<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml"
schematypens="http://purl.oclc.org/dsdl/schematron"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>Philadelphia Art News: Vol. 1 No. 11</title>
<editor>Jonathan Edwards Center</editor>
<respStmt>
<resp>encoded by</resp>
<name>Scribe Inc.</name>
</respStmt>
</titleStmt>
<extent>10071 words</extent>
<publicationStmt>
<publisher>Ben Wolf Publications, Inc.</publisher>
<pubPlace>Philadelphia, Pa.</pubPlace>
<date when="1937-11-08"/>
</publicationStmt>
<seriesStmt>
<title>Philadelphia Art News</title>
<idno>upl-01-11</idno>
</seriesStmt>
<notesStmt>
<note>### Notes about the project or series</note>
</notesStmt>
<sourceDesc>
<bibl>Volume 1, Issue 11 of Philadelphia Art News, a bi-weekly arts journal in the 1930s</bibl>
</sourceDesc>
</fileDesc>
<profileDesc>
<creation>
<date>November 10, 2013</date>
</creation>
</profileDesc>
</teiHeader>
<text>
<pb n="1" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-1.jpg"/>
<front>
<titlePage>
<titlePart type="main">PHILADELPHIA ART NEWS</titlePart>
<titlePart type="sub">ALL THE NEWS OF PHILADELPHIA ART IMPARTIALLY REPORTED</titlePart>
<docDate><date when="1938-03-28">MARCH 28, 1938</date></docDate>
<docEdition>Vol. 1 - - - No. 11</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>2022 Walnut Street</p>
<p>Phone: Rittenhouse 8739</p>
<p><name>Philadelphia, Pa.</name></p>
</div>
</front>
<body>
<div xml:id="issue-11-chapter-01">
<head>CAMERA CLUBS EXHIBIT</head>
<head type="sub">FIRST ALL PHILADELPHIA SHOW HELD AT LIBRARY</head>
<p>The Council of Camera Clubs of Philadelphia is holding the first All Philadelphia Photographic Exhibition in the Free Library, Logan Square, from <date when="--03-19">March 19th</date> to <date when="--04-03">April 3rd</date>.</p>
<p>The affiliated organizations belonging to The Council and represented in the exhibit are: Delaware County Camera Club; Frankford Camera Club; Glenwood Camera Club; KYW Camera Club; Lantern and Lens Guild of Women Photographers; Miniature Camera Club of Philadelphia; Photographic Guild of Philadelphia; Photographic Group of Philadelphia; Photographic Society of Philadelphia; Photographic Society of University of Pennsylvania; South Jersey Camera Club; Telephone Camera Club of Philadelphia.</p>
<p>Composing the jury were John Allen; J. Frank Copeland, Richard Dooner, Leslie L. Bender, and Earl C. Roper. The Exhibition Committee consisted of Robert A. Barrows, Print Director, Charles Heller, and Henry F. Plate. One hundred and sixty-nine photos were selected, and if these prints represent a general cross-section of the work of the members of the Council of Camera Clubs, their standard of perfection is professionally very high. It is perhaps the best photographic exhibit we have seen this season, because of the wide human interest of the subjects and their extraordinary diversity.</p>
<p>Arnold V. Stubenrauch, President of the Council of Camera Clubs, writing a foreword to the catalogue of the Exhibition states that “The Council of Camera Clubs was organized late last year for the purpose of bringing together organizations of a like purpose, and to further a better understanding among these clubs. This Exhibition is one of the outstanding functions of the Council.”</p>
<p>Club headquarters of the Council of Camera Clubs is located at 1520 Locust Street, and the combined membership in the affiliated clubs is stated to exceed one thousand.</p>
</div>
<div xml:id="issue-11-chapter-02">
<head>SCULPTURE CONTEST</head>
<p>A sculpture contest for the decoration of the United States, Government Building at the New York World’s Fair has been announced by the Treasury Department. The competition will be for the sculpture on the two towers of the main facade. It is planned to have two heroic figures, thirty-six feet high, to symbolize the theme Peace and Common Accord. Models must be submitted by <date when="--06-01">June 1</date>.</p>
</div>
<div xml:id="issue-11-chapter-03">
<head>TIBBETT CONDEMNS COFFEE-PEPPER BILL</head>
<p>In the PHILADELPHIA ART NEWS as in many other publications it has been reported that Lawrence Tibbett was national chairman of the Federal Arts Committee, which is campaigning in favor of the Coffee-Pepper Bill. This, according to a recent letter by Mr. Tibbett to the New York Times, was a serious error. He specifically denies any affiliation with the organization, likewise stating his disapproval of the Coffee-Pepper Bill which the Committee is supporting.</p>
<p>Mr. Tibbett writes: “While I am in favor of its avowed purpose, viz.: the creation of a Federal Bureau of the Fine Arts, nevertheless it is my individual opinion that this bill will not accomplish its objective in the best manner possible.”</p>
</div>
<div xml:id="issue-11-chapter-04">
<head>STAGE MODELS EXHIBITED</head>
<p>Stage Models, in their Annual Exhibition, again occupy two second-floor galleries at the Art Alliance. The show was in the nature of a contest, judged by Donald Oenslager, Harry Wagstaff Gribble, and Lee Simonson, and six of the seven awards were won by local participants.</p>
<p>There were two groups in the competition, the first for models of produced plays or operas, the second for ballet. In Group I the first prize ($50) was captured by Rita Newhold Oliver’s setting for “Ception Shoals,” which showed a convincing lighthouse interior. Eugene Morley won second award ($25) with his imaginative setting for Scene IV of Toller’s “Masses and Man.” Third prize ($15) went to W. Craig Smith. His setting for “R.U.R.,” Act I, shows the roaring factory of Rossum’s Universal Robots through panes of glass in a huge office window which comprises the entire backstage.</p>
<p>Honorable mentions in this group were given to Barbara Saul for her prison scene set in “The Hairy Ape,” to Joseph W. Oliver for “Will o’ the Wisp,” and to Gale Carter Morningstar for a “Twelfth Night” set with revolving stage. Miss Saul’s set presents, with a simple crossing of lines, a cell block that makes an effective stage picture.</p>
<p>The twenty-five dollar prize for a ballet set went to Samuel S. Castner’s design for Respighi’s ballet, “La Boutique Fantastique.”</p>
<p>Many other delightful models are included in the show. One would like to see “Carmen” played in the fine setting created for it by Sidney Laverson. There is enough room for the sweep of action of the opera, yet the solidity of the buildings, which make a picturesque background, is suggested very well.</p>
<p>Louise Mudry’s “Hamlet” presents an ornate stage, with Hamlet placed as few stars would consent to be placed, where he will be unseen by the audience on the sides. However, the set itself is interestingly designed.</p>
<figure>
<graphic url="upl-philaartnews-fig309.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig310.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-05">
<head>ART AND FLOWERS</head>
<p>The Philadelphia Flower Show may well be considered one of the leading art events of the season. Acclaimed as the finest show of its kind in the country, it attracts visitors from many states, and its appeal is not alone horticultural. Architecture, landscape design, interior decoration, sculpture, and display are well represented.</p>
<p>One of the main reasons for the superiority of the Philadelphia Show is its design as an artistic whole. This year Walter Hengel was again the architect. His scheme provided, in the center of the hall, a thirty foot circular hemlock hedge in which twelve arches were cut. Along the four main axes were large rectangular basins featuring sculpture by Harriet Frishmuth. Bronze figures by Malvina Hoffman, A. A. Weinman, and Miss Frishmuth relieved the austerity of the inner circle and appeared to advantage against the dark green of the hemlock. In the main aisle, leading to the circle, the famous Widener acacias were effectively placed. Stately elegance and old-world formality characterized the entire design.</p>
<p>Mr. Hengel was also responsible for a prize winning outdoor lounge in the Spanish-Moorish manner. With a wrought iron gate, a mosaic fountain and planting against a pink plaster wall, it suggested an ideal patio.</p>
<p>Closer to home were the Back Yard Gardens contributed by garden clubs and offering ingenious methods for the improvement of city dwellings.</p>
