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1930-1931 School Circular
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•
THE SCHOOLS
1931
1930
PHILADELPHIA
"It is the gl ory and good of art
That art rema ins the one way possible
Of speaking truth."
Robert Browning.
THIS Circular contoins information
which will be appreciated by many art
students. When you have finished with
it, will you kindly hand it someone who
may be interested?
"The highest beauty and joy are not attainable when they occupy the first place as mo·
tives , but only when they are the accidents of
the exercise of the manly virtue of the vision
of iruth."
Coventry Patm o re.
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THE
PENNSYLV ANIA
ACADEMY
OF THE
FINE ARTS
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Broad Street Above Arch
Philadelphia
THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS
President
JOHN FREDERICK LEWIS
Vice-President
ARTHUR H. LEA
Directors
EDWARD T. STOTESBURY
ARTHUR H. LEA
JOSEPH E. WIDENER
ELI KI RK PRICE
HENRY S. DRINKER, JR.
THOMAS S. GATES
HENRY C . GIBSON
ALFRED G. B. STEEL
MARSHALL S. MORGAN
WHARTON SINKLER
EDWARD B. ROBINETTE
OWEN J. ROBERTS
HERBERT J. TILY
Treasurer
HENRY C. GIBSON
Secretary
JOHN ANDREW MYERS
Curator of Paintings
ERNEST L. PARKER
Curator of the Schools
ELEANOR A. FRASER
Solicitor
MAU RICE B. SAU L
Resident M anager, Chester Springs School
D. ROY MILLER
Committee on Instruction
ARTHUR H. LEA
HENRY C. GIBSON
ELI KIRK PRICE
WHARTON SINKLER
THOMAS S. GATES
OWEN J. ROBERTS
Stairway leading to the Galleries
[5
1
THE FOUNDATION OF THE ACADEMY
HE Pennsylvania Academy of the Fine Arts
is the oldest art institution in the United
States and dates its existence from 1791, when
Charles Willson Peale commenced his efforts
to organize in Philadelphia a school for the fine
arts. It was formally founded in 1805, and
chartered in 1806. Mr. Peale's first efforts
resulte d in the formation in 1794 of the Columbianum, and in 1795 under the auspices of that
Association there was held in Pennsylvania's old
State House, now known as Independence Hall,
the first exhibition of paintings in Philadelphia.
The Columbianum was ultimately succeeded by
the present Academy.
T
In 1805, in Independence Hall, where twentynine years earlier the forefathers had signed
the Declaration of Independence, seventy-one
public-spirited citizens, of whom forty-one were
lawyers, met for formal organization. They prepared a petition for the incorporation of the
Pennsylvania Academy of the Fine Arts. The
gatheri ng was a distinguished one, and included
George Clymer, a signer of the Declaration of
I nd~,pe~dence; Joseph Hopkinson, the author
of Hail Columbia"; William Tilghman, Presi[ 61
dent of the Court of Common Pleas, and afterwa.rds, Chief Justice of Pennsylvania; Charles
Willson Peale, William Rush and Rembrandt
Peale, artists; Alexander J. Dallas, District Attorney of the United States; Joseph B. McKean, Attorney General of the Commonwealth'
William Lewis, William M. Meredith, Willia~
Rawle, Horace Binney, Simon Gratz, John Reynell Coates, Richard Rush, Charles Biddle, John
Redman Coxe and Edward Penington. The
obiect of the association, quaintly and vig orously expressed in the language of th e day,
was:
"To promote the cultivation of the Fine
Arts, in the United States of America,
by introducing correct and elegant
copies from works of the first Masters
in Sculpture and Painting, and by thus
facilitating the access to such Standards, and also by occasionally conferring moderate but honourable
premiums, and otherwise assisting the
Studies and exciti ng the efforts of the
Artists gradually to unfold, enlighten ,
and invigorate the talents of
our Countrymen."
[ 71
•
THE FACULTY OF THE ACADEMY
ARTHUR H. LEA
Chairman, ex-officio, as Chairman of the Committee on
Instruction of the Board of Directors.
