1921-1922 School Circular

Quick reference copy for school circular.

RG.03.04.43

1921

The Pennsylvania Academy of the Fine Arts

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SCHOOL CIRCULAR
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ONE HUNDRED AND SIXTEENTH YEAR

THE
PENNSYLVANIA ACADEMY
OF THE FINE ARTS
BR O AD STREET AB O VE

AR CH

PHILADELPHIA

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SUMMER SCHOOL
C HESTER SPRINGS, CHESTER COUN T Y
PENNSYLVANIA

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PEN;'i SYLVMil.; I;Ci,[,[M': OF n;~ mJ E ARTS
00 NOT REPRODUCE WITiWUT PER~~iS::;iO N
1921 - 1922

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FOREWORD Exce ll ence is ne ve r g ranteo to ma n, Imt as th e re ,,-aro o f
labour. It a rg ues indeed no sm a ll s trength of mind to persevere
in hab its of indus try, witho ut the pleas ure of Iw n:e iving those ad .
va nces; whi ch, like the hand of a cl oc k, whilst they m ake hourl y
a pproac hes to their point, yet proceed so s lowly as to esca pe observa ti o n. A faci lity of drawi ng, like th at of p laying upon a
mu sica l instrument, cann o t be acquired but by a n infini te numbe r
of acts. I need not, t he refo re , e nfo rce by man y wo rds th e necessity of con tinual app licatio n; nor tell yo u th at the po rt-c rayon
ought to be fo re ve r in your hand s.
There is one precept, however, in whi ch I shall o nl y be opposed
by the va in, the ig no rant ll nd th e id le. r am not afra id th;]t I sha ll
re pe;]t it too often . You must have no dependence o n yo ur ow n
genius. If you have g reat talents, in d ust ry will imp rove them; if
you have but m odera te abilities, industr y will slIpply th e ir d efi ciency. No thin g is deni ed to well directed lahour: no thin g is to
be o bta ined without it. No t to enter into me taphysic;]1 o iscllssio ns
o n th e nature or essence of ge nins, I will ve nture to asse rt, that
ass idui ty un aba ted by d ifficulty , and a d isposition eag-erly di.
rected to th e object of its pursuit, will prod uce efT~cts sim il a r tn
th ose whi ch some call the result of l1;] tural powers.
Thoug h a man ca nn ot at a ll tim es, and in a ll pl aces paint 0 1
draw, yet th e mind can p repare itself by layin g in proper m ate rials
at a ll t imes, and in a ll places.

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SIR JOSH UA REYNOLDS.

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THE PENNSYLVANIA ACADEMY OF THE
FINE ARTS

PRESIDENT

JOHN FREDERICK LEWIS

VICE-PR~tDENT

ARTHUR H. LEA

DtRECTOR5

THEOPHILUS P. CHANDLER

T. DEWITT CUYLER

GEORGE H. McFADDEN

CHARLEMAGNE TOWER

CLEMENT B. NEWBOLD

ARTHUR H. LEA

EDWARD T. STOTESBURY

JOSEPH E. WIDENER

ALFRED C. HARRISON

ELI KIRK PRICE
FRANK H. CAVEN

TREASURER

GEORGE H. McFADDEN

SECRETARY

JOHN ANDREW MYERS

CURATOR OF' THE SCHOOLS

ELEANOR B. BARKER

RESIDENT MANAGER, CHESTER SPRINGS SCHOOL

D. ROY MILLER

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INDEX

PA',E

5
8

MA:-li\GEMENT OF THE ACADEMY
FACULTY • . . . • .
GENERAL ANNOUNCEMENT

• .

13

SOME ADVANTAGES OF LOCATION

17

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19

PHILADELPHIA CALENDAR . . . •
CHESTER SPRINGS CAT_ENDAR .
ApPLICATION FOR ADMISSION -

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INSTRUCTION
DRAWING AND PAINTING (ANTIQUE).

23

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DRAWING AND PAINTING (LIFE AND HEAD)
SPECIAL CLASSES
MR. MCCARTER'S CLASS IN DECORATIVE PAINTING AND
COLOR . . _ . . _ . ' . _ • . . . . . . . . •

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MR. BRIDGEMAN'S CLASS (CONSTRUCTIVE ANATOMY)

31
31

MR. MCCARTER'S CLASS (COMPOSITION) _ . .
MR. HARBESON'S CLASS (PERSPECTIVE) • .
MR.

CARLES'

SATURDAY

MORNING

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COSTUME

SKETCH

31
35

CLASS
SCULPTURE . . .
ILLUSTRATION. _

41

43
63

FEES (SUMMARY)
RULES OF THE SCHOOLS
SCHOLARSHIPS AND PRIZES
FREE SCHOLARSHIPS.

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OTHER PRIZES • .

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TOPPAN PRIZES

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STEWARDSON PRIZE IN SCULPTURE

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TRAVELLING SCHOLARSHIPS
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TliOURON PRIZES IN COMPOSITION.

PACKARD PRIZES

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THE CHARLES M. LEA PRIZES

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RAMBORGER PRIZE

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• •

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SCHEDULE OF CLASSES.

• •

• •

• •

•

•

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.

81
61
71

•

73
87

HONOR ROLL OF THE ACADEMY'S SCHOOLS.

95

THE SUMMER SCHOOL AT CHESTER SPRINGS
ACADEMY'S HONOR ROLL.

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PRIZES (CHESTER SPRINGS) •
THE ACADEMY'S FREE HAND DRAWING PRIZES •

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53
53
57
57

STIMSON PRIZE IN SCULPTURE

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49
49

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45

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• •

THE FACULTY (Continued)

THE FACULTY OF THE ACADEMY
ARTHUR H. LEA.

JOSEPH T. PEARSON.
.)

CHARLES GRAFL y,
Born In Pblladelphla, December 3 , 186.. Studied In tbe Spring Garden
Institute, Philadelphia, the Pennsylvania Academy of tbe Fine Arts, and in
Paris. Pupil of L 'Ecole des Beaux Arts, and of C bapu. Dampt, Bouguereau,
Bnd Fleury . Member Society or American Artists. Honorable mention,
Paris Salon, 1891; Medal, World 's Columbian Exposition, 1893; Medal.
Atlanta Exposition. 1895; T h e Pennsy lvania Academy of the Fine Arto
Gold Medal of Honor, 1899; Gold Medal, Exposition-Unlverselle, Paris,
1900 ; Gold Medal, Pan-American Exposition, Buffalo; Gold Medal , Charleston Exposition, 190.; Member of the International Jury of Awards, World's
Fair, St. Louis. I904i Grand Prize, Buenos Aires Exposition, 1910; George
D. Widener Memorial Medal, Pennsylvania Academy of the Fine Arts, 1913,
The Charles M. Len First Prize, The Pennsy lvania Acad e my o f the Fine
Arts, J9J6; The Wa tro us G o ld M ed.1. Natio" a l A cademy o f Design , 1919;
Member of the National Academy of Design, the Architectural League of
New York, the National Institute of Art. and Letters; Member the National
Sculpture Society; Member Municipal Art Jury of Philadelphia; M ember
of Interna t io nal Jury of Award, Panama-Pacific Exhibiti o n, lOIS. Instructor
In Sculpture .

DANIEL GARBER.

HUGH H. BRECKENRIDGE,
Born In Leesburg , Virginia, October 6, 1870 . Studied In the Scbools of
The Pennsylva ni a Academy of the Fine Arts, and under Bouguereau, Ferrier,
and Dou cet In Paris. Awarded First Toppan Prize, Pennsylvania Academy ,
and Eu r opea n Scbolarsblp. Medal , Atla nta Exposition, 1895; Honorable
Mention, Exposltlon - Unlverselle . Paris, 1900; Medals , Pan -Amerlean Exposi tion, Buffalo, 1901; Corcoran Prize, Society of Wasblngton Artists, 1903;
Gold Medal , Art Club of Pbiladelpbla, 1907; First Prize, Wasblngton Water
Color C lub, 1908; Silver Medal, International Exposition, BuenoB Aires,
1910 .
Awarded Gold Medal. P a nama-Pacific International Expositi on,
S. n Francisco, 1915 , The Willi a m A . C lark Prize, Corcoran Gallery of
Art, 1916 , The Edward T . Sto tesb ury Prize , The P ennsylvani a Academy o f
the Fine Arts, 1917 , The Pennsylvania Acad emy o f the Fine Arts G o ld
M edal of Honor, 1919. Gold M ed a l. the F ell owship of the Pennsy l vani a
Academy o f the FineArts, 1920, The J ennie Ses nan Gold Medal, The Penns ylva nia Academ y of the Fin e ATts, 1920. M e mber of t he JUTY of Selection
(o r th e Pan-American Expositio n . Buffa lo; Member of the New York Water
Colo r C lub, and the Philadelph ia Water Co lo r Club . Member of the Jury of
Selec t ion of the United States Sec ti o n , Department of Art, a nd of InteTnational ju!"y: of Awards. Unive ~sa l EX~oslti o n, St. Louis. 1904; Member
of the MUl1l clpal Art Jur y of Pb11 a de lph la . M ember Ad v isory Committee
fo r Pennsyl vania a nd the So uth ern States, a nd o f the Jury of Selection fo r
th e Panama-Pacifi c Internatio nal Exposition, San Francisco , 1915; Associa te
o f the Natio na l Academy of D esig n . Inst ructor in DTawing a nd Painting.

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HENRY McCARTER.

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Bo rn in Norristo w n , Jul y s. J8 6 5. Studied in the Pennsylvan ia Ac adem}r of the Fine Arts a nd und er Pu vis de C havannes. Bonnat. Merso n,
Courtois. Ri xens . Member Art Studen ts' Leagu e, N ew York. C h a rl es W.
Beck, .Tr., Prize . P e nnsyl v::tnia Aca demy of th e Fine 1\rts. 1906. Silve r
M edal, W o rld 's Fair, St, Louis Exposition , 190 4 _ Bro llze Medal, PanAm eri ca n Exposit ion, Buffa lo. Gold Meda l, Pan a ma-Pac ific Exh ibitio n , Sa n
Fran cisco, 1915 . In st ru ct o r in Co mpos iti o n. D eco ra ti ve Pa inting a nd Co lor.

