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SCHOOL CIRCU:I,I.R
.'
TOE
I'fNNSYLYANIA I.CADfMY'·
Of IDI: fIN!: loRIS
,
fOUNDIlD 1805
LIST Of MfMBfRS
PHlLADIlLPHh\
1923·1924
.
SCHOOL CIRCULAR
ONE HUNDRED AND EIGHTEENTH YEAR
THE
PENNSYLVANIA ACADEMY
OF THE FINE ARTS
BROAD STREET ABOVE ARCH
PHILADELPHIA
SUMMER SCHOOL
CHESTER SPRINGS, CHESTER COUNTY
PENNSYLVANIA
FOREWORD
Excellence is never granted to man, but as the reward of
labour. It argues indeed no small strength of mind to persevere
in habits of industry, without the pleasure of perceiving those ad.
vances; which, like the hand of a clock, whilst they make hourly
approaches to their point, yet proceed so slowly as to escape observation. A facility of drawing, like that of playing upon a
musical instrument, cannot be acquired but by an infinite number
of acts. I need not, therefore, enforce by many words the necessity of continual application; nor tell you that the port-crayon
ought to be forever in your hands.
There is one precept, however, in which I shall only be opposed
by the vain, the ignorant and the idle. I am not afraid that I shall
repeat it too often. You must have no dependence on your own
genius. If you have great talents, industry will improve them; if
you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well directed labour: nothing is to
be obtained without it. Not to enter into metaphysical discussions
on the nature or essence of genins, I will venture to assert, that
assiduity unabated by difficulty, and a disposition eagerly directed to the object of its pursuit, will produce effects similar to
those which some call the result of natural powers.
SIR JOSHUA REVNOLDS.
THE PENNSYLVANIA ACADEMY OF THE
FINE ARTS
PRESIDENT
JOHN FREDERICK LEWIS
VICE- PRESIDENT
ARTHUR H. LEA
DIRECTORS
THEOPHILUS P. CHANDLER
GEORGE H. McFADDEN
JOSEPH E. WIDENER
ELI KIRK PRICE
CLE ME NT B. NEWBOLD
EDWARD T. STOTESBUR Y
ALFRED C. HARRISON
ARTHUR H. LEA
HENRY S. DRINKER. JR.
THOMAS S. GATES
HENRY C. GIBSON
ALFRED G. B. STEEL
FRANK H. CAVEN
TREASURER
GEORGE H. McFAOOEN
SECRETARY
JOHN ANDREW MYERS
CURATOR OF THE SCHOOL
R,OGER M. RITTASE
SOLICITOR
MAURICE B. SAUL
RESIDENT MANAGER, CHESTER SPRINGS SCHOOL
D. ROY MILLER
COMMITTEE ON INSTRUCTION
THEOPHILUS P . CHANDLER
ARTHUR H. LEA
ELI KIRK PRICE
THOMAS S. GATES
HENRY C. GIBSON
ALFRED G.B.STEEL
INDEX
PAGE
MANAGEMENT OF THE ACADEMY
FACULTY . . . . . . . . . .
GENERAL ANNOUNCEMENT.
.
5
9
.
IS
SOME ADVANTAGES OF LOCATION
PHILADELPHIA CALENDAR .
,."
,
19
.
21
CHESTER SPRINGS CALENDAR
21
ApPLICATION FOR ADMI SSION
23
INSTRUCTION
DRA WING (ANTIQ UE).
.
.
.
DRA WING AND PAINTING ( LIFE AND HEAD)
SPECIAL CLASSES
MR. MCCARTER'S CLASS IN DECORATIVE PAINTING, COLOR
AND COMPOSITION
33
33
33
MR. HARDING'S CLASS (CONSTRUCTIVE ANATOMY )
MR. HARBESON'S CLASS (PERSPECTIVE )
NIR.
CARLES'
SATURDAY
MORNING
.
.
..
COSTUME
SKETCH
33
37
43
47
CLASS
SCULPTURE
•
..
ILL USTRA TION
.
FEES (SUMMARY)
SCHOLARSHIPS AND PRIZES
THE CHARLES M. LEA PRIZES
51
51
63
65
69
73
73
73
75
THE ACADEMY'S FREE HAND DRAWING PRIZES
77
FREE TUITIO" SCHOLARSHIPS
TRA VELLING SCHOLAR SHIPS
TOPPAN PRIZES
.
.
.
.
.
THOURON PRIZES IN COMPOSITION
STEWARDSON PRIZE IN SCULPTURE
STIMSON PRIZE IN SCULPTURE
PACKARD PRIZES.
.
.
.
.
.
RAMBORGER PRIZE .
.
.
.
.
•
95
79
87
89
101
109
PRIZES (CHESTER SPRINGS)
R ULES OF THE SCHOOLS
SCHEDULE OF CLASSES
.
.
.
.
.
.
.
THE SUMMER SCHOOL AT CHESTER SPRINGS
ACADEMY'S HONOR ROLL .
.
.
.
.
.
.
.
HONOR ROLL OF THE ACADEMY'S SCHOOLS
[7J
THE FACULTY OF THE ACADEMY
ARTHUR H. LEA.
Chairman, ex-officio , as Chairman of the Committee on Instru ction of
the Board of Directors.
CHARLES GRAFL Y.
Bern in Philadelphi a, December 3, 1862. Studied in the Spring Garden
Ins~ltute, Phdadelp(ua. the Pennsylvania Academy of the Fine Arts, and in
Par". Pupil of L' Ecole de~ Beaux Arts, and of Chapu, Dampt, Bouguereau,
and Fleury. Member Society of American Artists. Honorable Mention,
Pans Salon, 18 91; Medal. World's Columbian Exposition, 1893; Medal,
Atlanta Exposition, 1895; The Pennsylvania Academy of the Fine Arts
Gold Medal of Honor, 1899; Gold Medal, Exposition -Uni "erselle, Paris,
1900; Gold Medal. Pan-American Exposition. Buffalo' Gold Medal Charleston Exposition, 1902; Member of the International Ju~y of Awards: World's
Fair, St. Louis, 1904; Grand Prize, Buenos Aires Exposition, 1910: George
D. Widener Memorial Gold Med al. Pennsylvania Academy of the Fine Arts.
19 1 3; The Charles M. Lea First Prize, The Pennsylvania Academy of the Fi ne
Arts, 1916; The Watrous Gold Medal, National Academy of Design, 19r~;
The Petter Palmer Prize and Gold Medal, Chicago Art In stitute, 1921;
Prize, Concord Art Association, 1922; Gold Medal of Honor, Concord Art
Association, 1923; Member of the National Academy of Design. the Architectural League of New York, the National Institute of Arts and Letters; Member
the National Sculpture Society; Member Municipal Art Jury of Philadelphia;
Member of International Jury of Award, Panama-Pacific Exhibition , 1915.
Instructor in SCUlpture.
HUGH H. BRECKENRIDGE.
PORTRAIT STUDY (PAINTING) 192.\
I
Born in Leesburg, Virginia, October 6, 1870. Stud ied in the Schools of
The Pennsylvania Academy of the Fine Arts, and under Bouguereau , Ferrier,
and Doucet in Paris. Awarded First Tappan Prize, Pennsylvan ia Academy,
and European Scholarship . Medal, Atlanta Exposition, 1895; Honorable
Mention, Exposition- Univer,ellc, Paris. 1900; Medals. Pan-American Exposition, Buffalo, 1901; Corcoran Prize, Society of Washingt on Artists , 1903;
Gold Medal Art Club of Philadelphi a, 1907; First Prize, Washington Water
Color Club: 1908; Silver Medal . International Exposition. Buenos Aires,
1910.
Awarded Gold Medal. Pananu-Parific In ternational Exposition.
San Francisco, 1915; The William A. Clark Pnze, Corcoran Gallery of
Art, 1916 ; The Edward T. Stotesbury Prize, The Pennsylvania Academy of
the F ine Arts, 1917; The Pennsylvania Academy of the Fme Arts Gold
Medal of Honor, 1919; Gold Medal, the Fellowship of the Pennsylval1la
Academy of the Fine Arts, 1920; The J ennie Sesnan Gold Medal, The Pennsylvania Academy of the Fine Arts, 1920. Member of the J ru r y of Sel e~tlOn
for the Pan-American EXpOSitIOn, Buffalo; M ember of the New York VI ater
Color Club. and the Philadelphia Water Color Club. Member of the Jury of
Selection of the United States SectIOn, Department of Art, and of International Jury of Awards, Universal Exposition, St. LOUIS, 1904; Member
of the Municipal Art Jury of Philadelphia. Member Advisory Com.mlttee
for Pennsylvania and the Southern States, and of the ~ury of SelectIOn for
the Panama-Pacific International EXl?osition, San Fran CISco, 191~. Honorary
M em ber Philadelphia Chapter, Amencan Institute cf Architects , ASSOCiate
of the National Academy of Design. Instructor In DrawlOg and Painting.
