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<title>Philadelphia Art News: Vol. 1 No. 10</title>
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<bibl>Volume 1, Issue 10 of Philadelphia Art News, a bi-weekly arts journal in the 1930s</bibl>
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<titlePage>
<titlePart type="main">PHILADELPHIA ART NEWS</titlePart>
<titlePart type="sub">ALL THE NEWS OF PHILADELPHIA ART IMPARTIALLY REPORTED</titlePart>
<docDate><date when="1938-03-14">MARCH 14, 1938</date></docDate>
<docEdition>Vol. 1 - - - No. 10</docEdition>
<docDate>Ten Cents per Copy</docDate>
<titlePart type="halftitle">PHILADELPHIA ART NEWS</titlePart>
<docImprint>Published every second Monday by</docImprint>
<docImprint>BEN WOLF PUBLICATIONS, INC.</docImprint>
</titlePage>
<div type="masthead">
<list>
<item>Ben Wolf</item>
<item><emph>President-Treasurer</emph></item>
<item>Henry W. Taylor</item>
<item><emph>Vice-President-Secretary</emph></item>
<item>Russell P. Fairbanks</item>
<item><emph>Advertising and Circulation Manager</emph></item>
</list>
<list>
<item><emph>Managing Editor</emph></item>
<item>BEN WOLF</item>
</list>
</div>
<div type="copyright">
<p>Subscription Rates</p>
<p>One year—20 issues—$1.25</p>
<p>Copyright 1937, Ben Wolf Publications, Inc.</p>
<p>This publication and all the material contained in it are the subject matter of copyright.</p>
<p>Address all communications to</p>
<p><name>Philadelphia Art News</name></p>
<p>1009 Central Medical Bldg.</p>
<p>Phone, Rit. 9810</p>
<p><name>Philadelphia, Pa.</name></p>
</div>
</front>
<body>
<div xml:id="issue-10-chapter-01">
<head>SERVICE FOR THE ARTS</head>
<head type="sub">PHILADELPHIA COMMITTEE WRITES NEW FEDERAL ARTS BUREAU PROPOSAL</head>
<p>We must recognize the possibility that some Federal agency or Bureau of the Fine Arts, such as that proposed in the Coffee-Pepper Bill, will be established through the frantic efforts of its proponents.</p>
<p>Mere condemnation of the proposal may be insufficient to guard against the creation of a harmful Bureau. More positive action is vitally necessary and urgent.</p>
<p>An effort to revise the Coffee-Pepper Bill and to remove its abuses proved to be impracticable because the basic construction of the bill is faulty. Therefore an entirely new bill has been devised by a committee of Philadelphians. It is reprinted in full in this issue of the Philadelphia Art News, as a tentative and unofficial proposal.</p>
<p>This Bill strives to create an independent Federal Bureau of the Fine Arts which would foster the national culture over a long period for the general welfare.</p>
<p>Instead of being a machine for the creation and production of innumerable works of art, it would be a service agency for the Arts as a whole.</p>
<p>Its administrative personnel would be chosen by democratic representation of the cultural elements of society. It would insure bona fide qualifications of every employee under the Bureau. It would aid artists in all the Arts in the solution of their technical problems. It would stimulate the use and patronage of the Arts by all the people and in foreign countries, in such a way as not to compete with private enterprises in the Arts.</p>
<p>Immediate concerted action on the problem of a Federal Bureau of the Fine Arts is imperative. We urge your thoughtful study of this Bill.</p>
<p>The Philadelphia Art News offers its facilities as a clearing house for your opinions, both pro and con.</p>
<p>H<hi rend="small-caps">ENRY</hi> W<hi rend="small-caps">HITE</hi> T<hi rend="small-caps">AYLOR</hi></p>
</div>
<div xml:id="issue-10-chapter-02">
<head>ACADEMY PURCHASES</head>
<p>The Pennsylvania Academy of the Fine Arts, through the Lambert Fund, has purchased from its recent Annual: Irene Denney’s “The 5 and 10” (awarded the Mary Smith Prize); “Landscape” by Herbert Barnett; “Seated Figure” by Gladys Rockmore Davis; “Still Life” by Richard Hickson; “Somewhat Rheumatic” by Alice T. Roberts; “Dolomite Quarry, Edge Hill” by Henry Rothman; “An American City” by Fred Wagner; and “Pennsylvania’s Broad Acres” by Henry McCarter.</p>
</div>
<div xml:id="issue-10-chapter-03">
<head>A BILL</head>
<p>This is an unofficial draft of a proposal for a Fine Arts Bureau. It does not pretend to be complete as to idea or perfect as to phraseology.</p>
<p>To promote the progress and appreciation of the Fine Arts for the general welfare by encouraging and stimulating the Theatre, the Dance, Music, Literature, the Graphic and Plastic Arts, Architecture, Decoration, and their allied arts; by establishing a Bureau of the Fine Arts; and for other purposes.</p>
<p><emph>Be it enacted by the Senate and the House of Representatives in Congress assembled.</emph></p>
<div>
<head>DECLARATION OF POLICY</head>
<p>Section 1. The promotion and encouragement of the Fine Arts by the government is essential and necessary for the development of American culture and for the furtherance of the general welfare of the American people.</p>
<p>It is hereby declared to be the policy of Congress to foster, promote, and encourage American national culture as represented by the various Arts practiced by the citizens of the United States, as an integral and vital part of national life; to foster such development in the interest of the general welfare; to establish and maintain, as a permanent instrumentality of government, a Bureau of the Fine Arts with broad powers to encourage the appreciation and to stimulate the patronage of American Arts among all its people and in foreign countries; to promote the patronage and use of the arts by the public, in such a way as not to compete with private business enterprises in the field of the Arts; and to conduct laboratory researches into the materials and techniques of the Arts, the results of which shall be furnished to artists.</p>
</div>
<div>
<head>DEFINITION OF TERMS</head>
<label>For the Purposes of This Act</label>
<p>Section 2 (a) the term “The Arts” shall mean the arts enumerated in Section 9; and</p>
<p>(b) the term “artist” shall mean any citizen of the United States, its territories, or outlying possessions, who is practicing, as a vocation rather than an avocation, one or more of the Arts; and</p>
<p>(c) the term “art organization” shall mean 1. any organization of fifty or more artists; or 2. the administration and faculty, as a body, of any school or educational institution or department of such an institution, which gives regular instruction primarily devoted to one or more of the Arts; PROVIDED that no art organization shall qualify as such until it shall have a continuous existence in the United States, its territories, or outlying possessions (whether before or after the effective date of this Act) of two years; and</p>
<p>(d) the term “affiliated artist” shall mean an artist who is a member of, employed by, or otherwise regularly affiliated with an art organization.</p>
</div>
<div>
<head>BUREAU OF THE FINE ARTS</head>
<p>Section 3 (a) There is hereby created an independent Bureau to be known as “The Bureau of the Fine Arts” and herein referred to as the “Bureau”. The Bureau shall consist of a Commissioner and six Directors, one for each of the Arts.</p>
<p>(b) The Commissioner shall be appointed by the President from nominations to be submitted to him in accordance with provisions of Section 6 of this Act. His salary shall be $8,000 per annum, and he shall be appointed for a term of two years and he may be reappointed.</p>
<p>(c) The Directors of the Bureau shall be appointed by the Commissioner from the nominations submitted in accordance with the provisions of Section 6 of this Act. The salary of each Director of the Bureau shall be $6,000 per annum. The tenure of office of Directors of the Bureau shall be two years and they may be reappointed.</p>
</div>
<div>
<head>REGIONAL COMMITTEES</head>
<p>Section 4 (a) The Bureau shall divide the United States, the District of Columbia, and the Territories and outlying possessions of the United States into appropriate regions for carrying into effect the provisions of this Act.</p>
<p>(b) In each region there shall be created a Regional Committee consisting of an Administrator and six additional Regional Directors, one Director for each of the Arts enumerated in Section 9 of this Act.</p>
<p>(c) The salary of each Regional Administrator shall be $5,000 per annum. The tenure of office shall be two years and he may be re-elected.</p>
<p>(d) The salary for each of the Regional Directors shall be $3,500 per annum, and the tenure of office shall be two years and they may be re-elected.</p>
</div>
<div>
<head>ADVISORY COUNCILS</head>
<p>Section 5 (a) In each region there shall be six Advisory Councils, one for each of the Arts.</p>
<p>(b) Each Advisory Council shall consist of seven members who shall have power to elect one of their members as chairman.</p>
<p>(c) The members of the Advisory Councils shall receive no compensation for their services, but shall be reimbursed for their reasonable expenses.</p>
