American Art Student and Commercial Artist (April, 1925)
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AND COMMERCIAL ARTIST Vol. Vill No. 8 1925 25 Cents Composition by Sigourd Skou, Instructor, Grand Central School of Art. “PUBLISHED AT TWENTY-ONE PARK ROW, NEW YORK Monthly by The Assn. of American Art Students. April, 1925. Ent’d. as 2nd class matter May 21, 1921, at the Post Office, New York, N. Y., under Act of March 3, 1879. $2.50 Yearly. Foreign, $3.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST TRIANGLE Opaque WATER The Artists’ Friend. Forty shades of the highest quality obtainable. Al- | ae - ways. uniform |}. 2 standard. Al- ) ways depend-_ hig able. Write us |]... for’Color Card |]. se? and Price List. |]. * ~ aff Favor, Ruhl &:|} NW Co., Eastern rete: | ‘TRIANGLE COLOR CO. ~ §34 East 63rd Street CHICAGO Geubration after gen- eration of Master Artists have expressed their . opinion of Winsor & - Newton’s Colours—“the finest colours made.” }| Every requisite for the a Artist, Illustrator and cg SAGER « ‘The name of your nearest dealer and complete catalog B-9 3 on request WINSOR- NEWTON INCORPORATED | Everything for the Artist $1 East172Sr. New YorK"| - CARASIAR essranarons: THE HUSHES- seen te adios ; Montreal - Ottawa - Toronto ‘Art Metropole’’ Page Two COLORS THURS ‘ SON, Apeldoorn, Holland Blockx Colors Made in Belgium “Binestin the world” 2D OK Ae in. RE RMEAIT ITT } 17 inches to 13% feet wide. Wi rite for Catalog — Sole Agents: $2 S: ‘ eae ies , e nt 7 om hy é% ; J s ¢ e ‘ . & rs 4 * ae - ey i yh me 5 i ae Vas 4 + Se a ‘ ’ by 7 ‘ , * ¥ : ARTISTS. ¢ of -OLO R - Brilliant— eo He Permanent American | Off fice: _Irvington New _ Jersey Canadian Agents: Artists’ Supply Co., Ltd. Toronto, Ont, qs Linen and Coin 3 SCHNEIDER | & Cos Inc. ete 2102 BROADWAY fi
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Te THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST WG Sacco ace ae Fear aN \ 1 airmen amen = = ——— = ———— i aren a ean eh Ta (Ld, 0 Th nn TT SS ses NOES — GQ S NY Wan. Vn fins ‘ PWN S Y SY S eel //' 1 RS YA. \Z2 Zs ACO¥ x V4 Sh AY AY 4 Ll WY LL Ly ‘' AY SFT ASS WP \/ UL ELLE AY yA (Ld, x > » ”) PE : » >» 2) » VA VA Va >) Lr >» WZ \ 8 f WA SNS : TI Nos STINT NST NT WT NI UW UU NS BC Ths aT AY AY Wil > 2 “4 V7 SI AS EX. Sf Ss LISS XS “ths LS ey Ay AY gy IS NY LY And so with Devoe. For nearly two centuries that “infinite capacity for taking pains” has been passed on by workmen vigilant of Devoe’s reputation. XY aS) IOV, Ww S FA Studio of ROBERT W. CHANDLER [fAGe : G i XZ Member: N. Y. Architectural League ‘a RE na ; aS Sy : gz ig ZI IS : ® eg The Mark of True Genius— : ap e 7 e e e fas; . “the infinite capacity for taking pains” £ D a S, 1s HUS was Jean Auguste Ingres, early nineteenth century ig QP eee ee ‘ c yy N classicist, distinguished from his fellow students. 5 | YY ii iN \Y Is it not an infinite comfort to work with materials mixed so magically, prepared so purely that they will not belie the artist’s utmost confidence? Vi D a Ne Ds SES DQ 7) 7, °F, sae saa y 0 eG xe oy ON Se OG Ws WA ZN Way tS \ZD 7 Wi, AS For the artist who uses Devoe colors can be assured that his painting of to-day will be his painting of to-morrow. ~DEVOE Artists’ Materials Devoe & Raynolds Co., Inc., 101 Fulton St., N. Y.: Branches in Leading Cities VAS = LSS IZ : ¢ | a — — —SSEESEE=E= = FELL SEYEYyYSE-z-zxzxz———————= = = ' —/ (s gS Lr Lhe Siku S ES ££ LS ASTD AS STI AS OPT itll tid STIL NRRL Nn SQL. Yn SET New SE Nv SST SSDS. SSP» INN STN ETD NN OP on SA EF Ns INS = Ss? \\§- — ae — RT ve Sa I AIT let le SS Ga ee — SSS SSS SSES—EE—=—=—EE—SESSS——SS = = IN Page Three
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST CAMERA PAINTINGS of the SEMI-NUDE FIGURE SPECIAL OFFER One original 8 by 10 photograph se- lected from the six reproduced on this page printed on heavy buff paper, and sixteen page book containing 175 re- productions of original Nude and Semi-nude outdoor figure studies from the collection of James Wallace Pon- delicek, sent upon receipt of one dol- lar, all six pictures and book sent 41 An Idyl 27 Meditation 18 The Spirit of the Dunes upon receipt of five dollars. All prints signed by the author. The work of James Wallace Pon- delicek has been lauded by the most exacting connoisseurs of art in the U. S. and abroad, magazine repro- ductions appearing in this and for- eign countries. ‘A happy suggestion for gifts or framing. Order by num- ber or title. 7 Caprices 163 The Campers 10 The Worshipner JAMES WALLACE PONDELICEK STUDIOS 616 SOUTH MICHIGAN AVENUE Page Four CHICAGO, ILL.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST An Entirely American Product A Scientific Prepara- tion—Supreme for the vivid contrasts demanded in Poster work; the sub- tle harmonies of Water Colors and strength of technique in Tempera and Representative Oil Paintings. Applied with water. Painted by Ida Wells Stroud, Instructor in Art, Fawcett School, Newark, N. J. For Out-of-Doors Sketching The lure of the great outdoors is here; now, ‘If ever,’ as James Russell Lowell says, ‘e@e). - “come perfect days.’ The glorious greens ae 3 | | and yellows of Spring and early Summer landscapes, dotted with pink and_ white blossoms, can be seen only at this time of the year. It is time for the sketch box. Like the devoted trout fisherman who, at this season, hunts his rod and flies, so does the teacher and student pack their kit of colors and can- vas, and hie themselves to the open spaces. It is then you will find that Oleo Tempera Colors stand the test as will no others. | Get a generous sized assortment from your dealer today. If you haven’t received a Color Chart and list, call on your dealer or write to us direct. Information as to sets, assortments of colors for Spring and Summer use, etc, will be gladly given. Made only by A. SARTORIUS @ CO., INC. 32 Union Square, New York City Telephone Stuyvesant 9545 Page Five
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST t t | eget: ae eee PsycHe Mit SCHMETTERLING PAINTED BY W. Kray Page Six
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST PUBLISHED EVERY MONTH BY THE ASSOCIATION OF AMERICAN ART STUDENTS AT TWENTY-ONE PARK ROW, NEW YORK, N. Y. WALTER W. HUBBARD, Editor-in-chief E. MORRILL CODY, Paris Correspondent Managing Editor, ALMA R. ROBERTS Art Editor, CAROLYN J. TOWNSEND APRIL, 1925 No. 8 Water Color Painting on the Seaside By Grorce Prarse ENNIs The free and de- lightful art o f water color paint- ing is again gaining its former po- sition in the art world. For many years. this medium has been under a cloud; the general opinion being that it is not permanent. Phat its color would fade was the most frequent expression heard, notwithstanding the fact that this medium is a very old one and many of the fine works handed down from the middle ages are in water color. During the last fifty years many people seemed to think that water color was to be taught to young ladies attending finishing schools, a medium of the amateur, whereas it is, as a matter of fact, the medium of the master. Since it does not admit of change once the picture is begun it demands of the artist before brush touches paper a maturity of judgment and a finality of preconception more absolute than in any other medium so that its expression is most highly subjective and lyrical. The original conception of composition and color must be understood and set down with purity and vigor as water color loses its charm when worked over. The magical speed with which atmosphere WATER CoLor COMPOSITION BY THE AUTHOR springs from the brush of a skilled painter in- fuses in it a spirit of buoyancy which per- haps_ char- acterizes its unique charm as against that of other kinds of painting and found in no other medium. Traveling and work- ing along the north- east coast of America, where light equip- ment is a necessity, I have found water color invaluable. I landed on the Newfoundland at Port Aux Basques and then started on a four-hundred-mile trip along the coast by a freight steamer. We put into all the little villages tucked under the towering cliffs where you may sometimes stay a few hours, or possibly all day if there is a heavy sea running, and if you are eager to set down on paper a scene that must needs be done quickly, for no freight steamer has the dis- criminating taste to wait on picture making, no valuable moments need be lost with water color, for you have only to pull out your pad from its waterproof cover, set up your wire camp stool and go to work either on shore or on deck in but a few minutes’ time. In many ports of call the ship pushes into a narrow passage, sheltered and protected Page Seven
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST WatTER CoLor Stupy BY J. Scotr WILLIAM from the heavy swell of the North Atlantic with cliffs precipitous as cataracts rising a thousand feet above. Cliffs forged in bril- liant color, making you forget the hard drab- ness of life there; rocks charged with many shades of blue, red and golden greens, with purple welding and building it all together. Sometimes they seem to flash in the sun or again they look grim, grey, solitary and un- relenting. One critic evidently felt this so strongly that she declared that one picture of mine made a vivid impression of “exag- gerated brutality,’ but I think even she would concede this impossible if she saw cer- tain aspects of this forbidding land. The flat-topped houses squat closely against the great walls and with their blue black or red tipped roofs become an integral part of their surroundings, never touched by sunlight, living in perpetual shadow. The quaint character of the people re~ moves one far from modern day life. With- out exception it is the wildest stretch of coast on the northeastern seaboard and the only access to the outside world is by this one little steamer’s weekly visit. Winter be- fore last the ship was icebound in one of the bays for nine weeks, short of food and en- during every possible hardship. ‘Three hun- dred notive men trekked sixty miles inland to the railroad to bring back twenty-five to fifty pounds of flour on their backs with the temperature at forty degrees below zero. And in the lives of the deep sea fishermen Page Eight there are many _ such scenes of hardihood. ‘The grim and relentless strug- gle to wrest the food that is their chief mainstay of life from the treacherous fastnesses of the sea is for the Newfoundland fishermen but the routine of daily work and the very closeness of fateful and tragic hazards in- vests their gestures and the scene with a larger significance. Tao che stirred to paint most hap- pily such is the coast of Newfoundland and yet it has great charm, as have Saint Pierre and Michel- on, the two little French Islands where the _ in- habitants live as they did one hundred years ago. The contrast of this type of life with that of the West Indies is, of course, most vivid. Take Nassau, for example. Here all is soft and mellow with balmy air and star-wrought nights of magical beauty. Close to the blue green water whose brilliant clarity is like that of cut gems, grow the haunting sea grape trees, bent and twisted. Their leaves, enormous in size, range in color from a deep sea green to red and yellow, sometimes shot with several colors and giving the appear- ance of a beautiful mosaic. Here and there in the dazzlingly white sand of the shore are outcroppings of the curiously pitted cocine rock and occasional thickets of sisal, pal- mettoes and slender trunked palm trees. The town itself is steeped in the color of pink, cream and yellow garden walls with daubs of the strident cerise of the bougain- villea, starred masses of jasmine, and the smoky blue of the patria. Here there is a sense of ease and gaiety and the perfumed bouquets of the hidden gardens give a feel- ing of romance and intimacy totally lacking from the sterner proceedings of the far north. But at times the-relentless blaze of the noonday sun is a reminder that the tropics, too, have their rigors. In Nassau the surrounding islands are called out islands, while the isolated villages of Newfoundland are called the out ports. So the Atlantic seacoast of America and the islands adjacent offer endless material to artists and students willing to risk a little comfort and take to the outdoors.