19J
THE FACULTY (Continued)
HENRY McCARTER.
Born in N?rristo wn. J uly s. 186S. St udied in the Pennsyl vania Acad emy of. the. Fme Arts and under Puvis de Chavannes. Bonnat. Merson
CourtOiS. Rixens. Memb er Art Stu den ts' L eague. New York. Charles W:
Beck. Jr .• Prize. Pennsylvam a Academy of the Fine Arts 1906' Sil
Medal. W or ld·s. l!air. St. Louis E xp osit ion . 1904; Bronz~ Medal . P~~~
American ExpoSItion. Buffalo; Gold Medal. P anama-Pacific Exhibition San
FrancIsco. 1915· Instruct or in Decorative P ainting. Color and Composition.
DANIEL GARBER.
Born In North Manchester. Indiana . A\>rli 11 . 1880. Si ud led In t b. Ar t
Academy o! Cincinnati. and In The Pennsylvania Academy of the Fin e Arts.
Awarded First Toppan Prize. Pennsylvania Academy. 1904. and Cresson
Travelling Scholarship. 1905-1907; First Hallgarten Prize. Nati onal Academy of DesIgn. 1909; Honorable Mention. The Art Club of Philadelphia .
1910; Honorable Mention. Carnegie Institute. Pittsburgh. 191 0; Bronze
Medal. Buenos Aires Exposition. 1910; Fourth Clark P rize and H onorable
Mention. Corcoran Gallery of Art. Washington. 1910 ; Walter Lippincott
Prize. Th6 Pennsylvania Academy of the Fine Arts. 1911; Potter Palmer
Gold Medal. Art Institute or Chicago. 19II; Second W . A. Clark Pri ze a nd
Sliver Medal. Corcoran Gallery or Art. 1912; G old Medal. P anama-Pacific
International Exposition. 1915; Second Altman P rize. National Academy of
Design. 1915; Shaw Purchase Prize. Salmagundi Club . 19 16; Edward T.
Stotesbury Prize. Pennsy lvania Academ y of the F ine Arts. 1918; Temple
Gold Medal. The Pennsylvania Academy of the Fine Arts. 1919 ; First
Altman Prize for Figure. National Academy of Design . New York. 1919;
First W. A. Clark Prize a nd Gold Medal. Cor coran Gallery of Art . Washington. 1921; First Altman Prize. Nat ional Academy of Design. New York . 1922;
The Locu st Club GoldjM edal. 1923 ; Member of the National Academy of
Design. Member of the National Arts and Salmagundi Clubs. New York.
Instructor in Drawing and Painting.
ARTHUR B. CARLES.
Born in Philadelphia. March 9. 1882 . St udied in th e Schools of The
Pennsylvania Academy of the Fine Arts. and in Pa ris. Awarded two
European travelling scholarships. Pennsylvania Academ y: 1905-19°7 ; 1st
Toppan Prize. Pennsylvania Aca d emy. 1907; Norman Walt Ha rriS Bronze
Medal. Chicago Art Institute. 1912; Silver Medal . Pana ma-P acific I nternational Exposition. 1915; Walter Lippincott Prize. The P ennsy lvama Academy
of the Fine Arts. 1917; The Edwa rd T . Stot esbury Prize . The Pennsy l va?la
Academy of the Fine Arts. 1919; The Pennsylvani a A ca d~m ~ of t he F lOe
Arts Fello wship Prize. 1919. Instructor in Drawing and PamtIng.
•
Walker Hancock
t
1
CRESSO N COMPETITION GROUP FOR SECOND
AWARD (SCULPTURE) 1923
.
•
•
,
RICHARD S. MERYMAN.
S d ' d 'th Abbot t H . Thayer and at
Born in Boston. May 4th. 1883· . t~ I.~ Wi
Edmund C Ta rbell and
"Boston Art Museum Schoolo.f P a Intmg A ~~~er Silver Medal . Pa na maFrank W. Benson. Member Gutld Boston r .IS s.
.
d Paintin
Pacific International Exposition. Instructor In DraWIng an
g.
[II]
THE FACULTY (Continued)
GEORGE HARDING.
Born in Philadelphia October 2 1882
St d' d .
Academy of the Fine Arts' and with H'owar'
u Ie . 1(. the Pennsylvania
Has travelled cxtensivel; in foreign coun~ri~;I=~~nd Independently abroad.
articles and the illustrator of fictional and descripti,:: ~he kaut~r of ~ravel
other magazines. Assigned by the United States W
~r In arper sand
as artist with the American Expeditionary F orces!ir ePartm ent to duty
t d MID
.
.
In 191 8 an d 1019
Has
execu e
ura
ccoratlOns In ,various buildings. Member of Ar ~h it~ctural
League of New York; The Society of Illustrators; The Philadelphia Water
Color Club: Philadelphia. and of the Salmagundi Club New Y k I t
t
In IllustratIOn and Anatomy.
, o r . ns ruc or
JOHN F. HARBESON, B.S., M.S.A., R.A.
B orn in Philadelphia, July 30, 1888. Attended the University of P ennsylval1!a. Receive? B. S., 1910 and Arthur Spayd Brooke Gold Medal in
Design, 1910; M. S. A., 19II, Cope Prize (Philadelphia Chapter A. I. A. and
Square Club) 19 13: Member American Institute of Architects, Instructor
In Architectural Design, School vf Fine Arts, University of Pennsylvania,
Instructor In Perspective.
:r
GEORGE OBERTEUFFER.
•
Born in Philadelphia, 1878.
Pupil of Chase and Anshutz. Awarded
Jennie Sesnan Gold Medal, The Pennsylvania Academy of the Fine Arts
1922.
Member: Salon d'Automne; Salon des Independents. Works:
"Luxcm bourg Gardens," The Duncan Phillips Collection. "Stevenson's
Moret" , and "EgJise St. Roch," Brooklyn Museum; "Springtime, Paris ,"
NatIOnal Gallery of New South Wales; "Winter" and "Landscape," owned
by the French Governm ent. Instructor in Landscape.
ALBERT LAESSLE.
B orn in Philadelphia, March 28 , 1877. Studied in the Spring Garden Institute, Drexel Institute,Pennsylvania Academyofthe Fine Arts and with Charles
Grafly. Member: National Scu lpture Society, Fell owship of Pennsylvania
A cademy of the Fine Arts; Philadelphia Art Alliance; Societe les Amis de la
Medaille d'Art, Brussel s, Belgium; The Society of Painters and Scu lptors of
Animal Life, New York; The New Society of Artists, New York. Awards:
Stewardson Prize and Cresson Travell ing Scholarship, Penns ylvania Academy
of the Fine Arts. 1904; Bronze Medal, Buenos Aires, 19[0; Pennsylvania
Academy of the Fine Arts Fellowship Prize, 1915; Gold Medal, PanamaPacific Exposition, San Francisco , 19 IS; First Sculpture Prize, Americani zation
Through Art, Philadelphia, 1916; The G evrge D. Widener Memorial Gold
Medal, Pennsylvania Academy of the Fine Arts, 1918; Honorable Mention
for Sculpture, Art Institute of Chicago, 1920; The Fellowship of the
Pennsylvania Academy of the Fine Arts Gold Med al, 1923 · R epresented
in the collection of the Pennsylvania Academy of the Fine Arts,
Philadelphia, Philadelphia Art Club, Carnegie Institute, Pittsburgh,
Peabody In stitute, Baltimore, Metropolitan Mu seum, New York.
Instructor in Sculpture.
CARL LAWLESS
Paul L . Gill
CRESSON COMPETITION GROUP (I LLU STRATION) 192.1
Born in Illinois in1 894. Studied two years in Carthage College, and ~t The
Pennsylvania Academy of the Fine Arts. Awarded Cresson Scholarsillp for
travel in Europe, I921; First Honorable MentIOn, PhtladelphlaSketch Club,
I922; Fell owship Prize, The Pennsylvania Academy of the Fine Arts, I9 23·
Instru ctor in Landscape.
·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 89.
During the one hundred and eighteen 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.
Margaret Brisbine
LIFE STUDY (PAINTING) 1923
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 is equipped in every way to teach the technique
of Painting and Sculpture, and engages its students at once and
exclusively in the study of the Fine Arts. Its aim is 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 t he
year, and visits are made to private collections, museums, etc.,
which students may attend without extra charge. Durtng the past
year a partial list includes a series of twelve illustrated talk on ~he
Chemistry of Colors by F. W. Weber, Jr., and, under the auspices of
the Fellowship of the Academy, an illustrated talk by Dr. G. B.