HUGH H. BRECKENR IDGE
Born in Leesburg, Virginia, October 6, 1870. Studied in
the Schools of the Pennsylvania Academy and with Bouguereau, Ferrier and Doucet in Paris. Awarded European Scholarship, Pennsylvania Academy; First Toppan Prize , Pennsylvania Academy; Medal, Atlanta Exposition, 1895; Hon orable
Mention, Expos ition-Universelle, Paris, 1900; iv1edal , PanAmerican Exposition, Buffalo, 1901; Corcoran Prize, Society of
Washington Artists, 1903; Gold Medal, Art Club of Philade lphia, 1907; First Prize, Washington Water Color Club, 1908;
Silver Medal, International Exposition, Buenos Aires, S. A.,
1910 ; Gold Medal, Panama-Pacific International Exposition ,
San Francisco, 1915; Third William A. Clark Prize, Corcoran
Gallery of Art, Washington, D. C., 1916; Edward T. Stotesbury Prize, Pennsylvania Academy of the Fine Arts, Philadelphia, 1917; The Academy Gold Medal of Honor, Penn sylvania
Academy of the Fine Arts, 1919; The Jennie Sesnan Gold
Medal, Pennsylvania Academy, 1920; The Fellowship Gold
Medal Philadelphia, 1920; Member of the New York Water
Color Club; The Philadelphia Water Color Club; Associate of
the National Academy of Design; Honorary Member Philadel·
phia Chapter, American Institute of Architects; Member of
the Municipal Art Jury of Ph iladelphia. Instrudor in Drawing
and Painting.
HENRY McCARTER
Born in Norristown, Pa., July 5, 1866. Studied in the
Pennsylvania Academy of the Fine Arts, Philadelphia; Pupil of
Puvis de Chavannes, Bonnat and Alexander Harrison, Toulou se
Lautrec, M. Roll, M. Rixens, in Paris. Member Fellowship
Pennsylvania Academy of the Fine Arts, Awards; Bronze
Medal Pan-American Exhibition, Buffalo, 1901; Silver Meda l
St. Louis Exhibition, 1904; Beck Prize, Philadelphia Water
Color Exhibition , 1906; Gold Medal for Illustratio~s: Secon?
Gold Medal for decoration and color, Panama-Pacific Exhibition, San Fran cisco, 1915, Instructor in Decorative Painting.
View from North Corridor across Gallery K
[91
•
DANIEL GARBER
GEORGE HARDING
Born in North Manchester, Indiana, in 1880. Studied i
the Art Academy of Cincinnati, and in The Pennsylvani:
Acade my of the Fine Arts. Member: National Academy of
Design, New York City; Natio~al Arts Club, N.ew York City;
Salmagundi Club, New York CI~y. Awarded: First Hallgarten
Prize, National Academy of Design, 1909; Honorable Mention
Carnegie Institute, 1910; Walter Lippincott Prize, Th e Penn~
sylva nia Academy of the Fine Arts, 1911; Potter Palmer Gold
Medal. Art Institute of Chicago, 1911; Gold Medal Panama_
Pacific International Exposition, San Fra ncisco, 1915; Ist Altman Prize for Figure Painting, National Academy of Design ,
New York City, 1917; Edward T. Stotesbury Prize, The Penn sylvania Academy of the Fine Arts, 1918; Temple Gold Med al,
The Pennsylvania Academy of the Fine Arts, 1919; First W. A.
Clarke Prize and Gold Medal, Corcoran Gallery of Art, Wa shington, D. C., 1921; First Altman Prize for Landscape, Nation al
Aca demy of Design, New York City, 1922; Gold Medal Art
Club of Philadelphia, 1923; Carnegie Prize, National Academy
of Design, New York City, N. Y., 1923; Th e Academy Gold
Medal of Honor, The Pennsylvania Academy of the Fine Arts,
1929. Instructor in Drawing and Painting.
J OSEPH T. PEARSON, JR.
Born in Germantown, Philadelphia, February 6, 1876.