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Born In North Man chester, Indiana . April II, 1880, Studied In the Art
Academy of Ci ncinnatI. and In T he Penn sylvania Academy of the Fine Arts.
Awarded Firat Tappan Prize. Pennsylvania Academy. J904. and Cresson
Travelling Scholarship, 1905 - 1907; First Hallgarten PTlze, National Academy of Design, 1909; H onorable Mention, The Art C lu b of Philad elphia,
191 0; H o norable Mention, C arnegie Institute, Pittsburgh, 1910; Bronze
Medal, Bueno, Aires Expositio n , 1910; Fourth Clark Prize and Honorable
Mention, Corcoran Gallery of Art, Washington, 1910; Walter Lippi ncott
Prize, The Pennsy lvania Academy of the Fine Art" 19J1; Potter Palmer
Gold Medal, Art Io,tltute 01 C hicago, 19I1; Second W, A. Clark Prize and
Sli ver Medal, Corcor an Gallery o( Art, 1913; Gold Med a l, Pan a ma · Pacific
Internationa l Exposition , 19 r 5; Second Altman Prize . National Academy of
Design, 1915: Shaw PUTchase Prize , Salmagundi C lub, 1916; Edward T .
Stotesbury Prize , P enn sy lvan ia Acade m y of the Fine Arts, 1918; Temple
Gold l'vfed.I, T h e Pennsy lva ni a Acad emy of th e Fin e Arts, 1919; First
Altman Pri ze for Figure, National Academy of Des ign, New Yo rk, 1919;
Membe r of th e National Academy o( Design. Member of the Nation al Arts
and Salmagundi Clubs, New York . Instructor 10 Drawing an d Painting,

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Born In Germa ntown, Philadelphia, February 6, 1876 , Studied In The
Pennsylvania Academy o( the Fine Arts and undeT J . Alden Weir , F ello w'hl p PrI.e, The Penn,ylvanla Academy of tbe Fine Arts, 1910; Bronze
Medal, Buenos Alre. Exposition, 1910; Jennie SeRnan Gold Medal, The
Pennsylvania Academy of the Fine Arts, J9Il; Second Ballgarten Prize ,
National Ac ademy ' of Design, New York, I9Jl; Honorable Menti o n, C arnegie In.tltute . Pittsburgh, 19I1; Inness G old M ed al. N a tional Ac ade my o f
D es ign, N ew York, 19 15 ; Gold Medal , Panama-Pacific International
Exposition, San Francisco , 1915; Norman Wait Harris Si l ver M edal, Art
Ins titute of C hi cago, 1915; Temple Gold Medal, The Pennsylvania Acad emy
of t.he Fine Arts, 1916; The Edward T. Sto tesbury Prize , The Pennsylvania
Academy of the Fine Arts , 1916; The C nro l H . B ec k G o ld M edal. The
P e nn sy lvan ia Academ y o f the Fine Arts, 1917; Th e P o tter P olm e r Go ld
Medal, C hi c. go Art In stit ute , C hi cago, 1918. M ember of the N a ti onal
Acade my of D esign. Instructor In Drawing and Painting,

Cbalr man. <",-officio, as Cbalrman of tbe Co mmittee on Instruction of
tbe Board of Director •.

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ARTHUR B. CARLES,
Born in Philadelphia, March 9, 1882. Studied in the Sch ools of The
P enn sy lvania Acad emy of the Fine Arts, and in Paris . Award ed tw o
Eu ropean travelli ng scho lars hips, Pennsyl va nia Academy, 1905-1 907; 1 st
T o ppan Prize , P ennsylva nia ACA demy, 1907; Norman Wait Harri s Bronze
Med a l, C hi cago Art Institute, 19I2; Sil ver fvledal, Panama-Pacin e In ternational E:-:p osit io n, ]915; W a lter Lippincott Prize, The P ennsy lvan ia Academy
of th e Fine Arts, 1917 ; Th e Erl wn rrl T . Sto te!'> h ur y Pri z(' . Th e P ('nn~yht;\t1 in
Acnd cmy of the Fin e Arts, 19'9; The P en nsy lva nia Acnrlc my of th e Fine
Arts F ell o w!=ihi p Prize. 19T9. In structo r in Drawing and P a inting.

GEORGE B. BRIDGEMAN.
TIl !; tru cto r in Co nstru ct ive A nCl tomy.

THE FACULTY (Continued)
F. WALTER TAYLOR.
Born in Philadelphia, March 8, 1874. Studied in the Pennsylvania
Academy of the Fine Art.. Awarded Hutchinson Travelling Scholarship in
Illustrator of fiction ..l
and descriptive work in Scribner's, Harper's, Colliel'., McClure'. and other
magazines and books since 1900. Contributor to International Exhibitions
of Rome, London and San Francisco. Awarded Gold Medal of Honor,
Panama-Pacific International Exhibition 1915. Instructol in JlIustration.
1897. Studied independently in Paris and London.

JOHN F. HARBESON. B.S.• M.SA
Born in Philadelphia, July 30, xS8S. Attended the University of Pennsylvani.. , received B.S., X910, and M.S.A., 19tI. Member American Institute
of Architect.. Inltructor in Perapective.
J.

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FRED WAGNER.
Born in Valley Forge, Pennsylvania, 1864. Studied in The Pennsylvania
Academy of the Fine Arts. Awarded The Pennsylvania Academy of the
Fine Arts Fe1!owship Prize, 1914. Member of the Philadelphia Sketch
Club and Philadelphia Water Color Club. Instrl1ctor in Landscape.

ALBERT LAESSLE.
Born in Philadelphia, March 28,1877. Stl1died in the Spring Garden Institl1te,
Drexel Institute, Pennsylvania Academy of the Fine Arts and with Charles
Grafty, Member: National Sculpture Society, Fellowship of PennSYlvania
Academy of the Fine Arts; Philadelphia Art Alliance. Awards: Stewardson
Prize and Cresson Travelling Scholarship, PennSYlvania Academy of the Fine
Arts. 1904; Bronze Medal, Buenos Aires, 1910; Pennsylvania Academy ofthe
Fine Arts Fe1!owship Prize. 1915; Gold Medal, Panama Pacific Exposition,
San Fransisco, 1915; First Sculpture Prize, Americanization Through Art,
Philadelphia. 1916; Widener Gold Medal. Pennsylvania Academy of the Fine
Arts, 1918. Represented in the collection of the Pennsylvania Academy of
the Fine Arts, Philadelphia, Philadelphia Art Club, Carnegie Institute. Pittsburgh, Peabody Institute, Baltimore; Metropolitan Museum. New York
Instructor in Sculpture.

Manning deY. Lee
PORTRAIT STUDY (PAINTING)

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THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS
The Pennsylvania Academy conducts the oldest schools in
America devoted exclusively to the cultivation of the fine arts.
The Academy also conducts at Chester Springs, Chester Co.,
Pennsylvania, what is believed to be the best equipped Open-air
Summer School in this country. For details see page 61.
During the one hundred and sixteen years of the Academy's
existence it has aided in the training of many men and women whose
names are illustrious on the pages of American Art. Among its
former students are eminent painters-figure, landscape, and marine
-mural decorators, illustrators, and sculptors of national reputation. Its history is in no small measure the history of American
Art itself.
The schools are under the immediate care of a Curator and
Committee on Instruction appointed by the President and Board
of Directors, together with a Faculty composed of representative
artists of the day, who are experienced teachers and eminently qualified to discover and develop every talent which students may
possess.
The Academy engages its students at once and exclusively in the
study of the Fine Arts, and aims to equip them with a thorough
knowledge of Correct Drawing, Color Value, Composition, Modelling,
Constructive Anatomy, and Perspective.
Lectures of general and special interest are given during the
year, and students may attend them without extra charge.
The Academy's Permanent Collection of paintings and sculpture
is an important adjunct to the students' regular work.
The Permanent Collection includes the Gallery of National Portraiture; the Temple Collection of Modem American Paintings;
and the Gibson Collection, largely composed of works of the
Continental schools.
Copying in the galleries is permitted to students under reasonable regulations.
The Academy is equipped in every way to teach the technique
of Painting and Sculpture, and the instruction it affords is fully equal
from a technical standpoint to that obtainable in Europe.
The Annual Exhibitions held by the Academy bring together
the best examples of current American painting and SCUlpture, and
enable students to follow intelligently the various movements of
modem art, and to study the technical methods by which the art of
Alvin Meyer

LIFE STUDY (SCULPTURE)

1921

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today is achieving its results. These exhibitions have been recognized for many years as being the foremost in America. During the
past year they included:
An Exhibition of Water Colors composed of 594 examples. representing 149 different artists;
An Exhibition of Miniatures composed of 102 examples, representing 56 different artists;
The Academy's 116th Annual Exhibition of Oil Paintings and
Sculpture. composed of 502 paintings and 130 sculptures, representing a total of 389 artists. This Exhibition was opened to
public view for seven weeks and visited by 42776 people.
Special Exhibitions: An e'Chibition of the canvas entitled The
Signing of the Peace Treaty, 1919, and eighteen Portraits of Celebrities of the World War painted by eminent American artists for
presentation by the National Art Committee to the National Portrait
Gallery in Washington D. C. This group occupied Gallery Band
was open to the public from April 2nd until April 30th .
The Swiss Exhibition consisting of 140 examples of Painting and
Sculpture, forwarded to the United States by a Committee in
Switzerland acting under the courtesy of the Swiss Government
was shown in the Central Galleries from April 9th to April 30 t.h
inclusive.
An exhibition of 280 (ixamples of Paintings and Drawings, showing the Later Tendencies in American Art occupied all of the
Northern Galleries from April 16th to May 15 th .