Gordon on "The Relation of the Museum to the. Artist, or Wha,~
the Museum Can Do for the Artist"; "The Frammg of Pictures,
[IS]
by Emil Carlsen, Frank Copeland and George Walter Dawson.
"Excellence of Baroque Art," by Dr. Georgiana Goddard King:
illustrated talk on the "Taos Indians and Taos Society of Artists,':
by Mrs. Arthur R . Iliss ; a visit to the home of Mr. John F. Braun
to see h is collection of Paintings by American artists ; a tour of the
Curtis Publishing Company Building, including inspection of the
engraving and mechanical departments ; under the auspices of the
Philadelphia Art Week Associat ion, "Technical Side of Art," by
A. W. Munn, Dean Cornwell and Edward Penfield; "Etching,"
by J oseph P ennell.
The Academy' s Permanent Collection of paintings and sculpture
affords an opportunity for the study of examples of famous maslers
and includes the Gallery of National Portraiture by Early American
Painters; the Temple Collection of Modern American Paintings;
a nd the Gibson Collection, largely composed of works of the
Continental schools.
Copying in the galleries is permitted to students under reasonable regulations.
The Annual Exhibitions h eld by the Acad emy bring together
the best examples of current American painting and sculpture,
and enable students to follow in telligent ly the various movements
of modern art, and to study the technical methods by which
the art of 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 749 examples,
representing 209 different artists ;
An
Exhibition of
Miniatures composed of 104 examples,
representing 54 different artists;
The Academy's II8th Annual Exhibition of Oil Paintings
and Sculpture, composed of 446 paintings and 119 sculp tures,
representing a total of 379 artists. This Exhibition was opened
to public view for seven weeks and visited by 40,012 people.
t
J
j
Special Exhibitions: April 10th to May 9th, 1923. An Exhibition
of Portraits by Charles Willson Peale, J ames P eale and Rem~r~ndt
Peale, 3 17 examples. The Okamoto Collection, ~f 82 pamtmgs
by Living J apanese Ar tists. An Exhibition of P amtmgs by Contemporary European Artists.
[17)
SOME ADVANTAGES OF LOCATION
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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 stations. 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 and studios
can be obtained by the year or by the month for reasonable rates.
The cost of living is low.
The city contains, in addition to the Academy's own gallery, a
number of notable colleetions 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 Historical
Society of Pennsylvania, and at Independence Hall; the collections
of the late John G. Johnson, and of Joseph E. Widener. 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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Walker Hancock
COMPOSITION (SCULPTURE), 1923
PHILADELPHIA CALENDAR
The One Hundred and Eighteenth Year Begins October I, 1923.
The school year
The first term begins
26, 19 24; the second
closes Saturday, May
is divided into two terms of 17 weeks each.
Monrlay, October I, 1923, and closes January
term begins Monday, January 28, 19 24, and
24. 19 24.
The schools are open from 9 o'clock a.m. until
daily except Sunday.
IO
o'clock p.m.
Evening classes are open from 7 o'clock until 10 o'clock.
Visitors are admitted to the school on week-days from 4 to 5 p.m.
The schools are closed on Sunrlays, 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 21 st 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
Z
H
The Chester Springs Summer School is open from April 1st to
October 1st. Criticisms are given between April 15 th and October 1st.
During the Autumn and Winter months, special arrangements may
be made with the Resident Manager for working at the school.
rn
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•
APPLICATION FOR ADMISSION TO THE
PHILADELPHIA SCHOOL
Application blanks are sent on request and must be filled in and
returned to the Curator before the student registers.
Students may register for the first term of the season of 1923- 1924
after September 15th, 1923. Classes meet Monday, October
1st, 1923.
Students may register for the second term after January 15th, 1924.
Classes meet Monday, January 28th, 1924.
No reduction in tuition is made for those registering after a
term has begun.
Eli~l>ilitJ{
No student under sixteen years of age is eligible for admission.
No student is eligible for 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 recommended.
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 board or rooms is given upon request.
The cost of living in Philadelphia is not high, and suitable accomodations within reasonable distance of the Academy are available for
both men and women.
John N. Fossler
GROUP IN CRESSON COMPETITION (PAINTING) 1923
,
•
I.
INSTRUCTION
Instruction in the Al:ademy at Philadelphia is given in Drawing.
Painting, Sculpture, and Illustration. These departments are closely
allied and st ud erlts 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 instruC'tion is by individual criticism
of class work. The individuality of the student is not repressed by
fixed methods.
I
I
1
I
ANTIQUE ORAWING
Marguerite LIPp
ANTIQUE DRAWING. 192,1
. Dra wmg
.
from Casts (head . and
Instruction is given m
'I full
of
.
Cl
have the pnVl ege
figure). Students entered m these,
asses .
. the Decorative
.,
f
(11 hfe work mg 111
drawing and pamtmg ro~.s I
.'
d a attend the lectures
Painting Color and CompositIOn Class, an m . Y
upon Co:nposition, PeTspectivt', and Cons1ructlve Anatom Y[25]
SCHEDULE OF CLASSES
Drawing from Cast
Every morning and afternoon,
every night.
t
•
INSTRUCTORS
Daniel Garber
Decorative Painting, Color and Henry McCarter
Composition (Criticisms),
Friday afternoons; (Lectures) , Tuesday afternoons.
Still-life Drawing and Painting Hugh H. Breckenridge
Tuesday, Thursday and Saturday
mornings and afternoons.
Perspective Lectures
Constructive Anatomy Lectures
Saturday Morning Costume
Sketch Class
John F. Harbeson
George Harding
Arthur B. Carles
Requirements for Admission
All new students, except those applying for admission to the
modelling classes, must work in the Antique Drawing Classes and
must submit drawings for classification not later than the second
Faculty meeting after registration.
Fee for the Antique Classes
Harry
J. Oshiver
PORTRAIT STUDY (PAINTING) 1923
The fee for the Antique Classes is $75 a term. For students
registered in the Academy's Philadelphia Schools durin~ the ~eason
of 1919-1920, and continuously since then, the tuition fee remains
as heretofore. Pavment of the tuition fee entitles the student to
work in the morning, afternoon, and evening classes. Students
registered in Antique Drawing are permitted to work in the Antique
Modelling Class, the Still Life Class, the Decorative Painting, Color
and Composition Class and Sketch Classes, and to attend the lectures
on Composition, Perspective a nd Constructive Anatomy without
extra charge.
•
THE LIFE AND HEAD CLASSES
The purpose of these classes is to give the student thorough
instruction in the technique of painting.
The day Life Classes are undcr the supervision of 1\1r. 1\Ieryman.
The night Life Classes are under the supervision of 1\1r. Garber.
SCHEDULE OF CLASSES
Drawing and painting from Life. For
women: three hours daily, and Tuesday, Thursday and Saturday nights.
For men: three hours daily, and Monday, WedneSday, and Friday nights.
August C. Cook
LIFE STUDY (PAINTING) 1923
INSTR UCTORS
Richard S. Meryman
Daniel Garber
Drawing and painting from the Head.
Monday, Wednesday, and Friday
mornings and afternoons.
Hugh H. Breckenridge
Drawing and painting from Still Life.
Tuesday, Thursday, and Saturday
mornings and afternoons.
Hugh H. Breckenridge
Decorative Painting, Color and Composition (Criticisms and Lectures)
Henry McCarter
Perspective Lectures
John F. Harbeson
Constructive Anatomy Lectures
George Harding
Saturday Morning Costume
Sketch Class
Arthur B. Carles
Requirements for Admission
Students are admitted to the Life and Head Classes on presentation of not less than two drawings made in the schools from
the full-figure Antique, which in the opinion of the Faculty are
of sufficient merit to warrant promotion. Application for these
classes may be 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 H ead Classes is $75 a term. For students registered in the Academy's Philadelphia Schools during the
season of 19 19- 19 2 0 and continuously since then the tuition fee
remains as heretofore. Payment of the tuition fee entitles a student
to work in the following Classes ; Antique Drawing, Still Life, Night
Life, Decorative Painting, Color and Composition (Criticisms),
Saturday Sketch and Sculpture, and to attend the lectures on
Decorative Painting, Color and Composition, Perspective and
Constructive Anatomy. All students in drawing and painting are
recommended to do a certain amount of modelling without the
payment of an additional fee.