<p>Mantel Decorations featuring flower arrangement in a pair of vases provided some interesting notes in interior decoration. Old fashioned arrangements under glass were revived to adorn parlor tables in the Victorian manner. There was a conspicuous absence of modernistic arrangements.</p>
<p>It is unfortunate that, in a show with such a high artistic level in general, a few individual exhibits consistently sacrifice good taste to a garish and crowded display of what is most showy in their stock in trade. The florists’ exhibits were, on the whole, quite disappointing this year. With such a glorious opportunity for tasteful display, why did they find it necessary to introduce plush Easter bunnies, revolving brides, and ornate crockery? More florists might follow the example of The Orchid Shop, which joined forces with Sanford Kean, interior decorator, in creating its display.</p>
<p>Yet, aside from introducing every year a bigger and better marigold, the Flower Show continues to improve annually as a medium for aesthetic expression.</p>
<figure>
<graphic url="upl-philaartnews-fig311.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-06">
<head>AUDUBON WORKS TO BE SHOWN</head>
<p>On <date when="--04-26">April 26</date>, the birthday of John J. Audubon, the Academy of Natural Sciences will open a comprehensive exhibition of works by and material relating to this worldfamed American naturalist. Bringing together a quantity of material from museums, galleries, and private collections throughout the country, the exhibition will also mark the one hundredth anniversary of the publication of the elephant folio, “The Birds of America.”</p>
<p>The Auduboniana included in the exhibit will be divided into eight sections: Audubon’s personal relics, letters and journals, chalk and oil portraits of his friends, original paintings of the Birds and early Natural History sketches, original portraits of the Quadrupeds, a display showing the steps in the production of the Wild Turkey plate, engravings from the elephant folio, and the various editions in which Audubon’s work has appeared.</p>
</div>
<div xml:id="issue-11-chapter-07">
<head>FRESH PAINT</head>
<byline>WELDON BAILEY</byline>
<figure>
<graphic url="upl-philaartnews-fig312.jpg"/>
<head>“Estelle Dennis in Modern Dance” by Sue May Gill.</head>
</figure>
<p>Doubtless many artists would be surprised if told that they were lacking in cooperation with their gallery. Such, however, is quite frequently the case, although the artist himself may not be aware of it.</p>
<p>As an excellent instance of this, we may cite an attitude popular among artists: disdain for the “commercial” process of selling their pictures. Many of them feel that a price placed upon a picture either sullies its purity as a work of art or is an unnecessary appendage. Neither of which, of course, is the case. To sell a picture is honorable—and frequently a necessity.</p>
<p>When a painting is completed to the satisfaction of the artist, it is his duty, if he intends to sell it, to establish a reasonable price. When established, that price should remain, rather than float about in mid-air, ready to go up or down at a moment’s notice. Furthermore, the painting should never be a gift—the artist must realize that every work given away makes the next harder to sell.</p>
<p>The artist, likewise, should operate on a well balanced basis in relation to the gallery exhibiting his work—there should be no dickering or selling over the head of his gallery. Also, the value he places upon his work should be neither too much nor too little.</p>
<p>To illustrate these points:</p>
<p>A patron enters a gallery and admires a particular canvas, costing five hundred dollars. This is “really too much” for her to pay, and couldn’t the gallery get in touch with the artist and find how little he would take for it (incidentally, a bona fide occurrence). The gallery reluctantly phones the artist and, after much hemming and hawing, he says: “Four hundred fifty, and not a cent less.” A less useful attitude we wot not of.</p>
<p>Again: a patron enters a gallery, admires a painting, inquires not only the price asked for it but the address of the painter, and after the exhibition closes, buys it directly from its creator minus the gallery’s commission.</p>
<p>Another instance: Mr. So-and-so saw, in a gallery, a picture by an artist he knew and was by no means hesitant in telling the attendant that there was no sense in his buying the picture, for after the exhibition the artist would in all likelihood give it to him.</p>
<p>We were, on one occasion, talking to a young artist about his former teacher—who is well known. After extolling the merits of his teacher he added: “And if you admire his work he’ll give it to you.”</p>
<p>We have known of more than one artist who was too “bashful” to place even a reasonable price upon his work and, on the other hand, many who charged too much for practical purposes. We recently examined a small, but excellent, still life by one of Philadelphia’s most promising young artists. Curiosity tempted us to ask the price, and, all things considered, it was quite staggering.</p>
<p>We once knew of a young artist of definite ability, who spent his days in a factory earning fifteen dollars per week. A collector offered him three times that amount for a moderately sized water color, which he refused. He wanted ninety dollars or nothing!</p>
<p>The foregoing instances indicate principally a lack of proper balance between the artist, his work and the gallery. Until such problems are intelligently ironed out neither artist nor gallery shall thrive.</p>
<p>“The Ten” (despite the fact that only nine are represented) are holding their annual exhibition of painting and sculpture currently at the Art Club. All contributors are women well known locally and for a number of years these showings have offered a variety of stimulating works.</p>
<p>This exhibition is fresh and joyous, and characterized by purity of vision and cleanliness of accomplishment. Only one of the exhibitors seems notably interested in the life of man—that is S. Gertrude Schell. Employing an extremely rich, yet sombre, palette, this painter is particularly concerned with the drama of life and those who labor to live.</p>
<p>“Day’s End”, for instance, is a perfectly fine piece of painting—compositionally, the most has been made of a fishing coast, in which tired fishermen plod upward over the rocks, while far beneath we see the coast dotted with small but colorful fishing craft. Similar quality is to be found in “Men”, a study of fisherfolk with their boats and nets, and, as an eloquent background, stark mountains and the sea. Other notable canvases of this artist are “Summer Clouds”, “Carnival” and “Winding Road”.</p>
<p>In contrast, Isabel Branson Cartwright has an outlook of complete joyousness, as witness “Cortina d’Ampezzo”—a tiny village clustered among trees, mountains and clouds. Likewise, the artist has obviously been very happy in “A Garden in Maine” and with “Summer Flowers”.</p>
<p>For sheer vigor of treatment we recommend Constance Cochrane. Not only are “Sunrise” and “Shattering Sea” of extraordinary technical energy—“Fog and Spray” boasts, by all odds, the greatest verve in the show. Miss Cochrane’s palette coordinates well with her technique.</p>
<p>The canvases of Nancy Maybin Ferguson have been commented upon previously by the writer—they retain their freshness and modernity.</p>
<p>All except two of the eight oils by Sue May Gill are portraits. All—and notably “Sylvia and Terry”—are accomplished with crisp breadth of brush stroke and opalescent color. “Estelle Dennis in Modern Dance” is a large canvas built upon a clever triangular compositional principle.</p>
<p>One definition amply characterizes the work of Lucile Howard; a tasteful and carefully controlled palette together with a sense of soft, poetic plastic values. “Gateway to the Acropolis: Athens”, “Monemvasia: Greece”, “Thera on Santorin: the Cyclades, Aegean Sea”, “The Mountains of Crete: Sea of Candia” and “Corfu, from the Ex-Kaiser’s Palace” testify to the delicacy of this painter’s vision.</p>
<p>The art of Emma Fordyce MacRae is one of flat patterns of grayed color, with which is incorporated a deft sense of composition more vital and expressive than one may at first comprehend. This is notable in such oils as “Pidgeon Cove” and “Fishermen’s Houses”. The same aesthetic principle applied to portraiture may be found in “The Open Book” and “Melina in Green”.</p>