<p>(d) The members of the Advisory Councils shall hold office for two years, and they may be re-elected.</p>
</div>
<div>
<head>NOMINATIONS</head>
<p>Section 6 (a) Nominations for the office of Commissioner and Directors of the Bureau shall be made by the art organizations and filed with the President of the United States, on or before , 1939, and every odd-numbered year thereafter. Any art organization may nominate and renominate any number of persons. Any person may be nominated and renominated for any number of offices.</p>
<p>(b) The Bureau shall provide for the nomination of the Regional Advisory Councils by the artists and affiliated artists of the respective regions; PROVIDED that the first Advisory Council for each region for each of the Arts shall be nominated by the affiliated artists connected with that art in that region.</p>
</div>
<div>
<head>ELECTIONS</head>
<p>Section 7 (a) 1. The Bureau shall provide for the election of the Regional Advisory Councils, according to the principles of proportional representation by the artists and affiliated artists of the respective regions; PROVIDED that the first Advisory Council for each region for each of the Arts shall be elected according to the principles of proportional representation by the affiliated artists connected with that art in that region.</p>
<p>2. Each Director of each Regional Committee shall be elected by the Advisory Council for that region for the Art which he is to represent.</p>
<p>3. Each Regional Administrator shall be elected by all the Advisory Councils of that Region voting together.</p>
<p>(b) All elections under this Section shall be held on or before of the year 1939, and of every odd-numbered year thereafter. In the event that any person elected should for any reason fail or cease to serve, the Commissioner shall have power to appoint a temporary successor; and a permanent successor to serve during the unexpired term shall be elected by a special election to be held as soon as practicable thereafter. In the event any election is not held on or before the last day for elections, the Commissioner shall have power to appoint to the office for which such election was to have been held.</p>
</div>
<div>
<head>ELIGIBILITY</head>
<p>Section 8 (a). For purposes of employment, making nominations, voting, and for all other purposes under this Act, the Advisory Council for each art for each region shall determine:</p>
<p>1. What persons connected with that art in that region qualify as artists and as affiliated artists under this Act;</p>
<p>2. What organizations connected with that art in that region, what schools, institutions, or departments giving instruction in that art in that region, qualify as art organizations under this Act; and</p>
<p>3. With what art or arts a given artist is connected; PROVIDED that until any person or organization prima facie qualified as an artist, art organization or affiliated artist, shall be deemed to be so qualified until determined not to be so qualified by the Advisory Council for the respective art for the respective region.</p>
<p>(b) Each Advisory Council shall have power to require the submission to it of reasonable evidence of eligibility.</p>
<p>(c) The Directors of Regional Committees for each art for each region shall have final authority to determine which qualified artists are to be assigned to projects connected with that art in that region. The Regional Administrator and the respective Advisory Councils shall have power to advise the Directors on this question.</p>
</div>
<div>
<head>SCOPE OF THE BUREAU</head>
<p>Section 9. The Bureau shall establish subdivisions which shall include research into the techniques of and stimulation of popular appreciation and patronage of:</p>
<p>(a) The Theatre and its allied arts.</p>
<p>(b) The Dance and its allied arts.</p>
<p>(c) Music and its allied arts.</p>
<p>(d) Literature and its allied arts.</p>
<p>(e) The Graphic and Plastic Arts and their allied arts.</p>
<p>(f) Architecture and Decoration and their allied arts.</p>
</div>
<div>
<head>WAGES AND WORKING CONDITIONS</head>
<p>Section 10. Wages and working conditions under the Bureau in any region shall be such as are necessary for the fair and proper administration of the Bureau in that region. Artists may be engaged for part time services when this is considered desirable by Directors of the Regional Committees.</p>
</div>
<div>
<head>CIVIL SERVICE</head>
<p>Section 11. Artists employed under the Bureau shall not be subject to the civil service laws. Other employees of the Bureau shall be subject to the civil service laws.</p>
</div>
<div>
<head>DUTIES AND POWERS OF THE BUREAU</head>
<p>Section 12 (a) The Bureau shall supervise the allotment of funds pursuant to the provisions of this Act, shall pass upon the projects recommended by the Regional Committees to be financed, and shall make all other determinations of general policy necessary for carrying into effect the provisions of this Act.</p>
<p>(b) The Bureau shall be responsible for the administration of this Act.</p>
<p>(c) The Commissioner shall act as chairman of the Bureau.</p>
<p>(d) Each Director of the Bureau shall act as a National Administrator of the projects under one of the arts as listed under Section 9 of this Act.</p>
</div>
<div>
<head>DUTIES AND POWERS OF THE REGIONAL COMMITTEES</head>
<p>Section 13 (a) The Regional Administrators shall be responsible for the administration of this Act within their respective regions.</p>
<p>(b) The Regional Administrators shall act as chairmen of the Regional Committees.</p>
<p>(c) Each Regional Committee shall plan and recommend projects for its region for the approval of the Bureau.</p>
<p>(d) Each Director of the Regional Committee shall supervise the projects in that region connected with the art which he represents.</p>
<p>(e) The Regional Committees shall promote the appreciation, use and patronage of the Arts by all the people in their respective regions, in such a way as not to compete with private enterprises in the Arts; they shall disseminate the results of the researches of the Bureau to the artists of their regions.</p>
</div>
<div>
<head>TENURE, VACATIONS, SICK LEAVE, RETIREMENT PAY, AND SO FORTH</head>
<p>Section 14. Persons employed full time under the Bureau shall be entitled to all the rights, benefits and privileges of Federal employees in the matter of tenure, vacations, sick leave, retirement pay, and all other rights, benefits and privileges during their employment under the Bureau.</p>
</div>
<div>
<head>TRANSFER OF POWERS</head>
<p>Section 15. All the functions, powers, and duties which are defined in this Act and are exercised by the Works Progress Administration in connection with Federal projects sponsored by the Works Progress Administration in the fields of art, music, theatre, literature, historical records survey, and in any and all other fields enumerated in Section 9 of this Act, shall be assigned and transferred to the Bureau of Fine Arts. These functions, powers, and duties shall include no relief projects whatsoever. Persons now employed on the projects sponsored by the Works Progress Administration who are not found eligible for employment under the Bureau of Fine Arts in accordance with the provisions of Section 8 (c) shall remain under the jurisdiction of the Works Progress Administration and/or the Federal Relief Administration. Projects now sponsored by the Works Progress Administration which are not in accordance with the policy and purpose of this Act shall remain under the jurisdiction of the Works Progress Administration and/or the Federal Relief Administration.</p>
</div>
<div>
<head>THE RIGHT TO ORGANIZE; DISCRIMINATION</head>
<p>Section 16. Persons employed under the Bureau shall have the right to organize and select representatives of their own choice for the purpose of adjusting grievances with the Bureau and any of its subdivisions, free from interference, restraint, or coercion by the Commissioner, the Bureau, the Regional Committees, and any or all administrative organs and officers. No person employed by or seeking employment under the Bureau shall be denied the benefits under this law because he is a member of or affiliated with any economic, political, unemployed, or religious organization, or because of any petition or complaint he has filed.</p>
</div>
<div>
<head>APPROPRIATIONS</head>
<p>Section 17 (a) There is hereby appropriated the sum of $..........................for the purpose of carrying out the provisions of this Act until the fiscal year ending <date when="1939-06-30">June 30, 1939</date>.</p>