John P. Barnes
GROUP IN CRESSON COMPETITION (PA INTING)
I923
Harry M. Kidd
STUDY FOR MURAL DECORATION, (PAINTING)
I9 2 3
SPECIAL CLASSES
Open to all students without extra charge
Mr. McCarter's Class in Decorative Painting, Color and
Composition
The Class in Decorative Painting, Color and Composition meets
twice a week; once for lectures and iIIustrated talks; and again for
criticism of work submitted. The object of the class is to study
Decorative Design and Color Values, and to encourage the student
to express courageously and forcefuIIy his own impressions and
conceptions.
Mr. Harding's Lectures on Constructive Anatomy
The Lectures on Anatomy begin in November. These Lectures
aim to give the student a clear and practical understanding of
artistic anatomy and are iIlustrated by drawings made by Mr.
Harding during the lecture; many from a living model used for
the purpose.
Mr. Harbeson's Lectures on Perspective
The Lectures on Perspective begin in November.
The Course consists of lectures upon the elements of linear
perspective, shadows projected by artificial and natural lights and
reflections, illustrated by drawings made before the class. Problems in drawing and painting from the solid object and from nature
are given to the class at stated intervals. The principles of perspective as used by artists of various schools are demonstrated by
lantern projections of their works.
Mr. Carles' Costume Sketch Class
Harry M. Kidd
PORTRAIT STUDY (PAINTING) 19''>
The Costume Sketch Class is conducted throughout both terms,
and meets Saturday mornings from nine o'clock unti~ noon ..Sketches
from the living model are made in black and white, or III color.
[33]
J
Tuesday Evening Sketch Class
A Sketch Class meets also on Tuesday evenin gs, from seven
until nine o'clock , to work, without. criticism , from a living model.
The chief object of the Sketch Classes is to teach students to
grasp and record quickly the spiri t and character of the suhject
presented.
Barse Miller
CO~1
POS ITl O:-J (PAINTING )
r 92.~
(35J
J
SCULPTURE
The Classes in Sculpture are under the direction of Mr. Grafiy,
and are scheduled as follows: For men: Life Class, every morning,
and Monday, Wednesday and Friday nights. Portrait Class,
Tuesday, Thursday and Saturday afternoons. For women: Life
Class every afternoon, and Monday, Wednesday and Friday nights
Portrait Class, Tuesday, Thursday and Saturday mornings.
The work of the Classes in Sculpture consists of modeling, generally in the round, from the head and from the full-length figure.
Requirements for Admission
Victor V. Slocum
PORTRAIT STUDY (SCULPTURE) 1923
Photo ra hs of work or specimens of model.ling of sufficient
. are reqUl
g ~red for admission to the life
classes.
ment
_ modellmg
__
[37]
GROUPS I N COMPETITION FOR FIRST AND SECO N D AWARDS OF CRESSO N TRAVELLI N G SCHOLARSHIPS
(SCULPTURE) I923
-------,- -------------
M a rion P . Ki ng
COMPOSITIO:--.f (SCULPTURE ) I923
-
.-
E velyn P eabod y
CO MP OSITIO K (SC ULPTURE ) I923
~
I
,
J
I
Students not sufficiently advanced for admission to the Life Class
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 .
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.
Students in Sculpture are permitted to work in the Drawing and
Painting Classes, and are recommended to work therein (without
extra charge), but admission to t he Life Drawing Classes is, for
sculptors, subject to the same requirements 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 required to furnish their own clay, life modelling
stand and bucket fo r 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 permitted to work in the Drawing and Painting Classes and to attend
the lectures on D ecorative Painting, Color and Composition, Perspective and Constructive Anatomy with0ut extra charge.
Walker Hancock
COMPOSITION (SCULPTURE ) 1923
ILLUSTRATION
The Class in Illustration is under the direction of Mr. Harding.
Its purpose is to provide the sLudent with such practical instruction
in Drawing, Composition and Interpretation as will enable him to
enLer the professional field of magazine and book illustrating.
The C lass in Illustration will meet daily throughout the school
year.
J\1odels are engaged for the morning and afternoon classes and
individual criticism is given twice a week.
,
)
Fra nk Andrews
COMPOSITION (SCULPTURE) 1923
/
Evelyn Peabody
COMPOSITlON
(SCULPTURE)~1923
,/:
;,
/
Edward Shento n
ILL USTRATION (DRAWING) 1923
Requirements for Admission
Students are admitted to the Class in Illustration upon
presentation of drawings made in the schools 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 month's 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 lllustration 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.
,
•
•
Michael Silver
GROUP I N CRESSON COMPETITION (ILLUSTRATION) 1923
Illustrators are entitled to work in the Day Life, Night Life ,
Still-Life, Decorative Painting, Color and Composition and Sketch
Classes, and attend the Lectures on Composition, Perspective and
Constructive Anatomy, without extra charge.
[451
SUMMARY OF FEES
Payment must be made in advance to the Curator
PER TERM
Antique Classes
•
•
•
Life and Head Painting Class
Illustra tion Class
•
Modelling Classes •
Locker Rent
•
•
•
'/075
75
75
75
•
•
1
•
•
•
•
•
All new students must pay a matriculation fee of
five dollars.
for students regi stered in the Academy' s Philadelphia
Schools during the season of 1919- 1920 a nd continu ously
since then the tuition fee will remain as h eretofore.
Promotion during a term, from one class to another,
does not entail an additional fee.
No reduction is made to students who desire to take
special criticisms, to work in the ni ght cl asses onl y, or to
work under one instructor only.
The payment of $75 a term for tuition, $1 a t erm for
locker rent, and the matriculation fee of $5 co vers all fees,
bu t does not cover the cost of rna terials.
No reduction is made to students registering a fter a
term has begun.
No extra charge is made for the use of model s.
Tuition fees are not refunded for any cause whatever.
The Academy at:cepts checks in pay.ment of fe~s but
students are advised that all ch ec ks which they wIsh to
have cashed in Philadelphia should be in the form of drafts
on a Philadelphia bank.
l47J
GROUP IN CRESSON TRAVELLING SCHOLARSHIP COMPETITION FOR F I RST AWARD.
PAINTING CLASSES. 1923
___.._________
....
.~.----------
-----.-. --------~.~ ----=-=---
______ ___________ ______________ __________
~
.
~
GENERAL EXHIBITION OF ETCHINGS. 1923
~,~,~,
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SCHOLARSHIPS AND PRIZES
Through the .gen~rosity of Mrs. Alexander Hamilton Rice,
twenty ScholarshIps 10 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 ~f Mrs. George
K. Johnson, the Sarah Kalghn 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 recommcndation of the Committee on Instruction and the
Faculty of the Schools.
Applicants must fill in a prepared form and submit it together with examples of their work to the Curator of the Schools
before September 20th.
This arplication must be accompanied by a letter addressed
to the Commit.Lee on Instru ction, stating in detail the necessity for
requesting Free Tuition.
THE WILLIAM EMLEN CRESSON MEMORIAL
TRAVELLING SCHOLARSHIPS
Mary Carrol Curtis
CRESSON COMPETITIO;, GROUP (PAINTING)
I9 2 3
By the liberal p rovisions of the wills of Emlen Cresson and
Priscilla P., his wife, a Fund has been created as a memorial to
their deceased son, iiVill iam Emlen Cresson, Academician, the
income of whi ch is to be applied by The Pennsylvania Academy
of the Fine Arts in sending pupils of merit to E urope.
During the past year the Academy awarded twenty-seven
Cresson Scholarships. Included in this number were fifteen
painters, four sculptors, and eight illustrators. These awards
were made by the Board of Directors upon t he recommendation of the Faculty .
.
The awards are divided among the Painting, IllustratIOn and
Sculpture Classes, and are based upon the number of contestants
fr0111 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,
[5 r J
Glenna M. Latimer
GROUP IN CRESSON COMPETITION (PAINTING.) 1923
Vladimir V. Perfilieff
GROUP I N CRESSON COrvIPETITIO N (PA I NTING) 1923
•
Margaret Brisbine
PORTRAIT STUDY (PAINTING) 1923
Glenna M. Latimer
PORTRAIT STUDY (PAI NTmG) 1923
but, on account of the increase in travelling expenses the board f
Directors made the followinl!; announcement at the close of the scho~l
year, 19.z3; "The awards h~ve b~en proportioned in the past so as
to provide each student. With FlVe Hundred Dollars to expend in
actual travel and travelllllg expenses, but on account of the increase
in such e~penses t~e Aca~emy announces that all students going
abroad thiS year will be glVen Two Hundred Dollars additional for
each scholarship."
It is the intention of the Cresson Scholarships to give to the
students of ~he Academy the advantage of seeing some of the important Gallenes and Art Schools abroad, and the Academy desires to
e:c tend 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 durlllg the ensulllg school year. The Board of Directors
~pon the recomme~dation of ~he Com~ittee on Instruction, may:
III case of exceptlOnal ment, 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.