FREE SCHOLARSHIPS
Through the generosity of Mrs. Alexander Hamilton Rice,
Twenty Scholarships in the Academy have been provided. entitling
the holders thereof to free tuition.
Ten of them are in memory of William L. Elkins, and ten in memory of George D. Widener.
Through the generosity of Edward Bok, a scholarship is available from the "Philadelphia Prize," established for the Academy's
Annual Exhibition.
Under the will of Mary R. Burton, deceased, another free
scholarship is provided, and through the generosity of Mrs. George
K. Johnson, the Sarah Kaighn Cooper Free Scholarship has been
established.
The above Free Scholarships are available this year for returning students only, and are awarded solely for the purpose of financially assisting those who would otherwise be unable to pursue the
study of art.
These Scholarships are awarded by the Board of Directors
upon the recommendation of the Committee on Instruction and the
Faculty of the Schools.
[IS]
Charles O. Jenny

COMPOSITION (SCULPTURE)

1921

Applicants must fill in a prepared form and submit it together with examples of their work before September 20th.
This application must be accompanied by a letter addressed
to the Committee on Instruction, stating in detail the necessity for
requesting Free Tuition.

TRAVELLING SCHOLARSHIPS
So far as instruction is concerned there is no necessity whatever for the student to leave America, but, by the liberal provision
of the wills of Emlen Cresson and Priscilla P., his wife, a fund has
been created, as a memorial to their deceased son, William Emlen
Cresson, Academician, the income of which is to be applied by
the Academy in sending its most meritorious students to ~urope.
The income is divided into scholarships of $500 each, awarded to
the students impartially upon the merits of their work.
During the last year twenty students were awarded Cresson
Scholarships.

OTHER PRIZES
Besides the Cresson Scholarships, other substantial prizes are
offered to students as hereafter stated, and every incentive held ou t
to them to develop their talents to the uttermost.

SOME ADVANTAGES OF LOCATION

Charlel E. Clark
CRESSON COMPETITION GROUP (ILLUSTRATION)

192<

The Academy building is located in the heart of Philadelphia,
within one square of City Hall and within two or three blocks of the
central city railroad depots. The new Parkway brings it within
easy reach of Fairmount Park and 3000 acres of beautiful scenery.
While it is convenient to the business portion of the city, it is also
readily accessible to the residential districts. Philadelphia is often
called "The City of Homes," and of all the greater American cities
it is probably the most worthy of the name. Apartments ano studios
can be obtained by the year or by the month for rea.~onable rates.
The cost of living is low.
The city contains, in addition to the Academy's own gallery, ~
number of notable collections of paintings which are accessible to
students. Among the more important may be mentioned: The
Wilstach Collection in Fairmount Park; The Lankenau Collection
at the Drexel Institute; the important paintings at the Historic<ll
Society of Pennsylvania, and at Independence Hall; the collections
of the late John G. Johnson, of Joseph E. Widener, and of the late
William L. Elkins. Admission to Private Collections is" obtained
by appointment only.
To students attending the Academy, the Reference Library and
the Galleries are free during the time of their attendance.

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PHILADELPHIA CALENDAR

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The One Hundred and Sixteenth Year Begins October 3, 1921.

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The school year is divided into two terms of 17 weeks each.
The first term begins Monday, October 3, 1921, and closes January
28, 1922; the second term begins IVlonday,January 30,1922, and
closes Saturday, May 27, 1922.
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The schools are open from 9 o'clock a.m. until 10 o'clock p.m.
daily except Sunday.

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Evening life classes are open from 7 o'clock until 10 o'clo:>k.
Visitors are admitted to the school on week-days from 4 to 5 p.m.
The schools are closed on Sundays, Thanksgiving Day, Christmas Day, New Year's Day, Washington's Birthday and Good Friday.
During the Christmas holidays the schools are open, but from
ten o'clock p. m. December 22nd to nine o'clock a. m. January 2nd
no models are engaged to pose and no criticisms are given. On
the Saturday preceding Easter and on Easter Monday no models
are engaged to pose and no criticisms are given. No models are
engaged to pose for the last week of the second term.

CHESTER SPRINGS CALENDAR
The Chester Springs Summer School is open from April 1st to
October 1st. Criticisms are given between March and October.
During the Autumn and Winter months, special arrangements may
be made with the Resident Manager for working at the school.

APPUCATION FOR ADMISSION TO THE
PHILADELPHIA SCHOOL

Applic~tionbJa~k;;;~;g-~l~hf";~ri":~~~~e~t:~::d must br.~~d in and:'··

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returned to the Curator before the student registers.
Registration for the first term of the season 192ICI922 begins
on Monday, October 3rd, 1921 and for the second term on Monday,
January 30th, 1922.
No reduction in tuition is made for those registering after a
term has begun.

Eligibility
No student under sixteen years of age is eligible for admission.
No student is eligible f(')r admission unless possessed of a good
common-school education such as is reached by the highest grade
of the grammar schools. A high school education is recommenoed.

Classification of New Students
All new students except those registered in the Sculpture
Classes, are required to make drawings from casts in the Academy's
Antique Classes and must submit them for classification not later
than at the second stated Faculty meeting after registration.

Rooms and Board in Philadelphia
Assistance in securing houro or rooms is given upon request.
The cost of living in Philadelphia is not high, and suitable accomodations within reasonable distance of the Academy arc available for
both men and women.

Arthur Meltzer
ANTIQUE DRAWING,1921

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_________________________

I

INSTRUCTION
Instruction in the Academy at Philadelphia is given in Drawing,
Painting, Sculpture, and Illustration. These departments are closely
allied and students in the Painting and Illustration classes are recommended to work in clay, and sculptors are privileged to work in
the Painting classes.

The general method of instruction is hy individual criticism
of class work. The individuality of the student is not repressed hy
fixed methods.

ANTIQUE DRAWING

Elmer G. Anderson

ANTIQUE DRAWING.

I92I

In order that students who have had comparatively little training in drawing may pursue their studies under the easiest conditions
and advance naturally to higher work, a preparatory Antique Class
is conducted, which includes drawing from the cast, drawing and
painting from still life, and lectures upon composition, perspective,
and constructive anatomy.

SCHEDULE OF CLASSES

Drawing from Cast
Every morning and afternoon,
every night
Composition
Decorative Painting and Color
Still-life Drawing and Painting
Tuesday, Thursday and Saturday
mornings and afternoons.

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INSTRUCTORS

Daniel Garber

Henry McCarter
Henry McCarter
Hugh H. Breckenridge

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Perspective Lectures
Constructive Anatomy Lectures
Saturday Morning Costume
Sketch Class

John F. Harbeson
George B. Bridgeman
Arthur B. Carles

Requirements for Admission

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.All new students, excepting those applying for admission to the
modelling classes, must work in the Antique Dra>;l;;ng Classes and
must submit drawings for classification not later than the second
Faculty meeting after registration.

Fee for the An tique Classes

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The fee for the Antique Classes is $75 a term. For Students
registered in the Academy's Philadelphia Schools during the season
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of 19'9- 1920, an d continu ously since then, the tuition fee remain s
as heretofore. Payment of the t ui t ion fee entitl es the student to
work in t he m ornin g, a fternoon, and evenin g classes. Stur!cn ts
regi stered in An tiq ue Drawing are p ermi tted to work in t he An tiqu e
Modellin g Class, the Still Life C lass a nd Sketch C lasses ' a nd to
a Ltend th e lecl tl 1'C's on Co mpnsit.io n, P C'l·spcc t.i ve nnd Constru ctive
An a tomy , with out ext ra cha rge.

THE LIFE AND HEAD CLASSES
Th e purpose of th ese classes is to give the stude nt t horough 1t1st ru d ion in th e techniqu e of painting.

The th y L ife C lassc-s a rc und er th e sll pervision of Mr. P eil!·so n .
T he ni ght Li fe C lasses a re lInd er t he super vision of J\ rr. G<lrbcr
SC Ii EDlILE OF CLASSES

Al fred R. M itc hell
LIFE STU DY (PAI NTI NG) 192 '

I

Drawing a nd pain t in g fro m Life. For
wom en: three h ours dail y , a nd Tuesday, Thursday amI S<lturr! ay ni gh ts.
F or men: t hree hours dail y , and M onday, Wed nesday , and Pri day nights.
Drawing anti pai nti ng from the H eau.
M o nd ay , Wednesday , a nd Friday
mornings and afternoons.

TNSTR1JCTORS

Joseph T . Pc-arson,.lr.
Da niel Garber

Hugh H . Breckenrid ge

INSTRUCTORS

CLASSES

Drawing and painting from Still Life.
Tuesday, Thursday, and Saturday
mornings and afternoons.
Composition
Decorative painting ancl color
Perspective Lectures
Constructive Anatomy Lectures
Saturday Morning Costume
Sketch Class

Hugh H. Breckenridge

Henry McCarter
Henry McCarter
John F. Harheson
George B. Bridgeman
Arthur B. Carles

Requirements for Admission
Students are admitted to the Life and Head Classes on presentation of drawings, from the full-figure Antique, which in the
opinion of the Faculty are of sufficient merit to warrant promotion. Application for these classes may he made at the termination of the first month's work or at any stated faculty meeting
thereafter.

Fee for the Life and Head Classes
The fee for the Life and Head Classes is $75 a term. For students registered in the Academy'S Philadelphia Schools during the
season of 1919-1920 and continuously since then the tuition fee
remains as heretofore. Payment of the tuition fee entitles a student
to work in the fo11owing Classes; Antique Drawing, Still Life, Night
Life, Decorative Painting, Saturday Sketch and Sculpture and to
attend the lectures on Composition, Perspective and Constructive
Anatomy. All students in drawing and painting are recommended to do a certain amount of modelling.

Edith W. Yaffee

LIFE STUDY (DRAWING)

1921

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The chief object of the Sketch C1as~es is to teach students to
grasp and record quickly the spirit and character of the subject
presented.