<p>(b) There is hereby authorized to be appropriated for each fiscal year beginning with the fiscal year ending <date when="1939-06-30">June 30, 1939</date>, an amount sufficient to provide for all wage payments provided by this Act and for all expenses of the administration of provisions of this Act and for all expenses in addition to labor costs necessary to carry out the provisions of this Act, such amounts to be determined by the Bureau on the basis of statistical or other data available to the Bureau and by it deemed reliable The Bureau shall annually submit to the Bureau of the Budget an estimate of the appropriation necessary to carry into effect the provisions of this Act.</p>
<p>(c) The Bureau shall prepare and publish in an annual report a summary of its activities and its expenditures.</p>
</div>
<div>
<head>SEPARABILITY</head>
<p>Section 18. If any section of this Act be decided by the courts to be unconstitutional or invalid, the same shall not affect the validity of the Act as a whole or any part thereof other than the part so decided to be unconstitutional or invalid.</p>
<p>Section 19. This Act may be cited as the “Bureau of the Fine Arts Act.”</p>
<p>Section 20. This Act shall take effect immediately upon final enactment.</p>
<figure>
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<graphic url="upl-philaartnews-fig276.jpg"/>
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</div>
<div xml:id="issue-10-chapter-04">
<head>BRECKENRIDGE MEMORIAL EXHIBITION</head>
<p>An outstanding exhibition of the spring season is that current at the Art Alliance, a Memorial Exhibition of works by the late Hugh Breckenridge. Abstractionist, portraitist, painter of still life and landscape, lithographer, Hugh Breckenridge was not only one of Philadelphia’s finest artists but one of its most inspiring teachers.</p>
<p>For forty-three years Breckenridge taught at the Pennsylvania Academy of Fine Arts, giving memorable counsel to literally hundreds of students. In addition to summer teaching at the Darby School of Painting and at the Chester Springs Summer School, in later years he had his own art school at Rocky Neck, Gloucester, Mass., where all kinds and classes of students were encouraged and stimulated.</p>
<p>The exhibition at the Art Alliance has been gathered together from many private and public collections by S. Walter Norris, Chairman of the Oil Paintings Committee.</p>
</div>
<div xml:id="issue-10-chapter-05">
<head>PHOTOGRAPHIC EXHIBITIONS</head>
<p>The Kodak International Exhibit, held at the Bellevue-Stratford last week was composed of a hundred and sixty prints by amateur photographers from nineteen countries. Here were photographs of landscape, action, city scenes, children, animals, flowers, still life, in a variety of techniques as great as that of the subject matter.</p>
<p>Two of the most interesting subdivisions of the show were those devoted to infra-red and to color photography. Until recently these fields of camera work were almost exclusively in the hands of professionals. Now, through development of materials and the ever increasing simplification of processes, the amateur may successfully experiment with recording the details of distant landscape or in reproducing the actual colors of his subject.</p>
<p>Prints by two Philadelphians were included in this exhibition, Eric Miller contributing the action picture “Parachute Jumper” and Francis Kaiser, a study of railroad tracks, “Perspective”.</p>
<p>A very interesting exhibit of European photography may be seen at N. W. Ayer & Son’s this month. Although only a few artists apparently have produced the many photographs, the range of subjects is extremely wide, the topics treated diverse. The numerous studies of a baby by George A. Thompson certainly mark one of the attractions of the exhibit; crowds in ballrooms, on boatdecks and sun terraces; sport, with many camera studies of tennis action; and topical pictures—such as the half-destroyed, falling, blazing dirigible, with running crowds through the night—dramatic, and illustrative of the best in news photography. Other studies of fabrics, or the arrangement of people and objects are little masterpieces of design. The artistic value of these pictures is high; the choice of material stimulates the imagination.</p>
<p>A different choice of subject matter marks the First Annual Photographic Exhibition at the Academy of Natural Sciences. Here, the photographs emphasize the use of the extremely fine modern cameras in the field of natural science—for instance photographs of the Rocky Mountain Goat in his natural habitat, the magnified design of a butterfly’s wing and of insects, and the terrifying head of a cat,—Sam’s Head, which gives a very good idea of what a cat’s head must look like to a tiny bird. Two splendid views of the Rocky Mountain range under snow should not be missed. It’s altogether an interesting exhibit but more specialized than the one at Ayer’s.</p>
<p>Another very fine camera exhibition is that at Strawbridge & Clothier’s Old York Road Store, Jenkintown. The show, continuing until <date when="--03-17">March 17</date>, contains pictures by forty-five Philadelphia photographers.</p>
</div>
<div xml:id="issue-10-chapter-06">
<head>FRESH PAINT</head>
<figure>
<graphic url="upl-philaartnews-fig277.jpg"/>
<head>“Hunger Marchers” by Nicholas Marsicano</head>
</figure>
<div>
<head>WELDON BAILEY</head>
<p>The chief difference existing between the museum and privately operated gallery is that the former is subsidized, while the latter is generally a corporation bound by the same responsibilities as any business concern. They have goods to sell and rent to pay. Here arises a knotty problem, and many misunderstandings between artist and gallery are the result of just such situations.</p>
<p>The gallery is not always right, nor is the artist. To be sure, throughout the length and breadth of our country there have been many instances of an artist being mistreated by his gallery. He has been taken in in all sorts of ways—his price has been cut and he has had to wait too long for his money. Sometimes he has not received it at all.</p>
<p>The artist’s differences with such a gallery are of course entirely justified, except for the fact that his woes are frequently induced by his gullibility and he constitutes an easy target for such institutions. We are certain, however, that the general complexion of American art galleries is by no means so bilious as this.</p>
<p>Furthermore, most disagreements with galleries are really misunderstandings of the gallery’s vital problem of existence. Many galleries who not only conduct their business admirably but do so with an ideal, have much ado to meet their financial obligations.</p>
<p>Broadly, there are two kinds of substantial private galleries: the conservative, marketing only the “arrived” in art; and the modern and more progressive, who, in the name of art, are willing to share the burden of the promising young artist.</p>
<p>Needless to say, the former is often the more successful—and, incidentally, less wholeheartedly devoted to American art than the latter. Their practical problems, however, are quite similar, although we may dismiss those buying foreign names and selling them for profit as aside from our present considerations.</p>
<p>We may be sure of one thing: no galleries are rolling in a wealth of profit, and it is amazing that some galleries continue to function in the face of such discouragement.</p>
<p>Then comes an even stranger fact: that with all of it the artist finds himself, as frequently as not, paying through the nose. Particularly uncomfortable when he has not the wherewithal to pay.</p>
<p>In New York, we believe, for purposes of a one-man show, the average rental for a gallery ranges from fifty to one hundred dollars per week—to most artists a considerable expense—while to this is added the cost of the catalogue, printed invitations to a private view, if any, and the purchase of advertising space. Should the artist sell a work, the gallery deducts its commission. Group shows have also been given wherein each contributing artist was charged, we are told, ten dollars per week for the duration of the show.</p>
<p>This surely assumes that many artists are affluent—more so than we believe them to be, at any rate. We are further informed that most galleries find hard sledding even in this way. As a matter of fact, the average overhead of a New York Gallery is sixty-five dollars per day.</p>
<p>There is another, and distinctly vicious, angle to this situation. When hard pressed, a gallery may frequently find itself tempted to accept and hang an exhibition of work by an inferior painter who happens to have the requisite cash. Such a practice is a death blow to the moral and ethical duty of the gallery: to present only the best in living art.</p>
<p>The promising but poor painter has not much of a chance here, and will never have, until this chaotic state is more practically organized. It can be done when artist and gallery get together and consider everything impartially.</p>
<p>The gallery, if given a workable plan, would be glad to cooperate.</p>
<p>But the artist must cooperate too.</p>
<figure>