The award of a Travelling Scholarship is not to be regarded as a
certificate of proficiency. Students receiving an award for the first
time are required to return to the Academy for further study after
having travf'lled abroad in accordance with the terms of the award.
Students receiving a second award are expected to return to the
Academy for further study during the school year next succeeding
the award.
New students registering during the season of 1921-1922 and
thereafter will not become eligible to compete for a Cresson Travelling Scholarship until they hfl;ve compl~ted twenty.- four
months, or six terms, (not necessanly consecutive) of study III the
Academy's Schools.
Students who have been registered previous to the school year of
1921-1922 will be eligible to compete f?r a Cresson Travelling Scholarship after sixteen months of study III the Academy's Schools.
In estimating the total number of months necessa.ry to qualify
competitors, time spent at work at the Chester Spnngs Summer
School will be counted.
All students in competition for Cresson Travelling Scholarships
must be reaistered in the Philadelphia School for both terms of
their Com;etition Year. During Competition year no change in
registration is permitted.
Grace T. Gemberling
GROUP IN CRESSON COMPETITION (PAINTING) I923
Requirements Governing the Cresson Competition
)
All students entering the Competition are expected to register
as Competitors before the first of November, 19 2 3.
[57]
Sue May Wescott
1\1. Ro1!s
GROUP IN CRESSO:-.l CO~lPETITION (PAI:-.ITING) '923
CRESSON COMPETITION GROUP (PAI:-.lTING) 1923
Irma V. Howard
PORTRAIT STUDY (PAINTING)
Meyer H. Raditz
PORTRAIT STUDY (PAINTING)
19 2 3
1923
· 'York must be submitted each month by Competitors in the
P~I~tmg, Sculpt~re and Illustration Classes for review. Competitors
failmg to submit work as required will be ineligible for receiving
an award.
Drawings and paintings must not exceed thirty-six inches in
ei ther dimension.
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:
Sue May Wescott
FIRST TOPPA
T
PRIZE,
1923
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.
Illustrators are required to register each month beginning with
t.h e November Reviews, one head made from the model in the Illustration class and onc drawing or painting fr om the model in tllC Life
Class and, each term, one illustration.
Sculptors are requircd to register each month a composition
(subject assigned), a study from the Figure and, each term, one stud y
from the model in the H ead Class.
All Paintings, Drawings and Sculptures from the Figure and
Head must be from models posing in the Academy's Schools.
The same work can not be registered more than once.
Studcnts 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 t he amount and variety
of work thcy exhibit in their Competition Groups, provided they do
not exceed the space alloted to them, but no work will be considcred eligible which has not been made during the current sc1~oo l
season and registered in the Curator's office for one of the speCified
reviews.
All competitors must attend the scries of lectures on Constr~c
tive Anatomy and must do thc work required in the Perspective
Class.
THE CHARLES TOPPAN PRIZES
The Charles Toppan prizes for 1924 are: first prize, ~hoo, seconcl
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.
[63J
f
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 sam~ time be considered eligible to compete for a Toppan P;ize.
Competttors who are not in Competition for a Second Cresson
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 10, 1924.
The subject assigned for May, 1924 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 presented under glass.
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
Manning de V. Lee
SECOND TOPPAN PRIZE, 1923
The following awards, founded by the late Henry J. Thouron,
a former Instructor in Composition, are made as follows:
A prize of $50 for a group of not less than three compositions
upon subjects given to the class during the current se~son, and a
prize of $25 for a second similar group, the first to be decI~ed ?y the
Faculty, the second by a vote of the students then workmg m the
Schools' and one of $50 and one of $25, the first for general progre~s
in stud;, the second for the work showing,. in i~s .treat':lent of ?ald
subjects, the most poetic, or abstract, or Ideahstlc, pomt of View,
both to be decided by the instructor of the ~lass.
.
A competitor is not eligible a second time for the same pnze,
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
[65]
GROUPS IN CRESSON TRAVELLING SCHOLARSHIP COMPETITION (ILLUSTRATION) I923
----------------------------------------------------------------------------------------._.--------------------------- ~ -----
COMPOSITION GROUPS I N COMPETITION FOR TIIOURON PRIZES (PAINTING) 1923
Il
of $5?0.. This sum will ~e awarded by the Faculty to the student
~ubml~tlllg the best work.1ll Co~position upon a given subject. The
Illtentl~n of the av.:ard IS to gIVe the successful student a threemonths . ~um~er tr~p abroad, for the purpose of special study of
ComposItIon III spect11ed places and galleries.
THE STEWARDSON PRIZE
Frank Stamato
STEW ARDSON PRIZE
(SCULPTURE) 1923
The Edmund Stewardson Prize of One Hundred Dollars in the
Department of Sculpture, will be awarded for the twenty-fir;t time
at the close of the school year.
This is an annual prize, competed for by present students of
the Academy with suc~ 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 ex~ept the. competitors are admitted to the competition
room at any tIme dunng 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 deter.
mines 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.
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 successful competitor. If no study be satisfactory to
the Jury, the prize may, in their discretion, be v.:ithheld .. Wh.en no
award is made the amount of the prize may, III 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 III
good condition until otherwise ordered, and figures cast by the
Academy become its property.
The competition for the year 1924 takes place on March 3,
4, and 5.
[691
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•
••
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(I
.. \
,
;. '"
•
_
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--
,
..
,..,
William Schulhoff
Robert Metcalf
FIRST PACKARD PRIZE, 1923
SECOND PACKARD PRIZE, 1923
I
I
THE STIMSON PRIZE
I
l
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
t,hre~ 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 . Time spent at work in the Sculpture Classes at the
Chcster Springs Summer School, not exceeding four months, will
be counted.
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 Instruction of the Board of Directors. The
jury must not include any instructor in the School.
The contest for the year 1924 takes place during the months of
January and February.
THE PACKARD PRIZES
•
From the income of the John H. Packard Fund, established by
the children of t he late John H. Packard, M.D., for many years
chairman of the Academy's Committee on Instruction, 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.
THE RAMBORGER PRIZE
John P. Barnes
PORTRAIT STUDY (PAINTING) I923
From the income of a fund established by the late William K.
R am borger, Esq. , as a memorial to his sister, Aspasia Eckert Ramborger who for some years was a student of the Academy, an ann~al
P rize ~f $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 be~n
under instruction over two years, but who has been reglstere~ 111
t he Academy for both terms of the school ye~r. Each co~petltor
" an
may su b nn"t one unm ounted drawing . HaVIng once receIved
award , a student becomes thereafter ineligible to compete aga1l1.
[73]
THE CHARLES M. LEA PRIZES
The Pennsylvania Academy of the Fine Arts holds a Special
Exhibition of Drawings by Students of American Art Schools in
November, 1923.
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 drawing s,
"
,
The drawings must be upon white paper eighteen by twenty-four
inches in size and unframed.
The subject must deal with the human figure, either singly o.r 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 Exhibition
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,
November 20, 1923.
Francis Speight
LIFE STUDY (CHARCOAL) I923
.'
[75J
THE ACADEMY'S FREE-HAND DRAWING
PRIZES FOR THE HIGHER SCHOOLS OF
PHILADELPHIA AND VICINITY
The Directors of The Pennsylvania Academy of the Fine Arts
have established a system of prize awards for original Free-hand
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 $IO and a second prize of $5 are awarded by
the Academy UpOll the recommendation of the instructor of the school
where made, for the best and second best drawings by regularly
enrolled students cif each school.
The drawings must be madejt-ee-hand from a cast or other object
assigned by the instructor, and must be the unaided work of the
student, without criticism.
Watson Neyland
CRESSON COMPETITlON GROUP (PAINTING) 1923
The drawings must be made with lead pencil, charcoal or crayon
on white paper 19 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, 1924.
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 May 13th, 1924. The
Faculty of the Academy will then j"udge the drawings submitted,
and award the final prizes as follows:
$25 for the best drawing; $15 for the second; and $ro 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 signature of the Principal 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.
[77]
RULES OF THE SCHOOLS
Hours
The Schools are open from 9 o'clock a.m. until 10 o'clock p.m.
Models pose fro~ 9 a.m. to 12 noon, from I to 4 and from 7 to 10 p.m.
,
Classes begIn at ? ~. m. promptly, and students are urged to
"tart work early to utlllze the best light of the day.
~egular attendance by studen ts is not compulsory but no reductwns from tuition rates is made on account of absen;e.
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 rules.
The property of other students must not be used without the
owner's knowledge and consent.
Monitors
Dorothy E. Cox
STILL LIFE (PAI NTI"IG) 1923
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.