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Pleasant, and Gloucester, Sachi ashitachibeehiieiieaibin demadented alan eid = idles Alle ee aside . THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST With the coming of Spring and Summer the artist, like the camper, begins to plan new equip- ment and_ scenes _ for painting. The coast of North America is con- stantly being explored for its hidden lore of beauty and both individ- uals and schools are find- ing in it interesting new localities for painting. There will be the usual colonies and groups of painters at Provincetown, Boothbay Harbor, Point who will not be able to slake the thirst of sea fever with the sights and sounds of the city. Sum- mer schools’ will be formed at various points, such as the Grand Cen- tral School of Art, which will give its students the unique advantage of painting the brilliant waters of the At- lantic at Point Pleasant, N. J., and other schools such as Henry B. Snell at Boothbay Harbor, Hawthorne’s at Provincetown and many others will follow suit in seeking the outdoors. Not a few individual artists will succumb to the spell of the sea and invade the coast, searching for new and quickening scenes or searching for new scenes to quicken quiescent dreams into life. For all those who are moving from place to place the beauty of water color painting and its practical possibilities in traveling cannot be overestimated. WOULD BAR NUDES Scant sympathy from artists and critics greeted the recent contention of Miss Carolyn Haywood, young Philadelphia artist, that the place for the nude figure may be in the studio, but not on the gallery wall in a pub- lic exhibition. Miss Haywood expressed this opinion in an address at the New Cen- tury Club, Philadelphia, on the 120th annual exhibition at the Pennsylvania Academy of the Fine Arts. She mentioned four nudes in the exhibition as particularly objectionable, centering her criticism about “Vanity,” by May F. R. Clay, and “The Pink Curtain,” a nude by Dickin- son, who last year won the popular prize at the academy. CoMPOSITION, IN WATER CoLors, BY SIGOURD SKOU NATIONAL ACADEMY EXHIBITORS WIN PRIZES Award of nine prizes for works in the hundredth annual exhibition of the National Academy of Design, at No. 215 West 57th Street, New York, which opened March 31st, was announced by Charles C. Curran, Secre- tary of the Academy. The awards are: | First Altman Prize, $1,000. Hobart Nichols, N. A., Bronxville, N. Y. Second Altman Prize, $500, Ernest L. Blumenschein, A. N. A., Taos, N. M. Thomas B. Clarke Prize, $300, for best American figure composition, Miss Gertrude Fiske, A. N. A., Boston. First Hallgarten Prize, $300, Clarence Johnson, Lumberville, Pa. Second Hallgarten Prize, $200, Stanley Woodward, Boston. Third MHallgarten Prize, Farnsworth, Washington, D. C. Ellin P. Speyer Memorial Prize, $300, Carl Rungius, N. A., No. 96 Fifth Avenue, New York City. Isaac N. Maynard Prize, $100, for best portrait, William Auerbachh-Levy, No. 137 East 34th Street, New York City. Saltus Medal for Merit, John E. Costigan, A. N. A., Orangeburg, N. Y. SF Se $100, Jerry Other items relating to the activities of the National Academy of Design will appear in this magazine from time to time. Page Nine
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Avoiding Pitfalls in Selecting a School Great sympathy should be felt for the art student who comes to New York or any large city in quest of the right school. Knowing no one to give intelligent advice, they seek the magazines and find the ‘‘ad” that promises every- thing dear to the heart, from sub- ject to price, with positions of high salary thrown in as bonus after a few months of study. The alter- native is to work at some old-time school which has, perhaps, no course of study attractive to the_ student from point of sub- ject or expense. There are many schools where one may enter and work from the model or enter some other class for which they are totally unprepared, hence as- suring a period of wasted effort. If only some one who knows could tell them in time not to be caught in the trap of promises, but to go slowly and investigate the standard of the school before entering, and warn them of the many pitfalls in so- called courses of study, it would save many heart breaks and precious time, to say noth- ing of the money spent. There are many schools who have little to make their extravagant promises on, yet frame everything in such plausible adver- tising that it is most difficult for the layman to decide against all of the boldly told ad- vantages for a school of a more dignified and sincere type. Again there are honest schools who fill their classes with students, some of whom are of an indifferent calibre. A large class of mixed interest lessens the possibility of the interested student to finish as quickly as they would were the numbers fewer and more seriously inclined. There is a tremendous amount of “pad- Page Ten PeNciIL PortTRAIT OF LLoyp GEoRGE—By ANNA HUuLL FroM PHOTOGRAPH ding’”’ in so-called courses of study that will be of no use in the com- mercial field of Art. These subjects are injected, not purely from a de- sire to make a longer course, but more because the courses are ar- ranged by aca- demic artists who feel that art for art’s sake comes first. This is an honest road but a slow one, due to the many subjects fed to the raw student, in the hope that some of his rough edges will be rubbed off before he gets to the higher paint- ing classes. Antique or cast is one of the fearful wastes of time, the dis- couragement to many who want to arrive at a point where they may use their work com- mercially. The new student needs help in the first steps more than at any time there- after. The beginner in the antique class is usually given a stick of charcoal and told to make a simple outline drawing. As a matter of fact, there is no outline around anything. White plaster is quite foreign to anything in their daily lives and charcoal is a medium loose enough to run away with even a trained head or hand. The result is that the stud- ent must imagine an outline, thus calling upon their invention and then to draw it with a sputtering stick of charcoal is a thank- less, discouraging rfist attempt. The excuse is given that by this method students learn to “dig it out.” It has been proven that students can “dig it out’ faster and more accurately if shown first how to “dig,” then given a medium simple to handle known to them to “dig’’ with, and an ob- jective to “dig’’ for. Another kind of padding in long courses for commercial art training is the study of perspective without regard to the applica- : :
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST PENCIL RENDERING OF PHoTCGRAPH BY Miss FLORENCE WILDE, JR. tion. This is a dangerous policy. There are students who feel they have finished the usual course and as proof ex- hibit their pathetic little bundle of carefully margined plates, numbering from one to per- haps seventy; all done with a ruler and two colored inks—name neatly printed in lower right hand corner—the date above and other similar details—perfect. These students have worked very hard and _ patiently for two years or more on the study of per- spective, and yet when asked to sit down and draw the room they are in, or to imagine and draw a room with figures at different distances, they are usually at a loss to know how to begin such a study. Had their teachers ever drawn a room such as the above problem? They probably had, but in the rut of teaching under the prescribed academic curriculum, they become involved in the intricacies of higher perspective when the thorough understanding of the cube and cylinder will accomplish any problem of the ordinary illustration met in commercial art. The loss of time spent on the “trimmings” of such subjects is sadly missed when the application is necessary. There are schools that stand for design and yet send students out with textile de- signs which would not repeat in pattern if reproduced. Students when taught the pro- fessional way of handing in such designs find the difference paid is seventy-five dol- lars instead of thirty. Designs that do not repeat are usually not purchased, but in some instances the motif is sufficiently good to sell the design at a low figure, allowing the buyer to spend the rest in making it practical. The whole trouble with many art schools of today is that their instructors are not workers in the field. There are one or two schools, however, where short and thorough courses are to be had—filling the great need for students with limited incomes who must start at the practical end of making their living in the shortest possible time. Graduates often do not know a halftone from a line cut and problems of reproduction are a closed book to them. To work from photographs is usually scorned in most art schools, even in the schools that claim to train for commercial work. Photographs are one of the right-hand essentials of the working artist, working from the model, from imagination or from someone else’s description are all things to be learned. As an example, a student may be given a photograph of a girl on horse- back with another of fox hounds and told to make a composition of both,—inventing a few trees and a road in the picture and using the riding habit being advertised from one on a hanger. You have here, to make both photos in the right proportion,: invent foliage and very carefully draw the design of the model riding togs and represent it on the girl riding. Where are these poor, young artists with all their finer side developed if they cannot take the given material and make a. pleasing drawing, finished for easy reproduction? What does it mean? More study or years of trying out the publishers. Of more study,— where? At least they should know what to look for and reject schools, no matter what other inducements they offer, if the practical points are not dwelt upon seriously. As a last word, students must remember that they are going to make art their bread- winner and happy occupation only if they Page Eleven
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST CHINESE CRETONNE DESIGN IN CoLor By MIss VIRGINIA RYDER are able to please the varied fields of pur- chase. By Mrs. Florence Wilde. 9S Oe * Epiror1a, Nore—Mrs. Wilde’s neat arti- cle will be on the rendering, in all mediums, of photographs for commercial reproduction. We regret that in the haste to make up the March issue several illustrations, while good in themselves but which were not produced by students of the Florence Wilde Studio of Illustration, were used. The illustrations for this article, however, have been selected by Mrs. Wilde from representative works of her pupils. PRIZES FOR ART WEEK Announcement by the Philadelphia Art Week Association that the annual Art Week will be held this year from May 2 to May 10 reveals that $800 in cash prizes will be of- fered to artists exhibiting their works. Prizes for the artists is an innovation, which, according to the association, should aid in stimulating the interest to obtain the 1,500 works of art necessary for display in the store windows of the city and in separate gallery exhibitions. In addition to the cash prizes to artists, the usual medals and mentions will be given competing stores for the most tasteful dis- play of the works loaned them for the week. Two hundred acceptances have been re- ceived from invitations sent to exhibitors at the annual exhibition which recently closed in the galleries of the Pennsylvania Academy of the Fine Arts. The Art Week exhibitions, Page Twelve which will mark their third birthday, will embrace por- tions of Walnut, Market and Chestnut streets, and this year will extend their scope to sections of the city hitherto neglected, thus rendering the week truly civic in char- acter. At a recent election, Henry Lewis Apple- ton was chosen president of the association to succeed Richard T. Dooner, founder ot the Art Week idea, while Mr. Dooner be- came first vice-president, and Theodore M. Dillaway, art director of the public schools, second vice-president. Alfred Hayward was elected director of exhibitions; H.» Devitt Walsh, of arrange- ments, and Doctor Dillaway of education. WHEN TWILIGHT COMES Tis not the cold, gray clouds that hover low, Nor drifting leaves that crush beneath my tread, Nor dreary winter winds that ebb and flow In solemn cadence through the pines o’er- head That makes me miss you so. When June was here And all the landscape gladdened at her touch, And happy throated birds sang sweet and clear, I missed you, dear, as much. Souls have a comradeship, and when from mine Your own passed into that eternal peace That was your heritage by laws divine I did not grudge the going, for release Méant higher life for you. But when for you The things of earth forever slipped away, I only asked I might be strong, and do My duty day by day. When twilight comes, like some pale nun in gray, To bring to weary hearts refreshing sleep, Then is the tension snapped, the strength of day Crushed by old memories as I sit and weep; And when sometimes I feel unspeakably The need of you who answered every call, I chide me then that I should selfish be And smile, through tears, to think that after all How well it is with thee! —Marecaret Tackett Forser,
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Interpretive Costume Design By Rost Netzora Kerr Costume design study is fast becoming an _ torical accuracy, at a price within the reach artistic necessity. The artist uses it in of all. | painting, in advertising art and in illustra- Artists and students of the fine and in- tion. Costume effects are carefully co- dustrial arts, speech, drama, history, liter- ordinated with modern stage ature,. motion setting and lighting. Cos- pictures, and tume is an organic part of the dance will the dance. It assists the plastic scenery of the pantomime and the pageant with color and meaning- ful design. As an applied art cos- tume design forms a significant part of our _ modern clothing industry. It even affects the technical reproduc- tion of works of sculpture. Historic costume reference material, in the past has not been accessible to the great number of those who re- quire it. Real cos- tumes of history are housed in pri- vate or museum collections. Mu- seums are_ estab- lished only in the LAL Sern Citi ¢ 6. Books and_ folios being chiefly im- portations, have in many cases_ been too high in price. It was the aim in presenting “In- terpretive Costume Design,” one of the newer books on i LS LTT co OLY Oa ML OM A — LD POMa iaa At — sassy g ep eS CA DBLP SS 5 OE OE LLB POM EI So a2 Ie X ~@@! — ) BE > es the — sub- » 0 6155 "40 a: give cos eee cccqrCCE yyy) <e a I, Fi REIT Ce \} 2 za* tume refer GAPS SKE SDDS Weeze oeaintes: ence which s RS REISS Pe ee coe , Yrrayge ag iiciaw has ‘cre- ative de- | sign _ to- me t h eit s with: his- PEN AND INK DRAWING BY THE AUTHOR Page Thirteen
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST bn “a y)) 197 Dy» SW e PDP, YY gy TPN) Bye. SD wp SSD » tls wi \ - i =F ae A @ a = vy, At Tia’ yy... ‘As RUIVLILLL|| ANN 2 SNL anni: WZ = \ A = ——a5 : = Wath = = EAN nels TTS LINE DRAWING FROM “INTERPRETIVE COSTUME DESIGN” find this new series of folios invaluable. The first folio, “The Orient,’ suggests fire and mysticism both ancient and modern; it con- tains costumed figures in dramatic posture representative of Biblical characters as well as figures from the farther east, India and China. “The Age of Chivalry,” one of the cuts of which is reproduced in these pages, is the second folio of the series in which Mrs. Kerr has suggested a wide variety of technic and an interesting use of black. This folio, from which one plate is here reproduced, is full of dramatic reality and includes characters of romance of fuedal times from serf to king. The third folio, “American Costume,” por- trays the dignities, charm and naivete of the periods from 1620 to 1860. It interprets the development of costume in our own coun- try, America, which series has been so often neglected in the study of historical and geo- graphical costume. The plates of all three folios are rendered in black and white; each costume being set against a background which contains sym- bols and ornamentation of the period illus- trated. Unlike many of the costume reference books, Mrs. Kerr has not made this new se- ries in any sense mere literal representation. The designs, however, are strictly authentic but have been executed with a sense of ab- Page Fourteen stract freedom which will inspire further creative work. For students of fine, commercial and in- dustrial art, of drama and speech, and of the dance “Interpretive Costume Design,” by Rose Netzorg Kerr, will be found a help- ful addition to the reference library or stu- dio table. The series is published and can be obtained from the Fairbairn Art Com- pany, New York. We welcome any new and interesting works which will aid the student and teacher of drawing along these lines, for there is a genuine demand for talented cos- tume designers. Like all real artistic work, costume design cannot be learned over night. It requires patience, time, and sincere effor on the part of the student. | PAINTER IS BRIDE M. Bernard Philipp, a retired lawyer, and Miss Jane ePterson, one of the foremost women painters in New York, were married recently. The couple plan to go to Europe in the summer if Mr. Philipp’s health per- mits. Meantime, Mrs. Philipp will continue her career at her studio at 58 West Fifty- seventh Street. “Of course I do not intend to give up my art,” she said. The bride was born in Elgin, I]l., and stud- ied with Brangwyn in England and with Sorolla in Spain, and for some time was an art instructor. She has received many prizes, including a water color prize, ex- hibited at the Girls’ Art Club in Paris. SIGN PAINTERS’ MERGER Consolidation of twenty-one of the largest outdoor advertising companies of the United States into a new corporation, to be known as the General Outdoor Advertising Com- pany, Inc., has been announced. The com- bined business of the merging companies for 1925, it is estimated, will exceed $30,000,000. New art supply stores and art schools are springing into existence almost over night; manufacturers, wholesalers and jobbers will do well to consult the columns of this mag- azine regularly for news items, advertise- ments, etc. Sculpture is not the mere cutting of the form of anything in stone; it is the cutting of the effect of it. Very often the true form, in the marble, would not be in the least like itself.— Ruskin.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST L] ' i: ale @3-* gig )) az orks tA , @s. ‘ {pias eee y A .. - Sere ee = aN a \ ur ~@y 2 , ) o] wi D> We “4 = ONG . o” ts ww Jed MS Ne, ~ 7, —~y - 7% We Nias fi om \ ! \ z f OF ny > {AGI | Ki 16) Ny ae f 3 - ee, = cS \ A a, TTA TAT mm TITANIA SS iy LA siilieenidenaal Ne TT AT (es Ni 4 fed [2 I To a! oe CoSTUME PLATE FROM “INTERPRETIVE diy. dios Hikciusedte Gace DESIGN Page Fifteen NINN ye a A wi \ NY N\ N i Se Bie \ \Ss AN ; 3 Ws WH WS SS Ss SES SSS; Ayan nary S ARAN “AN \\ \N aN ’ 1 2 by J = <S _————— ———