DRAWING FROM THE CAST BY THE SECOND ANTIQUE CLASS

SCULPTURE
The Classes in Sculpture are under the direction of Mr. Grafiy,
and are scheduled as follows: For men: Life Class every morning,
and Tupsday, Thursday, and ,sat.urday nights. Port.rait Class,
Monday, Wednesday and Friday Afternoons. For wompn: Life
Class every afternoon, and Tuesday, Thursday and Saturday nights.
Portrait Class, Monday, Wednesday and Friday mornings.

SCULPTURE STUDENTS' EXHIBITION

The work of the Classes in Sculpture consists of modelling, generally in the rouno, from the head and from the full-length figure.

Requirements for Admission

Aurelius Renzetti
PORTRAIT STUDY (SCULPTURE)

Photographs of work or specimens of modelling of sufficient
merit are required for admission to the life modelling classes.
Students not sufficiently advancerj for admission to the Life Class
I9 2 1

are offered facilities for modelling from casts. When they have
acquired sufficient proficiency, they are admitted to the Life Class
without the payment of an additional fee.

Walker Hancock

DETAIL FOR COMPOSITION (SCULPTURE)

1921

[37J

Some practical knowledge of the use of clay and a true conception of form in the round are of manifest advantage to both painter
and illustrator.
Stunents in Sculpture are permitted to work in the Drawing and
Painting Classes, and are recommended to work therein, but admission to the Life Drawing Classes is, for sculptors, subject to the
o:ame requiremcnts as for painters.
The Night Life Class meets from 7 to 10 p.m. Criticisms
are given once a week as in the Day Life Class.
Students are requiren to furnish their own clay, life modelling
stand and bucket for clay. The Academy furnishes one head
stand for each student.

Fees for Sculpture Classes
The fee for the Classes in Sculpture is $75 a term. For Students
registered in the Academy's Philadelphia Schools during the season
of 1919-1920 and continuously since then the tuition fee remains
as heretofore. Payment of the tuition fee entitles a student to work
in the Day Classes or Night Classes or in both. Modellers are permitt.e(1 to work in the Dra",,;ng and Painting Classes ann to attend
thc lectl1res on Compoo:ition, Perspective and Constrllctive Anatomy
without extra charge.

Benjamin Kllrtz

COMPOSITION (SCULPTURE)

1921

Charles O. J onny

COMPOSITION (SCULPTURE) 19 2 1

ILLUSTRATION
The Class in Illustration is under the direction of Mr. Taylor
Its purpose is to provide the student with such practical instruction
in Drawing, Composition and Interpretation as will enable him to
enter the professional field of magazine and book illustrating.
The Class in Illustration will meet daily throughout the school
year.
Living models are engaged for the morning anrl afternoon classes
and individual criticism is given once a week.

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Requirements for Admission

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Sturlents are arlmitted to the Class in Illustration upon
presentation of drawings from the full-figure Antique which, in the
opinion of the Faculty, are of sufficient merit to warrant promotion.
Application for this class may be made at the termination of the
first months work or at any stated faculty meeting thereafter.
Admission to the Life ClaSses is subject to the same requirements for illustrators as for painters.

Fee for the: Illustration Class
The fee for the Class in Illustration is $75 a term. For Students
registered in the Academy's Philadelphia Schools during the season
of 1919-1920 and continuously since then the tuition fee remains
as heretofore.
Illustrators are entitled to work in the Day Life, Night Life,
Still-Life, Decorative. Painting and Sketch Clasces and attend the
Lectures on Composition, Perspective and Constructive Anatomy,
without ('xtra charge.
Roderick McRae

THOU RON GROUP.

192I

SUMMARY OF FEES
I

Payment must be made in advance to the Curator
P-ER TERM

$75
75
75
75

Antique Classes
Life and Head Painting Class
Illustration Class
:Modelling Classes .
Locker Rent

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All new students must pay a matriculation fee of
five dollars.
For students registered in the Academy's Philadelphia
Schools during the season of 1919-1920 and continuously
since then the tuition fee will remain as heretofore.
Promotion during a term, from one class to another,
does not entail an additional fee.

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No reduction is made to students who desire to take
special criticisms, to work in the night classes only, or to
work under one instructor only.
The payment of $75 a term for tuition, $1 a term for
locker rent, and the matriculation fee of $5 covers all fees,
but does not cover the cost of materials.
No reduction is made to students registering after a
term has begun.
No extra charge is made for the use of models.

Tuition fees are not refunded for any cause whatever.
The Academy accepts checks in payment of fees but
students are advised that all checks which they wish to
have cashed in Philadelphia should be in the form of drafts
on Philadelphia.

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SCHOLARSHIPS AND PRIZES
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By the wills of Emlen Cresson and Priscilla P. Cresson, a Fund
has been created as a memorial to their deceased son, William
Emlen Cresson, Academician, the income of which is to be applied
by The Pennsylvania Academy of the Fine Arts in sending pupils
of merit to Europe.

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During the past year the Academy awarded twenty Cresson
Scholarships. Included in this number were thirteen painters, four
sculptors, and three illustrators. These awards were made by the

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Board of Directors upon the recommendation of the Faculty.
The awards are divided among the Painting, Illustration and
Sculpture Classes, and are based upon the number of pupils in each
Class as one factor, and the standard of the work as another factor.
The award heretofore has consisted of Five Hundred Dollars to each
student to be expended in foreign travel and study, but, on account
of the increase in travelling expenses the board of Directors made the
following announcement at the close of the school year, 1921: "The
awards have been proportioned in the past so as to provide each
student with Five Hundred Dollars to expend in actual travel and
travelling expenses, but on account of the increase in such expenses
the Academy announces that all students going ahroad this year
will be given Two Hundred Dollars additional for each scholarship."
It is the intention of the Cresson Scholarships to give to the
students of the Academy the advantage of seeing some of the important Galleries· and Art Schools abroad, and the Academy desires to
extend the benefit of the Scholarships to as many students as possible, provided they possess the necessary merit. The trip abroad is
limited to the summer vacation, a period of four months, from June
to September inclusive, so that students can return to the Academy
for study during the ensuing school year. The Board of Directors,
upon the recommendation of the Committee on Instruction, may,
in case of exceptional merit, permit a student to receive a second
Cresson Scholarship, with an award of $500. Unless some satisfactory
excuse be accepted by the Committee on Instruction, a second
competition must be during the year succeeding the first award,
but all students who have heretofore received one Cresson Travelling Scholarship and who by reason of the war, have been
unable to enjoy the same, are given Scholarships to The Pennsylvania
Academy of the Fine Arts, carrying free tuition for the season of 192 1-

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The award of a Travelling Scholarship is not to he regarded as a
certificate of proficiency. Students receiving an award for the first
time are required to return to the Academy for further study and
to inspire and encourage their fellow-students.

[451

SCHOLARSHIPS AND PRIZES
Travelling Scholarships
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By the wills of Emlen Cresson and Priscilla P. Cresson, a Fund
has been created as a memorial to their deceased son, William
Emlen Cresson, Academician, the income of which is to be applied
by The Pennsylvania Academy of the Fine Arts in sending pupils
of merit to Europe.
During the past year the Academy awarded twenty Cresson
Scholarships. Included in this number wete thirteen painters, four
sculptors, and three illustrators. These awards were made by the
Board of Directors upon the recommendation of the Faculty.
The awards are divided among the Painting, Illustration and
Sculpture Classes, and are based upon the number of pupils in each
Class as one factor, and the standard of the work as another factor.
The award heretofore has consisted of Five Hundred Dollars to each
student to be expended in foreign travel and study, but, on account
of the increase in travelling expenses the board of Directors made the
following announcement at the close of the school year, 1921: "The
awards have been proportioned in the past so as to provide each
student with Five Hundred Dollars to expend in actual travel and
travelling expenses, but on account of the increase in such expenses
the Academy announces that all students going: abroad this year
will be given Two Hundred Dollars additional for each scholarship."
It is the intention of the Cresson Scholarships to give to the
students of the Academy the advantage of seeing some of the important Galleries and Art Schools abroad, and the Acarlemy desires to
extend the benefit of the Scholarships to as many students as possible, provided they possess the necessary merit. The trip abroad is
limited to the summer vacation, a period of four months, from June
to September inclusive, so that students can return to the Academy
for study during the ensuing school year. The Board of Directors,
upon the recommendation of the Committee on Instruction, may,
in case of exceptional merit, permit a student to receive a second
Cresson Scholarship, with an award of $500. Unless some satisfactory
excuse be accepted by the Committee on Instruction, a second
competition must be during the year succeeding the first award,
but all students who have heretofore received one Cresson Travelling Scholarship and who by reason of the war, have been
unable to enjoy the same, are given Scholarships to The Pennsylvania
Academy of the Fine Arts, carrying free tuition for the season of 19211922 .

The award of a Travelling Scholarship is not to be regarded as a
certificate of proficiency. Students receiving an awarel for the first
time are required to return to the Academy for further study and
to inspire and encourage their fellow-students.

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New students registering during the season of 1921-1922 will
not become eligible to compete for a Cresson Travelling Scholarship
until they have completed twenty-four months of study in the
Academy's Schools.
Students who have been registered previous to the season of
1921-1922 will be eligible to compete for a Cresson Travelling 'Scholarship after sixteen months of study in the Academy's Schools
All students in competition for the Cresson Travelling Scholarship must be registered in the Philadelphia School for both terms of
their Competition Year.
In estimating the total number of months necessary to qualify
competitors, time spent, at work at the Chester Springs Summer
School will be cot1nted~ "', i

Requirements Governing the Cresson Competition
All students entering the Competition are expected to register
as Competitors before the first of November, 1921.
Work must be submitted each month by Competitors in the
Painting, Sculpture and IDustration Classes for review. Competitors
failing to submit work as required will be ineligible for receiving
an award.
The date for each review is posted on the School Bulletin Board
at the beginning of every month. Students are not given credit
for their work unless it is registered at the Curator's office on the
dates specified and within the following time limits:
For a morning review, before 2.00 p.m. of the previous day.
For an afternoon review, before 9.30 a.m. of the same day.
For an evening review, before 12.00 noon of the same day.
Painters are required to register each month beginning with the
November Reviews, work from the Figure in drawing or painting,
from the Head in drawing or painting and, each term, one painting
from Still-Life.
Dlustrators are required to register each month one head made
from, the model in the Illustration class and one drawing or
painting from the Figure and, each term, one illustration.
Sculptors are required to register a composition each month
subject assigned), a study from the figure and each term, one study
from the model in the Head Class.
The same work can not be registered more than once.
Students failing to submit the required work for review place
themselves out of competition, and can be reinstated only by action
of the Faculty.
All competitors are unrestricted as to the amount and variety
of work they exhibit in their Competition Groups, provided they do
not exceed the space alloted to them, but no work will be considered eligible which has not been made during the current school
season and registered in the Curator's office for one of the specified
reviews.