<graphic url="upl-philaartnews-fig278.jpg"/>
<head>“Landscape” by Benjamin West </head>
<figDesc>Done in the Artist’s Childhood</figDesc>
</figure>
<p>Since Benjamin West departed this life, in 1820, his work has fallen into mild disrepute as far as many members of the artistic cognocenti are concerned. It has been fashionable to sneer at the canvases of this grand old man, and we’ve done a bit of it ourselves. However, a visit to the present Bicentenary Exhibition of West’s work at the Pennsylvania Museum will prove, in little less than startling fashion, that he remains at his best, one of America’s finest painters.</p>
<p>In this exhibit it is possible to trace West’s growth and development from its earliest period to maturity and much is to be learned concerning the artistic influences of his life.</p>
<p>The earliest canvases are two small portrait heads executed when the painter was but fourteen years of age—both amazing primitives. Of equal primitive charm is an early landscape with its trees, river, bridge, ship and figures as quaintly conceived as the cow that grazes contentedly in the shade.</p>
<p>Two of the last commissions executed by West prior to his journey to London—portraits of William Henry, Lancaster locksmith, and his wife Ann—offer an interesting comparison to later work accomplished on other shores. Notable among these is a life-size double portrait of the two sons of the Earl of Kinnoull. One of the finest portraits ever executed by the painter is that of Sir William Young, a monument of pigment finely controlled. Mr. and Mrs. John Custance have been immortalized on a large and rather flamboyant canvas in which love is rampant. Two cupids dart hither and yon, and Mr. Custance leans quite comfortably upon the shoulder of another.</p>
<p>One of the most remarkable lessons to be learned from this exhibit is that when it suited him, West could be as bold and free in treatment as the next. The portrait of Dr. Enoch Edwards manifests a great deal of this in the upper right hand corner of the canvas, where drapery has been indicated with vigorous, colorful brush strokes of a quality definitely suggestive of impressionism.</p>
<p>To the major portion of Philadelphia art lovers, West’s most famous canvas is probably his epic “Death on the Pale Horse”, a comparatively stupid work which, it appears, was not entirely from his own hand. Infinitely more vital are two original sketches for this composition, to be seen here. Both have the freedom and fire reminiscent of Delacroix or Gericault. They are certainly far removed from the grace of pigmental politeness of West’s portraits.</p>
<p>The show is augmented by a number of the painter’s drawings and three canvases by Matthew Pratt, one a portrait of West, another of the painter’s wife, the third known as “The American School” in which Pratt himself is represented receiving art instruction from West.</p>
<p>“I want an art that is disturbing,” writes Nicholas Marsicano in the catalogue of his present one-man exhibition at the A. C. A. Gallery.</p>
<p>This statement is not only an excellent summing-up of the painter’s aesthetic philosophy, but an accomplished fact. Undoubtedly these canvases are the most “disturbing” we’ve seen in a long while. Disturbing because they are forthright statements of the reactions of a mind, emotional sensibility and talent that respond fruitfully to more than one element of life.</p>
<p>As a man Marsicano is enormously sensitive to social conditions—as an artist he has a violent affection for pigment at its lustiest. When purely visional, we find Marsicano’s canvases zestful, poetic, and in love with the sun, trees, hills and picturesque architecture of Morocco and Corsica.</p>
<p>However, with increasing frequency this painter’s inherent interest in the human problem is making itself felt in his oils. (The canvases in this show have been chosen from his last three years’ work.) A marked change in style is to be noted when the artist’s eye passes from landscape to his fellow men. Hs is equally, if not more, concerned with their lives than their looks, and has developed a simple, dramatically expressive distortion that gets pictorially to the core of his message. In this he is not too far removed from Rouault.</p>
<p>The strongest canvases are “Hunger Marchers” and “Portrait of a Man,” both stark, powerful, uncompromising and exceedingly rich in lusty color. Three canvases, known as “Spain, Invasion”, depend largely, and successfully, upon the tragic quality of their angles, and leave little doubt that the woes of another land have given tremendous emotional impetus to the art of Marsicano.</p>
<p>To judge by her present showing of canvases at the Warwick Galleries, the art of Hortense Ferne is growing, not only in dimension, but content. In these works there is manifest increasing emotional range and greater subtlety of vision.</p>
<p>Spain is seen with poetic eye and harmonious palette—most unusual in contrast to the present tendency of artists to depict that country in the throes of revolution.</p>
<p>Turning from this to still life, we find the strongest floral studies to be those of the hardy calla lily, wherein the quality of design inherent in the bloom has been admirably realized.</p>
<p>“Backstage Circus” is an excellent canvas of a clown, ruffles and all, with a quaint expression on his painted face, while the circus goes full tilt in the background. Likewise in full regalia is the “Indian”—a piece of strong, vigorous, but not vivid, painting.</p>
<p>Conceived in huge dimensions is “Smiling Postman”, a broad, simple negro character study. Fresh and effective, it utilizes Manet’s principle of presenting one large figure centered in a canvas.</p>
<p>A portrait, “Mrs. Israel”, manifests a curious technical contrast of vigorous treatment in the background while the features of the model are treated most meticulously. That Miss Ferne’s art is essentially decorative is proved effectively by “Icon ‘Mrs. Fleisher’”, with a decorated metal frame well designed for the pictorial element within.</p>
<p>Over seven hundred posters are now on view in the gallery and auditorium of the School of Industrial Art. Executed in competition for prizes offered by the McCandlish Lithograph Corporation, they reveal a most encouraging cross-section of contemporary design.</p>
<p>Competitors were allowed to choose any product they pleased, provided that product had been advertised on outdoor billboards during 1937.</p>
<p>The jury was composed of Lucian Bernhard, L. Stanford Briggs, Charles T. Coiner, R. M. Gray and Leonard London.</p>
<p>First prize of $1000.00 was awarded to Burton E. Goodloe, of New York. Second award, carrying $250.00 went to Reeve Lime-burner, also of New York. Robert Pettinato came in third with a prize of $100.00.</p>
<p>Pettinato is a graduate of the School of Industrial Art (1935). There were fifteen entries from this school, outstanding among whom are Oliver James, Richard Cummins, Carolyn Gilliss, Michael Lombardo and Douglas Franklin.</p>
</div>
<div>
<head>JANE RICHTER</head>
<p>The Second Annual Exhibition of the Artists’ Union, “dedicated to peace and democracy,” is a refutation of those critics who affirm that the ‘proletarian artist’ is always so engrossed in Marxist dialectics that his painter’s vision is obscured. Although there are still too many paintings in the exhibition that seem to have been dashed off for purely propagandist purposes without regard for aesthetic value, the group of really excellent pictures included more than compensates for the mediocrity of others.</p>
<p>Joe Jones’ “Corn” mirrors the devastation of the drought area, flat greys and browns depicting four withered stalks in a desolated field. There is bitterness here, but emotional values have been so welded with pictorial, that “Corn” is satisfying as a painting, regardless of its message. Joe Hirsch, in “Landscape with Tear Gas,” a condemnation of a steel strike, achieves vital design by contrasting the positive lengths of low red steel plants with masses of battling strikers and police in the foreground. A fiery, torn sky intensifies the somberness of the theme. These two paintings represent the so-called art of social consciousness at its best. Each has a very definite ‘meaning’, but the meaning has been so integrated with form that we receive aesthetic enjoyment as well as political theories.</p>
<p>Over fifty American painters and sculptors have contributed to this exhibition, including such nationally known artists as George Biddle, Ernest Fiene, William Gropper, Yasuo Kuniyoshi, Doris Lee, Julian Levi, Orozco, the Pintos, Joseph Presser, and Benton Spruance.</p>
<p>Commentator on the ordered life, Florence V. Cannon shows a characteristic group of canvases at the Women’s City Club. Here are white chrysanthemums and white swans, symmetrical curves of bridges, the greens of spring and the russets of fall, variously fitted together into competent patterns of quiet and solidity.</p>