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Diana and Actaeon DiscussING THE PAINTING BY FRIEDRICH J. C. EK. PRELLER It was in the vale of Gargaphia that Ac- tzon is said to have met his memorable fate. Diana—or, as the Greeks called her, Ar- temis—was the virgin goddess, and a great huntress among the immortals. The priests and priestesses who served at her altars were bound to chastity, and any violation of their vows was visited with severe punishment. MInvulnerable to the shafts of love, Diana lavished her affection upon the woods and streams, and, attended by her nymphs, pursued with unflinching ardor the adventurous excitement of the chase. At the close of day the goddess and her fair train were wont to cool and refresh themselves in some fountain remote from the haunts of men. On one such occasion, while they were bathing in the abandon of supposed perfect privacy, Actzon, himself a famous hunter, trained by the Centaur Cheiron, stole un- observed upon them, and for a brief season profaned with his gaze the most sacred pri- vacy of the chaste Diana. When suddenly his presence is discovered, dire vengeance overtakes him with the speed of light. As the eyes of the wrathful goddess flash upon him he suffers a horrible transformation: horns spring from his head; his body and limbs become those of a stag, and his hounds savagely rend him to death. Such was the fate of the only man who ever gazed upon the charms of Diana. ‘The stolen privilege cost him dear. We might say to him what Hamlet said to the eavesdropping Polonius: “Thou wretched, rash, intruding fool, fare- well!” . Friedrich J. C. E. Preller was born at Eisenach in 1804. After studying at Weimar, Dresden and Antwerp, he went to Italy, studying in the Academy at Milan, and at Rome, where he was influenced by Joseph Anton Koch. Returning to his na- tive land he was largely employed in monu- mental works, in all of which landscape was a leading motive. He was a diligent student and a profound and poetic interpreter of nature, and produced, prior to his death, several commendable gallery paintings. * & & The reproduction of this painting, which appears in the center of this issue of Tue AMERICAN ART STUDENT AND COMMERCIAL Artist, is in line with our policy of pre- senting, each month, several paintings, fa- Page Sixteen mous for their legendary value as well as for their artistic merits. That is also why the policy of this magazine will be, more and more as the months go by, to carry actual technical knowledge of the fine, applied, industrial and graphic arts to both student and_ teacher. This month we are fortunate in being able to reproduce some of the work of Willy Pog- any, one of America’s great contemporary il- lustrators and mural decorators. Likewise, there is being run a series of paintings relating to Psyche (Soul), the wife of Cupid who lost him because of distrust. These illustrative designs are the creations of Paul Thumann. The first appeared in the March issue and the second of the series appears on page 48 of this number. The frontispiece, “Psyche Mit Schmetterling,” by W. Kray, is in keeping with the series. “A Dutch Woman,” on pages 40 and 41, is the subject chosen for the series for the practical use of teachers. All that is needed is a pair of scissors; the students will do the rest. They are intended primarily for public school use. “The Nile Hunt,’ pages 80 and 31, will prove interesting for the lover of paintings and prints. Suggestions, particularly from our thousands of teacher readers, will be appreciated. WILLy PoGAN Watch the May and June issues of this magazine for advertisements of the legitimate summer art schools, and then make your plans. A three-quarter length oil portrait of for- _ mer Secretary Hughes, painted by Howard Chandler Christy, was formally presented to the State Department recently by Colonel William Eric Fowler of Washington, D. C. The painting has been hung in the gallery of portraits of former Secretaries of State.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST How Pogany Got His Start By Mary Stewarp Puiuurps, in Brooklyn Sunday Eagle Through a dark cor- ridor, up three flights of unfinished stairs that climb past dusty wooden doors and bare- walled landings, and I found myself in a softly- lit, lovely room. There was a great dull blue rug on the floor, deep, the subdued gleam of copper —and pictures. ‘They were all about the room, an unending fresco of them. There was a long dreamy mantel painting iron easy chairs, of a camel caravan in an oriental twilight; a group of silent, beautiful faces, just touched by sleep; the water color originals of the pictures that have become a part of your favorite fairy tale. Here Willy Pogany has his studio. The merest glimpse of it was visible through the door that the artist half closed behind him as he entered with his extended hand. “Ah, but this is charming of you! sit down. We will talk.” He dropped into one of the blue chairs, rumpled his black hair, and smiled, a candid, child-like smile. In spite of the fame that this Hungarian artist’s exquisite paintings have brought him, both in America and in Europe, Mr. Pogany has all the essential simplicity and unspoiled enjoyment of a child. He sees everything with delighted eyes, quick and interested. And he is very frank, even in talking about himself. “Lots of people think that I am temper- amental, but I’m not—that is, not nearly as CouRTESY Please temperamental as an opera singer or a poodle dog. Really, I’m of a very even dis- position. When I’m mad I don’t show it, because I know just how funny I would look! I would have to laugh at myself!” He began to laugh immediately. “You know I think I have a gipsyish nature.” “Oh! Perhaps you have gipsy blood in CARTOONIST MAjor’s SKETCH OF WILLY PoGANY N. Y. AMERICAN you,’ I suggested polite- ly. “What? You ask me if I have gipsy blood? But that is funny!” And he laughed till the tears stood in his eyes. “You wouldn't have said that if you knew how we re- gard gipsies in our coun- try. They are riffraff— scum. We say they are good musicians and good thieves, but we look down on them and have noth- ing to do with them.” Horrified, I begged his pardon. | “But that is all right. You could not know. Here you think of them as a romantic people, do you not? They steal your horses but they tell your fortune. I say that I have gipsyish nature because I am so care- free. And I don’t bother my soul about money. If I have a dollar in my pockets I am happy. I feel as though I could go out and buy the whole world. That is for my- self—but these last years I have to be more businesslike, because I have to take care of a family. ‘And now I have so much to do! Espe- cially of the work I like most. That’s mural decorating. Of course, I paint portraits and do some sculpturing (I don’t love that much because it has no color and color is the whole world to me). And then there are other pictures to be painted, and designing stage settings, and illustrating books. But murals are what I really like! I like to get up on big ladders and make great big pic- tures!” His voice became ecstatic. He nearly danced out of his chair in his excite- ment. “Yes! You must think! How funny it seems for a man of my bulk (really he is of medium height and not to be called stout) to turn out little tiny pictures! But huge ones—I’m working on a ceiling now for Page Seventeen
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST John Ringling’s—the circus man’s—home in Florida. Ever since I did the murals for the children’s theatre of the Heck- scher Foundation I have had as much of that kind of work as I can do.” Mr. Pogany does not care for illustrating, although he is best known for his lovely in- terpretation of the old fairy tales, the “Arabian Nights,” “Omar Khayyam” and many more. “Now, I only illustrate about one book a year,” he said. “I don’t like to illustrate much. The publishers clip my wings. They say, ‘Now, Mr. Pogany, we must have this number of pictures, and these must be in line and these in color, and be sure you use only four colors in this picture.’” He broke off, “Oh, I don’t like that! I like to do just the way I want to. And then they always want the pictures at a certain time, and I say, ‘Yes, yes, you will have them.’ But they’re never ready on time!’ He laughed. There is something irresistible about Mr. Pogany’s laugh. It is so full of delight and enjoy- ment of the world in general. A_ roguish twinkle was in his eyes as he said: “Not on purpose, you know. I really mean to have them ready, but when I promise, I think of the pictures and not of the time I’ll take in doing them. I never know how long it will take me to make a picture. I work awfully fast, but I do a little bit on this, and a little bit on that, and I go from one to another. So, of course, how can they be ready at a certain minute? “Now, if I were an author, I’m sure I could have everything on time. While artists think in space, authors think in time. Fortu- nately, I don’t have much to do for live au- thors; I generally illustrate for the dead ones. But the ones that are alive come to me and say, ‘I would like a picture for this part where the hero comes in and puts the princess on the magic carpet, and they both fly out of the window.’ I say, ‘Yes, yes, I will make that picture.’ But then I go ahead the way I want to, because, you see, I’m not a movie camera. I can’t make peo- ple obey commands shouted through a mega- phone. And I haven’t any way of making peo- Page Etghteen ple walk around in my _ pic- tures. I have to crystalli ze the action at a certain moment, so I think of it in line color and position, not in ac- tion.” Mr. Pog- any was born in Hungary and studied at the Uni- versity at Budapes t . At first he thought he would like to be an engineer, and he spe- cialized in that. “I got a commissio n with a com- pany of engineers and started work,’ he said, “but the blueprints were too much for me. 1 didn’t know so much about engineering, either, because at that university I played football instead of attending to my studies. I love football.” Always as a small boy he had used his pen- cil and brush and his genius had grown with him. So after the venture in engineering he began to study art. “But only for six weeks,” he explained. “Then I went off and started in by myself. First in Paris. There I illustrated for lots of magazines. My work always sold well, and I didn’t have to struggle. Then I crossed over to London. There I did more illustrating. I like better to work for Eng- lish publishers. They gave me a free hand. I could have all the colors I wanted, and I could decide for myself whether a picture should be in line drawing, and what kind of paper would be best for the reproduction. I did ‘Omar Khayyam’ and the ‘Ancient Mariner’ over there.”’
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Leonarpo pa Vinct TEACHING A Boy Tro Draw—By Witty Pocany a _After his sojourn i in London, Mr. Pogany. 3 decided to come to the United States. Of all ‘cbuntries he has known he likes this best. oo a gary; ** he said. “Jt wasn't the same. Every-— 2 ——. I had known was changed’ or gone. And-I was so glad to get back to America!” : * PS Se Mr. Se agg a hs OPE work has attracted from time to time con- siderable‘ attention. In addition to purely commercial work he designed the setting for - Metropolitan Opera House's production = - “Last summer I went back to: my Hun- . ~ of “Le Cog D'Or. ” His most recent promi- nence has been through his murals painted for the Children’s Theatre in the Heckscher Foundation Building at: Fifth Avenue and 104th Street, New York City. Not long ago Mr. Paseny lost his $200, 000 slander suit against David Belasco, Dean of American drama. And yet in losing he won something, according to the N. Y. American, he won the friendship of the famous producer and playwright, = “Davia vid Belasco made an amende honorable after the jury Laas returned a verdict in his ; Page Nineteen
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MICHAEL favor, a graceful gesture, withal dramatic in its simplicity and spontaneity. While attorneys on both sides were con- ferring on the possibility of appealing the verdict to a higher court, Belasco mounted the judge’s bench, spoke a few words and turned towards Pogany sitting in the rear of the court room. The judge lifted his finger and beckoned to the artist who rose and stepped up beside Belasco. Belasco spoke a few words, the famous benign Belasco smile illuminated his classic features, and the next moment the two men extended their right hands and the friend- ship of David Belaseo, artist, and Willy Pogany, artist, was sealed with a handshake of anderstanding: The tamous producer then took his foun- tain pen and, on a pad on the judge’s bench, he wrote the following statement, which he handed to the press! “IT am happy the jury Said: the words complained of are not to be understood as a reflection on Mr. Pogany, whom I consider an artist of the highest standing.” The slander suit which brought these Pio d eae ~ ANGELO AT WORK ON THE two. Mepici: StTatuE—By Witty Pocany artists together was based on a line in the play, “Call the Doctor,” from the pen of Jean Archibald, produced by 1920. nee enema oe a John G. Lang, mural painter and pioneer resident of Woodcliff, N. J., committed sui- cide recently by inhaling illuminating gas in his New York home. The body was found by his wife, Mrs. dropsy. ORE A SOR RRIRRRRN NOE RO. ene Renew your subscription today, tomorrow never comes. ech rats NR Te Aa ee te arenrcmnn—ete ee PICTURE VALUE Belasco in Martha Lang. Lang, who was sixty-two, had been ill of The first merit of pictures is the effect . which they can produce upon the mind; and the first step of a sensible man should é to receive involuntary effects from them. Pleasure and inspiration first, analysis after- : ward.—Beecher. Thy shape in every part so clean as might instruct the sculptor’s art.—Dryden.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST ih it > : ; *. ~~ VF eral Bees RY Dank: ats ~ * " é ‘. + AN ‘ eas aN fi it~ Tip XN ' nn aN MT 1 Peat i t — : : ‘ , ‘ 4 . i f ) ei}? x = ata! as SES A mt, HA cs, \j} as =“ nt Ft} ’ / %, es y ; : a -* ’ if Z GF, + =F ‘ =... a EWN a ta AS rs BANS C985: r a i / y i fet : ‘ age, ’ ie ray fs Pie Hn rad ; § rT et ns eee ea -f, e ak ‘ | Sad WY Raeerer %y ay a | ae ae ea Bre aad os CS lake | 4 | Lal r +t vs ae Se TaN wee eee. Saws Wiser, ee Ny ‘ ieee fi » Ya ms Pin, Cegar as roof : ‘ 3 ms Snes pee Figs .3 ig PGS ey Phi! dy ce eee “ Pi : A WEP pe Mf J ~~ pT ae 6 — he Fe ‘ A Se ee me ; 4 ae bd wie 4 FF cn lh. Salle : eee ErcuHING oF THE Baptistry, CANTERBURY. CATHEDRAL A Page Twenty-onc
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— . Bae, 5 2 ee as Nang ewe Sat E—FroM THE PAINTING By JULES
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- THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST PRIZE WINNING LANDSCAPE By WALTER EMERSON Baum” - Baum Finds Beauty at Home Wir Pas: InaustnaTions; ‘Counrzsr: oF: Pumapenruia Evening Bulletin “Walter Emerson heme, winner = the = Jennie Sesnan medal for the best landscape in the annual exhibition of the Pennsylvania | . Academy of Fine Arts, is known to art con- | “man who discovered the . - hoiseurs as the beauty of Main Street.” ‘But to. the folks of. Sellersville, Pa bie | is . the quiet little man who for the last. year . or so has been collecting items as the editor of the town’s a newspaper and who before that helped his aged. father run his corner barber shop. | _ “F guess you would say of me . that I howe always painted the scenes of my every-day “life,” he explained. "Pos, a minute the editor turned his back on. _his homely vision of color to jot down the item. on the back of an envelope. 7 He smiled as he noticed the envelop, i . fella: there was the announcement of the winning of the prize most coveted by. Amer- -ican landscape artists. In art circles in this city Mr. Baum is practically | unknown. They speak of him, always, as the unobtrusive little man who for years has been sending down from Sell- “T’ve never traveled much beyond my own home town—in fact, to satisfy me for the present.” - As he talked he walked up his Melevea Main Street gathering notes for the Sellers- ville Herald. We reached the corner and suddenly his. artist’s eye sparkled. The — _ twilight sun had spread a golden ray on the ot ee brick wall of the grocery store. _. For a minute he stood in silent ‘reverie. . > dou then the town jeweler poked his head . _ . | = =e out of the door of his shop to tell him that i. = bec had uae arrived up the street. deal of -attention.. I’ve always found enough beauty around. me | oe I ists paint what I see,” ersville some striking pictures of village _ scenes—similar to the one entitled “Sunlight _and Shadow” which won this year's prize. ‘In the gallery this canvas attracts a great The critics agree that Mr. Baum séems to express a rare affection in his landscapes for the lights and shadows that fall across the frame houses and gate-— posts of his village. The manner in which _ he brings out the texture of old walls, and his use of. blues in shadows has caught the attention of artists. “Do you know they Say you are the | painter who discovered the beauties of Main _ street?” he was asked. The question puzzled ie: he an- _ Page Twenty-three |