<p>We now come to the colorful decoration of M. Elizabeth Price. This artist achieves her zenith of decoration in “The Poppy and the Rose”, “My Own Poppy” and “Favorites of September”. A screen: “Magnolias”, is a happy combination of the painter and decorator. It should be effective—in a large room. “Sketch—Santa Maria Novella” is, as it implies, a sketch: and strangely (or not), the most vital contribution of the painter.</p>
<p>The sculpture is contributed by Mary Lawser. Decorative plaques, such as “Alice in Wonderland” and “The Lady and the Cat” are charming and imaginative—particularly the former, which resembles a delicious cookie. The sculptures also shows “Tora”, a stylized portrait bust.</p>
<p>Mary-Russell Ferrell Colton, who is not represented, is the tenth of “The Ten”.</p>
<p>The wood engravings of Lynd Ward, now to be seen at the Carlen Galleries, are considerably more than stimulating. Their inherent vitality is principally a matter of dynamic design—Ward seems to have the happy faculty of hitting promptly upon the basic compositional motive of his subject, and he is fearless in his use of it.</p>
<p>Coupled with this we find an amazing mastery of technical problems. Ward’s sense of line and mass is served admirably by his ability to create the finest of lines and most luminous of black masses. His use of the tint tool is of the utmost finesse—he is an artist-craftsman.</p>
<div>
<head>JANE RICHTER</head>
<p>Growth in an artist is not phenomenal, but certainly there can be few contemporary painters who have had the tremendous growth that Hugh Breckenridge experienced. In the Memorial Exhibition of his work at the Art Alliance, one can trace the artistic curve of a great painter, who evolved from an academic, if original, recorder to a completely free and creative artist in pure color and movement.</p>
<p>A certain group of canvases in this exhibit, among them “Apple Tree”, “Hillside, Autumn”, and “Bowl of Fruit” would seem to represent Breckenridge’s early stage—a stage at which representational values were still dominant. And yet, in “Bowl of Fruit”, a still life of a coffee pot and dish of apples on a white cloth, there is a suggestion that representational values were not enough. These apples are not just apples. They have been so simplified and then so solidly painted that they are symbolic of abstract order. One finds in the architectural quality of this painting more than a superficial resemblance to the early still lifes of Cezanne, who, like Breckenridge, strove to express basic, rather than merely surface, patterns.</p>
<p>“Little Harbor” might stand as representative of the transitional period of his painting. Pure abstraction has not yet been reached, but in this composition of land and sea and boat, concrete representation has been reduced to a minimum. The landscape which he painted is a series of planes and colors organically related in space. It is on the borderline of abstraction. With “Flower Expression”, “Fairy Grotto”, “Sky Drama”, the borderline is crossed.</p>
<p>Here are highly imaginative color compositions through which Breckenridge recreated emotion and sensation. “Kaleidoscope”, with its flowing areas of clear and prismatic color resolved into complex designs, seems to symbolize this last stage of his work. Even the title suggests the nature of his painting—the seemingly casual pattern shaken in a kaleidoscope. But even as in the mechanical device, the pattern is not formed by chance but by a necessity of process, so in the painting we see an organization created through some inner compulsion.</p>
<p>Looking at these last color abstractions of Hugh Breckenridge, we feel that he saw the world in color alone, color for him being the substance of which all things are made. His paintings reflect that vision with strength and beauty.</p>
<p>The contribution which the abstractionist movement has made to modern art is fully illustrated in the Art Alliance exhibit of abstract prints by French and American printmakers. From the work of the Cubists, the stripping away of subject and association to achieve the bare bones of form and design—exemplified here in Picasso’s numerous “Compositions,” studies in decorative volumes, or in the familiar grey, green, and brown still lifes of Braque, experiments in the delicate balancing of line and mass—there has resulted a new appreciation of decorative values, an appreciation which many American artists have used to advantage.</p>
<p>Although essentially decorative in nature, many of the prints in this exhibition are yet not devoid of meaning. The varying simplification, elaboration, or distortion of forms and the repatterning of these forms have frequently involved the expression of idea as well as of the decorative impulse.</p>
<p>Hobson Pittman, in the wood cut “Woodstock,” has used the angles of houses and churches to create not only a bold composition of blacks and whites but also a symbol of the austere New England spirit. The steeples of the clapboard churches through meaningful as well as decorative distortion, have become the Fingers of God, raised in warning. Weldon Bailey’s lithograph, “Greek Fantasy,” a compact massing of antique motifs—a pure female profile, the horn of plenty, the head of a youth, the lyre, and the shallow cylix—recalls the symmetry and grace of Greece in the nature of the material and of the design. This is not pure abstraction, but the simplification inherent in the abstract movement has done much to increase its decorative quality.</p>
<p>The Twelfth Annual Exhibition of American Block Prints, at the Print Club, does not lend itself to generalities. Too many points of view, too many variant uses of the medium are illustrated to permit any all-inclusive characterization.</p>
<p>Anna Hayward Taylor’s “Harvesting Rice,” awarded the Mildred Boericke Prize, is a rhythmic contrast in deep blacks and whites on a black surface. Women, conceived in terms of volume rather than merely surface areas, bend and rise in ample space, and are linked together by repetition of curved sheaves of rice. It is a striking, and strongly designed print.</p>
<p>Four Honorable Mentions were awarded: to I. J. Sanger for a careful and finely cut landscape; to Oscar Weissbuck for “Fields of Spring,” in which the undulating track of the plough serves as a unifying motif; to Todros Geller for “South of Chicago,” a pattern of the industrial scene in which blocks of building, chimneys and stylized spirals of smoke are focussed in two bent workman; and to Jacobi for “3 Men.” “3 Men,” a strong characterization of three heads in deep shadow, achieves remarkable unity of form and idea. The rough, decisive line in which the block has been cut emphasizes the cynical despair of the three faces.</p>
<p>A second show at the Print Club, modern French and American prints, is a cross-section of contemporary modes. All the “isms” are represented—from abstractionism to the latest version of romanticism—and all types of techniques are illustrated.</p>
<p>Georges Rouault uses his decisive black outline to advantage in a group of satirical lithographs, forming vigorous and telling designs. In “Man with Satchel,” an interesting composition is gained by the reiteration of the exaggerated curve of the walker’s legs in the curve of the hill that is the background. The illustrations for “Lysistrata,” done with a simple, but sophisticated line, reveal Picasso as a skilled draughtsman. The American scene trend is reflected in Grant Wood’s lithograph “Tree Planting Group,” while the familiar humour of Wanda Gag is seen in the cat study “Hors d’Oeuvre.”</p>
<p>A large part of the exhibition is made up of color prints, among which Emil Ganso’s three landscapes are outstanding. “Autumn,” a seven stencil print, is a highly successful arrangement of large, flat areas in autumn greens, browns, and blues.</p>
<p>The oils, pastels, and water colors by Nicola D’Ascenzo, on view at the Philomusian Club, are disconcerting. To one who has known only the bold design and vibrant color of his work in stained glass, these other examples of Mr. D’Ascenzo’s art seem peculiarly pallid. With the exception of the rich melon still lifes and the figure piece in which two seated girls bulk in the foreground against an Italian hill city, most of this painting gives an impression of unreasonable restraint. When one turns from the imaginative color and imagery of the stained glass panel depicting Wotan’s Farewell to the flat passivity of the landscapes which constitute the major part of this exhibition, one is surprised—and disappointed.</p>