Studied in The Pennsylvania Academy of the Fine Arts and
under J. Alden Weir. Fellowship prize, The Pennsylvania
Academy of the Fine Arts, 1910; Bronze Medal. Buenos Aires
Exposition, 1910; Jennie Sesnan Gold Medal. The Pennsylvan ia
Academy of the Fine Arts, 1911; Second Hallgarten Prize,
National Academy of Design, New York, 1911; Innes Gold
Medal, National Academy of Design, New York, 1915; Gold
Jl.!edal, Panama-Pacific International Exposition, San ~ran
CISCO, 1915; Norman Wait Harris Silver Medal Art Institute
of Chicago, 1915; Temple Gold Medal, The' Pennsylvan ia
Ac;ademy of the Fine Arts, 1916; The Ed ward T. Stotesbury
PrIZe, The Pennsylvania Academy of the Fine Arts, 1916; Th e
C.arol H. Beck Gold Medal, The Pennsylvania Academy of the
Fln~ Arts, 1917; The Potter Palmer Gold Medal, Chicago Art
Instltu~e, Chicago, 1918; Gold Medal, Sesqui-Centennial Intern.ahonal Exposition, Philadelphia, 1926; Member of the
Np ~tl~nal Academy of Desion. Instructor in Drawing and
alntlng.
J
[ 10 J
Born in Philadelphia, Odober 2, 1882. Studied in the
Pennsylvania Academy of the Fine Arts, and with Howard
Pyle: and independent!y abroad. Has travelled extensively in
foreign countries and IS the author of travel articles and the
illustrator of fictional and descriptive work in Harper's and
other magazines. Assigned by the United States War Depart~ent to duty as artist with the American Expeditionary Forces
In 1918 and 1919. Has executed Mural Decorations in Banks,
Hotels and Theatres. Fellow of the Royal Geographic Society;
Member of National Society of Mural Painters; Architectural
League of New York; The Society of Illustrators; The Philadelphia Water Color Club, Philadelphia, and of the Salmagundi Club, New York. Instructor in Illustration and Mural
Decoration.
HENRY R. POORE
~orn in Newark, N. J .. March 21, 1859.
Pupil of Peter
Moran and Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design, New York; Luminais and
Bouguereau in Paris. Member: Associate National Academy
of Design, New York, 1888; Salmagundi Club; Lotus Club;
Union International des Beaux Arts et des Lettres; Fellowship
Pennsylvania Academy of the Fine Arts, 1916; National Arts
Club, New York; Animal Painters and Sculptors; League of
American Artists. Awards: First Prize, American Art Association; Second Hallgarten Prize, National Academy of Design,
1888; Bronze Medal, Pan-American Exposition, Buffalo, 1901;
Silver Medal, St. Louis Exposition , 1904; Gold Medal, American Art Society, Philadelphia, 1906; Gold Medal, Buenos
Aires, 1910; Silver Medal, Panama -Pacific Exposition, San
Francisco, 1915. Represented in public and private collections of the country. Instrudor in Composition.
JOHN F. HARBESON, B.S., M.S.A., R.A.
Born in Philadelphia, July 30, 1888. Attended the University of Pennsylvania. Received B.S .. 1910, and Arthur Spayd
Brooke Gold Medal in Design, 1910; M.S.A., 1911; Cope
Prize (Philadelphia Chapter A.I.A. and T Square CI~b) 191~.
Architect, Associate of Paul P. Cret. Membe~ American I~stl
tute of Architects, Assistant Professor In Architectural DeSign,
Chairman of the Departments of Architecture and Landscape
Construction, School of Fine Arts, University o~ Penn:ylva~la;
Author of "The Study of Architectural DeSign, Pencd POints
Press, N. Y., 1926; Instructor in Perspective and Architectural
Advisor in the Sculpture Class in Composition.
[ II
J
•
ALBERT LAESSLE
Born in Philadelphia, March 28, 1877. Studied in the
· G rden Institute, Drexel Institute, and the Pennsylva .
Spring a
A war d s: St eWar d son Prize nlad
the
Fine
Arts.
of
Aca d emy
h'
PI'
an
Cresso n Travelling Scholars 'P, ennsy van~a Academy of the
Aires, 1910' Penns I
F·Ine Arts , 1904'' Bronze .Medal. Buenos
F II
h'
.
'
y. . Academy of the FI ne Arts e ows Ip PrIZe, 1915· Gold
Vania
E
't'
SF'
'
Medal. Panama· Pacific. X~OSl . ,on, an ranclSCO, 1.915; First
Sculpture Prize, Amerlc~nlzatlon Thro~gh Art, Philadelphia,
1916; The George D. Wld~ner Memorial Gold Medal, Pennsylvania Ac ade my of t~e Fine Art~, 1918; Hon orable Mention
for Sculpture, Art Institute of Chicago,. 1920; The Fellowship
of the Pennsylvania Academy.of the FI~e Arts Gold Medal.