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tHE AMEREPCAN ART STUDENT AND COMMERC 1 AL Watrer -EmMerson Baum, LANDSCAPE PAINTER _ swered. The answer was simple enough. By way of explanation he led the way to his home at 127 Green street, just off the main street of. Sellersville, and showed -.a number of convases that he has painted. One is a view of St. Michael’s Lutheran Church, painted as he sat in the shadow of the house where he was born. The people. of Sellersville have watched him painting’ scenes of their town for the past twenty years. He sets up his large easel outdoors, backs it. with heavy artist's boards, plying his oils. To his fellow townsmen, painting is just his hobby, and few of them know that he has won. the Sesnan prize. To them he is their editor, a mémber of the school board and a man: who is not loath to help his father with the razor and shears ‘when there is a rush of customers‘ in the barber shop. Mr. Baum studied for a time at the Penn- sylvania Academy twelve years ago, but has Page Twenty-four and spends- his off hours patiently spent. all nis life in Sellersville. He has a wife and four children and has experienced all the struggles of the artist trying to pursue his studies and make a living at the same. time. “I guess you might say that I have spent my life painting scenes from my back yard,” he remarked with, however, no tinge of regret that he has never known the life. of the art colonies or Greenwich Village or even. Paris. “I always haunted the galleries of. the Academy. and he taught mé the use of oils. He left me his studio. equipment when he died. I° was able to study a little at the Academy but always I have had to work hard: to make both ends meet.” Baum was born December 14, Sellersville-and is a member of an old Pres- byterian Dutch family » which settled in Bucks county six generations ago. ARTIST : i) 2 : r rat atu Wah) Op ABRs ae ail eB As Pe oda a eee a | tS ae i ted Then I met William T. Trego, . 1884,. at
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THE AMERICAN ART JOSEPH AND POTIPHAR’S BUYING EUROPEAN ART A wave of indignation against America is reported in parts of Europe, especially in Great Britain, because American collec- tors are grabbing off so many valuable ob- jects of art and of literary and historical interest which Europe thinks should be kept sacred in the Old World. Americans have wealth and the. desire to possess many things that money can buy, including the art treasures of Europe. Europe, of course, thinks it vulgar of Ameri- cans to indulge this passion. It is true that many of the treasures now held by several European countries were not acquired by open sale and barter. Commenting upon this fact, the Chicago Tribune makes some very pointed remarks. It recalls for instance, that the Elgin marbles in the British museum were not dug out of the chalk cliffs of Albion or grown upon England’s soil. Lord Elgin, at the invita- tion of the Sultan of Turkey, who did not care, benevolently removed them from Greece about a century ago—-and Greece got no vulgar coin in compensation for their loss. Possibly it is more vulgar to acquire what STUDENT AND COMMERCIAL ARTIST WiFe--TiTiANn’s FAMOUS PAINTING one wants by paying for it what its owner asks than to gather it in by right of might, as the late Napoleon Bonparte did with many of the art treasures now in Paris. The Tribune does not venture to decide this ticklish problem outright, but it does say: “Things have a way of disappearing out of the lands in which genius produced them and in which they had historic value. A good deal of Chinese art went out of Peking after the Allies marched in to suppress the Boxers. Egyptian art decorates England as a token that the English have been in Egypt. “Force is a great collector, and powerful civilizations have levied on the genius of decaying or lost civilizations. The world has been an oyster. Shall these treasures all be sent back to the land of their birth under the direction of the League of Nations? We hear at least three votes no, one in English, one in French and one in Italian.” Several European countries have passed laws in an effort to keep rich foreigners, chiefly Yankees, from taking their art treas- ures away, but this has not greatly dis- couraged American. collectors, judging from the latest news reports. Page Twenty-five
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_ THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST a LL ae "| DECORATION :MARGINAL: CONTINUOUS BAND<TRUE Sot rs THE STEM LINE OR SKELETON LINE @2&vEprm: SEE ALSO “ARBOR VITAE” BY GODFREY BLOUNT-‘STEM LINE’="SPIRAL | | 3 Y Yi y WAYILY SO ie: QWO: v. 4 7 a THE TRUE BORDER-A BAND OF ORNAMENT WHOSE MOVEMESt " IS CONTINUOUS - ABOVE, BANDLIKE CHARACTER OF BORDER & THE PART PLAYED BY THE STEM LINE SHOWN - ~ BELOW THREE DIF- FERENT STEM LINES - EACH DEVELOPED IN SEVERAL WAYS< -WITH BRANCHINGS, STATIC ORNAMENTATION, AND TONE- DETERMINE RIGHT WIDTH FOR BAND “THEN ‘COMPLETELY FILL IT. «€ ae BY ADHERING TO A DEFINITE ORDER OF PROCEDURE - -~LAY ING OUT BAND *THEN STEM LUNE & FINALLY THE DETAILS eeee tec eaeeoen ee € 2282824 22 PF OZEHBZHA eG ZA *SZASSEP“ZBAABA*AS*A“GEZ=aA IN THE ORDER OF THEIR nuceies gposee H FREEDOM OF FORM AS pisos AS OF HANDLING BECOMES ACCEPTABLE we || TYPICAL WAYS OF BUILDING UP A MOTIVE ____ OF SIMPLE CHARACTER FROM A SINGLE ‘LINE -aaceresee eee @eae THE GIVEN LINE — ENRICHED BY REPETITION ~BY Gy FARALLELING Wan ; DOTS~BY MODIFIED PARALLELS ~ BY VARIATION OF THE O*}| IGINAL LINE FOR THE SECOND DIMENSION-BYCOMBING| __ “TIONS OF THE FOREGOING --- EXECUTION OFA REPEAT|| WITH PRACTICE THESE METHODS LEAD TO“EXTEMPORANEOUS DE-|| SIGNING": WITH ACTUAL MATERIALS-GIVING MUCH FREEDM|| : ) _ Courtesy of iecuitien Co., N.Y. C. Be Page Twenty-six | - mete eet: iS
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST [DECORATION-MARGINAL-THE CONTINUOUS BAND- | HISTORICAL EXAMPLES SE OTERLINEINGE ISH AMERICET TNDIAN- | Fs paseo) | ROMAN ARCHITECT URAL ORNAMENT AND ANALYSIS: | | THE STEMLINE HAS FIGURED IN ALL PERIODS FROM PREHISToR IC TIMES, IN NEARLY ALL LOCALITIES AND APPEARS IN. - PRACTICALLY EVERY CRAFT (THE IMPLIED STEMZINE OF oo EARLY GREEK ANIMAL Saal DESERVES TO BE peiennat : e _yemee of Macmillan ms N. ¥. Cc. ee Page Twenty-seven
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST BoorHBAY Harpor, MAINE—By B. L. CUMMINGS The Land of Sky Blue Waters By Henry B. Snevzi Let_us board the six o’clock train and have a look at it. Eight o’clock the following morning the porter will tell you the next stop is Bath, Maine. short walk brings us. to the water front where we are going to take a steamer. Here rolls the great. Kennebec River. No dirty contaminated stream, but clean, clear and blue. You take a long deep breath*.and feel it is good. No hurry here: we stand around, watch a truck unloading a few cases, a group of lounging natives, an occasional. passenger, and, finally the boat. Delibera- tion is-the fashion again. But at last a toot Page Twenty-eight We turn out and a of the whistle and we are out on the waters. Not up or down stream, but across for the other bank. We settle down forward with interest.. When it seems the Captain is go- ing to put the boat ashore, we discover a crack in the rocky bank and in we go and then the wonderful panorama _ unfolds. Rivers narrow. and wide, lakes that rival the Scotch, shores as lovely as when the Indian held sway, and all so blue and pure and refreshing that you feel as if you had escaped from a coal mine. Try to realize that a straight tine from the West to the East coast measures two
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST “Poot IN THE Woops’—By Henry B. SNELL
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hundred and seventy-eight miles, but meas- uring the indentations we get a shore line about two thousand five hundred miles, about - one-half of the Eastern tidal coast length of the United States. At last, glimpses of the ocean, another cut through a narrow pas- Sage ana we are in a great bay—Boothbay. moving and at anchor, stately fourmasters __and lowly coasting schooners, Gloucestermen after bait and ice, power boats and pleasure vessels, Are we going right out to sea? No, we are heading for Squirrel Island—an island studded with beautiful summer cottages and pine groves. If you want the last work in finish go ashore—there is an up-to-date ho- tel for you. The boat is off again. such a contrast: immaculate motor boats centre for miles around, the hub from which excursions radiate in all directions. _ rest—then stretch our legs by a tramp over the Indian Trail across the bay where the = | Page Thirty And what a change ;—shipping of all sorts craft, shapely yachts and grabby fishing . F That small island we are passing belongs 3 to the Rev. Dr. Fosdick and there through _ the trees is his secluded summer home. Then | the last landing, Boothbay Harbor, and with girls in gay colorfal summer ‘costumes — coming and going, for this is the shopping — We go ashore and up to the hotel for a — artists congregate and the Trail = A a see, art ceo L. | Nite Hunt—From THE Paintine By Hans MAKART famous walk on the shore edge of a steep rocky timber-covered slope, and if you have the capacity for it, stretch out on some moss covered spot and enjoy the trees, the sky and water, the gulls, the ferns, and all bu ees in wonderful profusion. Now we can plan expeditions: another steamboat trip up the Sheepscot River to Wiscasset, the most dignified town in Maine, settled by the Royalists after the Revolution and famous for Colonial architecture. Here around the village green with a setting of splendid elms are stately houses with those wonderful doorways, and windows that ar- tists love to paint. Another trip and every day, the boat leaves for the Island of Mon- hegan, sixteen miles out to sea. _ Who hasn’t seen pictures of this famous | lure of the artist? — It always will be painted for it oikew “more material than any spot of its size. on the eastern coast of the United States. To Pemagquid, another - delightful sail, - Here is a museum of. antiquities and block house and fortifications and a battle ground of the French and English which ‘seems — strange in this undisturbed landscape. _ ‘But leok at the map, for Tapoennans 4 are re -too numerous to record. os Hire a car and run sheiat a bit, nd: you a will understand why Maine is becoming one of the playgrounds of the ae, as well « as 3
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| ‘THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST ‘Nile-Hunt” A Composition Study A Discussion of. the Painting by Hans Makart ae ‘Guipbic historical records have feniiliar _ ized us with those special entertainments prepared by Cleopatra for the diversion of triumvirs, consuls, and kings. To this cata- _ logue belongs her ascent of the Cydnus and arrival at Tarsus in the character of Venus, © couched in a magnificent barge, which was propelled by beautiful maidens, seme of whom disported in the water as naiads and mermaids. Everything that could dazzle and delight the eye was profusely displayed; _while strains of music and ambrosial odors See were wafted to the shore. It was the ebodiment of a voluptuous dream. In the same category are her series . of feasts to Antony, each of which outdid its predecessor in the amazing variety and _-. vichness of its viands, and the fabulous splen- dor of its service—the last one of the series having its costliness enhanced by the sacri- _ fice of a pearl of wondrous size and beauty, which the queen dissolved in vinegar and drank before her astonished guests. The storys, too, of her fishing excursions with Antony have also been made current by fre-_ guent repetition, and all these incidents have _- furnished themes for the pencil of the artist as well as for the pen of the historian and _ biographer. Stories so wonderful have di- verted all ages, and proved that the extrava- gant fancies of Eastern romancers can searcely equal some of the facts of history. The artist has probably meant to picture one of the more ordinary pastimes of a royal Egyptian. The details of the composition — are chiefly supplied by the painter's imagina- tion after careful local studies, the work being the fruit of a winter’s sojourn in Egypt in 1875-6. The presence of a croco- dile in the net that has just been hauled in adds an element of danger which relieves _ the scene from tameness; while the energetic : action of the figures in the foreground is effectively contrasted with the characteristic _ Oriental languor which is abundantly repre- _ sented in the upper part of the composition. _ The swarthy, unctuous skins of these hunters, with their fine reflections of light, and the _vich variety of cplors in the manifold ele- ‘ments of the architecture, draperies, water, sky, plumage of birds, ete., all these have | afforded a favorable occasion for the display — : of the painter’s peculiar mastery of color. - Qn the whole the. subject is one of great ~ : - animation; the composition is “full of life”’ oak reflects the character of the hunt. There , is sufficient costume and ornament informa- ‘tion to make the reproduction a valuable one for the files of both teacher and student. Hans Makart was born at Salzbourg, 1840, and studied at Munich under Piloty. His subj jects are historical, and ‘are treated in a large, decorative style. In color he at- | tempted, with no small degree of success, to — revive the traditions of the Venetian school. He was Professor in the Academy of Vienna; - Member of the Academies of Berlin, Munich, and Vienna, and Officer of the Legion of Honor. His early death (in 1884) was wide- ly acpiared, (See page 30) *£ © & & The painting below, by F. Zmurko, repre- sents the Queen of the Nile after she had been bitten by the asp. The original com- position is rich in color, and portrays 2 natural solidity to the flesh and a “human- ness” that makes the character live. —By F. ZMURKO “CLEOPATRA” Page Thirty-one
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THE AMERICA ART STUDENT AND COMMERCIAL ARTIST The American Ag Student i in Paris By E. Morriti Copy The price of galleries for ex- - hibition purposes is going up, but so far the. French government does not charge rent ‘for the use of the — sidewalk. Hence the popu- larity of the sidewalk. It is really very sim- ple. One. sets up one’s can- vases against the wall, and_ tacks up a little sign, “A Vendre,” and then sits down to wait. Or better still, sets up an easel to paint a few street scenes “when not busy making sales.” The vogue for sidewalk exhibi- tions is becoming a veritablé epi- demic, _ particu- larly among young American artists. Space in even the small, out-of- hee way galleries costs 1,000 to 3,000 francs to- day, galleries that the critics never visit. Also one saves the dealer’s commission and the cost of printing a catalogue. * * * One is astounded on visiting Italy to see the number of Americans and English, resi- dent or “semi-resident’’ in that country. Most of them are ladies varying in age from 60 to 100, of course, but all displaying a _knowledge of the art treasures of Italy that would put many a dealer to shame. Men- tion any gallery—they know it; mention any picture in that gallery—they know it and more, can describe it accurately, that is to © say, there is a cow in the lower right-hand corner, and an angel in the centre, and something that looks like a Ford in the back- ground, “only, of course, they didn’t have Fords in those days, you knew. Page Thirty- iwvo DELICATELY CARVED Stone AT RAVENNA; ITALY hibit. with character studies of hobos and long- haired artists, and descendants of Rabelais They find _ Michael Angelo “jolly pretty.” Artistically they don’t know one side of a canvas from another, and yet they are perfectly ready, in fact insistant- ly ready, to set themselves up as critics of art. Italy has been so sentimentaliz e d that a he-man artist doesn’t care to go there to do _ serious painting. That is the reason we do not see more modern _ paint- ings of Venice, for _ instance. Venice lends _it- self very readily to the modernist, but should he at- . tempt anything — outside the tradi- tions he would probably be lynched by a horde of American and English women! eo &¢ -%@% Florence is, of course, the Mecca for the “art-loving’’ world. The Florentines are well aware of the fact and every block con- tains at least three or four art ‘shops. ‘“Guar- anteed”’ primitives can be bought most any-_ where at prices from $50 up. However, whether modern copies or not, many of these paintings are extremely decorative and would Brace ony wall. * # * * Surfeited with the labor of trying to un-— defstand the serious thoughts of the artists, Paris is seeking relief at the Salon des Humoristes, whose rooms haye been packed to overflowing since the opening of the ex- Bitter political cartoons are mixed are much in evidence. A series of cartoons ~~
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: ’ : 7 THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST LANDSCAPE BY MARSDEN Hartity--On Exnteition IN Paris, FRANCE, IN THE SHOW BY Six AMERICAN ARTISTS predicting the ultimate results of modern invention are among the most amusing. How aman steps out of bed at 8:59 a. m. and one minute later finds himself at the office, bathed, dressed, manicured, and generally polished in the brief space of sixty seconds. is a characteristic sketch. * * * % That American artists in Paris may have an annual exhibition all their own, is being predicted by those who claim to know. Re- cently Me. Albert Legrand, a director of the Association Francaise d’Expansion and d’Eichanges Artistiques held a conference with Ambassador Herrick for the purpose ot making the suggestion into a definite plan. The Ambassador expressed himself as_ will- ing to help and a committee of American artists, resident in Paris, has been formed for the purpose of carrying out the plan. Only artists actually living in France would be allowed to exhibit, but it would undoubt- edly open the way for many little known Americans to bring their works’ into the public eye. * * Temporarily to be exhibited at an arts ex- position in Paris, the famous Gobelin tap- estry, depicting the departure of Pennsyl- vania troops for the world war, and which was presented to Philadelphia by the French government, recently arrived here after its transatlantic voyage. The tapestry, representing five years of work in the making, was shipped from the Philadelphia city hall by employees under Chief Neeld, of the bureau of city property. Infinite care was taken in placing the treas- ured art work in a galvanized receptacle nine feet long and then placing that within a wooden box. Guards accompanied it to New York, where it was turned over to a representive of the French government. It will be re- turned to its place in Memorial Hall in Fair- mount Park later in the vear. Page Thirty-three
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FHE AMERICAN ART STUDENT AND COMMERCIAL ARTIST DIANA AT ACTAEON—PAINTED BY
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST 3D BY FRIEDRICH J.