<p>The English and French color prints of the 18th century, on view at the Rosenbach Galleries, are not only fine examples of stipple-engraving and mezzotint, but are concrete revelations of the English and French temperaments. “Le Sommeil de Diana” or “Venus, a la Colombe” reveals the essentially frivolous attitude of 18th century France; “Disobedience Detected,” the sentimentalized anecdote which occupied the British mind.</p>
<p>Harry Deitch, young Philadelphia water colorist exhibiting at the Warwick Galleries, is a painter in bright and pure color. Form has been simplified to allow the fullest possible use of the purples, greens, and blues in which he recreates the mountain ranges of the west and the street and harbor scenes of the New England coast.</p>
<p>Pearl Van Sciver reveals herself as a sensitive tourist in her paintings on view at 1525 Locust St. Cathedral towns, market days, brilliantly costumed peasants—scenes that the average tourist photographs—she paints in bright colors and simple patterns. This exhibition is indeed a record of places and incidents that she has loved, and wished to preserve.</p>
<p>“Pigeons in Winter”, one of the ten paintings in Betty Heindel’s one-man show at the Women’s University Club, typifies this painter’s peculiarly quiet point of view. Three pigeons, two white and one buff, preen placidly on a flat roof; in the background are bare trees and a row of salmon brick houses. As in most of her pictures, the color is so lightened with white that there seems to be almost a veil between scene and spectator. It is not a dramatic painting, but one feels in it a sensitivity to the nuances of the city scene. “English Landscape”, interpreted in the warm tans of turned fields and the light greens of thinly leafed trees and bushes, has similar qualities of repose and quiet lyricism.</p>
<p>The rare floral prints at Sessler’s, from R. J. Thornton’s monumental work of the early 19th century “The Temple of Flora,” are outstanding not only for their botanical accuracy, but even more for the intensely decorative manner in which they have been conceived. Essentially formal in design, each flower has been placed against an elaborate background that in some way reflects the form of the plant. In “The White Lily” the background contains a small white marble temple that echoes the chaste lines of the lily; behind a blue Egyptian water lily rise a group of eastern palaces; the orange swirls of the night-blooming cereus burn against the romantic sitting of a German castle in a moon-lit forest.</p>
<p>Tana Graitcer, showing gouaches and water colors at the Beagary House Galleries, is an artist who looks at her world independently—and independently reshapes that world on paper. Although her heavy black accents are occasionally reminiscent of Roualt or the caricatures of Daumier, one feels that she is an original painter. With themes ranging from the tenseness of “Strike Meeting” to the formal placidity of the still life, “Cucumber and Squash,” she has always a fine sense of form and a feeling for expressive color.</p>
<p>The Annual Oil Show at the Plastic Club displays no radical trends, no great departures from the conventional, but it does display a quantity of honest and excellently painted pictures. Elizabeth Coyne’s “Flowers and Mirror,” which was awarded the Gold Medal, is a study in reflections—those of the vase in the mirror and of the brilliant flowers in the surface of the black vase. The Silver Award went to Jean Watson for “Massachusetts Quarry,” a grey and green design of rock forms and landscape. Honorable Mentions were awarded to Florence Whiting’s “Flowers,” a decorative composition of red gladioli, and to Alice Robert’s “Tully Connemara,” a small Irish village at the foot of the mountain.</p>
<p>Albert Barker, now holding a one-man show at the Print Club, is a lithographer of the country scene. Using many soft, intermediate tones, he is especially skillful in rendering atmospheric effects—November sunlight, the rising of the mist at Nantucket, the darkness of an apple cellar. Again, his interest in the shapes and textures of trees is evinced in such prints as “The Tree in the Field”, “Wild Apple”, or “The Spice Bush”. “Tapestry of Spring”, a pattern in leaves and light, expresses his feeling for the naturalistic designs found in underbrush and thin woods.</p>
</div>
</div>
<div xml:id="issue-10-chapter-07">
<head><pb n="2" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-10-2.jpg"/>EXHIBITIONS</head>
<list>
<item rend="list-head">1525 LOCUST STREET</item>
<item>Oils by Pearl Van Sciver, through March.</item>
<item rend="list-head">ART CLUB</item>
<item>220 South Broad Street</item>
<item>The Ten, <date when="--03-18">March 18</date>–<date when="--04-09">April 9</date>.</item>
<item rend="list-head">ARTISTS UNION</item>
<item>1212 Walnut Street</item>
<item>Second Annual Exhibition of Oil Paintings and Sculpture, <date when="--02-25">February 25</date> to <date when="--03-27">March 27</date>.</item>
<item rend="list-head">BALDWIN SCHOOL</item>
<item>Bryn Mawr,</item>
<item>Oils by Fellowship Members, through March.</item>
<item rend="list-head">BEAGARY HOUSE GALLERIES</item>
<item>1709 Rittenhouse St.</item>
<item>Water Colors and Gouaches by Tana Graitcer. <date when="--03-14">March 14</date>–27, 3–6 P.M.</item>
<item rend="list-head">BRYN MAWR COLLEGE</item>
<item>Bryn Mawr</item>
<item>Paintings by Fern I. Coppedge.</item>
<item rend="list-head">CARLEN GALLERIES</item>
<item>323 South 16th Street</item>
<item>Lithographs by Benton Spruance.</item>
<item><date when="--02-26">February 26</date> to <date when="--03-16">March 16</date>.</item>
<item>Prints by Lynd Ward, <date when="--03-17">March 17</date>–31.</item>
<item rend="list-head">FRIENDS CENTRAL SCHOOL</item>
<item>68th and City Line</item>
<item>Oils and Water Colors by Thomas Eakins and his widow, Charles Fussel, and Charles Brugler.</item>
<item rend="list-head">HARCUM JR. COLLEGE</item>
<item>Bryn Mawr</item>
<item>Oils and Water Colors by Margaret Chrystie and Edward Walton through March.</item>
<item rend="list-head">McCLEES GALLERIES</item>
<item>1615 Walnut Street</item>
<item>18th Century Portraiture.</item>
<item>Contemporary American Painting.</item>
<item rend="list-head">MOORE INSTITUTE</item>
<item>Broad and Master Streets</item>
<item>Water Colors of Period Rooms by Marjorie S. Garfield.</item>
<item rend="list-head">NEW CENTURY CLUB</item>
<item>124 S. 12th St.</item>
<item>National Peace Poster Contest.</item>
<item rend="list-head">NEW THEATRE</item>
<item>311 N. 16th St.</item>
<item>Paintings and Drawings by Nat Koffman.</item>
<item rend="list-head">N. W. AYER ADVERTISING AGENCY</item>
<item>Washington Square</item>
<item>Exhibition of European Photographs. Through March.</item>
<item rend="list-head">PENN CHARTER SCHOOL</item>
<item>Germantown,</item>
<item>Oils by Fellowship Members. <date when="--03-15">March 15</date>–<date when="--04-15">April 15</date>.</item>
<item rend="list-head">PENNSYLVANIA MUSEUM</item>
<item>The Parkway</item>
<item>Johnson Collection.</item>
<item>Bicentenary Exhibition of Paintings by Benjamin West. <date when="--03-05">March 5</date>–<date when="--04-10">April 10</date>.</item>
<item rend="list-head">PHILADELPHIA A. C. A. GALLERY</item>
<item>323 South 16th Street</item>
<item>Paintings by Nicholas Marsicano. <date when="--03-01">March 1</date>–21.</item>
<item rend="list-head">PHILADELPHIA ART ALLIANCE</item>
<item>251 South 18th Street</item>
<item>Water Colors by Art Alliance Members. <date when="--03-10">March 10</date>–24.</item>
<item>Memorial Exhibition of Oils by Hugh H. Breckenridge. <date when="--03-15">March 15</date>–<date when="--04-03">April 3</date>.</item>
<item>Annual Exhibition of Stage Models. <date when="--03-14">March 14</date>–<date when="--04-03">April 3</date>.</item>
<item>Oils by Art Alliance Members. <date when="--03-25">March 25</date>–<date when="--04-07">April 7</date>.</item>
<item>Abstract Prints. <date when="--03-15">March 15</date>–<date when="--04-03">April 3</date>.</item>
<item rend="list-head">PHILADELPHIA PRINT CLUB</item>
<item>1614 Latimer Street</item>
<item>Lithographs by Albert Barker. To <date when="--03-23">March 23</date>.</item>
<item rend="list-head">PHILOMUSIAN CLUB</item>
<item>3944 Walnut Street.</item>
<item>Oils, Water Colors, Pastels by Nicola D’Ascenzo.</item>
<item>Pastels, Landscape, Portraiture by Carol Doriss Chapman.</item>
<item rend="list-head">PLASTIC CLUB</item>
<item>247 S. Camac Street</item>
<item>Annual Oil Exhibition beginning <date when="--03-09">March 9</date>.</item>
<item rend="list-head">SCHOOL OF INDUSTRIAL ART</item>
<item>Broad and Pine Streets.</item>
<item>McCandlish Contest Exhibition of Outdoor Advertising Designs to <date when="--03-19">March 19</date>.</item>
<item rend="list-head">SESSLER’S</item>
<item>1310 Walnut St.</item>