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All competitors must attend the series of lectures in Constructive Anatomy and must do the work required in the Perspective
Class.

THE CHARLES TOPPAN PRIZES

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The Charles Toppan prizes for 1922 are: first prize, $300, second
prize, $200, and two honorable mentions of $100 each.
These prizes were established in 1881 by the gift of Mrs. Charles
Toppan, Miss Harriette R. Toppan, and Mr. Robert N. Toppan.
The prizes are awarded only to students who have previously
received a Cresson Scholarship. Competitors who fulfil all of the
requirements for a second Cresson Travelling Scholarship will, at
the same time be considered eligible to compete for a Toppan Prize.
Competitors who are not in Competition for a Second Creswn
Travelling Scholarship are required to submit each month during the
year of competition two life drawings from models posing in the
Academy, or two full-figure Antique drawings made in the Academy.
Any student having received one Toppan prize is debarred from
receiving another Toppan prize of the same or lower value.
The work submitted in competition must be an original painting,
in oil or water color, the unaided work of the student without criticism. All work in competition must be submitted without signature
or mark of identification and must be presented on or before Saturday, May 13, 1922.
The subject assigned for May, 1922 is: "An Interior with one
or more figures in which mere Portraiture is not the leading motive."
No student may submit more than one canvas. Canvases submitted must not measure less than twelve inches nor more than
thirty-six inches in either dimension, and must not be framed
or glazed.
Canvases are numbered by the Curator, and a memorandum
of the numbers and competitors names are kept in a sealed envelope which is opened after the prize-winning canvases have been
selected by the Committee on Instruction.
According to the positively expressed terms of the gift, the
drawing of the work submitted will receive first consideration.
The Committee on awards is not obliged to award prizes or
honorable mentions if, in its opinion, the work submitted is not of
sufficient merit to justify making the awards.

THE THOURON PRIZES
The following awards, founded by the late Henry J. Thouron,
a former Instructor in Composition, are made as follows:

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A prize of $50 for a group of not less than three compositions
upon subjects given to the class during the current season, and a
prize of $25 for a second similar group, the first to be deciqed by the
Faculty, the second by a vote of the students then working in the
Schools; and one of $50 and one of $25, the first for general progress
in study, the second for the work showing, in its treatment of said
subjects, the most poetic, or abstract, or idealistic, point of view,
both to be decided by the instructor of the class.
A competitor is not eligible a second time for the same prize,
and cannot receive more than one award the same season.
In the event of not making the annual awards, or any portion of
them, the money is to accumulate until it shall amount to the sum
of $500. This sum will be awarded by the Faculty to the student
submitting the best work in Composi tion upon a given subject. The
intention of the award is to give the successful student a threemonths' summer trip abroad, for the purpose of special study of
Composition in specified places and galleries.

THE STEWARDSON PRIZE

Walker Hancock

STEWARDSON PRIZE

1921

(18

HOUR STUDY

The Edmund Stewardson Prize of One Hundred Dollars, in the
Department of Sculpture, will be awarded for the twentieth time
at the close of the school year.
This is an annual prize, competed for by present students of
the Academy with such pupils of other art schools as may be
approved by the Committee on Instruction. Having once received
this award, a student becomes ineligible for further competition.
The subject- for the competition is a full-length figure from Life
in the round.
None except the competitors are admitted to the competition
room at any time during the days of the competition, and none except
the members of the Jury are present during the judging of the
studies.
Studies must not be less than two feet six inches in height, and
not more than three feet in height, and must be made within eighteen
hours, during three consecutive days, in six sessions of three hours each.
Each competitor draws a number by lot. This number determines the competitor's position in the competition room and a
corresponding number is placed upon an envelope which contains
the competitor's name and is deposited sealed, with the Secretary
of the Academy. Upon completion of the work the competitor
places a corresponding number upon the study to be submitted to
the Jury of Award.
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The Jury of Award consists of three professional sculptors,
having no official connection with the Academy, or school or schools
whose pupils may have taken part in the competition. When the
successful number has been announced by the chairman of the Jury,
the Secretary, in the presence of one or more of the officials of the
Academy, opens the envelope bearing that number and announces
the name of the sf.lccessful competitor. If no study be satisfactory to
the Jury, the prize may, in their discretion, be withheld. When no
award is made, the amount of the prize may, in the discretion of
the Board of Directors of the Academy, be added to the principal
of the prize fund, or distributed with future prizes.
The clay models offered in competition must be kept standing in
good condition until otherwise ordered, and figures cast by the
Academy become its property.
The competition for the year 1922 takes place on March 6
i, and 8.

THE STIMSON PRIZE
In memory of Emma Burnham Stimson, a fund has been
created for the award each year of a prize in sculpture of $100.00 for
the best work done by the students in the regular course of the class.
The contest is open to students who have been registered for
three terms and who are members of the Life Modelling Classes,
but is not open to former students who work in the class by special
permission.
The subject for competition is a full-length figure from life,
in the round, not less than 2 feet 6 inches in height, and must be
made during class hours as a part of the regular work in the class.
The work must be submitted anonymously to a jury appointed
by the Committee on lnstmction of the Board of Directors. The
jury must not include any instmctor in the School.
The contest for the year 1922 takes place during the months of
January and Febmary.

THE PACKARD PRIZES

D0minic D'Imperio

STIMSON PRIZE (SCULPTURE)

I92I

From the income of the John H. Packard Fund, established by
the children of the late John H. Packard, M.D., for many years
chairman of the Academy's Committee on lnstmction, annual prizes
of $30 and $20 are awarded for the best and second best groups
of original studies made from living animals. These prizes are open
to all students of the Academy who have registered for both terms
of the school year. A student having once received a prize becomes
ineligible to receive the same prize a second time.

Ronald G. Aughinbaugh
FIRST PACKARD PRIZE,

Conrad K. Roland
1921

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SECOND PACKARD PRIZE.

192%

____________________________J..

",
THE RAMBORGER PRIZE
From the income of a fund established by the late William K.
Ramborger, Esq., as a memorial to his sister, Aspasia Eckert Ramborger, who for some years was a student of the Academy, an annual
Prize of $25 is awarded for the best drawing in black and white
of a head from life by a pupil of the Academy who has not been
under instruction over two years, but who has been registered in
the Academy for both terms of the school year. Each competitor
may submit one unmounted drawing. Having once received an
award, a student becomes thereafter ineligible to compete again.

THE CHARLES M. LEA PRIZES
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Benjamin Solowey

RAMBORGER PRIZE (DRAWING) 192'

The Pennsylvania Academy of the Fine Arts holds a Special
Exhibition of Drawings by Students of American Art Schools in
November, 192I.
Through the generosity of Charles M. Lea, a First Prize of two
hundred dollars, a Second Prize of one hundred and fifty dollars
and a third prize of one hundred dollars are awarded respectively
to the best, the second best and the third best drawings.
Drawings eligible for competition must be executed by students
regularly enrolled in any American School of Art which has a faculty
of at least two instructors.
A competitor may not submit more than two drawings
The drawings IIlust be upon white paper eighteen by twenty-four
inches in size and unframed.
The subject must deal with the human figure, either singly or in
composition, and be executed in black and white by pen, pencil or
hard crayon, but not in chalk or charcoal. The awards are based
upon the precision, accuracy of delineation, proportion, detail
simplicity, and picture quality of the drawings submitted.
Members of the Jury of the Academy's Water Color Exhihition
make the awards. They may withhold any or all prizes if in their
judgment the drawings are not of sufficient merit.
All entries must have the following information legibly written
on the back: name of competitor; address to which the work is to
be returned; name of the school in which the student is working;
and the signature of the Principal of the school.
Drawings must reach the Academy not later than Tuesday
Novemher 14, 1921.

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Meyer Rarlitz
Charles E. Clark

RAM BORGER STUDY (DRAWING)

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RAMBORGER STUDY (DRAWING)

1921

THE ACADEMY'S FREE-HAND DRAWING
PRIZES FOR THE HIGHER SCHOOLS OF
PHILADELPHIA AND VICINITY

Alfred R. Mitchell

TOPPAN COMPOSITION

IQ21

The Directors of The Pennsylvania Academy of the Fine Arts
have estahlished a system of prize awards for original Freehand
Drawing by students of the higher schools of the city of Philadelphia
and vicinity. The purpose of making these awards is to stimulate
interest in Free-hand Drawing, to discover those who possess
marked talent, and to offer them the advantages of study at the
Academy.
A first prize of $ro and a second prize of $5 are awarded by
the Academy upon the recommendation of the instructor of the school
where made, for the best and second best drawings by regularly
enrolled students of each school.
The drawings must be madeftee-hand from a east or other object
assigned by the instructor, and must be the unaided work of the
student, without criticism.
The drawings must be made with lead pencil, charcoal or crayon
on white paper r9 inches by 25 inches in size.
The drawings may be made at any time during the months of
March and April, but must be submitted to the instructor of the
school where made, and the prizes announced before the thirtieth
of April.
The two prize drawings from each school must be sent to the
Secretary of The Pennsylvania Academy of the Fine Arts, Broad
and Cherry Streets, Philadelphia, not later than l\by 15th. The
Faculty of the Academy will then judge the drawings snbmitted,
and award the final prizes as follows:
$25 for the best drawing; $15 for the second; and $IO"for the third.
All entries must have the following information legibly written
on the back: name of the competitor; address to which it is to be
returned.; name of the school in which the student is working, and
the signatnre of the Principrrl of the school.
It is hoped that these awards, and the stimulus they afford, will
lead to a closer sympathy between the art instruction in the city's
higher schools and the work of the Academy itself.