<p>Also on view at the Philomusian Club is a group of pastels, water colors, and scissor-paintings by Carol Doriss Chapman. The pastel medium seems particularly successful in “Old Swedes’ Church,” in which the blurred, blue-grey tones of the chalk suggest the quiet and grace of the old church. In spite of a certain preciseness, the two miniature water colors, “Peach Blossoms” and “Apple Blossoms,” have a pleasingly decorative arrangement and color design.</p>
</div>
</div>
<div xml:id="issue-11-chapter-08">
<head><pb n="2" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-2.jpg"/>EXHIBITIONS</head>
<list>
<item rend="list-head">1525 LOCUST STREET</item>
<item>Paintings by John J. Dull. Through April.</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">CARLEN GALLERIES</item>
<item>323 South 16th Street</item>
<item>Prints by Adolph Dehn. <date when="--04-01">April 1</date>–20.</item>
<item rend="list-head">McCLEES GALLERIES</item>
<item>1615 Walnut Street</item>
<item>18th Century Portraiture. Contemporary American Painting.</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 Philip Evergood. <date when="--03-29">March 29</date>—<date when="--04-16">April 16</date>.</item>
<item rend="list-head">PHILADELPHIA ART ALLIANCE</item>
<item>251 South 18th Street</item>
<item>Memorial Exhibition of Oils by Hugh H. Breckenridge. <date when="--03-15">March 15</date>–<date when="--04-03">April 3</date>. 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>Water Colors by Margaret Gest. <date when="--04-05">April 5</date>–24.</item>
<item>Oils by Julius Block. <date when="--04-05">April 5</date>–24.</item>
<item>Members’ Show. All Media. <date when="--04-05">April 5</date>–24.</item>
<item>Oils by Katherine Farrell. <date when="--04-05">April 5</date>–24.</item>
<item rend="list-head">PHILADELPHIA FREE LIBRARY</item>
<item>Logan Circle</item>
<item>First Annual Photographic Exhibition. Camera of Council Clubs of Philadelphia.</item>
<item rend="list-head">PHILADELPHIA PRINT CLUB</item>
<item>1614 Latimer Street</item>
<item>Twelfth Annual Exhibition of American Block Prints. To <date when="--04-12">April 12</date>.</item>
<item>Lithographs of the building of the San Francisco-Oakland Bridge by H. Oliver Albright.</item>
<item>Exhibition of Prints by Picasso, Rouault, Matisse, Maillol, Hugo, Bacon, Ganso, Kollwitz.</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">SCHOOL OF INDUSTRIAL ART</item>
<item>Broad and Pine Streets.</item>
<item>Illustrated Books and Graphic Arts of the Soviet Union. <date when="--04-01">April 1</date>–16.</item>
<item rend="list-head">SESSLER’S</item>
<item>1310 Walnut St.</item>
<item>Portraits in Oil by Isaac Rader. <date when="--04-01">April 1</date>–15.</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 rend="list-head">WOMENS’ CITY CLUB</item>
<item>1622 Locust Street</item>
<item>Oils by Arrah Lee Gaul. Through April.</item>
<item rend="list-head">WOMEN’S UNIVERSITY CLUB</item>
<item>Warwick Hotel, 17th & Locust Sts.</item>
<item>Paintings by John Folinsbee. <date when="--04-02">April 2</date>–30.</item>
<item rend="list-head">Y. M. & Y. W. H. A.</item>
<item>Broad and Pine Streets</item>
<item>Jewish Artists. <date when="--03-30">March 30</date>—<date when="--04-15">April 15</date>.</item>
</list>
</div>
<div xml:id="issue-11-chapter-09">
<head><pb n="3" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-3.jpg"/>WILLIAM YARROW EXHIBITS</head>
<p>William Yarrow, former Philadelphian and known as one of America’s distinctively native painters, is showing a group of recent works at the Ferargil Galleries, New York City, <date when="--03-28">March 28</date> to <date when="--04-10">April 10</date>. Depicting the familiar scene—a small town lunch room, “Joe’s Place”; a college town movie; wrestlers in an auditorium; “Pachyderms”—he presents an objective view of American life.</p>
<p>Mr. Yarrow now lives in Redding Ridge, Connecticut. He is, however, well known here. In 1921 he arranged the first exhibition of modern painting held in an American museum at the Pennsylvania Academy of the Fine Arts, while in 1930 he exhibited some of his work at the Art Club.</p>
</div>
<div xml:id="issue-11-chapter-10">
<head>UNIVERSITY HOUSE EXHIBITS ART</head>
<p><date when="--03-19">March 19</date> and 20 marked the results of three years of W.P.A. art instruction at the University Settlement House, when a group of more than one hundred oils and water colors was exhibited at the Little Theatre connected with the House, 2601 Lombard St.</p>
<p>Reber Hartman, art leader in the W.P.A. education and recreation program, teaches the class of twenty adults who contributed to the show.</p>
<figure>
<graphic url="upl-philaartnews-fig313.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-11">
<head>ANGELO PINTO TAKES PALM BEACH PRIZE</head>
<figure>
<graphic url="upl-philaartnews-fig314.jpg"/>
<head>“Trained Seal” Prize Winning Oil by Angelo Pinto.</head>
</figure>
<p>Angelo Pinto’s circus painting “Trained Seal” won the first prize in a national invitation exhibition of paintings, sponsored by the Society of Four Arts of Palm Beach. The Prize, a gold medal and $100 contributed by Mrs. Henry Ittleson of Palm Beach and New York, was awarded by a jury composed of Boutet de Monvel, Raymond Kanelba, Albert Herter and Charles Rosen. Mr. Pinto is well known for his circus pictures.</p>
<p>Among other nationally known artists invited to contribute works to the Palm Beach Exhibition were Julius Block, Jon Corbino, Randall Davies, F. C. Frieseke, Daniel Garber, Rockwell Kent, Ernest Lawson, Edward W. Redfield, Franklin Watkins.</p>
<p>THE PHILADELPHIA GRAPHIC ARTS FORUM in its <date when="--03-23">March 23</date> meeting featured a talk by Harry L. Gage on “Research on the Design and Legibility of Type.” Mr. Gage, who is vice-president of the Mergenthaler Linotype Co., has had an unusually wide range of experience in the graphic arts. At one time he served as president of the American Institute of Graphic Arts.</p>
</div>
<div xml:id="issue-11-chapter-12">
<head>LECTURES</head>
<p>Benton Spruance, well known etcher and lithographer, will lecture on “Contemporary Attitudes in Print Making,” <date when="--03-29">March 29</date> at 8:00 P.M., at the Women’s University Club.</p>
<p>Continuing his series of talks on “Contemporary Art,” Elusha Strong will speak on this subject <date when="--03-30">March 30</date> at 8:00 P.M., at Roerich Centre, 2016 Walnut St.</p>
<p>R. Edward Lewis, art critic of the Philadelphia Inquirer, will speak at the opening of the annual Spring exhibition of the works of Philadelphia Jewish Artists, sponsored by the Philadelphia Young Men’s and Young Women’s Hebrew Association, on Wednesday evening, <date when="--03-30">March 30</date>, at 8:30. The show will be held for a two week period in the Art Lounge of the Association at Broad and Pine Streets and will include the works of Harry Zion, Henry Cooper, Joseph Grossman, Herman Rutman, Joseph Hirsch, Elizabeth Schupack, Stella Drabkin, Hortense Fernberger and others.</p>
</div>
<div xml:id="issue-11-chapter-13">
<head>SIMON EXHIBITS AT FERARGIL GALLERIES</head>
<p>Grant Simon, Philadelphia architect and water colorist, has just closed a one man show of water colors at the Ferargil Galleries, New York City, his first Manhattan exhibition.</p>
<p>Mr. Simon is known here not only as a painter in water color but as the architect of many important buildings, among them the Fidelity-Philadelphia Trust Company Building, the Municipal Stadium, and the University Club. He was organizer and one of the founders of the Comité des Etudiants Etrangères at the Ecole des Beaux Arts, Paris, in 1914 and is the holder of numerous architectural honors.</p>
</div>
<div xml:id="issue-11-chapter-14">
<head>EVERGOOD TO EXHIBIT HERE</head>
<p>A group of paintings by Philip Evergood, American painter who has spent much of his life abroad, will be exhibited at the A. C. A. Galleries, 323 South 16th Street, from <date when="--03-29">March 29th</date> to <date when="--04-16">April 16th</date>.</p>