<item>Rare Floral Prints, <date when="--03-09">March 9</date>–26.</item>
<item rend="list-head">UNIVERSITY MUSEUM</item>
<item>33rd and Spruce Sts.</item>
<item>American Indian Portraits.</item>
<item rend="list-head">WARWICK GALLERIES</item>
<item>2022 Walnut Street</item>
<item>Oil Paintings by Hortense Ferne, <date when="--03-14">March 14</date> to <date when="--04-02">April 2</date>.</item>
<item>Water Colors by Harry Deitch to <date when="--03-26">March 26</date>.</item>
<item rend="list-head">WOMENS’ CITY CLUB</item>
<item>1622 Locust Street</item>
<item>Water colors by Florence V. Cannon. March.</item>
<item rend="list-head">WOMEN’S UNIVERSITY CLUB</item>
<item>Warwick Hotel, 17th & Locust Sts. Oils by Betty Heindel.</item>
</list>
</div>
<div xml:id="issue-10-chapter-08">
<head><pb n="3" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-10-3.jpg"/>FEDERAL DESIGNER DIES</head>
<p>Clare A. Huston, former Philadelphia designer and illustrator, died in Washington, <date when="--03-02">March 2</date> at the age of 81. For more than thirty years Mr. Huston was the chief designer for the Treasury Department’s Bureau of Engraving, originating and executing the designs of nearly all postage stamps, currency, and bond issues.</p>
<p>Although past the retirement age, Mr. Huston continued in the government service until 1933, having received an indefinite extension from President Hoover.</p>
</div>
<div xml:id="issue-10-chapter-09">
<head>CHILD ARTISTS</head>
<p>Four Philadelphia children had work tentatively accepted for display in the Third Annual Young America Paints Exhibition, which opened in Rockefeller Center <date when="--03-05">March 5th</date>. They are Robert Zucker, 1536 South St., Alberta Curson, 14, of 1611 South St., Beatrice Rosensky, 12, of 529 S. 16th St., and Ruth Mendelsohn, 12, of 735 S. 15th St. This is the second acceptance for Alberta and Beatrice who exhibited last year in the same exhibition.</p>
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<div xml:id="issue-10-chapter-10">
<head>HAMILTON PAINTINGS TO GO ON BLOCK</head>
<p>Works by the late John McLure Hamilton (1853–1936), Philadelphia born artist, will be sold at public auction by Samuel T. Freeman & Co., <date when="--03-28">March 28</date> at 2:00 p.m. The collection of oils, pastels, water colors, prints, and drawings will be on exhibition at the galleries, 1808–10 Chestnut St. from <date when="--03-24">March 24</date> until the day of sale.</p>
<p>Although born in Philadelphia, Hamilton, like his compatriots Whistler and Sargent, spent a great part of his life in London, where he painted many noted Englishmen and Europeans of his day. Among the famous statesmen who sat for him were Gladstone, Bismarck, Arthur Balfour, Lord Halifax, Asquith and Henri Rochefort. King George V was the subject of a series of original lithographs which are to be included in the sale.</p>
<p>One of the finest pieces in the collection is the “Portrait of General Booth,” which Hamilton painted in 1911. The famous Salvation Army leader, with aureole of white hair and beard, is shown seated and holding a Bible.</p>
</div>
<div xml:id="issue-10-chapter-11">
<head>ATLANTA RECEIVES PORTNOFF BUST</head>
<p>A portrait bust of William Edward Burghardt DuBois, President of Atlanta University, was presented to the University, <date when="--02-23">February 23</date>. The bust was the work of Alexander Portnoff, Philadelphia sculptor and friend of Dr. DuBois for many years. Previous to its presentation in Atlanta, the sculpture was on display at Columbia University, in 1932, and at the Modern Galleries here, in 1933.</p>
<p>Dr. DuBois is well known in Philadelphia, having been an assistant instructor at the University of Pennsylvania for some time. He was founder and editor of the newspaper, “The Philadelphia Negro.”</p>
</div>
<div xml:id="issue-10-chapter-12">
<head>FELLOWSHIP NOTES</head>
<p>The Fellowship of the Pennsylvania Academy of the Fine Arts invites you and your friends to an Evening of Photography with Commander George S. G. Cavendish and Richard T. Dooner. Commander Cavendish, a retired British naval officer, will show very interesting moving pictures in color—among them those of the International Cup Race. Richard T. Dooner, nationally famous photographer and member of the Fellowship, will explain some of the intricacies of the making of a photograph in color. Come Friday evening, <date when="--03-25">March 25</date> at 8:30, Academy lecture room.</p>
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<div xml:id="issue-10-chapter-13">
<head>LUCK IN PHOTOGRAPHY</head>
<byline><emph>By</emph> C<hi rend="small-caps">HARLES</hi> O<hi rend="small-caps">GLE</hi></byline>
<figure>
<graphic url="upl-philaartnews-fig283.jpg"/>
<head>“The Three Musketeers”</head>
<figDesc>Photograph by Charles Ogle</figDesc>
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<p>Fortune is feminine and therefore capricious.</p>
<p>When Lady Luck deigns to smile . . . be ready to appreciate.</p>
<p>Keep an extra bon-bon in your pocket for her. Meaning an extra film.</p>
<p>Never shoot all your films . . . always save one, at least, for the unexpected.</p>
<p>Many opportunities for a lucky shot are lost because of over enthusiasm in shooting the roll.</p>
<p>Lady Luck was along the quays of Rouen when the accompanying picture was garnered . . . so was that one lone fortunate film . . . last but not least of a dozen.</p>
<p>So don’t depend on lovely Lady Luck alone . . . she’s a bit fickle . . . the jade.</p>
<p>An empty camera is inarticulate.</p>
<p>You can’t bounce a meatball.</p>
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<div xml:id="issue-10-chapter-14">
<head>TAKE A WALK</head>
<p>Surrealism was very much in evidence during the past fortnight in at least two of the larger displays. With some interesting original ideas, and others taken from the recent Paris exhibition of surrealist furniture, these windows lent much spice to our daily walk.</p>
<p>Conspicuous everywhere have been fine windows devoted to the United Campaign. There was plenty of room for variety of subject in this field and many phases of the city’s charities were represented, par exemple, a visiting nurse on her way to a patient, and the sordid interior of a slum house.</p>
<p>As a contribution to the United Campaign, Walt Disney allowed the free use of a “Snowwhite” dwarf and Wanamaker’s donated a Chestnut St. window last week for one of the most novel Campaign displays. A real dwarf in a fairyland setting held up placards appealing for funds to the delight of a traffic-blocking crowd.</p>
<p>Last week the town unanimously heralded the approach of spring. Leafy ladies on swings, colorful circus wagons, and a series called Printemps ’38 were among the most conspicuous harbingers.</p>
<p>Mr. LePointe, popular display head at Wanamaker’s Men’s store, is leaving, due to a consolidation of the display departments of the two Wanamaker stores.</p>
<p>The Display Club of Philadelphia liquidated at its last meeting, <date when="--03-01">March 1</date>, but plans are already under way to reorganize as a purely social group. Further developments will be announced later.</p>
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<div xml:id="issue-10-chapter-15">
<head>BRINTON ADDRESSES FELLOWSHIP</head>
<p>“I am not a theoretician. I don’t explain things as the sage of Merion does, in heavy books,” said Dr. Christian Brinton, as he addressed the Fellowship at the Academy of the Fine Arts on <date when="--03-04">March 4</date>. Then he proceeded to sketch, in simple terms, the trends of art from Impressionism to Expressionism.</p>
<p>Beginning in France “the stepmother of the art of the world” with Manet, Monet, and Degas (“Prononcez ca De-gaz, comme le bec de gaz!”) Dr. Brinton took his audience on a “little tournee” which included painters and paintings from all of Europe, the United States, and such distant places as Brazil and Greenland.</p>
<p>His lantern slides were particularly interesting because they showed works of the great modernists which are little known or seldom reproduced.</p>
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<div xml:id="issue-10-chapter-16">
<head>“COLLECTORS” CHOOSE SECRETARIES</head>
<p>Mr. Blanchard Gummo, head of the art department of Bucknell University, Lewisburg has been chosen as Field Secretary for Central Pennsylvania by the Collectors of American Art.</p>
<p>Only three Field Secretaries have been announced to date, but applications from other persons interested in the society’s purpose “to encourage the production and distribution of fine art in America” are being considered.</p>
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<div xml:id="issue-10-chapter-17">
<head><pb n="4" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-10-4.jpg"/>THUMB TACKS</head>
<head type="sub">COMMERCIAL ART NOTES</head>
<byline><emph>By</emph> P<hi rend="small-caps">ETE</hi> B<hi rend="small-caps">OYLE</hi></byline>