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.
Positions in the Class-rooms
Students who are not present at the hour when classes begin
must take their positions in order of a rrival. No student win be
permitted to select and reserve a position for one who is absent.
[
Monthly Review of Work
A general 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." P aintings must
be thoroughly dry, and all work must be signed with the student's full
name and the name of the class in which the work was done. Studies
marked by the instructor are reserved by the Academy for an
indefinite period. In order to prevent loss, unmarked studies should
be reclaimed at the close of each review.
Application for Promotion
I
Dorothy E. Cox
PORTRAIT STUDY (PAINTlNG) 1923
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. Any change desired in the posi
tion 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 school ·
rooms. A special room is provided for this work.
[8J ]
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
for by the beginning of the fall term will be disposed of.
I
(
\
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 hours 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.
Takeii Matsubara
LIFE STUDY (CHARCOAL)
19 2 3
Privileges for Students
A student's ticket entitles the holder durin.g atten~a.n~e at the
Academy to free admission to the Galleries, Sp~clal Exhi~ltlOns and
Lectures, and to the use of the Library and Prmt CollectIOn.
[83J
Visitors
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.
ROGER M. RITTASE,
Curator.
PHILADELPHIA .
I
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--- -~--__~~~L___~~_
Sarah Langly
DRAWING (HARD CRAYON)
19 2 3
Wilmer Hoffman
COMPOSITION (SCULPTURE)
1 923
/851
Mabel P. Taylor
COMPOSITION (SCULPTURE) 1923
--~----
SCHEDULE OF CLASSES
MONDAY.
TUESDAY.
Antique Class.
Antique Class.
IWomen's Life Class. Women's Life Class.
Head Class.
Illustration Class.
Illustration Class.
Head Modelling
Class.
Men's Life
Men's Life
,
Modelling Class.
Modelling Class.
Still Life.
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Antique Class.
'Men's Life Class.
Head Class.
Illustration Class.
Women's Life
Modelling Class.
Antiq ue Class.
Men's Life Class.
Still Life.
Illustration Class.
Women's Life
Modelling Class.
WEDNESDAY.
THURSDAY.
Antique Class.
Women's Lif e Class.
Head Class.
Illustration Class.
Antique Class.
Women's Life Class.
Men's Life
Modelling Class.
Antique Class.
Men's Life Class.
Head Class.
Illustration Class.
Women's Life
Modelling Class.
Illustration CI~ss.
Head Modelling
Class.
Men's Life
Modelling Class.
Still Life.
4-5 P.M.
Decorative Painting,
Color and Composltion Lecture,
SATURDAY.
Antique Class.
Antique Class.
Women's Life Class.
Head Class.
Illustration Class.
Illustration Class.
Head Modelling
Class.
Costume
Sketch
Men's Life
Class.
Modelling Class.
Still Life.
Antique Class.
Men's Life Class.
Still Life.
Illustration Class.
Women's Life
Modelling Class .
Antique Class.
Antique Class.
Men's Life Class.
Still Life.
Head Class.
Illustration
Class.
Illustration Class.
Women's Life
Modelling Class.
Decorative Paintinl;:,
Color and CompoSItion Criticism.
Antique Class.
Women's Life Class.
Antiq ue Class.
Men's Life Class.
•
Perspective Lecture,
FRIDAY.
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Anatomy Lecture,
4-5 P.M.
4 5 P.M.
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Antique Class.
Men's Life Class.
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Life Modelling Class.
Antique Class.
Women's Life Class.
Costume Sketch
Class .
Anti'lue Class .
Men's Life Class.
Life Modelling Cla.s.
I Alternates with Men's Life Class as scheduled.
'Alternates with Women's Life Class as scheduled.
Life Modelling Class.
An tiq ue Class.
Women's Life Class.
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....:I
THE ACADEMY'S SUMMER
SCHOOL AT CHESTER SPRINGS
The Pennsylvania Academy of the Fine Arts owns a tract of
40 acres at Chester Springs, Chester County, Pennsylvania, where
it conducts an open air school for instruction in the fine arts.
Chester Springs is seven and one-half miles northwest of Phcenixvi!le 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 Phcenixville and reached in about one hour and
thirty minutes by train service from the Reading Terminal at
Philadelphia. It is north of the village, surrounded by typical
Pennsylvania farm land, the scenery of which is enriched by gently
rolling hills and by Pickering Creek with its meadows and valleys.
I t 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 BUILDINGS AND GROUNDS
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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
three stories in height, is 88 feet long, with similar airy dormitories
on the second and third floors, also with private rooms. It contains on the first floor a library and reading room used by all of the
students. It is about 60 feet to the eastward of the Washington
B uilding. Both are near the public road. .
.
Across the road from the Lincoln Buildmg, and slightly ~o .the
east of it, stands the New Studio, a substantial stone bU1ldm~,
the dim'2 nsions of which are 42 by 37 feet. One large StudlO
occupies the whole upper floor. It is lighted by a north sky-lig~t
and contains a large stone fire-place for use on cool or ramy days m
[89]
spring or. fall. A balcony opening on the south side affords an extended Vlew of the meadow through which runs the Pickering Creek.
In the basement of this building is another room which also
contains a large stone fire-place.
In the meadow' below the
New Studio Building are ten nis courts and near these are the
croquet grounds.
~bout 130 ~eet. back of these two dormitory buildings, and up
the slde of the hill, 1S the main Studio Building, 78 by 49 feet, which
has upon the first fl oor a theatre or lecture room with dressing rooms
for men and women, and upon the second floor one large studio used
by the students in common, and 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 htllside 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.
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 a ccommodate 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 making frames and for washing palettes and
brushes.
In the meadow below the F aculty Building is the New Bath
House and Swimming Pool. It is of concrete construction and
enclosed by a wall eight feet high. The dimensions of the building are 12 5 feet by 30,Yz feet. At the west end a.re dressing rooms
for the men; while at the east end there are dresslllg rooms for the
women. All the dressing rooms are provided with clothes hooks,
benches mirrors and shelves to hold the toilet articles.
Th~ Pool itself is 87 feet long by 2 I feet wide. At
deepest
end under the div ing board, it is 7 feet deep; while at the
shallow end it is 4 feet, 3 inches deep for the use of those .who .do
.
Th Pool is fed by the waters of the Plckenng
not sWim.
e
1b
d
Creek the level of which has been raised above the poo Y a .~'
The sheet of water formed by the dam is a picturesque addItIOn
The out-of-door portrait class sometImes poses a
to t h e 1an d scape,
'd
d b t
model in a boat on the dam. The dam is 125 feet WI e an a ou
[9 1 J
its
40 0 f~ct long, and over the breast the water of the creek faUs u on
a sen es of steps.
P
In the centre of the meadow, below the Washington B ·ld·
. h f
Y I
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Ul 109,
~s t e amous e low Spnng. Its waters are so heavily charged with
Iron that they color the stones of the run leading from the spnng.
.
It gave the. lo~ality the ancient name of the" Y eUow Springs."
The d~mki~g. water for all of the buildings descends by gravity
from a spnng ~ls.mg near the top of the hill, the water being conducted by a plpmg system 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 huilrlings, and the water of
which is of singular clearness and purity.
The countryside is remarkabl y paint able, with many attractive
old dwellings, quaint barns and spring houses, \Vith old trees, abundant woodland, creeks and ponds, and with beautiful views near at
hand. Directly in front of the Washing ton 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
;n one of its large arms the iron prongs, now almost covered with
hark, which were used in the olden days for suspending the bell which
called the guests to dinner, when the Washington Building was used
as an mn.
The chief object of the Academy in establishing a summer school
in the coun try is to supplement the work done during the Winter
in its 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 in,;truction 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 "sket.ches," a~d
are also taught to carry on their work as far as th~lr abl!Jtle~ .p ~rmlt.
The general method of instruction is by . indlV1d~al cntlclsm 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.
•
CRESSON TRAYELLING SCHOLARSHIPS
To compete for Cresson Travelling Scholarships students must
be registered for six terms in the Academy's Schools. In estimating 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 $lIDO 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 classes are given from
time to time by different members of the Faculty: by Carl Lawless in
April, May, June, July , August and September; by George Obe.rteuffer
in June, July, August and Septcmber, and by Dan.iel Garber m July,
August and September. Criticisms in the IllustratIOn Class are gIven
by George H arding in Junc, July, August and September, and by
others as may be arranged.
Criticisms in the Sculpture classes are given by Albert Laessle
in June, July, August and September.
ENROLLMENT
During the Summer of the School's sixth year, which began in
April, I922, there was a total enrollment of I 9 8 students. dOne
hundred and nine of them had ncver studIed at the Aca emy
in Philadelphia.