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RULES OF THE SCHOOLS
Hours
The Schools are open from 9 o'clock a.m. until 10 o'clock p.m.
Models pose from 9 a.m. to 12 noon, from I to 4 and from 7 to 10 p.m.
Cla::ses begin at 9 a. m. promptly, and students are urged to
start work early to utilize the best light of the day.
Regular attendance by students is not compulsory, but no reductions from tuition rates is made on account of absence.
At 5.30 p.m. the Cherry Street entrance will be opened for
members of the night classes.

Materials
Materials for study must be provided by the student. All articles required in the classes are for sale in the school store at lowest
prices. All sales are for cash only.

Deportment
Students are expected to be self-governing, and to know and obey
the rules of the Academy from principles of honor.
Violation of the rules will result in suspension or dismissal from
the Academy.
Any conduct unbecoming a student is a violation of the rwes.
The property of other students must not be used without the
owner's knowledge and consent.
Monitors
It shall be the duty of the monitors to maintain order and, if
necessary, to report to the Curator any interference with the work
of the class.
Monitors shall see that the class-rooms are kept properly lighted
and ventilated.
The monitor of each class shall have charge of the model and
of the class-room during working hours.
Gladys C. Edgerly

COMPOSITION (SCULPTURE)

1921

Life Classes
Only members of the Life Classes are permitted in the Life
Class rooms during working hours.
Members of the Life Classes must under no circumstances speak
to models who are posing.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _T

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Positions in the Class-rooms
Students who are not present at the hour when classes begin
must take their positions in order of arrival. No student will be
permitted to select and reserve a position for one who is ahsent.

Monthly Review of Work
Ageneral review of the work of each class is held once a month
by the respective instructor. Studies submitted will be hung for exhibition in the class-rooms. A record of the work so exhibited is
kept for use in determining the standing of students at the end
of the season. Studies cannot be recorded or accepted for exhibition
unless presented at the Curator's desk within the following time limits:
For a morning review, before 2.00 p.m. of the previous day.
For an afternoon review, before 9.30 a.m. of the same day.
For an evening review, before I2.00 noon of the same day.

The date for each review will be posted on the school Bulletin
Board at the beginning of every month. Drawings are not accepted when rolled or when not carefully "fixed." Paintings must
be thoroughly dry, and all work must be signed with the student's full
name and the 1fame of the class in which the work was done. Studies
marked by the instructor are reserved by the Academy until the
close of the spring term. In order to prevent loss, unmarked studies
should be reclaimed at the close of each review.

Application for Promotion
Students may apply for promotion at the regular Faculty meetings, but before doing so they must obtain the approval of the
instructor under whom they are working.

Moving of Casts
Students must not move the casts. A ny change desired in the position of casts or other objects must be authorized by an instructor or the
curator, and carried out under his direction.

Plaster Casting
Casting in plaster will not be permitted in any of the schoolrooms. A special room is provided for this work.
[64]

Jam.,. M. Gregory

STILL LIFE (PAINTING)

I921

Lunch-rooms
Luncheon must not be eaten in the school-rooms. Lunch-rooms
are provided in the basement.

Care of Personal Property
All personal property should be marked with the owner's name.
Students are cautioned not to leave personal property of any
description about the school-rooms, as the Academy will in no case
be responsible for the loss of articles from the rooms or lockers.
Large steel lockers, fitted with combination locks, are provided
for each student, and are expected to be kept locked.
Any damage done to a" locker will be charged to the student
occupying it.
Students are not permitted to leave canvases, and drawingboards about the school-rooms, but must place them, when not
in use, in the racks especially provided for the purpose.
Canvases· and Materials left at the Academy and not called
f or by the beginning of the fall term will be disposed of.

Sketching in Galleries
Students may sketch from the works in the Permanent Collection of the Academy, but copies must not be made without special
permission from the management.

Library
Students may have free use of the Library, upon application to
the Curator, between the hQurs of 3 and 5 p.m. Books must not
be taken from the room.

Zoological Garden Tickets
Annual tickets for the Zoological Gardens may be obtained, at
a small charge, from the Superintendent of the Gardens on presentation of a letter from the Curator.
Anne C. Garrett
PORTRAIT STUDY (PAINTING)

1921

Privileges for Students
A student's ticket entitles the holder during attendance at the
Academy to free admission to the Galleries, Special Exhibitions and
Lectures, and to the use of the Library and Print Collection.
[67]

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Visitor.
The school-rooms are open for the inspection of visitors on
week-day afternoons, from four until five o'clock.
Students are not to be called from the class-room unless in
the judgment of the Curator the matter is of urgent importance.
No one is permitted to remain in any of the class-rooms
during working hours except the regular members of the class who
are doing the special work of that class.
Application forms and any further information regarding the
Schools may be obtained by addressing

BROAD STREET, ABOVE ARCH.
PHILADELPHIA.

ELEANOR B. BARKER,
Curator.

Yaffee
COMPOSITION (PAINTING)

1921

J. Havard Macpherson
STILL LIFE (PAINTING)

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SCHEDULE OF CLASSES
MONDAY.

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Antique Class.
Antique Class.
'Women's Life Class. IVomen's Life Class.
Head Class.
Illustration Class.
Illustration Class.
Head Modelling
Class.
Men's Life
Men's Life
Modelling Class.
Modelling Class.
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WEDNESDAY.

THU11.SDAY.

FRIDAY.

Antique Class.
Antique Class.
Women's Life Class. Women's Life Class.
Head Class.
Illustration Class.
Illustration Class.
Head Modelling
Class.
Men'. Life
Men's Life
Modelling Class.
ModElling Class.
Decorative Painting
and Color

Antique Class.
Women's Life Class.
Head Class.
Illustration Class.
Head Modelling
Class.
Men's Life
ModellingClass

Antique Class. .d.
Men's Life Class.
Head Class.
Illustration Class .
Women's Life
Modelling Class.

Antique Class. .d.
Men's Life Class .
Head Class.
Illustration Class.
Women'. Life
Modelling Class.

SATURDAY.

Antique Class.
Illustration Class.
Costume Sketch
Class.

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'Men's Life Class.
Head Class.
Illustration Class.
Women's Life
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I Antique Class.
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Men's Life Class.
Still Life.
Illustration Class.
,.,Women's Life
'~M8delling Class.

Antique Class.
Men's Life Class .
Still Life.
Illustration Class.
Women's Life
Modelling Class.

Antique Class.
Men's Life Class.
Still Life.
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Anatomy Lecture,

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Mena Life Class.

Antique Class.

Life
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ILife Modelling Class.
Cla~s.

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3.3°-4.30 P.M.

Antiq ue Class.
Women's Life Class.
Life Modelling Class.

Antique Class .
Men's Life Clas•.
Composition
8-9 P.M.

Antique Class.
Women's Life Class.
Life Modellinc Class. I

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'Alternates with Women's Life Class. as scheduled.

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THE BUILDINGS AND GROUNDS

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The Pennsylvania Academy of the Fine Arts owns a tract of
acres at Chester Springs, Chester County, Pennsylvania, where
it conducts an open air school for instruction in Drawing, Painting
and Sculpture.
Chester Springs is seven and one-half miles northwest of Phcenixville on the Pickering Valley Railroad. It is a beautiful little village,
with postoffice, schools, stores and churches. The population is
purely native American.
The Academy's property is one-quarter of a mile from the station. It is about 300 feet above mean ocean tide level, supplied with
electric light from Pha-nixville and reached in about one hour and
thirty minutes hy train serviC'e from the Reading Terminal at
Philadelphia. It is north of the village, surroundetl by typical
Pennsylvania farm land, the scenery of which is enriche(j by gently
rolling hills and by Pickering Creek with its meadows and valleys.
It is at the foot of a hill rising to the north over 500 feet, and includes
a number of buildings upon the hillside, affording ample studio
room, and separate dormitories for men and women.
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THE ACADEMY'S SUMMER
SCHOOL AT CHESTER SPRINGS

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The men's building, known as the 'Washington Building, is a large
three-story stone structure, 146 feet long, with airy dormitories on the
second and third floors, private rooms for those who want them, and
contains on the first floor the main kitchen and general dining room.
The women's building, known as the Lincoln Building, is also
i!'J;;e"stpries in height: is 88 feet long, ~th s~milar airy dormitories ; .
; onfthe second and thud floors, and WIth pnvate rooms, and con- {NI
tains on the first floor a library and reading room used hy all of the .
students. It is about 60 feet to the eastward of the Washington
Building. Both are near the public road.
Abut 70 feet east of the Lincoln Building and on the opposite
side of the Kimberton Road is the studio, 38 by 40 feet, for the
sculpture cla,'ses. The building is especially equipped for the purpo~e of using farm animals as models.
About I30 feet back of these two dormitory buildings, and up
the side of the hill, is the main Studio Building, 78 by 49 feet, which