<p>An important change took place in the line-up of advertising agencies when F. Wallis Armstrong, head of the company bearing his name, disposed of his holdings and retired from a field in which he had plowed so richly. The agency is now controlled by and named for Ward Wheelock, who has spent most of his advertising career under the tutelage of Armstrong. Probably no agency put its products on the markets of the world with greater effect than this house which has seen advertising grow to the present tremendous influence it now enjoys. The agency presented to the buying public at least two trademarks or symbols that became part of the national consciousness, the apple-cheeked Campbell Kids, whose chubby features spoke loudly for the effects of a soup diet and the attentive fox-terrier who made “His Master’s Voice” a byword that brought Victrolas into so many homes.</p>
<p>George Little is the Art Director and heads a busy department of four artists. The present location of the company is 16th and Locust Sts., in the old Cramp Mansion. When they move to the entire top floor of the Lincoln-Liberty Building on April I, they will probably be the only agency with a two ton bell as part of their overhead.</p>
<p>MEMO RANDOM</p>
<p>Emidio (“Mike”) Angelo did the art work for the current issue of the P.R.T. Traveler. In pure line they liven up the folder to a pleasing degree.</p>
<p>We like the color fashions Jessie Rezell has been doing. A roto color assignment has been keeping the young lady busy of late.</p>
<p>John Gough is enjoying himself with a brand new Rolleicord camera and ditto for Wade Lane who has a new Speed Graphic.</p>
<p>The initials R.L.G. which you see signed to those zippy black and white drawings in the Evening Ledger institutional ads, stand for R. Louis Godshall, a young veteran and product of the Ledger art room. Godshall has a fine black and white sense that shows to advantage in newspaper reproduction. The humorous element in his work was brought into full play when he illustrated “Life with Father,” the Clarence Day story that ran serially in the Ledger a while back.</p>
<p>Nat Little, former local illustrator and now of Mystic, Connecticut, has four lovely decorative spots in the March issue of the Woman’s Home Companion. They’re in full color and we hope to see more of them.</p>
<p>George Harrison Kappes, Jr. of the art department of the Wanamaker Store has just purchased a Packard convertible sedan. He wishes to scotch the rumour that he’s looking for a Filipino houseboy.</p>
<p>Why doesn’t somebody revive the Philadelphia Chapter of the Art Directors’ Club? The depression had a blighting effect on this very important ad art organization that staged several shows of commercial art work in the city. Here’s hoping it soon becomes an actuality again.</p>
<p>Angelo Butera, Academy student, supports himself by working as second cook at the French Grotto. Although they keep him occupied, his culinary duties haven’t hindered him a bit; he won a $50.00 prize at the Academy recently.</p>
<p>Don Shafer, formerly associated with the Rayart Studios, Inc. of Pittsburgh, has joined the staff at the Kehl-Egner Studio on Chestnut Street.</p>
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<div xml:id="issue-10-chapter-18">
<head>PRISMS. AN ARCHITECTURAL COLUMN</head>
<head type="sub">“CRAFTSMANSHIP OF THE MACHINE”</head>
<byline><emph>By</emph> C<hi rend="small-caps">LYDE</hi> S<hi rend="small-caps">HULDER</hi></byline>
<p>The Exhibition called “Design for Mass Production” held at the Philadelphia Art Alliance recently was given a simple and functional setting by Lloyd Malkus, talented young Architect of this city. In no instance did he attempt to steal the show by spectacularism, as is so often done in the theatre. His job was to provide a background for materials and products that would show them to the advantage of their individual properties. This he did with taste and keen sympathetic understanding. Co-operating with him was Raymond Ballinger, Instructor in Advertising Design at the School of Industrial Art. Mr. Ballinger acted as Type Coordinator and advisor of Display Composition. Through his intelligent efforts the show was not only made well balanced and beautiful but was given a comprehensive meaning.</p>
<p>With this setting the exhibition of “Design for Mass Production” could not help but carry a message to the intelligent observer. To the Manufacturer—a deeper understanding of what the designer has done and will do in creating beautiful objects for greater sales distribution. To the Consumer—a greater realization of what intelligent mass production has done in providing for his use more beautiful every-day articles at a price he can afford. To the Designer—a comprehensive statement of the vast possibilities for his peculiar talents in this field of design—the Craftsmanship of the Machine.</p>
<p>Some have said that this field of design is ideal for the architect, due to his peculiar training with the uses of materials, knowledge of their properties and functions, coupled with his sense of design. But there are many phases of industrial design that are foreign to the natural equipment of the architect. He does not use mass production methods in attaining his individualistic result. He inherently resents repetition. Each building he designs is created especially for a special need or the need of a special individual. He is not particularly interested in mass sociology or psychology. The merchandizing he knows or uses in his work is vitally different from that necessary for mass selling. He, in most cases, does not work well as part of a co-ordinating group as is necessary in mass production.</p>
<p>Where can we turn to find the individuals or groups of individuals that come all ready made for the ever increasing field of industrial design? I have come to the conclusion that despite all these differences the architect is as good a bet as any. He is concerned in increasing beauty to surround the individual. The individual must have mass production items around him. If the architect will realize and understand the peculiar set-up necessary in this Design for Mass Production, he can contribute immeasurably to the increase of Beauty in the world in which we must live.</p>
<p>ARTHUR W. HALL, Philadelphia architect, died here <date when="--03-06">March 6</date>. Mr. Hall was well known as the designer of many central city buildings, among them the Aldine Trust Building, the Lewis Tower, Chancellor Hall, and the Bellerich.</p>
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<div xml:id="issue-10-chapter-19">
<head>TRICKS OF THE TRADE</head>
<p>Paasche Flocking Units were demonstrated recently at the Hotel Commodore in New York City, and interested display men, poster designers, novelty printers, decorators, and industrialists. These units enable the application of an enormous variety of low-cost artificial surfaces in many colors of cotton, rayon, metallics, glass beads, tinsel, etc.; also binders, sizings, paints, lacquers, enamels, light bodied synthetics, and other finishing materials. Novelty of effect with this equipment is limited only by the imagination of the user. An airpainting unit with GPRF Flock Airbrush costs $61.17. Additional special-purpose units available.</p>
<p>Hurlock makes a $1. (value $2.) trial offer, through dealers, of an assortment of their Illustration Boards. There’s extraordinary variety in Illustration Boards up to 40 x 60 these days; also special boards as gold, silver, wood-veneers’ display, show-card, poster, mounting, and matting. Look them over.</p>
<p>LETTERS AND LETTERING ($4) by Paul Carlyle and Guy Oring is a very complete and well-compiled volume. It has been selling so fast that one dealer reports “all sold out”.</p>
<p>Speaking of sales, Philadelphia led nationally in sales of the $59. Martin Display cutter (described here in issue of <date when="--01-31">Jan. 31</date>), for a period of three months.</p>
<p>For those who burn the candle at both ends: Corrubia Daylight Lamp, specially ground blue lens, with goose-neck and heavy metal base, will clamp to your drawing table or desk—$6.50. It sheds a restful light.</p>
<p>Now’s the time for bargains. Pastels, canvases, sketch boxes, and other materials are reduced for spring sale.</p>
<p>The air-cooled Hot Spot etching pen for pyrography burns the wood as it should, and not your hand. Woodburning and the decoration of cork and leather or some fabrics may be either a fascinating hobby or a profitable business.</p>
<p>Youngsters will love drawing pictures with colored sand. Outfits at $1. and $2. include assortments of brightly colored sand in easy pour cans, pictures of colors, valve-controlled pens, and an adhesive to make the poured sand stay put.</p>
<p>The Craftsman Circle Cutter ($2.) cuts perfect circles down to one-sixteenth inch and is tough and durable. For masks and stencils.</p>