<p>A recent exhibition of Evergood’s work in Melbourne, Australia, which was attended by 20,000 people, caused such heated comment between the Academicians, who criticized the artist severely, and the modernists who defended him, that one art critic who took part in the controversy was forced to resign his job. Photographs of the incident were recently featured by “Life.” Sir John Langstaff proposed the idea of taking up a subscription to purchase one of the paintings, and “Art on the Beach” was chosen and duly presented to the National Gallery of Melbourne.</p>
<p>In addition Mr. Evergood is represented in the Geeling Gallery of Art, Victoria, Australia and in the Denver and Brooklyn Museums in this country. Evergood was born in New York and educated in England.</p>
</div>
<div xml:id="issue-11-chapter-15">
<head>“SPARROWHAWK”</head>
<p>Conrad Roland, whose water color is reproduced in this issue, is a recognized ornithologist as well as an exceptionally gifted artist. Recently he contributed a number of drawings to the comprehensive work “The Birds of Cape May,” by Witmer Stone of the Academy of Natural Sciences. A student of birds for many years, he spends the better part of the year at his home near Hawk Mountain where he can observe them intimately and in great variety.</p>
<p>While at the Pennsylvania Academy of the Fine Arts, Mr. Roland was the winner of a Cresson scholarship. He is noted for his figure drawings, water color landscapes, etchings, and stained glass designs and brings to his work a profound grasp of essential form and character.</p>
<figure>
<graphic url="upl-philaartnews-fig315.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig316.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig317.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-16">
<head>DREXEL MUSEUM</head>
<p>Many schools and colleges own collections of antiquities, but few have them as well displayed as those owned by the Drexel Institute. Dorothy Grafly, curator, has really done an admirable piece of work in grouping and clarifying this small but interesting collection.</p>
<p>Russian icons, small silver plaques from Spain and Germany, facsimiles of the famous golden cups from Vaphio, an intricate filigree missal cover, English silver-ware of the eighteenth and nineteenth centuries, bronzes from Etruria—these partially represent the metal section of the Drexel Museum.</p>
<p>Bowls, vases, tear-bottles, and glass bracelets reflect the glazier’s art of ancient Phoenicia and Egypt. Many of them now iridescently colored from long immersion in the earth, these fragments have a peculiar appeal as being objects used by long dead peoples in everyday life.</p>
<p>Hindu miniature paintings of the eighteenth century is represented by several fine examples, among them “The Birth of Krishna,” in which one can see the characteristic Indian sensitivity to color and line.</p>
<p>In addition to the groups mentioned above, there are of course miscellaneous objects. A small harp from Dublin, painted green and decorated with gilt shamrocks, recalls the minstrel days of Ireland. Once in the possession of Tom Moore, the instrument bears the inscription that it was made by one Egan Green, harpmaker “to George IV and to the Royal Family”.</p>
<p>The Drexel Museum is not large, but the high quality of the exhibits and the clarity with which they have been arranged warrant a visit. Located at 32nd and Chestnut Sts., it is open to the public weekdays 9–5.</p>
<p>J. R.</p>
<figure>
<graphic url="upl-philaartnews-fig318.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig319.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-17">
<head><pb n="4" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-4.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>Take a look at the splendid group of illustrations by Henry C. Pitz in the <date when="--03-26">March 26</date> issue of the Saturday Evening Post. They illustrate a story called “The Tongue of the Poet” by Sigmund Byrd. Students and other ambitious people will be interested to know they’re done in litho pencil on smooth illustration board.</p>
<p>Nat Little, former local illustrator and now of Mystic, Connecticut, is in town, a guest of “Bill” Schoonmaker.</p>
<p>Ted O’Loughlin, the sports cartoonist of South Washington Square, enjoyed a lovely moment of relaxation on St. Patrick’s night with Nelson Eddy, the screen star when the latter dropped in at the Pen and Pencil Club after his concert.</p>
<p>Gerry Stocker, A. D. of McKee, Albright, and Ivey, spent a busy week-end in New York with Albert Dorne, the illustrator. He came back with a group of black and white drawings you will see in forthcoming news ads for Bayuk Phillies cigars.</p>
<p>And John Gnagy, layout man with the same organization, boasts that he built a stone wall on his place at New Hope, one Sunday.</p>
<p>Business still keeps spotty. Some of the free lances are very busy, while others have that wistful look. Conversation with engravers and typesetters reveal them to be fairly busy, always a good sign when you’re looking for good signs. Let’s hope it’s a good summer.</p>
<p>Barry Thompson (Al Paul Lefton) is playing a leading part in the forthcoming men’s Annual Party at the Sketch Club and shows up for rehearsals wearing shorts that would frighten an awning maker. Incidentally, the Annual Ladies Night at the Sketch Club falls on <date when="--04-01">April 1</date>. No foolin! It is called, quite fetchingly, “A Broad at Home!”</p>
<p>Emidio (Mike) Angelo has been doing some bang-up black and whites for the political page of the Philadelphia Inquirer.</p>
<p>A new high in something or other was reached by J. Quentin Jaxon (RCA Victor Art Department) when he saw “Snow White and the Seven Dwarfs” for the sixth time.</p>
<p>Ralph Affleck has his farm on the market and is threatening to move to Delaware. Rumor has it he’s sold out to the DuPonts.</p>
<p>Sid Quinn, recent School of Industrial Art graduate, is illustrating a book for David McKay.</p>
<p>Good news! And we mean good news. The entire Art Director’s Show will be shown here intact at the Art Alliance sometime in May. This will be a break for a lot of the local pencil pushers who couldn’t make the exhibit in New York. And a low bow, heavily freighted with admiration to the Art Alliance. We’ll give you the exact dates later.</p>
</div>
<div xml:id="issue-11-chapter-18">
<head>TAKE A WALK</head>
<p>Spring is in the air and everybody is anticipating Easter; the display world is no exception. We hear that those delicious looking cardboard Easter eggs decorating Bonwit-Teller’s windows were painted to match the merchandise on display, and then sent to Mr. Bender at Huyler’s to be appetizingly decorated.</p>
<p>Who is the pretty girl in the photostat in Stauffer’s Chestnut Street window display?</p>
<p>Never miss Geuting’s display. Mr. Embree gets up about the best shoe windows in the country. Last week two wooden dachshunds (three dogs long and a half a dog high) wooed the susceptible heart.</p>
<p>The Flower Show proved to be a natural as a theme for display men. Dewees’ and Blum’s were among those windows which used the idea to advantage.</p>
<figure>
<graphic url="upl-philaartnews-fig320.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig321.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig322.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig323.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig324.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-19">
<head>PRISMS. AN ARCHITECTURAL COLUMN</head>
<byline><emph>By</emph> C<hi rend="small-caps">LYDE</hi> S<hi rend="small-caps">HULER</hi></byline>
<head type="sub">“OLD CHINA AND NOW”</head>
<figure>
<graphic url="upl-philaartnews-fig325.jpg"/>
<head>Living Room—Home of William S. Wasserman.</head>
<figDesc>George Howe, Architect. Photograph by Richard Dooner.</figDesc>
</figure>
<p>The above title has nothing to do with dishes.</p>
<p>Neither has it to do with the political situation in the Far East.</p>
<p>It has to do with a relationship between the Art of a very ancient civilization and the Art of our contemporary civilization.</p>
<p>This relationship is beautifully exemplified in the Living Room of the home of Wm. S. Wasserman designed by George Howe. Being the work of George Howe, you will quite naturally know that it is about as contemporary as any of our present architecture. The interior of this house is exquisite in spatial and tonal verities. The Living Room is particularly beautiful with its ebonized wood treatment. With a sureness of taste, fine old Chinese painting and sculpture is selected as decoration. Thousands of years span between this ancient art of China and today. And yet here they are side by side carrying the torch of true art form.</p>