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VFHE AMERICAN ART STUDENT AND COMMERCIAL ARTIST neem eenenenetetenseemnemeteneasneniiaaaeeeearieeeaemmmrmmememeeaimemamemtetmmeminemnmemneememmemmeememenmmmnnnenemmns nnn Nn nn En Sn ee ee Tne ennEn ETT eT NO EET) afd A LA TERRE” —SCULPTURE By A, BouCHER Page Thirty-six
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ARTIST PaIntep BY F. M. Brept Page Thirty-seven OMMERCIAL ¥ C Qa 2, i> By z= <a) a) oe! wh A nS he A N ’ tT AMERTIC THE "iar ¢
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THE AMERICAN ART STUDENT AND COMMERCIAL Lene eae “AT THE Mrirror”—PaintING BY Sicourp Skxou Gesohic Art in Philadephia Philadelphians who create “business art” ~—advertising, engraving, printing and the like—have promised to co-operate in every ‘possible way with the Sesqui-Centennial celebration, through the Graphic Arts League which gecteals held its. organization meeting in the City Club. There are clubs in New York, Chicagu and other cities, whose purpose is to give business men a chance to learn to paint, model and draw; and now there is a move- ment afoot to start a similar institution in Philadelphia. : ‘Many a man and woman felt in- youth the creative urge of the. artist and had to Page Teeteeigat oe = os ; 3 mae : satel in the suppress it because of the need of earning daily bread in a less idealistic but more im-. mediately remunerative calling. Such or- ganizations as these will awaken and develop the latest aptitude. Their aim is not. to create artists, but to release inclinations that shall enrich and inspire the lives of all who are sincerely interested. — ‘Hugh H. Breckenridge will be repre- Pennsylvania Academy of the Fine Arts by — his canvas “The Village Stream.’”’ The Academy has purchased ‘through the Temple Fund the painting, amen was in the 120th annual exhibition, | Br ae ARTIST permanent collection of the
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AMERICAN ART STUDENT AND COMMERCIAL ARTIST % 4 hy ea "as “4 > e “22 24 %: =e ~ * A Gateway IN France—Ercuine Prixtep py FReperick REYNOLDS \-1iNne - Page Thirt
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RICAN ART STUDENT AND COMMERCIAL ARTIST 1 wd AM k THE
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A DutcH Woman—By This is the fourth picture of a series we are publishing for art supervisors and public school teachers; another. will appear in an early issue. Teachers can use the large pic- ture of “‘A Dutch Woman” and pin it to the wall in their class room, The smaller pic- Mane. J. Comerre-PAton tures can be clipped apart and distributed to the students. They will get opportunity, then, to write compositions on art, costume design, or on Holland; pasting the pictures on their composition sheets. The original is in excellent condition in a French gallery. Page Forty-one
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sp repeater Marx’s Pasierimt: mx THE Leresic GALLERY cote cee a Sculptor Conquering Paralysis "Here and there about New York can be. seen the marks of Philip Martiny. There are twenty-four full-size statues on the Hall of Records wrought by his hands. Fifth avenue. There are several groups in the home of the late Senator Clark. _ _. All. these were done in the days when _Martiny had just come into his own after being for several years a pupil-aide of .Au- gustus Saint-Gaudens, the dean of American sculptors. . With his own studio not far from that once occupied by the old master, Mar- tiny. had literally cut a place for himself. Then there came a morning, three. years ago, when, he woke as though out of an evil | dream. Still dazed a bit, he started to get up. His right arm was-limp, his. right leg he could hardly move. They have remained the same ever since, paralyzed. Now the sculptor sits through the inka his home in Bayside, L. I., waiting for life ‘to come back to the hand that failed. He models as best. he can with the left hand. He has. developed: it well. But it doesn’t suffice. So he sits and waits. His hair and his Vandyke : are graying with the vigil. | ife-in_the- “That has given me hope. With my leg — I now am able — he Says. ‘Some day it will come back. there has been progress. . Page Forty-two - And I feel life there often enough te ere me —3 There is am _a figure of Athena on the Frick mansion on . ; land he began to work with clay early. He- done so, but this man took an interest in- me his seerets. man, I got work as a decorator. man Saint-Gaudens- saw some of aed a. ay Wes SAP dagt Pernt - Pg RAE PEE : , 4 ~ ME ; ees \ te y ie, Ag . fe Pats we | hi €7c0 t y : Hk i é PS - ¥ ,. ie | 7 a é ed ee , re BEA Wey ee ha ey ! Rae Se kt ey A ny ks Sas ht ¥ fo 8 UE Se ed i ees RA als ee al) ted Ht ia ie ka ee a AN iis qs he fe t $ . ers Ae Spotl > pe ae Sts S12 3 ek he ve kp Es 4 ene: ba ree a “ ; Ds h mn +h, wee Ts Te es ee oe to move it almost as freely as Fax i But it is the arm and the hand that I need much hope.” -Martiny is an Alsatian. In his native fashioned all sorts of figures and ornaments, and was looked upon as something of a = prodigy. | “There was. a sculptor ‘there oe ia Francois,” he says, “who was particularly ae adept in the fashioning of draperies in clay. His work fascinated me. He was splendid, and it is not a knack which every sie nance has by any means. “One day I asked him to tell me how he did it. Not every sculptor would have bat me. He drew from my pocket a silk de ‘kerchief: which I always carried and, ittren = it fall this way and that in folds, he told — In two weeks I knew all that he knew about the sculpture of draperies. — ees: With his knowledge I ieee to come to_ America. “When I first landed ce: 2 very young In those 2 4 days $6—a_day- was- good pay, and I was doing well. But in my own'time I worked _ In the shop of another — at my seulpture.
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ae He told the t man to send me around to see him. “I went, walking on air. Paris, and. that he needed some one to work ‘was an honor. — “He was a wonderful man—a man tree Soon after I became his assistant he began i a a Nat a naan aA RS he a Sr eal a a i ft i eg a ioe th Ul Ca BY alte Ce dr 9, (SEAS 4 f a aA ai ea ear BE a al te aka le fs : 2 ‘ ‘ aye a 4 R kat: ’ NS " bi elk ¥ = had a good chance to study the child. skull was not large enough. to work that out himself. a : a | iter another iia. the drapery work. He called me in. he said. ‘I want you to work out the folds . around the knee. to see what you have done. take the nicest folds.’ Remember, just -me.in.Alsace. I knew that this was my real didn’t stop. at the knee. thigh. ) Seembcred he had told me to call him in half I was elated. were wonderful years, too. him when he did the Diana which now stands in Madison Square Garden, but I remember “one.” | steillio: success followed success. -He _ -eommissioned to.do the figures on the Agri- eultural © Building at the Chicago World’s Eo Mair. & - the Arts Building to do also. _» He did a panel of babies for the “stair- S Cay in the Library of Congress in Washing- was ee newell: posts . It was Guat at __ the time he had finished his Farragut, which _ -mew-stands in Madison Square. He told me _ that MacMonnies was leaving him, going to — ‘He offered. me the place, and I leaped at it, for to work with such a master with ali. that he knew and eager to help. modeling a head of the Beeman baby. Part of my job was to make grotesque things in _ clay to keep the baby amused. In this way _ “When Saint-Gaudens had finished the head I volunteered the criticism that the © “Go ahead and. — make it, then,’ he said. And I did. But he woaldn’s let me touch the face. He wanted : , when he did ‘The Puritan,’ I haa ‘He was not satisfied with “Tm going downstairs to work on my Lincoln,’ Call. me in half an hour I recalled all my good. Taal hed wad chance. _ I. -worked with a real spirit. I ‘didn’t: mee take the nicest folds. I. took “them all. I made it my own way. And I - worked to assy “Tt was several hours lekee that I re- * an hour. I called. him. He came up and ‘looked at it. He told me it was beautiful. He. = me by the. shoulders and told me is ene aortic’ with him for five years. They I was not with 3 that he did it tyice—he didn’ t like the first | City's - When Martiny branched out to his own “Peace.’ When it was finished he was given Ee _ ton and two figures which stand on the © : ate did a Civil War | THE AMERICAN ART STUDENT AND. COMMERCIAL ARTIST THe THREE Graces : monument which stands in front of Jersey — City. ‘Hall and which is called Itisa memorial to the men of the: city. who fell in the Civil War. ie When the war came he did a group which | “stood for months in the triangle at the corner where Fifth avenue and Broadway meet at Twenty-third street. It was called “The Allies.” In it -were four soldier figures— American, French, British and Italian— charging forward, and over. Hace the figure of Victory. | Pose Forty-three
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THE ART AMERICAN HaAGAR AND ISHMAEL-—PAINTED BY MLLE. At the close of the war he was commis- sioned to do several memorial figures. stands in Chelsea Square, another in Abing- don Square. And then there came that morning in 1921, when he woke to find his right side useless. | “Three years ago,” he says. “It has been an eternity. I have wanted so to work. My brain works. But my hand will not. Still there is that occasional ‘twinge of life.’--- Phiadelpkia Public Ledger. Sen mmm on ANNA Ate ft: em aa Amma eA THE BLACK VENUS One of the most curious relies of paganism remaining in a Christian country is the gigan- tic black stone figure of a woman which is to be seen in a forest of the district of Mor- bihan in Brittany. It is known as “The Black Venus,” probably dates far back of the time when the Greeks and the Romans worshipped that goddess. Antiquarians assert that this figure belongs to the age of the serpent-worship- pers, one of whose subterranean temples is in the neighborhood. This would make the figure far older than the Christian era. The statue is that of a huge uncouth wo- man, with a sullen, anery Saerionstice, her Page Forty-four STUDENT AND COMMERCIAL One -on the ear, and if the anger of the ‘ place. : Some two hundred years ago y Count Pierre but | Ipa WaAvuGH form enveloped in a loose mantle. The su- perstitious Bretons have always worshipped the figure, asserting that it has power over the weather and the crops. If the idol is neglected they declare that the grain dies ‘black woman’ is further roused a tidal wave sweeps over Morbihan. Twice the stene was cast into the sea by pious. folks, who hoped thereby to put an end to this idolatry, and twice the peasants dragged it back and set it up in its old de Lannion, on whose estate the figure stood, in order to save the statue from both friends and enemics dragged it by forty yoke of oxen to his own chateau and set it up in the courtyard. He cut an inscription on the base of the pedestal, declaring the figure. to be a Venus carved by Caesar's soldiers. | Like a woman’s the nude in Art more than base insinuations and unfair criticism.-—Anonymous. If you plan to go on a lengthy vacation this summer, let us know in advance and the issue will be forwarded to you there. miss any of your subscription. . ARTISTS: : Nan) \ re ok. RE Rs Ss dir gal aha thes Whee Sf 2 ites : By: 2 s reputation, netting hurts Don't a bach * ‘ a , 5 ee i % 5 uh aa ( scitaaed A 5 h ae a deh | r Wop) Any ya Ve) Sore pies oighe SACI Nea bts one J Ra) oor ew SE tw Beet aie eee ew Sy) oo ieat tele Gar! hey Su ge ti re Akad 1, ni ed ia Pa) es end aT: an ay On 4 tg
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THE AMERICAN ART ND COMMERCIAL ARTIST HuNTRESS—-SCULPTURE BY F. Barris Page Forty-five
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; In THE Fourst—Pauntep BY FE. Von. PAUSINGEE Plea For Art Centers - s 4 Public recreation work must Se: supple- mented by private organizations, said Mrs. V. G. Simkhovitch, director of Greenwich House, New York, at a recent meeting of the Federation Social Service Forum. “It is a psychological fact that many chil- dren and young people are in utter dread of being ‘recreated’,” she said, “and need some further stimules to worth-while amuse- ment than the public playgrounds offer. _ “Ome of the most successful forms of rec- reation of this kind may be found in com- ‘munity art centres, where young people may receive competent training in painting, sculp- ture, music or other form of art. “The idea is not primarily to "make profes- sional artists, but to provide recreation plus a sound technical knowledge. Every neigh- borhood should offer the advantages of such Page Forty-six wearing cult, is practically the only Ameri-— ao ‘not to participate. . 3 = ae centres, which tend to keep our young people _ 3 from frivolous or dangerous forms of amuse- ment.” Sa LONE AMERICAN EXHIBITOR Raymond Duncan, founder of the Greek- gowned, bare-legged, bare-headed, sandal- can exhibitor at the International Exposition ) Se of Decorative Arts in Paris this spring, un- less the United States reverses its decision ge -Dancan, in his customary garb, despite the ultra-Marchy weather, appeared at the — Grand Palais recently to complete arrange- _ ments for his display of textiles, hand woven and decorated by the cult, which wilt be oS 4 shown in the Grand Palais itself. SR ame