1923; Gold Medal. The Sesqul-Centennlal International Exhibition, Philadelph ia, 1926; The James E. McClees Prize; The
Pennsylvania Academy of the Fine Arts, 1928; Second Prize
for Best Decorative Group for Garden, Park or other Outdoor
Placement, Philadelphia Art Alliance, 1928. Member: Na.
tional Sculpture Society; The New Society of Artists , New
York; The National Academy of Design, New York. Repre.
sented in the public collections of the country. Instructor in
Construction at Philadelphia and in Sculpture at Chester
Springs.
WALKER HANCOCK
Born in. St. Louis, Missouri. Studied in the St. Louis
S~hool of Fine Arts and the Pennsylvania Academy of the
Fine Ar~s. Awarded, I92S, by Jury sitting in New York, Fellowship In :he American Academy in Rome. Degree F.A.A.R.
conferred In 1928. ~ember: Architectural League of New
Y.ork and the Fellowship of the Pennsylvania Academy of the
Fin,;, .Arts. Awards: Second Prize, St. Louis Art League Com.
pefitlon, 191~; Edmund Stewardson Prize, Pennsylvania Academy of the Fine Arts, 1921; Emlen Cresson Foreign Travelling
Scholarsh~p, 1922; Se~ond Emlen Cresson Foreign Travelling
Sch?larshlp, 1923; Wlde~er Memorial Gold Medal, Pennsylvania Academy of the Fine Arts, 1925. Represented in the
collection of the St. Louis Art Museum, St. Louis, Missouri; the
Pennsylvania Academy of the Fine Arts, Philadelphia; the ParrISh Museum of Art, Southampton, Long Island. Instructor in
Sculpture at Philadelphia.
ROY C. NUSE
Born in Springfield, Ohio, February 23, 1885. Pupil of
Duveneck, Cincinnati Art Academy, Pennsylvania Academy of
the Fine Arts. Awards: Cresson European Scholarship, Pennsylvo"i, Academy of the Fine Arts, 1917; Second Cresson,
First -:-"ppa n and First Thouron Prizes, Pennsylvania Academy
of the Fine Arts, 1918; Medal, Philadelphia Sketch Club, 1921.
Instructor in Drawing and Painting.
FRANCIS SPEIGHT
Born in Windsor, North Carolina, 1896. Studied in the
Cor.co ran School of Art, Washington, D. C., and the Penn;yl.
vania Ac~demy of the Fine Arts. Awards: Foreign Trav ell~ng
Scholarship, The Pennsylvania Academy 1923' Second Foreign
Travellin~ Scholarship, The Pennsylvani~ Academy, 1925; Th~
~el\dwshlp of the Pennsylvania Academy of the Fine Arts
. 0
Med~l, 1926. First Prize in Landscape Society of Wa s ~·
Ingto n ArtISts, 1929. The Fellowship Prize, the Pennsylva~la
~clldemy
of the Fine Arts Annual Exhibition, 1930. First
a . garten Pme, the National Academy of Design, 1930.
AsSIStant Instructor in D .
rawlng.
[ 12 I
r 13 I
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
Sprin~s, C:hester County, Pennsylvania,
what IS believed to be the best equipped
Open-air Country and Summer School
in America.
D
View across the Main Stairway to
North Corridor
URING the one hundred and twenty-five
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 qualjfied to
discover and develop every talent which students may possess.
The Academy is equipped in every way to
teach the technique of painting, sculpture, illustration and mural decoration, and engages its
[ 15 J
students exclusively in. the study of the Fine
Arts. Its aim is to.equlp them with ~ .thorough
knowledge of drawing, color, COrt;posltlon, modeling, construction, and perspective.
Lectures of general and special interest are
given during t~e year, and visits are rt;ade to
private collections, museums, etc., which students may attend without extra charge.
THE UNIVERSITY OF PENNSYLVANIA IN
CO-OPERATION WITH THE ACADEMY
In recognition of the high standard of the
Schools of the Pennsylvania Academy of the
Fine Arts, the University of Pennsylvania has
included in its School of Fine Arts a course providing that a student in the Academy may earn
a university degree by adding to his professional studies at the Academy a minor volume
of liberal studies taken at the University under
the limits there imposed.
Arrangements may be made with the Curator
of the Academy's School in Philadelphia or the
Resident Manager of the Chester Springs
School and with the Dean of the School of Fine
Arts in the University.