<p>There are many periods of Art of the past that bear the same beautiful relationship to our modern expression. In fact I truly believe that really great Art of any age whatever has a definite place in the house of today if used with taste and discrimination. The very simplicity of contemporary treatments bring out the subtle beauty of these art forms as never before when they were placed in florid and disturbing surroundings.</p>
<p>Many people would like to live in the modern home that adapts itself so beautifully to the sociological trend of present day living, but they do not want to give up these treasures that have become so much a part of their cultural life. They have been led to believe that all this must be relegated to the ash heap while an entirely new group of contemporary painting and sculpture and crafts is substituted. Since they refuse to make this sacrifice (and more power to them), they continue to live uncomfortably and out of step. This is not at all necessary.</p>
<p>If it is true that the great Art of the past has no relationship with the Art of today, as exemplified in our modern home, then the Art of today is not Great. We must assume that it is merely a “flash in the pan” and will not survive. This I refuse to believe.</p>
<p>Much that is being done will not pass this test with the great Art of the past. But there is also much that will—much that is created by really great artist builders.</p>
<p>The same thing applies from a decorative standpoint to fine period furniture. There is this exception. Furniture is fundamentally not entirely decorative; it must be functional. The design of furniture is governed by the clothes we wear, by the way we sit and stand, by our contemporary habits of life. It is difficult to find a parallel in the past. We can not be comfortable today in the same chair in which the tightly corseted and much bustled lady of the past sat so stiffly. Furniture is definitely a contemporary expression of human needs. That is the reason so much has been incorporated in the building. It is not because of decorative inconsistency but rather from functional necessity.</p>
<p>It is not necessary to deny the past in order to live beautifully today. We are the past, present and future. Time is!</p>
<figure>
<graphic url="upl-philaartnews-fig326.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig327.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-20">
<head>TRICKS OF THE TRADE</head>
<p>Amazingly balmy weather brings out the sketching outfits. Sketching convenience has increased phenomenally during the past few years, both in transportation and equipment. City artists used to carry bulky and awkward stuff from the end of the car line to the nearest copse. Now they put their strong, compact, and light easels and boxes in their cars and wander far afield to whatever interests them most. Good easels to be had from $1.39 to $10. The larger kinds will hold canvases up to 35x40. There’s a one-legged easel which is ideal for small sketches. The Arco Watercolor Easel ($8.) permits the artist to work flat, but can be converted into an oil easel at will.</p>
<p>Crayons, pastels, watercolor pencils, watercolors, oils, and printmaking or etching equipment all can be handled out of doors more easily than ever before. The array is tantalizing.</p>
<p>The Color Helm (50c) has 64 colors and shades which arrange themselves scientifically in Contrasts, Complementaries, Harmonies, and Monochromes as you spin the wheel. If you have difficulty with your colors this device may suggest many combinations to you.</p>
<p>For $1.50 you can get a Hand Pump Atomizer with a 4 oz. jar attached. Easily cleaned. Fine spray. Can be used for spatter work. Saves huffing and puffing.</p>
<p>Stock frames are cheap. Lay in a supply for your summer work and you’ll be all set for exhibitions.</p>
<p>The Rush-Eraser (50c) works like an Eversharp pencil. It has two types of re-fills, one for stubborn erasures and the other for cleaning softer papers. A gadget for many purposes; corrections in typing, polishing small metal parts, removing india ink from tracing cloth, retouching negatives, lithography, and of course cleaning up detail drawings and letterings.</p>
</div>
<div xml:id="issue-11-chapter-21">
<head>DUNN EXHIBITS TRADE-MARKS</head>
<p>Harvey Hopkins Dunn, Philadelphia designer, is exhibiting fifteen examples in the field of trademarks at the Tricker Galleries in New York, 19 West 57th Street, from <date when="--03-26">March 26th</date> to <date when="--04-08">April 8th</date>.</p>
<p>In his twenty years of experience Mr. Dunn has created such national trade-marks as: Body by Fisher; Frigidaire; General Motors Export; a Wedgewood profile of Lafayette for the Alexander Lafayette Motors Corporation; and the moon device for Proctor & Gamble’s Ivory Soap. He is now engaged on a book on important trademarks and business devices.</p>
<figure>
<graphic url="upl-philaartnews-fig328.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-22">
<head><pb n="5" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-5.jpg"/>PROGRESSIVE EDUCATION</head>
<head type="sub">CREATIVE ART IN SECONDARY SCHOOLS</head>
<byline><emph>By</emph> C<hi rend="small-caps">LARE</hi> D<hi rend="small-caps">IEMAN</hi><lb/>Director of Art<lb/>The Shipley School<lb/>Bryn Mawr, Pennsylvania</byline>
<p>The above title is a challenge in itself, as the conditions to be met in Secondary Schools are usually very limiting as to time allotment. So the problem confronting a creative teacher of Art, who refuses to rely on the old imitative methods, is one of prime importance both to himself or herself and the child.</p>
<p>As the development of the child through the power of his own activity is the main objective of progressive art teaching, “skill,” which is the average adult’s appraisal of what constitutes “good” art, accordingly becomes of secondary consideration.</p>
<p>The child learns to draw as he creates his own images, and not through those implanted by a supervising mind. How to release these stored up images from visual memories and actual experiences of his own, constitutes the creative teacher’s greatest opportunity for vital work.</p>
<p>“What we have to do as teachers is to bring to the child something akin to what can flow out of its very own self, out of the actions of its arms and fingers,” says Steiner. Free rhythmic work, with swinging strokes of the arms on large paper, at walls and big tables, using any free medium such as soft chalk (used broadside) or finger painting to music, is advisable, as it releases these plastic, flowing, formative, forces of the child and stirs the creative imagination. Thus, through the constructive play of the faculty of invention, the subjective nature of the child is projected or objectified, integrating the child’s physical, emotional and mental natures.</p>
<p>Best Maugard says—“In training a child the first step is to free him from timidity by means of a flexible craftsmanship, in order that the expansion of his ideas may be encouraged by perfect command of method. On this foundation he builds up his own style, his inner point of view and evolves his own experience into an individual capable of finding his own material and making the fullest use of it.”</p>
<figure>
<graphic url="upl-philaartnews-fig329.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig330.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig331.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-23">
<head>ART STUDENTS FEDERATION</head>
<p>The Art Students Federation, recently formed organization of students from the art schools in the Philadelphia area, is now raising funds for a permanent meeting place. Many prominent Philadelphia artists have cooperated in this venture by donating pictures to be chanced off. Morris Blackburn has contributed an abstract tempera study, Earl Horter, an aquatint, Ralph Pullinger and Henry Pitz, prints, and J. Frank Copeland, a water color. Chances can be obtained from any member of the organization.</p>
<p>The Art Students Federation was formed with the purpose of holding open forums on art problems, sketch classes, and annual exhibitions of student work. All students interested in these aims are invited to attend the weekly meetings, held at present on Fridays at 4:30 P.M. at the Art Alliance.</p>