.
d
Y k
The studen ts came nO.t only from Pennsrlv~I~I~~e.l ~~a\\~~e'
but from far distant pomts : from ~onnec ICU, . ' . Illinois'
three; District of Columbia, ten; FloLnd~, ~)11e; Gtweoor.g~;rWyf~nd five~
.
d'
K tucky one' OUlSlana,
,
' "
~ne' Missouri, two; New Jersey,
SIX; In lana, one; en. .'
e ; Mlc~lgan,
Massachu setts,
~ Oklahoma one; Oregon, one;
nine; North Carolma, one,. OhlO\ ten: Texas fo~r; Virginia, four;
Idaho, two; South C~rolma! t ~~ee~. Can~da four; China, one;
West Virginia, five; WISCOl1sm,
re,
,
Japan, one.
[95]
0r:
RATES
\
The intention of the Academy is to accept serious students
only and not those who Simply desire an advantageous place to
board in the summer.
The rates are as low as possible, since they include both board
anq tuition. But these rates do not include the expense of clothinglaundry and materials for drawing, painting, and sculpture. The
latter may be purchased at the school store.
The rates for board and lodging, including tuition, vary from
$15.00 a week, for students living in the dormitories, to $18.00 a
week or more, where private rooms are required.
Rooms may be reserved at any time but such reservations must
be again confirmed by letter which will reach the school t en days
before the date arranged for occupancy. Otherwise the management will be at liberty to dispose of the room.
EQUIPMENT
The equipment of the school affords ample studio room, and
includes separate dormitory buildings for men and women, an
Exhibition Hall and a Swimming Pool.
The buildings are supplied with hot and cold running water and
with electric light.
The R eading Rooms are supplied with current magazines and a
library of several hundred volumes. The Recreation Hall is provided with a stage, footlights and dressing rooms.
REQUIREMENTS AND RULES
j
Satisfactory references are required from all applicants, and
as the students live in the buildings, conformity with reasonable
regulations is necessary to secure proper chaperonage. Students
are expected to know how to conduct themselves from principles
of honor without specific rules.
Students are not allowed to smoke in the Studios or
Dormitories.
N a student is admitted for a shorter stay than four weeks except
by the special consent of the Manager.
. .
No student under 16 years of age is eligible for admISSIon.
For further particulars, address
D. Roy MILLER, R esident Manager, .
Chester Springs, Chester County, ~ennsylvama.
Bell Telephone: Chester Spnngs, 10.
,.
ROGER M. RITTASE, Curator of ~chools,
Pennsvlvania Academy of the Fme Arts,
Broad and Cherry Streets, Philadelphia.
Bell Telephone: Spruce, 3918.
Philadelphia and Reading Railway Time Table
The time sh
h'
t IS table is Daylight Saving Time which is one hour in
advance of Eastern Standard Time.
TRAINS FROM THE READI NG TERMINAL PHILADELPHIA
WEEK DAYS: Leave
'
Arrive Chester Springs
4.20 a, m.
. . . . . . .
· . . . ..
6.20 a. m.
8.36 a. m.
.
.
.
· . . . . . 10.00 a . m.
4.40 p. m.
· . . . . . 6.03 p. m.
SUNDAY:
Leave
Arrive Chester Springs
3.45 a. m.
· . .
6.57 a. m.
8.36 a. m.
· . .
9.52 a. m.
4.06 p. m.
5.22 p. m.
own
.
In
.. . .
TRAINS FROM CHESTER SPRINGS
WEEK DAYS: Leave
Arrive Philadelphia
a. m.
825
127.01
14
.
a. m.
'43 p. m.
•
. . . ..
1.53 p. m.
6.
p. m.
8 . 14 p.m.
SUNDAY:
Leave
Arrive Philadelphia
7.33 a. m.
. . .
9.30 a. m.
10.41 a. m.
12.08 p. m.
5.58 p. m.
. . .
7.32 p. m .
SATURDAY ONLY
L eave Philadelphia 1.25 p. m.
Arrive Chester Springs 2.42 p. m.
L eave Chester Springs 3.20 p. m.
Arrive Philadel phia 4.35 p. m.
.
.
AI! passenger s must change trains a t Phcenixville.
Trams leave Phcemxville fo~ Chester Springs, 6.00,9.23 a. m. and 5.36 p. m.
S aturday only, leave Phcemxville for Chester Springs at 2.15 p. m .
Sunday only, leave Phcenixville for Chester Springs at 6.37, 9.23 a. m. and
4.55 p. m.
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 Road to Anselma, and then along the
banks of the Pickering Creek to Chester Springs.
ROUTE 2: From Philadelphia to Devon Garage by way of Lancaster
Pike; thence to Valley Forge; thence to Phcenixville, and from
Phcenixville along the Kimberton R oad to Kimberton, and from
Kimberton to Chester Springs.
ROUTE 3: From Philadelphia to Norristown, from Norristown to
Phcenixville or Valley Forge, and from t hence 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, ro.
[99J
THE ACADEMY'S HONOR ROLL
Medals and Prizp.s Awarded in the Academy's Annual Exhibitions
ACADEMY GOLD MEDAL OF HONOR
1893
1894
1895
1896
1898
1898
1899
1901
19 02
1903
1904
190 5
1905
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
191I Willard L. Metcalf
1914 Mary Cassatt
Cecilia Beaux
Charles Grafly
1915 Edward H . Coates
Henry J. Thouron
(Awarded fo«mineot s«vices to th e Academy)
James A. MacNeill Whistler! 916 J . Alden Weir
John S. Sargent
1918 John McLure Hamilton
John W. Alexander
1919 H ugh H. Breckenridge
William T. Richards
1920 Childe Hassam
Violet Oakley
TEMPLE GOLD MEDAL
188 4
1885
188 7
1888
1889
1890
189 1
18 9 2
1894
1894
1895
1 895
189 6
189 6
1897
1897
18 9 8
1898
1899
1899
1900
1901
George W. Maynard
1902
Charles Sprague Pearce
1903
Clifford Prevost Grayson 1904
Charles Stanley Reinhart 1905
Anna Elizabeth Klumpke 1906
William Henry Howe
1907
Abbott H. Thayer
1908
Henry S. Bisbing
1909
James A. MacNeill Whistler 1910
John S. Sargent
191I
Edmund C. Tarbell
1912
John H . Twatchtman
1913
Gari Melchers
1914
J. Humphreys Johnston
1915
1916
George DeForest Brush
John W. Alexander
1917
Wilton Lockwood
1918
Edward F. Rook
1919
Joseph D eCamp
1920
1921
Childe Hassam
1922
Cecilia Beaux
William M. Chase
1923
Winslow Homer
Edward W. Redfield
Thomas Eakins
J. Alden Weir
Eugene Paul Ullman
Willard L. Metcalf
F rank W. Benson
Frederick P. Vinton
Howard Gardiner Cushing
Richa rd E. Miller
E mil Carlsen
Frederick F rieseke
W. Elmer Schofield
Charles W. Hawthorne
J oseph T . Pearson, Jr.