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«THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST ih “Bruette”—By Paut MoscHowit1z, NATIONAL ACADEMY OF DEsiGN EXHIBITION
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST - PsycuHe von ZEPHYR GETRAGEN—SeERIES I[—From Patt THUMANN Page Forty-ctght
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST _ || PERMALBA Primed CANVASES! (Primed with the Celebrated Permalba Pigment) You Can Prove Its Permanence What: will be the appearance of your canvas in fifty years time or even ten years time? How will it react to the impure and sulphurous atmos- ° phere to which it will be exposed? You can answer these questions in the twinkling of an eye. Procure one ounce of Sodium Sulphide from your druggist. Dissolve this in a pint of water and apply a drop of the solution to your canvas. If your ground darkens or turns black, it is unsafe for thin techinques and those in which the canvas itself is allowed to show through. Artists’ Colormen Since 1854 The F. Weber Co. have been America’s leading For in one second you learn by this test what ten years will do to your painting. Canvas primed with PERMALBA pigment will remain inert to this test. In other words, after the application of sodium sulphide PERMALBA Primed CANVAS. will remain as white as it was before. You can know beforehand just how PERMALBA Primed CANVAS will endure. And yet, PERMALBA Primed CANVASES cost no more than ordinary canvases. Test them vourself, or get your dealer to do it, the next time you buy canvas. Ask your dealer for a sample or write direct to Dept.: A.S., F. Weber Co., 1220 Buttonwood Street, Philadelphia. Branches: St. Louis and Baltimore. . color manufacturers for over half ae century. Fine, permanent colors, “The Colors the Old Masters Would Have Used.’ Also manufac- turers of easels, palettes, brushes and other art- ists supplies. Ask for these Weber products by name, your dealer car- ries them. || PERMALBA Primed CANVAS Look for the Name on the Selvedge Page Forty-nine
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*” Carmz ix THe Mouxtaws or Foxez—E. pe Vonzzreoy A | With Dealer and Manufacturer - Of Interest to Importer, W holesaler, Jobber and Retailer A new ‘textile paint. which can be strength. At is washable in soap and water or gasoline and is. spread once it is , properly spliced. The tees: Lead: Pencil. Co. announce their new product, “Unique Thin Lead Col- - ored Pencils.”: These fill a long-felt need or | both the engineering ; and commercial world. .The leads. are the same diameter as the ordinary tion. - These pencils ¢ come: in n blue, ed green. cand . yellow and can be used exactly : ‘as. aed cace black lead pencils. - Page Fifty ain called “Paintex” is_ now-on the market. The manufacturers, after pant long experiments, claim this to be the only applied to any fabric. without in the least affecting its texture or guaranteed not to run or : Primed Canvases. the field, their product is all. meee claim it. to. pencils are expected to pencil. and are’ colored to match the lead ‘for peels identifica- | == eek te iatveiliiee: the Unique colane. to artists, draftsmen, teachers, etc., the - American Lead Pencil Company offer to send ‘free samples o: Fifth: — New York City. ‘State color de- oe: . request from their offices, 220. e & . eee: = 5 Weber Co. ate ‘pushing their: Perwalba From what ‘we hear from — * * ea +. New printed matter, for students pee ‘dealers, has‘ just been issued by the Economy — Drawing Table -Manofacturing _ Co. of Adrian, Michigan. _ The. company, | headed by R. C. Manning, manufactures a high grade of architects’ and. artists’: ‘drawing table in addition to. their revular line. of ‘wood and. steel drafting room furniture. :
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST COTTAGE COLORS BRILLIANT OPAQUE FINELY GROUND EASILY APPLIED THEY WILL PUT YOUR IDEAS “ACROSS”! IN OVER FORTY-FOUR POSTER SHADES. SPECIAL OFFER & oes ACQU AINT YOU WITH THE RARE BRILLIANCE AND DENSITY OF COTTAGE COLORS -- WE WILL MAIL PREPAID, ON: RECEIPT OF ONE DOLLAR SIX FULL SIZE JARS OR:TUBES OF THE FOLLOWING COLORS: Cypress Green Scarlet Red Grey. 7 No: Lh. Lemon Yellow Naples Yellow French Blue REGULAR PRICE $2.00 Our Beautiful New Color Card Is Included in This Offer NOT DUE TO THE EXCELLENT RESPONSE TO OUR LAST ADVT. IN THE JANUARY NUMBER WE HAVE DECIDED TO GIVE ALL USERS OF POSTER COLORS ANOTHER CHANCE TO AVAIL THEMSELVES OF THIS OFFER Offer Closes on July First ADDRESS ALL MAIL REGARDING THIS OFFER TO COTTAGE COLOR CO., Inc. Also Distributors of 114 Chambers Street oy New York, N. Y. PLACARD COLORS Page Fifty-one
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST See : ‘ Artists’ Materials & Drawing Supplies of Every Description From the largest and most complete stock Catalog will be mailed upon request Trade Mark A. H. ABBOTT & COMPANY Importers & Dealers 208-10-12 South Wabash Avenue Chicago, Illinois SUPERFINE BELGIAN CANVAS 84 inches wide, 11 yd. roll $29.00 42 inches wide, 11 yd. roll $15.00 Samples on request—dealers communicate ART IMPORTING CO. 5922 Market St. ARTIST and SIGN WRITERS’ MATERIALS OIL and SHOW CARD COLORS BRUSHES ALL STYLES HERMAN W. SCHULZ 1305 Arch Street Philadelphia BACO BATIK DYES Packed in 2-ounce tins—Shipped Parcel Post. A wide assortment of highly concentrated colors covering every requirement. Used generally by artists and commercial houses Write for list with prices BACHMEIER & COMPANY, 437 West 3%th Street New York. N. Y. Department 10 Stands for —s 9 MADE” meee fos Will not harden er and Per rol ot NOBEMA . PRODUCTS CORP. Dept. 2 Page Fifty-two Philadelphia 164 E. 58th St., New York City PAINTEX The Textile Paint— RILLIANT, full of life and beauty, for use on silks, satins, velvets. Permanent, washable, non- spreading. Can be dry cleaned; leaves fabric soft and pliable. Ready for use. Made in 16 shades. Put up in 2 oz. bottle. set 6 important colors SPECIAL?%., and full directions $3.00 Sold at department and art supply stores If your dealer cannot supply you— SEND NO MONEY—Your name and address is sufficient. Pay postman $3.00 plus postage. Special discount for Schools and Teachers PAINTEX COMPANY 32 Irving Place New York, N. Y. CANVASES OF EXCEPTIONAL SIZE IN ALL WIDTHS UP TO 24 FEET DECORATIVE: BURLAPS DRAPERIES FOR WALLS RICHTER MFG. CO. 131-133 East 23rd St., New York MAIN OFFICE AND WORKS TENAFLY, NJ. JOS. MAYER: | for Quality \COLORS | ('é BRUSHEY 4 A complete line of high ) grade Artists Supplies at reasonable prices ) 19. East 14" Street\\y \ “e ae New YOK C1 me Artists’ and Illustrators’ Materials We specialize in CAMBRIDGE, WEIMAR, REM- BRANDT, WINSOR and NEW- TON, and DEVOE OIL COLORS BEST QUALITY OF CANVAS RUBENS BRUSHES SUPPLIES FOR SIGN AND SHOW CARD WRITERS Service and Cerrect Prices HENRY M. TAWS | 9°99 ARCH &F.. PHILADELPHIA
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST DRAWING LerreninG PENS MADE IN & STYLES "a" SQUARE e “B” ROUND and *C” OBLONG * 5SIZES:> IN EACH STYLE 50% Fora SET OF FIVE ANY STYLE ALADDIN RUBBED HIS LAMP— With the Paasche Air Brush, beautiful pos- ters, showcards, window backgrounds, etc., are at your beck and call by almost as simple a process as the rubbing of Aladdin’s Lamp. Whether you make such displays for sale, or as a merchant get them up to increase your business, you need a Paasche Air Brush outfit. Write us today for our catalogue and prices. It will pay you. PAASCHE AIR BRUSH COMPANY 1924 Diversey Parkway, Chicago New York Cleveland Detroit Los Angeles HIGGINS’ HEN Drawing Ink is needed the architect or engineer first thinks of reservoir HIGGINS’. Whatever shade is required, é there is a color of HIGGINS’ Ink suited > pover-the-tip amac Gnglish Orders tilled by Henry C Butler, Aston Hill, Hawarden Eng. for the purpose. CThis auxiliary reservoir — BL ACKS (a patent feature of tc croton? e se ss Spreads the ink event General (soluble)—for fine line work. over entire marki 24 ere eles : e ing ti Waterproof—for working drawings. That’ s thats why the Speedball” COLORS is the only Droad:stroke All Waterproof pen that ‘will functior, CARMINE GREEN BROWN on the lateral strokes +) BRICK RED BLUE SCARLET H, ORANGE VERMILION YELLOW he cast of a Speedball fon, VIOLET INDIGO WHITE ts so small when compared Forty-three years of experience have made with the service tt renders —————————— HIGGINS’ that you cannot afford to © A\\\\i ITT /, [/> Drawing Inks experiment with substitutes De aa the world’s at the expense of the speed standard. a _ and geality of your work : Ae = thi Gui an Chas. M. Higgins Epeadball Percy nd Bags Tent Bok & Co tied ene 11 Farringdon city. Sone n se ee ee State. __ i i a ea EF sve, London, C.Howard Hunt Pen Co. E. C. 4. S eed ball Pe sepeedal ike’ Eroctiel tocks Page Fifty-three
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Drawing—17 degrees—6B to 9H Charcoal Pencils—Crayon Pencils DEALERS WRITE FOR SAMPLES AND PRICES JIS. STAEDTLER 55 Worth Street New York shexembad /ENUS PENCILS j \ 17 black degrees Se 3 copying —<4 WT Modern draft- ing room standards emanda Pencil of Superlative Excellence. VENUS PENCILS are matchless for smoothness of lead; uniformity of grading and durability of point. Plain ends, per doz. . . . . $1.00 Rubber ends, per doz . . . $1.20 At all stationers, drafting supply dealers and stores throughout the world American Lead Pencil Co. 207 Fifth Avenue, New York Send Samples VENUS degrees checked— For bold, heavy lines . . 6B-5B-4B-3B For writing, sketching . . 2B B-HB-F-H For clean, finelines . 2H-3H-4H-5H-6H For delicate, thinlines . . . 7H-8H-9H Name Address Page Fifty-four Intensely Black Crayon-Rolled Paper Covering Fashion Sketching—lIllustrating No. 1 Soft—No. 2 Medium—No. 8 Hard—wNo. 4 Ex. Hard—No. 5 Copal Hard. $1.25 Per Dozer: WILLIAM KORN 120 Centre St., New York, Dept. 8 CONTE CRAYONS Everywhere! The pencils and crayons advertised on these pages are today the leaders in the field. They are really worth buying. ABOUT POSTERS— Secure a portfolio of six beautiful re- productions of famous paintings by mail- ing this advertisement and three dol- lars for one year’s subscription to THE POSTER today. THE POSTER 307 South Green Street, Chicago THE ART OF THE CAMERA is stimulating and instructive fo Artists and Art Students Painters, Etchers, Draftsmen, all are recognizing the growing stimulus of Photography. Camera Craft is the Potent Link that Ties the Graphic Arts together. 15 Cents the Copy $1.50 by the Year Sample copy on request CAMERA CRAFT PUBLISHING CO. Claus Spreckels Building - San Francisco, Californi:
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THE AMERICAN ART STUDENT “ae "Ss, Bridge over the Delaware River, between Philadelphia and Camden, N. J. IANT hanging spans connecting two great states . . . the dream of years and the hope of millions now a thing of beauty and of growing reality through the genius of Mod- jeski! Truly, an achievement worthy of an honored place among the masterpieces of all time now being drawn by Earl Horter with Dixon's Eldorado Pencils. DIXON—PENCILS, Dept. 228-J, JERSEY CITY, N. J. Canadian Distributors: A. R. MacDougall & Co. Limited, Toronto AND COMMERCIAL ARTIST SAMPLE. OFFE Write for full-length free samples of ‘‘The master drawing pencil"’ and of Dixon’s “‘BEST’’ Colored Pencils. In their field, the ‘‘BEST’’ Colored Pencils hold the same position of supremacy as Dixon’s Eldorado. Page Fifty-five
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST "THE GORR PORTABLE ETCHING PRESS —— Our presses are built to give the best service at the least possible weight, and are used, tested and approved by th the world’s most famous etchers. Send for Catalog No. 103 MODEL SPECIALTY CoO. 401 E. 19th Street, New York LINOLEUM BLOCK PRINTING N silks, cotton, linen, paper, parchment or almost any surface that you may choose. This most interesting art easily learned. OMPLETE sets of tools, blocks, paper, etc., at prices of Five Forty-five and up. a Descriptive circular on request. THE PALETTE ART CO. 327 FIFTH AVE., (33rd St.) NEW YORK | Perfection Adjustable Drawing Table plication. Top: soft pine. Frame: plain Oak. Raised and lowered from 31 to 41 inches. Tilt board any angle from horizon- tal to vertical. Sold by leading dealers everywhere Economy Drawing Table & Mfg. Co. Adrian, Mich. or 24 Horatio St., New Secs epee es Cee ae | Top size 23 x 31, $11.00; other sizes on ap- Page Fifty-six Canvas Yes Sir! If Someone Told You— That you could have that favorite print, snapshot or sketch enlarged on canvas wouldn’t it interest you? Enlargements are made on a high grade of canvas and sent to you stretched, ready to paint. Or we color them too. We've been doing this for over ten years and have the knack of knowing what you want.. WRITE FOR DETAILS Clark & Hreed 4 East 8th St. New York The Hoffman PEERLESS Drawing Stand Universal Adjustable Revolving Board A light, handsome, serviceable stand ad- justable from 30” to 43” in height. Tilt board any angle from horizontal to ver- tical. Turn drawing. to any position by revolving board. GUARANTEED the fin- est Artists’ stand on the market or your money back. Sold by leading dealers or direct. Write for booklet No. 2. Hoffman Drawing Stand Co. 281 Meigs St. Rochester, N. Y.