</div>
<div xml:id="issue-11-chapter-24">
<head>DA VINCI ALLIANCE</head>
<p>Theodore M. Dillaway, head of Art Instruction in the Public Schools of Philadelphia, and Nicola D’Ascenzo, member of the Board of Education and Designer and Manufacturer of stained glass, will be guest speakers at the monthly meeting of the Da Vinci Alliance on <date when="--04-01">April 1</date> at Pardi’s Studio, 10 South 18th St., 8:30 P.M.</p>
<p>Mr. Dillaway will show pictures of his Canadian trip taken with his son during the summer of 1937, and Mr. D’Ascenzo will give an illustrated talk on “The Unbeaten Byways of Italy.” Both men are veteran travelers and highly qualified to tell of their experiences. The Alliance cordially invites the public to attend.</p>
<p>During the past months, the Alliance has been fortunate in having men prominent in their respective vocations as guest speakers. John Vassos, President of the Silver Mine Guild of New Canaan, Connecticut and Industrial Designer for R. C. A. in Camden, honored the club with an amusing and instructive talk on Industrial Design at the last meeting.</p>
</div>
<div xml:id="issue-11-chapter-25">
<head>ART TEACHERS MEET</head>
<p>The Pennsylvania Art Teachers’ Association will meet at Moore Institute and School of Design for Women on Friday, <date when="--04-01">April 1</date>, at 1:30 P.M. Aimé H. Doucette, of Edinboro State Teachers College, is President. The speakers will be Italo de Francesco, Dean of the Art Department of Kutztown Teachers College, T. Bayard Beatty, Principal of Radnor High School, and Wayne Martin, who heads the Art Department of Radnor High School.</p>
<figure>
<graphic url="upl-philaartnews-fig332.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-26">
<head>UNPOSING THE POSED 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-fig333.jpg"/>
<head>Photograph by Charles Ogle</head>
</figure>
<p>“Watch the birdie!” is passe these days.</p>
<p>Gone to the limbo of the velvet covered headrest and rococo backdrop of yesteryear . . . along with the resultant awestruck stare or expression quite resentful.</p>
<p>Modern children are wise and not to be fooled.</p>
<p>Babies, of course, are delightfully oblivious of the camera . . . or mildly curious.</p>
<p>It’s the older bratlings that are difficult. Some have the poise of Alice in Wonderland, but freeze up when facing the lens. (That goes for grown-ups too.)</p>
<p>Casual, natural, unprofessional conversation will soon get their mind off your work and break down their selfconsciousness.</p>
<p>Engage their interest and put them at ease.</p>
<p>Then bang! . . . you’ve got them before they know it.</p>
<p>Flash bulbs are a big help in kidding the kiddies.</p>
</div>
<div xml:id="issue-11-chapter-27">
<head>AN OFFICE BUILDING BECOMES CAMERA CONSCIOUS</head>
<p>A camera contest of a different kind was that recently sponsored by the management of the office building at 1616 Walnut St. All camera enthusiasts, working in the building, whether millionaires or elevator operators, submitted outstanding prints which were then put on exhibition in the lobby. Among the prize-winners were Joseph C. Morris, banker, who took first prize in the Pictorial Group with “The Commodore’s Aboard”; William Rhawn, insurance agent, first prize in the Candid Camera Group, with “Framed”; and William Connor, elevator operator, who was awarded $10.00 for the best photograph of the building. Since there is no point of vantage from which a picture showing the full height can be taken, Connor shows 1616 Walnut St. as reflected in an automobile fender.</p>
</div>
<div xml:id="issue-11-chapter-28">
<head>ON THE SPOT</head>
<head type="sub">THE SAGA OF A CAMERATEER</head>
<div>
<head>VI</head>
<byline><emph>By</emph> C<hi rend="small-caps">HARLES</hi> O<hi rend="small-caps">GLE</hi></byline>
<p>From far off somewhere way below decks I glimpsed the fleeting reflection of flashlights momentarily stabbing the darkness. I realized what that meant. The rescued crew were being photographed on the third-class deck. As I stumbled down the companionways I felt for my flash powder (modern flash bulbs were not yet invented) and found to my dismay that the bottle of magnesium had become broken sometime during the mad scramble to get aboard. I knew, of course, that I could photograph the rescued crew at my leisure the next morning en route to Southampton, but I wanted pictures to send off that night for the two slow boats. I reached the scene of action in almost total darkness. They had finished getting their pictures and I heard the click of folding tripods.</p>
<p>“Pull a flash for me, will you?” I demanded.</p>
<p>“Who are you?” someone shouted.</p>
<p>I called my name as I reached the deck.</p>
<p>“Okay, Charlie, set up.” It was Ray Rousseau of the Pacific and Atlantic Photos. I set up my camera. A few impotent deck lamps only accentuated the gloom of the midnight-steeped scene. It was so dark I had to guess at my focus.</p>
<p>“All set?”</p>
<p>“Yes.”</p>
<p>Wham . . . the flashlight went off, illuminating briefly the rescued crew lined up, their nude torsos gleaming momentarily in front of a back-drop of passengers watching the show.</p>
<p>“Got it, Charlie?” asked Ray.</p>
<p>“No, I wasn’t ready,” I answered. I had it in the bag all right, but I had to get two more, one for each of the slow boats and one for the fast boat from Cherbourg. Covering every possible point of transportation.</p>
<p>“All right, I’ll pull another one,” grumbled Ray.</p>
<p>Boom! That made two, but still I wanted one more.</p>
<p>“Okay Chas?” called Ray.</p>
<p>“No. Didn’t have time to pull my slide.” I lied. I was losing prestige and I knew it but it had to be done.</p>
<p>“Just pull one more, Ray,” I begged.</p>
<p>“Thought you were a one-plate man,” gibed Ray. “All right, are you set now?”</p>
<p>“Yes.”</p>
<p>“Sure?”</p>
<p>“Let’er go.”</p>
<p>Pouff . . . the flash went off and I had my three pictures.</p>
<p>“Thanks, Ray. I got it,” I shouted.</p>
<p>“Don’t mention it,” came the good-natured answer.</p>
<p>I shoved my holders into my pocket and turned to leave the deck when through the spray and darkness I heard a voice call “Charlie!” and a young woman detached herself from the black mass of watching passengers. I peered through the darkness and recognized her as she came close to me. It was the girl friend whom I had not seen for two years and thought was still in America. She was coming over for a surprise visit, and lo and behold, I had come all the way from Belgium to France to England to Ireland and met up with my wife on the Irish Sea. She had heard me shout my name as I came on deck but knew the game and did not call until I got my pictures. Wonder if I’d been able to shoot them if I’d found her there first? Probably . . . nothing surprises a cameraman.</p>
<p>The all-ashore whistle of the lighter sounded eerily, and hastily wrapping two sets of pictures and plate holders I gave them to my Irish messenger and he went back to Cobh to place them aboard the two boats next morning. It turned out that they had a good crossing and reached the New York office in splendid time. I sent the third set off from Cherbourg and, heading for Paris, went apartment hunting, as my bachelor quarters were not large enough for two.</p>
<p>News photography does have it’s comic as well as it’s tragic side. When Kathryn Edson, the American dancer, was charming audiences at a theatre on the Champs Elysées with her Hopi Indian interpretations I made arrangements to photograph her, and chose the woods as a natural setting for the picture. So we chartered a taxi and drove to the Bois de Boulogne and headed into the forest. Picking a nice quiet lonely spot I waited, with my camera all ready on a little pathway, while Miss Edson disappeared behind some trees to get into her costume, which consisted mostly of a few beads. Just then one of the local gendarmerie had to choose this of all times to come snooping along the path. I started to pick flowers guilelessly but he was suspicious of my camera or something and wouldn’t go away. He just stood there plucking his mustachios and eyeing me steadily. I didn’t dare call to Miss Edson to “stay put” of course, and just what I was afraid of happening . . . did. All unaware she burst suddenly out of the bushes a tall white goddess, resplendent in headgear and beads. The cop’s eyes bulged out as big as saucers. I essayed a guilty grin. What a tableau! Miss Edson retained her sangfroid.</p>