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has upon the first floor a theatre or lecture room with dressing rooms
for men and women, and'iipo1l''tIi@second floor one large studio used
by the students in common, al1a several smaller ones, affording together ample space for all the students to work indoors in wet weather.
The old Kimberton Road', upon which the dormitories face,
joins in front of the property, with the White Horse Road leading
down to the village. From the dormitory buildings there is a long
covered walk up the hIllside to the Studio, so that students are protected during wet weather. Further west on the Kimberton Road,
about 160 feet, is the Bungalow, affording additional dormitory
accommodations, and which is reserved for men who desire to live
together with greater freedom than they can in the Washington
Building.
On the opposite side of the Kimberton Road, at its junction with
the White Horse Road, is the Faculty Building, a double stone residence, used to accommodate resident teachers, and conveniently
near the main dormitories. Directly across the Kimberton Road,
is a large and quaint one-story frame building called the Art Gallery,
used by the students to exhibit their work and in which are
accommodations for washing palettes and bru:;;hes and for making
frames,
Across the road from the dormitory buildings, in the large
meadow, are tennis courts and croquet grounds. In the centre of
the meadow, below the Washington Building, is the famous Yellow
Spring. Its waters are so heavily charged with iron that they color
the stones of the run leading from the spring. It gave the locality
the ancient name of the "Yellow Springs." Over the hill beyond
the meadow is a convenient quarry hole, with clear blue water,
where a bathhouse has been erected, so that students who know how
to swim may do so.
The drinking water for all of the buildings descends by gravity
from a spring rising n~ar the top of the hill, the water being conducted by a piping shtem into concrete reservoirs, - which can be
augmented by an auxiliary system, permitting water to be pumped
to the reservoirs from another spring, known as the Diamond Spring,
situated in the meadow far from the buildings, and the water of
which is of singular clearness and purity.
The countryside is remarkably paintable, with many attractive
old dwellings, quaint barns and spnng houses, with old trees, abundant woodland, creeks and ponds, and with beautiful views near at
hand. Directly in front of the Washington Building is a grove of
sycamores of great age, and back of it is one of the largest sycamores
in Pennsylvania, possessing a mighty spread of limb and containing
[75]

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in one of its large anTIS the iron prongs, now almost covered with
bark, which were used in the olden days for suspending the bell to
call the guests to dinner, when the Washington Building was used
as an inn.
The chief object of the Academy in establishing a summer school
in the country is to supplement the work done during the Winter
in it; Philadelphia schools by instruction in painting and Sculpture
in the open air, and to afford an opportunity for the study of
art to school teachers and to others who cannot spare time for
study except during the vacation months.
The methods of instruction are substantially the same as those
used at the Academy in Philadelphia, special attention, however,
being paid to landscape drawing and painting, to figure painting
in the open air, and to the study of sunlight and shade. Students
are taught to make" studies" of nature rather than "sketches," and
are also taught to carry on their work as far as their abilities permit.
The general method of instruction is by individual criticism of
work submitted. The instructors will, from time to time, work with
the students for the purpose of assisting them in the selection and
interpretation of their subjects.

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CRESSON TRAVELLING SCHOLARSHIPS
To compete for Cresson Travelling Scholarships students must
be registered for four terms in the Academy's Schools. In estimat- .
ing this period, time spent at work at the Summer School will
be counted, but no student will be eligible to compete who is
not registered in the Philadelphia Schools for both terms of the
competition year.

PRIZES
A Prize of $100 is awarded for the best landscape drawing or
painting done at the Chester Springs School by a regularly enrolled
student of the Academy, or by a student of the Chester Springs
School who shall have studied there for not less than one month; a
second prize of $50 for the second best, and a third prize of $25 for
the third best. These prizes are awarded about December 6th.
Work done by arrived artists, who may be working at the School,
is not eligible.

CRITICISMS
Criticisms in the Drawing and Painting clas~es are given from
time to time by different members of the Faculty: by Fred Wagner
in April, May, June, July, August, September and October; by
Henry McCarter in June; by Daniel Garber in July, August and
September; by Hugh H. Breckenridge in September, and by others
as may be arranged.
Criticisms in the SCUlpture classes are given by Albert Laess1e.

ENROLLMENT
During the Summer of the School's fourth year, which began in
April, 1920, there was a total enrollment of 183 students. One
hundred and twenty-nine of them had never studied at the Academy
in Philadelphia, and 18 of them afterwards became students in the
City, taking the regular vVinter courses. These 183 students were
not all present at anyone time. During April there were 6; May,
32; June, 61; July, 81; August, 102, and September, 78.
Fifty-four students stayed two weeks; twenty two, three weeks;
thirty-five, four weeks; fourteen, five weeks; and others for longer
stays as much as twenty-six weeks, the entire season, in fact, during
which criticisms were given.
The students came not only from Pennsylvania, but from far
distant points; from Connecticut, four; Virginia, seven; Maryland
ten; New York, twelve; Georgia, three; Delaware, three; Michigan
one; Texas, four; District of Columbia, twelve; Missouri, five;
Illinois, fi'l(e; Ohio, fourteen; Wisconsin, two; Massachusett~, five.
Indiana, two; New Jersey, four; Nebraska, one; Arkansas, one;
Colorado, two; Oregon, one; North Carolina, four; South Carolina,
one;Louisiana,one;Canada, two; China, four; Japan, three; CzechoSlovakia, one; Russia, one. These are instances merely, to illustrate
[81]

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the cosmopolitan character of the attendance. Among our students,
were a number of art instructors who came to take advantage of
our landscape work.

RATES
The rates are as low a,.q possible in view of present conditions,
and include all charges for board, lodging and instruction, but not
for materials. The rates for board and lodging vary from $12.S0 a
week for students living in the dormitories', to $IS and $22,SO a week
for private rooms. On account of the high cost of supplies, the minimum rates cannot be reciuced. The table is simple and wholesome.
The Chester Springs School accepts serious students only and
not those who simply desire an advantageous place to board in the
country,

EQUIPMENT
The equipment of the school affords ample stu,dio room, al,d
includes separate dormitory buildings for men and women.
The buildings are supplied with hot and cold running water and
with electric light.
The Reading Rooms are suppJid with current magazines and a
library of several hundred volumes. The Rec.reation Hall is provided with a stage, footlights and dressing rooms. Within a few
minutes' walk of the school is a convenient quarry hole of pure spring
water, in which students who know how to swim may do so.

REQUIREMENTS AND RULES
Satisfactory references are required, from all applicants, and
as the students live in the buildings, conformity with reasonable
regnlations is necessary to secure, proper chaperonage., Students
are expected to know how to conduct 'themselves from principles
of honor without spe~ific' rules.
Students are not~llowed to smoke in the Studios or
Dormitories.
No student is accepted for a shorter stay than two weeks.
No student under 16 years of age is eligible for admission.
For further particulars, address
D. Roy MILLER, Resident Manager,
Chester Springs, Chester County, Pennsylvania.
Bell Telephone: Chester Springs, ro.

Courtesy of Albert Warrington, Philadelphia Photographic Society

AN OLD BUILDING, CHESTER SPRINGS

ELEANOR B. BARKER, Curator of Schools,
Pennsylvania Academy of the Fine Arts,
Broad and Cherry Streets, Philadelphia.
Bell Telephone: Spruce, 3918.

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NOTE
Chester Springs can be reached by AUTOMOBILE in several
different ways from Philadelphia:
ROUTE I: Out the Lancaster Pike to Malvern; then under the
main line of the Pennsylvania Railroad down into the Chester
Valley, and still along the Lancaster Pike to a school-house on the
right-hand side where the old Conestoga Road unites with the
Lancaster Pike; then along the Conestoga to Anselma, and then
along the banks of Pickering Creek to Chester Springs.
ROUTE 2: From Philadelphia to Paoli by way of Montgomery
Avenue or the Lancaster Pike; thence to Valley Forge; thence to
Phrenixville, and from Phrenixville along the Kimberton Road to
Kimberton, and from Kimberton to Chester Springs.
ROUTE 3: From Philadelphia to Norristown, from Norristown
to Phrenixville or Valley Forge, and from thence to Chester Springs.
Time required: about an hour and a half.
Day visitors will be welcomed at any time, and upon notice
to the resident manager, lunch or tea may be obtained.
Bell Telephone-Chester Springs, 10.

RAILWAY TIME TABLES
TRAINS FROM THE READING TERMINAL. PHILADELPHIA
WEEK DAYS: Leave
4.25 a.
8.36 a.
4.06 p.
SUNDAY:
Leave
4.25 a.
8.36 a.
4.06 p.

m.

m.

m.

m.
m.
m.

Arrive Chester Springs
5.57 a. m.
10.00 R.

m.

5.22 p. m.
Arrive Chester Spring.
5.57 a. m.
9.52 a. m.
5 ... p.m.

TRAINS FROM CHESTER SPRINGS
WEEK DAYS, Leave
Arrive Philadelphia
6.33 a. m.
8.05 a. m.
12. 14 p. rn.
I.53 p. m.
5.58 p. m.
7.30 p. m.
SUNDAY:
Leave
Arrive Philadelphia
6.33 a. m.
9.30 a. m.
JO.41 a. m.
12.27 p. m.
5.58 p. m.
7.30 p. m.
SATURDAY ONLY
Leave Philadelphia I.25 p. m.
Arrive Chester Springs 2.42 p. m.
Leave Chester Springs 3.20 p. m.
Arrive Philadelphia 4.35 p. m.
All passengers must change trains at
Trains leave Phoenixville for Chester
Saturday only. leave Phoenixville for
Sunday only. leave Phoenixville for
4.55Op. m.