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST For Landscape Scenes Glaze your paintings to preserve for all time the brilliance so quickly lost in nature. Glaz- ing is easily and effectively accomplished by the use of ROEHRIG’S. TRANSPARENT OIL COLORS GUARANTEED PERMANENT If your dealer can not supply you write Dept. S ROEHRIG-BIELENBERG CO., Inc. 155 Nevins Street Brooklyn, N. Y. Peerless Water and Oil Colors Automatic-Blending Colors A complete set of either water colors, or oil colors, 15 colors to the set, mailed post- paid for $2.50. Water Colors In bound booklets; three sizes. In extra film leaflets; 150 shades. In liquid form. Assorated boxes and containers. Water colors for air-brush use. Photo-Oils In boxes of various size. In extra tubes —36 shades—each, 25c. Mediums, flake white, etc. Our photo-oils have gained a wide popularity. If you have learned the art of applying oil colors to your photo- graphs, a revelation awaits you when first you try these wonderful Peerless Photo-Oils. They are the last word in efficiency as well as simplicity. Illustrated catalog of all our products for a stamp. JAPANESE WATER COLOR CO. Peerless Building Diamond Place ROCHESTER, N. Y. Established 1902 PANPECO Oil, Water, and Tempera Colors made by P & P Chemical Co. Passaic, N. J. Department Artists’ Materials and Supplies Showroom 377 Broadway New York City ARTISTS’ BRUSHES Pencils, Watercolors, Drawing Instruments, Drawing and Tracing Papers, etc. We carry a large and carefully selected stock of Drawing Materials for Artists’ use and either have what you want or will secure it for you quickly. Kolesch & Co. 138 Fulton St. PHONE H CORtlandt 1535 Page Fifty-seven
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Whenever you look for Be Sad Painting Studies APPLIED ats Ps ay in finest color printing ART _ ag (Parrots, Peacocks, Fruits, ATER ee OO ECE DS IEE. VRE OR Fe ! Flowers, Landscapes, Ma- 15 WEST 48th ST., NEW YORK ee rines, etc.), all sizes, ask VISITORS INVITED WRITE FOR OUR CATALOGUE She; your dealer for Stehli Studies Catalog sent, to dealers only, on request. STEHLI Bros., Publishers, Zurich, Switzerland Electricity Means Better Work The Woodstock Electrite, newest member of the Woodstock family, has all the features that distinguish the standard Woodstock machine, plus the speed and ease of electrical oper- ation. Itis a revelation in typewriter efficiency and high grade character of work. Send for booklet which describes both the Electrite and the ART STUDIES standard Woodstock machine. A series of Bewitchingly Beautiful Photo Stud- ies: of Exceptional Interest to all Persons In- Ask for Demonstration berested ty Art. Some are Studio Poses, Others are Out Door Pictures. All are Beautiful, Interesti d Wieodstack i lewviher Cs. Rocke eautifu nteresting an 216 West Monroe Street 12 Photographs 3'/2x5'% Chicago, Illinois 40 Photographs 3%2x5' Branches and Distributors 5 Photographs 8x10 160 Miniature Samples Everywhere WOODSTOCK (lectrite- HOWARD SALES CO. The modem QO silecid Dept. 5. 1188A Folsom St. typewriter by electricity San Francisco, Cal. eS Si 1AP-ART BRUSHES Ee ADJUSTABLE ; SILWER i TIPS ee TRACE MARU @EC.U.S. 087.085, =. = 8 ANG ON ?7¢ - 30 oi Fa * feecnerremcnenerr seem toate feel mare EBT Fr) er mun ~ 7 ~ ~ Ask your Dealer or write for literature Art Bresh for Dealers write for Sales Plan ner eae JAP-ART BRUSH COMPANY, 154 Nassau St., N. Y. There's a Jap Page Fifty-eight
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST ARN MONEY halk Jatking | 5 AT HOME You. can earn $1 to $2 an hour in your spare time writing show cards. No canvassing or soliciting. We instruct you by our new simple Directograph System, supply you with work and pay you cash each week. Write today for full particulars and free booklet. WEST-ANGUS SHOW CARD SERVICE cag Authorized Capital $1.250,000.00 Toronto, Can. PROFESSIONAL Bian CARTOON COU 289 of these complete courses in cartooning, comics, and newspaper illustrating to be given away. Will not be sold at any price. Instruc- tion in caricature, sketching, figure drawing, sports cartooning, pen and ink, commercial design, etc. Materials sold at wholesale prices. Send stamp for folder “B” and particulars, PUBLISHERS’ SERVICE BUREAU P. O. Box 1275, City Hall Station, New York BE AN ARTIST WE CAN TEACH YOU ‘\. DRAWING in your own home during your spare time. Twenty- five years of successful teaching proves our ability. Artists receive large salaries. Write today for Art Year Book. SCH@IAPPLLED ART MAKE MONEY AT HOME You can earn good money at home in your spare time making show cards for us. No canvassing or soliciting. We show you how by our new simple instructograph method. We supply both men and women with work at home no matter where you live and pay you cash for all work completed each week. Full particulars and booklet free. Write today. AMERICAN SHOW CARD SYSTEM LIMITED, 119 Adams Building, Toronto, Canada 369 Colborne Building, — ewspapers and une as the Sohoel delivering the ¢g Our simple method quickly develops your talent in spare oom Write for terms and coessful students. list of su ASSOCIATED ART STUDIOS Dept. XX 100-108 West 23d St., New York City LEARN AD-WRITING Learn to write Advertisements, Sales Letters, etc. Ad- writers earn huge salaries, or work at home for various firms and get paid in advance. Big careers for young men and women. Ad-writing is easy to learn at home by our method. Write today for free particulars. Advertising Institute, Dept. 194. 4553 Emerson Ave., St. Louis, Mo. Gentlemen: Please send me free particulars of your home study course in practical Ad-writing. ND areata icicle tintevieniabacdeahnctspnaidd alesse naaanmgaionath i Ral SE, EE ee NR PR RA IS RS Oe SEE 2 ORE AOE AE a OT m REE EEE W4L PCA With BALDA’S TRICK DRAWINGS tickles the funnybone. Beginners’ Instructions with 28 Comic Trick Drawings and Patter for $1.00. Four other programs at $1.00 each. Sat- isfaction Guaranteed. Big List of Chalk Talk Supplies Free. RALDA ART SERVICE, Dept. 12, Oshkosh, Wis. PRIVATE LESSONS In Painting, Drawing. Figure Landscape and Composition. Also Sunday Life Class for Professionals Students. Tuition Fee $7.00 per month. Hours 10 A. M. to 1 P. M. Write now. XAVIER J. BARILE Street New York City Portrait, special and 7 West 14th METROPOLITAN ART SCHOOL 58 W. 57th Street, New York | The school that specializes on COLOR INSTRUC- TION. Life—Portrait—Landscape—Poster Cos- Register now | tume Design—Interior Decoration. for Summer Classes. New York School, May 15 to September 1. East Gloucester, Mass., July 1 to September 1. The Pennsylvania Academy of the Fine Arts Broad and Cherry Streets, Philadelphia Oldest Art School in America Instruction in Painting, Sculpture and Illustration Send for Illustrated Circular BARBARA BELL, Curator - idl arLlooning. QGricature age Sw far ery) ae | Catalogs anda/f cegtimentaly of, Zr Det Horse Heads: NY. : me \ (& ae Afni Page Fifty-nine
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST SUMMER SCHOOL OF ART The Breckenridge School of Painting EAST GLOUCESTER, MASS. Detroit School of Applied Art 2036 Woodward Ave. Practical Instructors for Every Branch in Commercial Art. Cadillac 4890 or Write for Season: July |i to August 26 Prospectus Landscape and Marine Painting, Painting from the Model in the Open Air and in the Studio, Portrait Painting, Still Life Painting and Composition. EDITH YOUNG ART SCHOOL Learn practical art for profession. Costume design, Illustration, Anat- omy, Color, ete. Individual in- struction, day, evening and by mail. Instructor HUGH H. BRECKENRIDGE Scientific Analysis of Color for the Artist 878-880 BROAD ST., NEWARK, N. J. Illustrated circular sent upon request Tel. Mulberry 1371 Summer Classes I EERE rs ER NET ERPS SEI AN AOE OE cs NATCHITOCHES ART COLONY FIFTH SUMMER SEASON, JUNE 5 to JULY 8 THE BROWNE ART CLASS WILL H. STEVENS, Instructor SKETCHING IN FRANCE, SPAIN AND ITALY Classes in landscape painting and composi- tion. Old town on the winding Cane River in ° 2 ere ° the hills of North Louisiana, Instruction in Painting, Figure, Land For illustrated folders write scape and in Composition IRMA SOMPAYRAC GLADYS BREAZEALE : NATCHITOCHES, LOUISIANA Under the direction of ee eee PAE MEET is BA a 6 GEORGE ELMER BROWNE, A.N. A. Instructor at Grand Central School of Art and at West End Art School, Provincetown, Mass. DRAWING AND PAINTIN Class sails for France, May $500 TO AID BEST STUDF™T TO ATTEND SCHOOL 14, returning about October 10 Detailed lessons, still lifs, figure, landscape. The method $30 COURSE YEAR’S HOME STUDY text-book ($3.00) and Painting Glass ($2.50) make Write at once for circular to possible ‘‘A truth of artistic vision never gained by many artists.’’—Transeript. ‘“‘A way for thousands to understand art.’’—Herald. Postage extra. Send stamped addressed envelope to ANSON K. CROSS, school of the MUSEUM OF FINE ARTS, Boston, Mass. GEORGE ELMER BROWNE 58 West 57th St. New York Phone Circle 7160 \ ~ — oa THIS SUMMER— 110 MILES FROM NEW YORK CITY THERE IS AN OLD STONE HOUSE BUILT BY THE DUTCH SETTLERS IN 1700—IT IS NOW THE SUMMER HOME OF THE FLORENCE WILDE STUDIO OF ILLUSTRATION. ALL BRANCHES OF COMMERCIAL AND THE FINE ARTS ARE TO BE TAUGHT. ALSO ADDED COURSES IN WEAVING, POTTERY, JEWELRY AND OTHER APPLIED ARTS. EVERY FORM OF RECREATION INCLUD- ING GOOD HORSES TO RIDE, TENNIS, SWIMMING, ETC., IS ON THE PROPERTY. EXCELLENT FOOD. SPECIAL COURSES ARE ARRANGED FOR Costume and TEACHERS AND ADVANCED STUDENTS. Millin t D ‘ Not Expensive! 3 © y = sn REGARDLESS OF YOUR PRESENT PLANS, Professional Courses IF YOU ARE INTERESTED IN AN IDEAL Individual instruction under COMBINATION OF SUMMER STUDY VACA- . . TION AND REST—WRITE WITHOUT FUR- the direction of THER DELAY TO SECRETARY OF WINTER Emil Alvin Hartman STUDIO—63 WEST 9th ST., N. Y. CITY. Call or write for information Phone Stuyvesant 8646 FASHION ACADEMY THE FLORENCE WILDE STUDIO fms Ne gina, shicellic! Aveace OF ILLUSTRATION New York City Page Sixty
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST GRAND CENTRAL SCHOOL of ART T GRAND CENTRAL TERMINAL BLDG., NEW YORK SUMMER CLASSES IN NEW YORK CITY JUNE Ast TO SEPTEMBER st LIFE DRAWING, PAINTING, ILLUSTRATION, COMMERCIAL ILLUSTRATION, DECORATIVE DESIGN, ANTIQUE, STILL LIFE AND COSTUME DESIGN SUMMER CLASSES OUT OF DOORS AT POINT PLEASANT, NEW JERSEY JULY 1\st TO SEPTEMBER 30th CATALOGS. AND ENROLLMENT BLANKS WILL BE MAILED ON APPLICATION, ADDRESS SECRETARY GRAND CENTRAL SCHOOL of ART | | GRAND CENTRAL TERMINAL BLDG., NEW YORK CITY S N E L L \\G , \\ NEW YORK Florence, Italy BOSTON FF PAINTING CLASS | fig) TeNewSchoe'o! nein YA 7 aber DOUGLAS JOHN CONNAH, Ss ND, President Mr. HENRY B. SNELL, N. A.,, Vs will resume his painting class at Boothbay Harbor, Maine, during July and August 7 OK under his own direction. rye Established 15 ‘Years \S i Practical and modern instruction in the EN Fine and Applied Arts. Staff of- ts Rey w & ma} yh noted artists and instructors. “9 Yevae. year Diploma Course. Private and Nas Nak ay: a ~~ instruction, Day and Evening. i < NORMAN ROCKWELL aie; Now Instructing In Illustration \Sgdeey ~~ GRACE CORSON The Term opens July 6th Bi [Bi ead Is Teaching Fashion Design and closes August 3lst. , Send for Booklet ‘A” : e (aaa) 1680 Broadway 248 Boylston St. | A@ For full particulars Address BUN: Circle 6861 Back Bay 3050 | Beceren, New York City Boston, Mass. ¢ GLADYS ATWOOD, Secretary 64 West 96th St. New York, N. Y. Page Sixty-one
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST Deft Craftsmanship The craftsmanship that produces Whatman Hand-Made Drawing Papers represents the accumulated experience of five generations of skilled paper makers. For a cen- tury and a half they have made the name “Whatman’? a_ touch- stone for the finest papers that can be procured. Send for folio No. D4, a handy sample book of stzes, surfaces and weights--FREE to artists, terinpian Garis Save Money on oe Standard ART Supplies 7-11 Spruce Street New York, N. Y. Get Bart’s latest catalog of quality art supplies and materials at lowest prices. Paints, crayons, brushes, pens, drawing paper, pastelles, show card outfits.— everything needed by the professional, amateur or correspondent student. Com- plete stocks and immediate service. Send 4c. stamps for catalog. BART SUPPLIES 3 So. 6th St., Minneapolis, Minn. FOR ARTISTS—STUDENTS—DESIGNERS! universally recognized high class board that meets every requirement. Obtainable in extra smooth or high tooth finish of sizes and thicknesses to suit. A trial is convincing—vwrite for samples. HURLOCK BROS. COMPANY, Inc., Mfrs. 3436-38 Market Street 3435-37-39 Ludlow Street PHILADELPHIA, PA. for this water- DRAWING PAPERS THE DRAWING MASTER All-Metal Adjustable Pantograph Indispensable for rough- outs, layouts, enlarge- ments, reductions, and wherever a drawing board is used. Fully adjustable, with an extremely simple and al- most instantaneous adjust- ing device. Made of the finest SPRING CATALOG Send four cents postage for our new 108 materials and abso- page catalog. You will find in it every- Pak Oe eas, is thing necessary to the artist, in the Art or direct from us. : Material line, listed at prices that challenge for only $8.00 post paid A ; DRAWING-AIDE COMPANY comparison. 206 Caxton Bldg, Cleveland, 0. FRIEDRICHS CQO. 138 Sullivan St., New York IN CHICAGO—STOP AT HOTEL FLANDERS BUENA AT BROADWAY IMPORTED! ART STUDIES COLORED REPRODUC- TIONS OF FAMOUS NUDE PAINTINGS. 35 cards $2.00—15 for $1.00 Semi-Nude and Draped Photo Studies. Finest o Models only. 30 cards $2.00—12 for $1.00 Away from the Noise and Congestion of the Loop Enjoying all the advantages of an exclusive residential location, yet convenient to trans- rtation with easy access to the loop. The Pies is the ideal place for you to stop when in (Chicago. Luxurious furnishings, efficient, personal service. Reasonable rates Sample Card —$2.50 per day and up. French Bathing Girls—Photos in Full Colors 1 Beautiful Girls—Cute Poses Set of 12 for $1.00—Set of 28 for $2.00 JOHN M. RUSE 847 East 73d Street New York City Write for Booklet L. G. WALTON, Manager | Page Sixty-two