<p>“Bon jour, monsieur,” she smiled.</p>
<p>“What is this which this is?” sputtered the astonished copper.</p>
<p>Explanations, proffered patiently, failed to placate his offended dignity. I thought for a while we were headed for the hoosegow. The theatre was the place to photograph sketchily clad dancers, not the Bois, the Majesty of the Law informed us. So the nymph withdrew to her sylvan dell and covered her loveliness with a cloak. We picked up our duds and beat an orderly and dignified retreat to our taxi with the French equivalent of “Scram” ringing in our ears. We drove another half mile into the Bois and found another al fresco studio, and this time made the pictures undisturbed.</p>
<p>MARTIN HYMAN—a member of the Record photographic staff, is represented by a print in the 25th International Salon of Photography in Pittsburgh.</p>
<p>At a meeting of the Miniature Camera Club, held <date when="--03-17">March 17</date> at the Engineers Club, Mr. Peter J. Vest of the Elizabeth Arden Company demonstrated stage and screen make-up. The latter was particularly interesting to miniature camera workers.</p>
<figure>
<graphic url="upl-philaartnews-fig334.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig335.jpg"/>
</figure>
</div>
</div>
<div xml:id="issue-11-chapter-29">
<head>TAKE YOUR CAMERA TO THE ZOO</head>
<p>An amateur camera contest of unusual interest is that recently announced by the Philadelphia Zoological Gardens. Twenty-five prizes will be awarded for the best ‘shots’ of the animals in the Zoo, during the period between <date when="--03-18">March 18</date> and <date when="--04-04">April 4</date>. Special arrangements will be made by officials at the Zoo to permit contestants to photograph the animals at close range and in unusual poses. The photographs submitted in this contest will be placed on exhibition at the Zoo, May I, and will be judged by Alfred A. DeLardi, Wardlaw Hammond, and H. Crowell Pepper.</p>
<figure>
<graphic url="upl-philaartnews-fig336.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-30">
<pb n="6" facs="http://dorpdev.library.upenn.edu/teibp/content/images/upl-scan-issue-11-6.jpg"/>
<head>PAINT-CRAFT</head>
<head type="sub">CRAFTSMANSHIP OF FINE ARTS PAINTING</head>
<byline><emph>By</emph> F. W. W<hi rend="small-caps">EBER</hi></byline>
<p>MADDER LAKE: The active coloring principle of this pigment is an organic dye-stuff, Alizarin, of deep rich transparent ruby color, originally obtained from the root of the Madder plant (Rubia Tinctorium). Today, this pigment, is synthetically prepared from anthracene, a coal-tar derivative, whereby a more uniform, stable and brilliant color is developed. Madder lakes and their modern equivalent, Alizarin Madders, owing to their high degree of transparency, have always been valued for glazing. Those pigments termed Lake Colors are all developed from organic dye-stuffs and now furnish a larger number of pigments than all other groups of natural and artificial mineral origin. The accidental discovery of the beautiful purple color, Mauve, from aniline (a coaltar derivative) in 1856 by the English chemist Perkins, formed the starting point for the inconceivable number of dyes developed since then. Most of the Lake pigments produced with these dyestuffs unfortunately prove far too fugitive for use as artists’ pigments. It was the introduction of many of these extremely brilliant Lake colors which has been responsible for much damage to modern paintings. Not only do most of them fade, but owing to their richness in oil, they lower in tone upon aging, and are notorious crack producers where not properly employed.</p>
<p>Many artists are of the opinion that the Alizarin Madders or Madder Lakes are aniline colors. In fact, it is almost a general conception that all Lake pigments are aniline colors. The fact that aniline and anthracene are both derivatives of coal-tar, should not lead the artist to believe that these products are identical in their properties. Aniline derivatives constitute only one small group of the extremely large number of dyes developed from coal-tar.</p>
<p>The derivation of the name “Lake” is said by Pliny in his Naturalis Historia, A.D. 77, to be from the Lac or coloring principle, of insect origin used by the early Italian dyers. In conjunction with compounds of tin and aluminum, the dye was precipitated and fixed indelibly on fabric. During the process of dyeing some of the Lac combines with some of the tin and aluminum to make an insoluble compound, forming a colored scum on top of the dye-vat. This substance, called by the Italian dyers Lacca, was collected, dried and sold to artists as a pigment. Soon the natural dyestuffs were found to yield variously colored Lacca and methods were developed whereby the Lakes were obtained direct and not as a residue or scum of the dye-vat. In fact, today, the manufacture of Lake colors ranks commercially as important as the dye industry.</p>
<figure>
<graphic url="upl-philaartnews-fig337.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-31">
<head>THE OLD CYNIC</head>
<p>’Tis unseemly for artists not to ignore the world and paint for love of Art alone. How impertinent and presumptuous they become if they desert their attics, visit the barber regularly and attempt to face facts. Everyone knows they’re thoroughly impractical. They should leave business to the financiers, politics to the politicians, in faith that governments may come and governments may go but Art, protected by its aura, will go on forever.</p>
<p>Of course, artists should give no thought to the difficulties involved in the sale of their work or to their professional standing. The artist can have no professional standing; Art is above all that, and he is but its humble servant and a pet charity of society. His intelligence is limited to ONE THING—Art, as he’ll find out if he goes through the mill.</p>
<p>FOUR PHILADELPHIANS—Hortense Ferne, Isabelle Lazarus Miller, Dorothy Morrison, and Margaret Julia Nelson, are represented in the Tenth Annual Exhibition of the Northwest Printmakers, Seattle Art Museum, Seattle, Washington.</p>
<figure>
<graphic url="upl-philaartnews-fig338.jpg"/>
</figure>
<figure>
<graphic url="upl-philaartnews-fig339.jpg"/>
</figure>
</div>
<div xml:id="issue-11-chapter-32">
<head>PALETTES TRAVEL</head>
<p>Yarnall Abbott and Henry Pitz are among fifty contemporary American artists who have contributed miniature palettes to an exhibition sponsored by the Research Laboratories of M. Grumbacher, New York.</p>
<p>The palette of a painter, the colors he uses and the way in which he arranges them, is often a revelation of his methods of work. These miniature palettes, in addition to bearing the colors arranged exactly as the artist would arrange his professional palette, contain small sketches representative of the artist’s style. Abbott has painted a small harbor scene on his, while in the center of Pitz’s palette is a characteristically vigorous head. Among other local artists who are represented in this collection are Henry B. Snell and Pemberton Ginther.</p>
<p>The group of palettes is being exhibited all over the country, at museums, galleries, and art association meetings during a two year period.</p>
</div>
<div xml:id="issue-11-chapter-33">
<head>BROKEN COLOR</head>
<head type="sub">ONE ON US</head>
<p>In the early infancy of the Art News, before Volume I, Number I went to press, there was a good deal of confusion in the office. Recently we discovered that a lady who subscribed at that time was not receiving her paper. The facts of the matter were shocking. We found that her papers had been going, not to her address, but to that of an Old Ladies’ Home, and that instead of Miss Frances—, she was being addressed as Mr.</p>
<p>Two girls, one of them our friend Ana, were sitting on the benches of the Art Museum plaza one afternoon when two men walked directly toward them, saying very audibly, “What lovely figures! Strange I never noticed them before. Perfectly beautiful.”</p>
<p>The ladies were quite flattered until they realized that they were sitting just underneath the brilliantly colored sculptural frieze which adorns that wing of the building.</p>
<figure>
<graphic url="upl-philaartnews-fig340.jpg"/>
</figure>
</div>
</body>
</text></TEI>