Phoenixville.
Springs. 5.25. 9.20 a. m. and 4.51 p. m.
Chester Springs at 2.10 p. m.
Chester Springs at 5.37. 9.23 a. m. and

[85]

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THE ACADEMY'S HONOR ROLL
Medals and Prizes Awarded in the Academy's Annual Exhibitions

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1894
1895
1896
1898
1898
1899
1901
19 02
1903
1904
1905
1905

ACADEMY GOLD MEDAL OF HONOR
D. Ridgway Knight
1906 Horatio Walker
Alexander Harrison
1907 Edward W. Redfield
William M. Chase
1908 Edmund C. Tarbell
Winslow Homer
1909 Thomas P. Anshutz
Edwin A. Abbey
19II Willard L. Metcalf
Cecilia Beaux
19 14 Mary Cassatt
Charles Grafly
19 15 Edward Homer Coates
(Awarded for eminent services to the Academy)
Henry J. Thouron
James A. MacNeill Whistler 1916 J. Alden Weir
John S. Sargent
19 18 John McLure Hamilton
John W. Alexander
19 19 Hugh H. Breckenridge
William T. Richards
1920 Childe Hassam
Violet Oakley

1884
188 5
1887
1888
1889
1890
1891
1892
1894
1894
1895.
1895
1896
1896
1897
1897
1898
1898
1899
18 99
1900

TEMPLE GOLD MEDAL
George W. Maynard
1901 William M. Chase
Charles Sprague Pearce
1902 Winslow Homer
Clifford Prevost Grayson 1903 Edward W. Redfield
Charles Stanley Reinhart 1904 Thomas Eakins
Anna Elizabeth Klumpke 1905 J. Alden Weir
William Henry Howe
1906 Eugene Paul Ullman
Abbott H. Thayer
1907 Willard L. Metcalf
Henry S. Bisbing
1908 Frank W. Benson
James A. MacNeill Whistler 1909 Frederick P. Vinton
John S. Sargent
1910 Howard Gardiner Cushing
Edmund C. Tarbell
19II Richard E. Miller
John H. Twatchtman
1912 Emil Carlsen
Gad Melchers
19 13 Frederick Frieseke
J. Humphreys Johnston
19 14 W. Elmer Schofield
George DeForest Brush
1915 Charles W. Hawthorne'
John W. Alexander
1916 Joseph T. Pearson, Jr.
Wilton Lockwood
19 17 George Bellow.
Edward F. Rook
1918 George Luks
Joseph DeCamp
19 19 Daniel Garber
Childe Hassam
1920 Earnest Lawson
Cecilia Beaux
19 21 Leopold Seyffert

1883
1884
1885
1887
1888

TEMPLE SILVER MEDAL
William Thomas Trego
1889 Arthur Parton
Thomas Hill
1890 Edward L. Simmons
William T. Richards
189 1 Kenyon Cox
Alexander Harrison
1892 George Innen
Howard Russell Butler

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1894
1895
1896
1897
189S
1899
1900
190 1
1902
1903
1904
1905
1905
1906

WALTER LIPPINCOIT PRIZE
William Sergeant Kendall 1907 Marion Powers
Edmund Cr Tarbell
19011 James R. Hopkins
William L. Picknell
1909 Thomas P. Anshutz
Albert Herter,
19 10 J. Alden Weir
James Jebusa Shannon
19 II Daniel Garber
fIhn W. Alexander
19 12 Edward W. Redfield
enry O. Tanner
19 13 Emil Carlsen
Charles H. Davis
19 14 M. Jean McLane
Walter MacEwen
19 15 William M. Paxton
Frank W. Benso
191t> Karl Anderson
Mary Cassatt
19 17 Arthur B. Carles
Alexander StirH
1918 DeWitt M. Lockman
T. W. Dewingng Calder
19 19 Colin Campbell Cooper
Childe Hassam
1920 Joseph DeCamp
19 2I Irving Couse

1879
1880
1881
1882
1883
1884
1885
1887
1888
1889
1890
189 1
1892
1894
1895
1896
1891
18g8
1899
1900

MARY SMITH PRIZE
Susan H. MacDowell
1901 Janet Wheeler
Catharine A. Janvier
19 02 Elinor Earle
Emily Sartain
19 03 Jessie Willcox Smith
Mary K. Trotter
1904 Lillian M. Genth
Emily Sartain
1905 Elizabeth Shippen Green
Luc!. D. Holme
1906 Alice Mumford
CeC1lia Beaux
1907 Mary Smythe Perkins
Cecilia Beaux
1908 Elizabeth Sparhawk Jones
Elizabeth F. Bonsall
1909 Martha Walter
Elizabeth W. Roberts
1910 Alice Mumford Roberts
Alice Barber Stephens
191I Alice Kent Stoddard
Cecilia Beaux
19 12 Elizabeth Sparhawk Jones
Cecilia Beaux
19 13 Alice Kent Stoddard
Maria L. Kirk
1914 Nina B. Ward
Gabrielle D. Clements
1915 Gertrude A, Lambert
Elizabeth H. Watson
1916 Nancy M. Ferguson
Elizabeth F. Bonsall
19 17 Elizabeth F. Washington
Caroline Peart
1918 Helen K. McCarthy
Carol H. Beck
19 19 Juliet White Gross
Mary F. R. Clay
19 20 Mildred R Miller
19 2I Katherine Patton

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JENNIE SESNAN GOLD MEDAL
W. Elmer Schofield
19 12 William L. Metcalf
Colin C. Cooper
19 13 George Bellows
Edward W. Redfield
19 14 Robert Spencer
Albert L. Groll
19 15 Carol S. Tyson. Jr
Ernest Lawson
1916 Emil Carlsen
Everett L. Warner
Iql7 Haley Lever
Theodore Wendel
19 18 J. Alden Weir
Childe Hassam
1919 Charles H. Davia
Joseph T. Pearson Jr.
1920 Hugh H. Breckenridge
1921 Charles Morris Young
[88]

1903
1904
1905
1906
1907
1908
1909
1910
1911

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THE TENNIS COURT MEADOW

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CAROL H. BECK GOLD MEDAL
1915 Charles HopkinsoD
1916 Douglas Volk
1917 Joseph T. Pearson, Jr.
1918 Leopold SeytIert
1919 Leslie P. Thompson
1920 Eugene Speicher
1921 George Bellows

1909
1910
1911
1912
1913
1914

John S. Sargent
Adolphe Borie
Edmund C. Tarbell
Joseph DeCamp
J. Alden Weir
Robert Helin

1915
1916
1917

Lydia Field Emmet
Marie Danforth Page
Ernest Major

1916
1917
1918

Joseph T. Pearson, Jr.
Hugh H. Breckenridge
Daniel Garber

THE PHILADELPHIA PRIZE
1918
1919
1920.
1921

Paul King
Philip L. Hale
}Alfred R. Mitchell
William M_ Paxton

THE EDWARD T. STOTESBURY PRIZE

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GEORGE D. WIDENER MEMORIAL MEDAL

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1913
1914
1915
1916

191 7 Atilli 0 Piccirilli
1918 Albert Laessle
1919 Tess M. L"wson
1920 'Malvina Hoffman
1921 Evelyn Beatrice Longman

Charles Grafly
Paul Manship
Albin Polasek
Edward McCartan

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1919 Arthur B. Carles
1920 Edward W. Redfield
1921 William M. Paxton

CHARLES W. BECK.

JR.. PRIZE (Water Color Exhibition)

1905
1906
1907
1908
1909
1910
19I1

Joseph Lindon Smith
Henry McCarter
Elizabeth Shippen Green
Maxfield Parrish
Ernest L. Blumenschein
N. C. Wyeth
Jessie Willcox Smith

1918

Francis McComas

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W. J. Aylward

1913 Jules Guerin
1914 Thornton Oakley
1916 Blanche Greer
1917 H. Giles
1918 C. B. Falls
1'919 Henry Reuterdahl
1920 F. Walter Taylor

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THE DANA GOLD MEDAL
1919
1920

Alfred Hayward
M. W_ Zimmerman

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THE PHILADELPHIA WATER COLOR PRIZE
1915 Alice Schille
1916 Dodge McKnight
1917 Gifford Beal

1918 Hayley Lever
1919 Childe Hassam
1920 John R. Frazier

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MINIATURE PAINTERS' MEDAL OF HONOR
1916 Laura Coombs Hills
1917 Lucy May Stanton

1916 Margaret Foote Hawley
1919 Emily Drayton Taylor
1920 Mabel R. Welch

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THE CHARLES M. LEA PRIZES
1916

lit Prize, Charles Grafly

1916

2nd Prize, Philip L. Hale

THE CHARLES M. LEA STUDENT PRIZES
1917 lit Prize: Edith Sturtevant 2d Prize: Rowley W. Murphy
1919 1St Prize: John H. Crossman 2d Prize: Susan A. Jones
1920
1st Prize:
2d Prize
3rd Prize
Ruth H. Deal
Semour Bigelow
Ralph Smith

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HONOR ROLL
OF THE ACADEMY'S SCHOOLS
1920.1921
AWARDS MADE MAY. 1921
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CRESSON TRAVELLING SCHOLARSHIPS

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$500 awarded

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each rJ th. Inllowina

SCULPTORS

PAINTERS

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DOMINIC D' IMPERIO

JOSEPH ~1rELZINER

Ross E. BRAUGHT

ALVIN MEYER

EDWARD R. BURKE

MARY VIRGINIA PARKER

A. CHARLES COOK

HORACE A. PAUL

W.

MILDRED SARTELLE
*AURELIUS RENZETTJ

ANNE S. GARRETT

DANIEL

CARL E. LAWLESS

EDITH W. Y AFFEE

CHARLES E. CLARK

C'.

YOSHIMATSU ONAGA

MANNING DE

V.

LEE

ILLUSTRATORS

WHITNEY

FRANCIS YETTER

MAURICE SIEGLER

ARTHUR MELTZER

THE TOPPAN PRIZES
ELMER G. ANDERSON (Honorable Mention)
E. KENNETH BATES (Honorable Mention)

THE THOURON PRIZES
E.

BEATRICE EDGERLY

CARL

CAROLYN HAYWOOD

RODRICK W. McRAE

LAWLESS

THE STEWARDSON PRIZE
WALKER HANCOCK

THE STIMSON PRIZE
DOMINIC D'IMPERIO

THE PACKARD PRIZES
ROLAND G. AUGIIINBAUGH (rst Prize)

CONRAD K. ROLAND

(2nd Prize)

THE RAMBORGER PRIZE
BENJAMIN SOLOWEY

*

SECOND AWARD

(95]

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In Character, in Manners, in Style,
and in all Things, the Supreme Excellence is Simplicity.-Longfellow

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PRESS OF
,. B~ LIPrlNCOTT COMPA~

PHILADELPHIA

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