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E | , , E La EB = oo Wee F Nyy 6 wy 4 XS ce iB a +4 4 "A vs 4 ~ (2225 = 7 Asy ‘ An EDITION DE LUXE— 180 pages, over 180 illustrations by Emil Hartman —a text-book full of valu- able information — a help for every artist. INSTRUCTIVE COSTUME DESIGN Parcel Post C.O.D. Price $5.00 or any Art Supply Store EDWARD C. BRIDGMAN 240 West 40th Street New York City The Human Figure By JOHN H. VANDERPOEL This book is illustrated with 54 full- page plates, variously reproduced in half-tone, metrograph and _ tint—all of them masterly drawings of the greatest value to the student. In addition to these it contains 330 marginal sketches, none of which has ever before been published, showing parts of the body in various positions and ac- tions. Altogether it is the most complete illus- trated work on the subject now extant, and more than any other book serves the purpose of a model. Price $2.75. Postage, 15 cents extra order from your bookseller or direct from THE INLAND PRINTER CO. 632 Sherman Street Chicago, Ill, The PROCESS of Engraving and Printing ‘‘Commercial Engraving and Printing.’’ by Chas W. Hackle- man (second printing) tells how to prepare copy, how to choose method of reproduction, plates, paper, color and hundreds of other helpful suggestions. No other book compares with this one in setting forth in comprehensive and usable form, the essentials of the various processes and methods. It is an education in itself for every artist—ad- vanced or beginner. 840 Pages, Over 1500 Illustrations 35 Related Subjects Write for FREE prospectus showing outline of contents, sample pages, approval offer, payment plan, etc. Commercial Engraving Publishing Co. Dept. PM Indianapolis, Ind. THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST INTERPRETIVE COSTUME DESIGN by ROSE NETZORG KERR The Age of Chivalry The Orient American Costume 1620 to 1860 If you are an artist, student or teacher these folios are especially adapted for use as reference and inspirational material for your files. INTERPRETIVE COSTUME DESIGN _ folios contain descriptions of the colors and fabric used in the costumes. Each figure is placed before a background using historic ornament related to its period. The interesting use of blacks and variety of tech- nique will be of definite interest to you. 12 Plates to the Folio, Price $1.00 36 Plates, three Folios, Price $3.00 Send for circular Published by Fairbairn Art Co., Dept. A 736 West 173rd St., New York, N. Y. ETCHING A number of great etchers including Muirhead Bone, Frank Branggwyn, Augus- tus Johns, Sir Frank Short, Mrs. Laura Knight, have combined with E. S. Lumsden to make this text for artists the best all-round course on Etch- ing, with full explanatory notes, ideas, suggestions, personal methods. The 208 beautiful illus- trations comprise the fin- est collection of famous etchings in miniature that can be found anywhere. Teaches the technique and beauty of this difficult and fascinating art. Dry- point, Soft-Ground Etch- ing, Aquatint and all their allied arts simply and clearly explained. The beginner will find a com- plete explanation of tools and mordants and will prize a special chapter on ‘‘Mistakes and their Remedy.’’ The advanced student will find valuable analysis of formulae and recipes as used by the great etchers of all time. Working diagrams as well as the fine re- productions from the Etching of the 16th century to that of the present, elucidate the text. THE ART OF ETCHING By E. S. LUMSDEN, A. R. 8S. A., R. E. 208 Illustrations 376 Pages NOTE: In the same series are volumes on Perspec- tive—Water Color Painting—Oil Painting—Modeling and Sculpture—Drawing—Artistic Anatomy of Trees —Landscape Painting—Etching. Each $6.00. TRS eee — J. B. LIPPINCOTT CoO., 227 S. 6th St., Phila., Pa. Send me descriptive illustrated circulars of above. Page Sixty-three
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST BRIDGMANS LIFE DRAWING By GEORGE B. BRIDGMAN Over 450 drawings and sketches of fully drawn figures, in every conceivable position. Chapters on: How to draw a figure; Proportion; Perspec- tive; Rhythm; Building, etc., etc. The finest fig- ure drawing book on the market, just published. $5.50 postpaid EDWARD C. BRIDGMAN, Publisher Learn to draw the Human Figure in Four Minutes Alon Bement, Director of the Maryland Institute, Baltimore, Formerly Assistant Professor of Fine Arts, Teachers’ College, Columbia University, is the author of a finely illustrated book Figure Construction Which not oniy shows you how to master the tech- nique of the human figure but, in addition, shows you how to acquire the speed which is so essential with the artist. The author has so simplified his methods that you can quickly grasp them and then put them to your own use. FicureE Construction, beautifully bound in cloth, is $2.50 and will be sent on receipt of remittance by any of our offices. The Gregg Publishing Company New York San Francisco Boston London Chicago Page Sixty-four 240 WEST goth STREET NEW YORK STUDIO STUDIES OF CLEVELAND’S MOST BEAUTIFUL MODELS Set No. 2 A series of artistic studies of one, two and three beautiful models—posed in the studio. 50c each. $8.90. —50c. KRUEGER ART STUDIO St. Clair and E. 105th St., Cleveland, O. 8x10 size, Six for $2.50. Entire set of 20 for 5x7 sizes, miniature copy of entire series EE fe ee ae
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—————————=——_ THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST FAMOUS PAINTINGS reproduced in original colors The StEMAN Collection—2500 paintings by Old Masters and Modern Artists—beautifully repro- duced in original colors. Each picture perfect for franing. Three of these exquisite full color studies together with our valuable 40 page reférence book contain- ing full data about our 2500 paintings and 40 fascinating illustrations of “THE FEMALE FIG- URE” as SEEN THROUGH THE EYES OF THE OLD AND MODERN MASTERS—sent postpaid upon receipt of $2. ACME ART Desk H, P. O. Box 154, Times Square Station, New York City Studies posed by living models from the studios of Boston’s most prominent Artists. Draped and Semi-Nude figures for con- struction, posture, etc. Entire Miniature Series.......................... $1.00 Sample Set of Miniature........................ eo Full size prints are 5x7 and 7x10 in black and white. SHAW PUBLISHING CO., Inc. Dept. A-4, 44 Boylston Street BOSTON 11, MASS. REMBRANDT The mark of quality in buy- ing draped or semi-nude figure photo studies. Send $1 for Samples Sold for education- al, professional and technical uses only to art students, sculptors, photo- graphers, _ teachers, physicians, and sur- eons. Eighty stud- ies, unretouched, of young women who : ; ; pose for New York’s leading painters and archi- tects. Eight black and white prints, size 5x7, $2. Six prints, size 7x9, on double-weight paper, $2. Quality assured. Prompt Shipments. New sets just out! Rembrandt Photo Studies 32nd Street Bayonne, N. J. THE FAMOUS GEMS of ART 500 Beautiful Subjects T HE ENTIRE COLLECTION— ALL FAITHFUL REPRO- DUCTIONS OF FAMOUS OLD AND MODERN MASTERS. W E_ARE NOW OFFERING THEM TO LOVERS OF ART AT A PRICE FAR BELOW THEIR REAL WORTH. ASK ANYONE WHO IS ACQUAINT- ED WITH THIS WELL-KNOWN SERIES IF THEY CAN REMEM- BER EVER HAVING BOUGHT THEM. 25 FOR ONE DOLLAR 60 FOR TWO DOLLARS ENTIRE COLLECTION—TEN DOLLARS! Write Now—While They Last Dept. A3 ARS MINIMA GALLERIES Address 63 Washington Sq., So., N. Y. Page Sixty-five
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST The UNIVERSAL CAMERA LUCIDA An INSTRUMENT OF GREAT VALUE TO THE ARTIST, ARCHITECT, ENGINEER, NEWSPAPER AND ADVERTIS- ING SPECIALISTS, PAINTERS AND DESIGNERS. THE MOST UNIQUE INSTRUMENT EVER DEVISED FOR — AND REDUCING DRAWINGS OF ANY ; eee | ENLARGEMENTS AND REDUCTIONS CAN BE ACCURATELY MADE FROM NATURE, PHOTO- GRAPHS, MAPS, PICTURES, DOCUMENTS, ENGRAVINGS, ETCHINGS, ETC. THE 12 GRADUATED LENSES MAKE IT POS- SIBLE TO REPRODUCE QUICKLY AND PRECISELY DRAWINGS WHICH WOULD OTHERWISE TAKE HOURS TO DO— ILLUSTRATED PAMPHLET FULLY EXPLAINING THE CAMERA WILL BE SENT UPON REQUEST. We Stock _a Carefully Selected Line of Artist Materials of Every Descrip- _- tion. SS Send for catalogue F Hit B. K. Elliott Co. 126 Sixth St., PITTSBURGH, PA. CARTOONS AND MOVIES Edited by practical cartoonists SUBSCRIPTION REPRESENTATIVES WANTED Liberal cash commissions will be paid to anyone interested in securing subscribers to The Arts. If you are interested in devoting some of your spare time to this work write for full particulars. A live-wire magazine which is more than a trade- journal for the cartoonists, motion picture fan, and comic artists; now published in New York, every month. Only one of its kind in the world. Particulars as to advertising rates may be had on application. Press run, 55,000 copies. Order it from your newsdealer; he sells it. $2.50—12 issues. Canada and Foreign, $3.00 Cartoons and Movies Magazine 13 Park Row, New York Order blanks, return envelopes and descriptive mat- ter supplied. THE ARTS PUB. CORP. 19 East 59th Street New York City Photo-Era Magazine The American Journal of Photography Wolfeboro, New Hampshire Che @®uill An Amateur Magazine presenting the Arts, Letters, Crafts and Humor of The future possibilities of photography as one of the ‘professional fine arts’ is practically unlimited. Instead of competing with that of illustrators, photography merely opens up a new avenue of illustrated expression for books, magazines and advertising matter. A knowl- edge of art and its principles helps the photog- rapher just as much as skill and knowledge in photography will help the artist. GREENWICH VILLAGE In a none too serious manner Send us your subscription—$2.00 per year Or better still, a contribution BOB EDWARDS Subscription price in the U. S. $2.50 per year 144 MacDougal Street New York Write for free sample copy Page Sixty-stx
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THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST For that lettering job!— Are you properly equipped? OOD LETTERING ON YOUR DRAWING OR DESIGN WILL VERY OFTEN PUT IT OVER—OR BRING MORE MONEY FOR YOUR WORK. WE KNOW THAT NO MAT- ‘TER “HOW GOOD YOU ARE,” YOU ARE NOT GOING TO BE ABLE TO DO IT WITH FAULTY PENS OR GUMMY “BROWN-BLACK” INKS. ~—50c COMPLETE WITH INK! Perfection Pen, with any size Nib complete for $1:25 ‘Saying So Doesn’t Make It So” We might make many “superiority” claims for “Ny BINK,” but they would still remain {to be verified by a test, so we will forego the claims and emphasize the importance of a test. A careful competitive test will reveal the excellent qualities of ““_NYBiNK’’—it is decid- edly opaque, flows freely and uniformly and is less corrosive. ““PERFEC TION”’ LETTERING PEN The most simple and convenient Lettering Pen on the market Nybink Bottle-holder —just like writing with a REDUCED SIZE SIZES ; ° pencil—any movement, and Paper-weight vertical or horizon- tal, without lift- ing the Pen. “STAYS PUT!” —will do away with the aggravaticn and disgust that comes of a_ tipped over India-ink bottle. Ever happen to you?— Don’t wait till it does! ae ce a, a eas aie RE NEW YORK BLUE PRINT PAPER CO. 102 Reade Street New York, N. Y. Artists’, Architects’ and Engineers’ Supplies SE eS ee ee ee Quality Remains the Same ~~ 4 be MELROSE SMOCKS Highest Standard of Quality FIT-WELL — WEAR-WELL Made up in Linene, Sateen and Fast Color Mercerized Linene -PACKED IN INDIVIDUAL ENVELOPES MAKES DISPLAY AND HANDLING EASY Sizes for Men and Women: 34-46 Children : | 6-8-10-12-14-Year Sizes Made in the following colors: Copen, Tan, Green, Lt. Blue, Champagne, Lavender, Orange, Old Rose, Corn, Grey, ‘Brown, Scarlet, Peach, White, Fawn, Black “WHOLESALE ONLY” Melrose Manufacturing Co. aARmieh guock 119 to125 W. 24th St. © NEW YORK, N. Y. Page Sixty-seven
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oe SES sae SE want, y in 2 be og er - Neat THE AMERICAN ART STUDENT AND COMMERCIAL ARTIST H. Altman & Cn. MADISON AVENUE-FIFTH AVENUE 34th and 35th Streets New York The Department . for Artists Materials and Drawing Requisites displays an interesting assortment of articles for professional or amateur needs, from the best manufactories at home and abroad. Included in a vast assortment are exclusive Hand-ground Oil Colors; Water Colors, Papers, Brushes and Boxes for the aquarellist, Drawing Instruments in sets, Papers, Scales and Angles for the draughtsman. Specially Featured are - Outdoor Oil and Water Color Field Sets THE GOERTZ-CUTTER The Goertz-Cutter is an ingenious handle for making use of safety razor blades of the Gillette type. Artists, Teachers and layout men find it invaluable for cutting paper, cardboard or canvas to size and for removing paint. It can be used for practically every purpose for which a cutting, scraping or slicing edge is needed. A splendid advertising’ novelty. Prices in Quantity. Brushed Brass—25 Cents (Leatherite Sheath—10 Cents) ‘Black Nickel—Gold Plated Slides—50 Cents. Polished Nickel Finish—%75 Cents " Polished Gold Plated (Engine turned design)—One Dollar. Postage, 5c extra. NOT : Jobbers and Dealers Write For Special Discounts and Proposition _ INDISPENSABLE! et: AUGUST GOERTZ & COMPANY 3 270-286 Morris Ave. _ | _ Newark, N. a Copyright 1925 ty ‘The American Art Student Publishing Co., Est. 1916 iri