George Bellows
George Luks
Daniel Garber
Earnest Lawson
Leopold Seyffert
William L. Lathrop
Walter Ufer
TEMPLE SILVER MEDAL
1883 William Thomas Trego
1884 Thomas Hill
18 85 William T . Richards
1887 Alexander Harrison
1888 Howard Russell Butler
1889
1890
1 89 1
1892
Arthur Parton
Edward L. Simmons
Kenyon Cox
George Inness
rIOl]
18c)4
1895
1896
1897
1898
1899
1900
1901
1902
19 0 3
1904
19 0 5
190 5
190 6
1907
18 79
1880
1881
1882
1883
188 4
188 5
188 7
1888
1889
1890
1891
1892
1894
18 95
1896
1897
1898
18 99
1900
19 01
REFLECTIONS: PICKERING CREEK
PORTRAIT CLASS
I
1903
1904
190 5
1906
1907
1908
1909
1910
19 I I
1912
wALTER LIPPINCOTT PRIZE
William Sergeant Kendall
E~'Il!und C. ~arbell
Wilham L. Plcknell
Albert Herter
James Jebusa Shannon
John W. Alexander
Henry O. Tann~r
Charles H. DavIs
Walter MacEwen
Frank W. Benson
Mary Cassatt
Alexander Stirling Calder
T. yr. Dewing
Chll~e Hassam
Manon Powers
James R. Hopkins
Thomas P. Anshutz
J. Alden Weir
Daniel Garher
Edward W. Redfield
Emil Carlsen
M. Jean McLane
William M. Paxton
Karl Anderson
Arthur B. Carles
DeWitt M. Lockman
Colin Campbell Cooper
Joseph DeCamp
Irving Couse
Irving R. Wiles
Charles W. Hawthorne
MARY SMITH PRIZE
Susan H. MacDowell
1902 Elinor Earle
Catharine A. Janvier
19 0 3 Jessie Willcox Smith
Emily Sartain
19 0 4 Lillian M. Genth
Mary K. Trotter
190 5 Elizabeth Shippen Green
Emily Sartain
1906 Alice Mumford
Lucy D. Holme
1907 Mary Smythe Perkins
Cecilia Beaux
1908 Elizabeth Sparhawk Jones
Cecilia Beaux
1909 Martha Walter
Elizabeth F. Bonsall
1910 Alice Mumford Roberts
Elizabeth W. Roberts
19II Alice Kent Stoddard
Alice Barber Stephens
1912 Elizabeth Sparhawk Jones
Cecilia Beaux
1913 Alice Kent Stoddard
Cecilia Beaux
1914 Nina B. Ward
Maria L. Kirk
1915 Gertrude A. Lambert
Gabrielle D. Clements
1916 Nancy M. Ferguson
Elizabeth H. Watson
1917 Elizabeth F. Washington
Elizabeth F. Bonsall
1918 Helen K. McCarthy
Caroline Peart
1919 Juliet White Gross
Carol H. Beck
1920 Mildred B. Miller
Mary F. R. Clay
1921 Katherine Patton
1922 Mary Townsend Mason
Janet Wheeler
1923 Isabel Branson Cartright
JENNIE SESNAN GOLD MEDAL
W. Elmer Schofield
1913 George Bellows
1914 Robert Spencer
Colin Campbell Cooper
Edward W. Redfield
1915 Car?l S. Tyson, Jr.
1916 Emil Carlsen
Albert L. Groll
Ernest Lawson
1917 Haley Lever.
Everett L. Warner
1918 J. Alden Weir .
I
1919 Charles H. DaVIS
T h ~o d are Wen d e
20 Hugh H. Breckenridge
Chi Ide Hassam
J
19
Ch les Morris Young
Joseph T. Pearson r.
19 21
ar
ff
'll'
L
Metcalf
1922
George
Oberteu
er
W I lam .
19 2 3 AJdro T. Hubbard
1908
1909
1910
19II
1912
1913
1914
1915
1916
1917
1918
1919
1920
1921
1922
192 3
[10 3 }
CAROL H. BECK GOLD MEDAL
1909
1910
19II
19 12
19 1 3
19 1 4
19 1 5
John S. Sargent
Adolphe Borie
Edmund C. Tarbell
Joseph DeCamp
J. Alden Weir
Robert Henri
Charles Hopkinson
1916
19 1 7
1918
19 19
1920
19 2 1
19 2 2
192 3
Douglas Volk
Joseph T. Pearson, Jr.
Leopold Seyffert
Leslie P. Thompson
Eugene Speicher
George Bellows
Ellen Emmet Rand
Lilian Walcott Hale
THE PHILADELPHIA PRIZE
(
19 1 5
19 16
19 1 7
19 18
z
.....
1916
19 1 7
1918
~
H
.....
p
p:l
Z
Philip L. Hale
Alfred R. Mitchell
William M . Paxton
Violet Oakley
Sidney E. Dickenson
Joseph T. Pearson, Jr.
Hugh H. Breckenridge
Daniel Garber
19 19
19 2 0
19 21
Arthur B. Carles
Edward W. Redfield
William M . Paxton
GEORGE D. WIDENER MEMORIAL MEDAL
H
0
H
19 19
19 2 0
19 2 1
19 2 2
192 3
THE EDWARD T. STOTESBURY PRIZE
0
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.....
Lydia Field Emmet
Marie Danforth Page
Ernest Major
Paul King
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~
•
19 1 3
19 1 4
19 1 5
19 16
19 1 7
Charles Grafly
Paul Manship
Albin Polasek
Edward McCartan
Atillio Piccirilli
CHARLES W. BECK.
1905
1906
19 0 7
1908
1909
19 10
19 II
19 12
19 18
19 19
19 2 0
19 21
19 22
19 2 3
JR..
Joseph Lindon Smith
Henry McCarter
Elizabeth Shippen Green
Maxfield Parrish
Ernest L. Blumenschein
N. C. Wyeth
Jessie Willcox Smi th
W. J. Aylward
Albert Laessle
J ess M. Lawson
Malvina Hoffman
Evelyn Beatrice Longman
Beatrice Fenton
Brenda Putnam
PRIZE (Water Color Exhibition)
19 13 Jules Guerin
19 14 Thornton Oakley
19 16 Blanche Greer
19 1 7 H. Giles
19 18 C. B. Falls
19 19 Henry Reuterdahl
19 20 F. Walter Taylor
19 21 George Wright
19 22 E thel Betts Bains
THE DANA COLD MEDAL (Water Color Exhibition)
19 18
19 1 9
Francis McComas
Alfred Hayward
19 20
19 21
19 2 3
M. W. Zimmerman
J ohn R . Frazi~r
Wilmot E. Heltland
[105]
THE PHILADELPHIA WATER COLOR PRIZE
(Water Color Exhibition)
1915 Alice Schille
1916 Dodge McKnight
1917 Gifford Beal
1918 Hayley Lever
1919 Childe H assam
1920 John R . Frazier
1921 Francis McComas
1922 Berges Sandgen
MINIATURE PAINTERS' MEDAL OF HONOR (Miniature Exhibition)
1916 Laura Coombs Hills
19 17 Lucy May Stanton
1916 Margaret Foote H awley
1919
1920
1921
1922
Emily Drayton Taylor
Mabel R. Welch
Maria J. Strean
A. Magaretta Archambault
THE CHARLES M. LEA PRIZES
19 16
1st Prize, Charles Grafiy
1916 2nd Prize, Philip L. Hale
THE CHARLES M. LEA STUDENT PRIZES
1st Prize: Edith Sturtevant 2d Prize: Rowley W. Murphy
1st Prize: J ohn H. Crossman 2d Prize: Susan A. Jones
1st Prize :
2d P rize
3rd Prize
Ruth H. D eal
Semour Bigelow
Ralph Smith
Sarah Langly
Beatrice M. Dwan
19 21 Edward Shenton
Sarah Langly
Glenna Latimer
Luigi Spizzirri
1922
THE TENNIS COU RT MEADOW
PI CKERI NG CREEK. I N WI NTER
1
HONOR ROLL
OF THE ACADEMY'S SCHOOLS
1922-1923
AWARDS MADE MAY, 1923
CRESSON TRAYELLING SCHOLARSHIPS
$500 awarded to each of the followiaK
PAINTERS
SCULPTORS
JOHN P. BARNES
MARGARET BRISBI NE
JOHN N. FOSSLER
GRACE GEMBERLI NG
HARRY KIDD
GLENN A M. LATIMI ER
MEYER H. RADITZ
HELE N M. ROLLS
BARBARA WEBSTER
FRANCIS SPEIGHT
*DOROTHY E. COX
*MARY CARROL CURTIS
*IRMA N. HOWAR D
*BARSE MILLER
*WATSON NEYLAND
MARION P. KING
VICTOR KAHILL
EVELYN PEABODY
*W ALKER HANCOCK
ILLUSTRATORS
BENJAMIN J.BITTE NBENDER
FRANCIS X. BOYLE
WILLIAM A. BRACKEN
W. HOWARD McALLISTER
GEORGE P. TUCKER
*PAUL L. GILL
*RODRICK McRAE
* EnWARD SHENTON
THE TOPPAN PRIZES
SUE MAY WESCOTT ( First Prize)
MANNING DE
V.
LEE (Second Pri ze)
IRMA V. HOWARD (H onorable Mention)
WILLIE W. FON (H onorable Mention)
THE THOURON PRIZES
EDGAR IMLER
RALPH TAVLOR
CATHERINE STEWART
SOPHIE VICTOR
THE STEWARDSON PRIZE
FRANK STAMATO
THE STIMSON PRIZE
THE PACKARD PRIZES
WILLIAM SCHULHOFF ( r st Prize ,
*
SECOND AWARD
ROBERT METCALF (2nd Prize)
" 'He is great who is what he is from
nature and who never reminds us of
others.' The secret of the highest
power is simply the uniting of the
outer agencies of Expression with the
Power that works from within. Are
you a painter? Then in the degree
that you open yourself to the power
of the forces within, will you become
great instead of mediocre? You can
never put into permanent form inspirations higher than those that
come through your own soul."
-Ralph Waldo Trine
•
•
PRESS OF
J.
B. LIPPINCOTT COMPANY
PHILADELPHIA
[IIO]
J