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<div xml:id="issue-10-chapter-20">
<head><pb n="5" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-10-5.jpg"/>PROGRESSIVE EDUCATION</head>
<head type="sub">ART AND GEOGRAPHY</head>
<byline><emph>By</emph> R<hi rend="small-caps">OBERT</hi> B. N<hi rend="small-caps">IXON</hi><lb/>Geography Instructor<lb/>Radnor High School</byline>
<p>This begins a series of articles by various educators describing the integration of Art with other subjects as taught in modern schools according to the principles of Progressive Education.</p>
<p>Human Ecology deals with the adaptation of man to his environment AT THE PRESENT. It does not attempt to teach the geography of the past, and the historian’s or misinformed social scientist’s attitude that geography and history can be fused, is in error. It has been said that History is the Geography of the Past.</p>
<p>Human Ecology for boys and girls of our public schools should have the following criteria: 1. It should base its first formal teachings upon those things which the child has observed in his pre-geography years. 2. It should evolve from the simple to the complex. Here we must eliminate History, for History had its beginnings in very complicated regions if we think in terms of human adjustments. 3. There should not be repetition of subject matter, but there can be repetition of principles taught, in interpreting new subject matter.</p>
<p>The aim of the Geographer with the progressive viewpoint is to give the boy or girl graduating from school as broad a background in interpreting HOME environments as he should have in the arts, sciences, literature, or other fields. Americans are frequently characterized as being woefully illiterate, geographically, with their old-fashioned ideas of sailor, place, and physical geography. Human Ecology, which is the special realm of Geography, aims to make citizens literate in interpreting the cultural landscape in relation to the physical landscape.</p>
<p>The artist deals with things and ideas taken from the cultural and physical landscapes of man. It is here man has his home. When the world’s peoples know more about their planet plus its social patterns they will be better able to understand the products of the artists. For example, one cannot fully appreciate the paintings of the Florentine artists until he has a mind picture of Florence, Italy, and has interpreted the canvases as the products of a particular physical and social environment. Art can be made more meaningful to the child in any school, be it progressive or archaic, when there has been built for him a background of tolerant geographic understandings.</p>
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<div xml:id="issue-10-chapter-21">
<head>CULTURAL OLYMPICS</head>
<p>The following pieces were selected from the exhibit of Elementary and Junior Applied Design, Crafts and Modeling to be shown at the final festival exhibition of the Cultural Olympics:</p>
<list>
<item>Design<list>
<item>Florence Allen</item>
</list></item>
<item>Design<list>
<item>Adelaide Ammon</item>
</list></item>
<item>Marionette<list>
<item>Manuel Charolonzo</item>
</list></item>
<item>Clay Pitcher<list>
<item>Theresa De Petris</item>
</list></item>
<item>Etched Bowl<list>
<item>Irving Fidler</item>
</list></item>
<item>Sampler</item>
<item>Naomi Hight</item>
<item>Book-Ends<list>
<item>John Huttenlock</item>
</list></item>
<item>Leather Album<list>
<item>John Huttenlock</item>
</list></item>
<item>Clay Head<list>
<item>Elizabeth Kaufman</item>
</list></item>
<item>Etched Bowl<list>
<item>Robert Marcy</item>
</list></item>
<item>Hand Bag<list>
<item>Rosemarie Nigio</item>
</list></item>
<item>Tile<list>
<item>John Means & Samuel Robinson</item>
</list></item>
<item>Poster<list>
<item>Harry Nitterour</item>
</list></item>
<item>Corner Shelf<list>
<item>Walter Smith</item>
</list></item>
<item>Wrapping Paper<list>
<item>Edna Mae Stillmun</item>
</list></item>
<item>Tile<list>
<item>Fred Stoudenmayer</item>
</list></item>
<item>3 pieces of clay modeling</item>
<item>Settlement Music School</item>
<item>2 pieces of soap sculpture</item>
<item>Shaw Junior High School</item>
</list>
<p>The jury was composed of Esther A. Richards and Paul Domville.</p>
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<div xml:id="issue-10-chapter-22">
<head><pb n="6" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-10-6.jpg"/>LECTURES</head>
<p><date when="--03-16">March 16</date> and <date when="--03-23">March 23</date> at 8:00 p.m. Elusha Strong will speak on “Contemporary Art” at Roerich Centre, 2016 Walnut Street.</p>
<p>Saturday afternoon, <date when="--03-19">March 19</date> at 3:00 p.m. at the University Museum there will be “News of the Museum’s Expeditions at Tepe Gawra, Khafaje, Persepolis, Cyprus, Piedras Negras, West Africa, and Southwest United States.”</p>
<p>Merle Hirsh will lecture on “Painting as a Source for the Modern Dance,” <date when="--03-23">March 23</date> at 8:30 p.m. at the Plays and Players, 1714 Delancey St.</p>
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<div xml:id="issue-10-chapter-23">
<head>ART HEADS MEET</head>
<head type="sub">DISCUSS FEDERAL ARTS BUREAU PROBLEM</head>
<p>The presidents, directors, or representatives of Philadelphia Art Organizations held a meeting at the Pennsylvania Academy of the Fine Arts on Thursday evening, <date when="--03-10">March 10</date>, to discuss the tentative Federal Arts Bureau proposal which is reprinted in this issue of the Philadelphia Art News.</p>
<p>The organizations represented were: The Pennsylvania Academy of the Fine Arts; Fellowship of the Academy; Moore Institute—School of Design for Women; Pennsylvania Museum School of Industrial Art; School of Fine Arts, University of Pennsylvania; Graphic Sketch Club; Board of Education, Philadelphia Public Schools; The Philadelphia Art Alliance; Plastic Club; Print Club; Philadelphia Sketch Club; Philadelphia Watercolor Club; T-Square Club; and others. A number of art critics and private individuals also attended.</p>
<p>After thorough discussion, this group unanimously agreed to oppose all Federal Arts proposals which have been introduced in Congress. A committee was appointed for further consideration of the tentative proposal of the informal Philadelphia committee. It was decided to preserve the affiliation of the groups represented at the meeting. Henry White Taylor was formally made chairman, and Joseph A. Fraser, secretary.</p>
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<div xml:id="issue-10-chapter-24">
<head>STAGE MODELS</head>
<p>The exhibition of stage models, submitted in the Annual Art Alliance contest, will be on view until <date when="--04-02">April 2</date>. The show includes models of produced plays or operas and models of ballets. The committee for the contest was headed by Mrs. Houston DeCoursey, assisted by Clyde Shuler and John W. Hathaway.</p>
<p>THE JURY for the Annual Oil Exhibition of the Plastic Club was composed of Paul Ludwig Gill, S. Walter Norris, and Helene Ungerich.</p>
<p>LUCIUS BLOCH, Philadelphia print maker, is represented in the Annual Exhibition of sculpture, water color, drawings and prints at the Whitney Museum, New York.</p>
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<div xml:id="issue-10-chapter-25">
<head>OMISSIONS</head>
<p>The following features, omitted from this issue, will be resumed in the issues to come: Paint Craft, On the Spot, Agency Listings, The Old Cynic, Letters to the Editor.</p>
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<div xml:id="issue-10-chapter-26">
<head>ART IN PRINT</head>
<p>We recommend for your art library “Cezanne”, published by the Phaedon Press of Vienna and distributed in this country by the Oxford University Press of New York, ($3.00).</p>
<p>We frankly regret it does not seem to be possible for the presses of our own country to make such an ambitious volume as this available to the public at such a reasonable price.</p>
<p>Why must America take a back seat? Surely our facilities compare more than favorably with those of Europe. Is it perhaps because our countrymen are still inclined to consider art a luxury to be paid for through the nose?</p>
<p>The introduction by Fritz Novotny contains a good approach to the painter’s work. He warns against regarding a Cezanne merely as an ornament in colour. One must look for its realistic illustrative value.</p>
<p>He speaks of Cezanne’s powers of reduction which distinguish his work from that of preceding impressionists. His aloofness from mankind is offered as explanation for the puppet-like rigidity of the nudes to be found, for example in the much maligned “Bathers” at the Museum.</p>
<p>There are over a hundred photogravure reproductions as well as eighteen colour plates to be found in this worthwhile work.</p>
<p>B. W.</p>
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