and matured artists within the Ibadan and Ile-Ife regions with art Educational fundamentals, which got a resounding success in textile design, graphic design, painting and bead making, to mention but a few. The Abayomi Barber School exposed the youth to modern Nigerian art tradition teaching from stage to stage drawing techniques thereby helping to enrich the art historical account of modern Nigerian art. There was the Oshogbo school whose creative potentials were not appreciated at inception until its success became indisputably accepted by all. The latter workshops have produced countless artists with modernistic approach to art. In all, knowledge dissemination that characterized these workshop centres is the same with that of the Universal Studios of Art: a centre of creativity, ideology and social commune under Bisi Fakeye, a leader with great talent. The Universal Studios of Art (USA) has become not only an education forum, but also a tourist centre.2.Professionalization and ContributionsHutyrova describes fine art expressions as a communicative instrument worldwide that had been in useful existence from time past. He further stresses that it has also played basic roles as it is used as therapeutic formula in treating behavourial attitudes. He also writes that art is an important tool in all spheres of humanity. He states further that fine art objects stimulates feelings and as such can be safe to normalize an unstable situation and as a result it must be sustained to serve its purpose (Hutyrova, 2016, pp. …