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.
[ 16
1
SKETCHING IN GALLERIES
Students may sketch from the works in the
Per~anent 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 Librarian, 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. Single admission
tickets may be obtained from the Curator.
EXHIBITIONS
The Academy's Permanent Collection of
paintings and sculpture affords an opportunity
for the study of examples of famous masters
and includes the Gallery of National Portraiture
by Early American Painters; the Temple Collection of Modern American Paintings; and the
Gibson Collection, largely composed of works
of the Conti nental schools.
[ 17
1
The Annual Exhibitions held by the Academy
bring togeth~r .the best examples of current
American painting and sculpture, and enable
students to follow intelligently the various mOvements of modern art, and to study the technical
methods by which the. a.r~ of today is achieving
its results. These exhlbitlon.s have been recognized for many years as being the foremost in
America.
The Water Color Exhibition, the Exhibition
of Modern Miniatures, and the Chester Springs
Summer School Exhibition are held in Novem ber
and December. The Annual Exhibition of Oil
Paintings and Sculpture is held during February
and March.
The exhibition of the work of students both
at the Philadelphia and the Chester Springs
Schools, submitted in competition for Cresson
Traveling Scholarships and other prizes, is held
at the end of May.
cities it is probably the most worthy of the
nbame. Apartments and studios can be obtained
y the season or by the month at reasonable
rates. The ~ost of living is comparatively low.
. T~e beautiful Free Library on the Parkway is
within walking distance of the Academy and
affords the s~udents excellent opportunities for
general reading and for research in art.
The city contains, in addition to the Academy's own gallery, a number of notable collections ~f paintings and of sculptures which are
accessible to students. Among the more important may be mentioned: The Philadelphia
Museum of Art; The Wilstach Collection in
Fairmount Park; The Lankenau Collection at the
Drexel Institute; The J oh n G. J ohnson Collection; the important paintings at the Historical
Society of Pennsylvania, and at Independence
Hall; The University of Pennsylvania Museum;
The Private Collection of Joseph E. Widener
(admission by appointment only).
ADVANTAGES OF LOCATION
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
~ity. ra.ilroad stations. The new Parkway brings
It within easy reach of Fairmount Park and 3,000
acr~s of beautiful scenery. While it is co~
venlent t~ the business portion of the city, it.ls
al~o readily accessible to the residential districts. Philadelphia is often called "The City
of Homes," and of all the greater America n
[ 18 1
ROOMS AND BOARD IN PHILADELPHIA
The Academy's Phi ladelphia Schools are Day
and Evening Schools only, and no responsibility
for students is assumed by the Academy beyond the limits of the School buildings. However, assistance in securing board and rooms
is given upon request. The cost of living in
Phi ladelphia is not high, and accommodations
within reasonable distance of the Academy are
available for both men and women.
[ 19
1
•
Most of the women students, who do not live
.In th elr
. own homes ' lodge at Crozer Hall of the
Young W omen's Christian Association, 2039
Cherry Street, or at the Central Branch, 1800
Arch Street, or at the new building for men
and wome n at 1421 Arch Street, or study at
the Country School at Chester Springs, where
board can be obtained as cheaply as in the city.
The Central Branch mai ntains a registry of carefully investigated rooms.
Men students may live in the Young Men 's
Christian Association building at 1421 Arch
Street, or find accommodations through the
room registry.
Seventy-five dollars a month will suffice
for very simple living expenses, not including
clothes and tuition.
CALENDAR
The One Hundred and Twenty-fifth Year
begins the first Monday of October.
THE Philadelphia school year is divided into
two terms of seventeen weeks each. The
first term begins the first Monday of October
and closes about the end of January; the sec[ 20 1
and term begins the first Monday of February
and closes about the end of May.
During the Christmas holidays the schools are
open. From December 21 st to January 2nd
no models are engaged to pose and no criticisms are given. On the Saturday preceding
Easter 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.
The Schools are closed on Sundays, Thanksgiving Day, Christmas Day, New Year's Day,
Washington's Birthday, Good Friday, and Decoration Day.
SCHOOL HOURS
The schools are open from nine o'clock a. m.
until ten o'clock p. m. Monday to Friday, and on
Saturdays from nine o'clock a. m. until six o'clock
p. m. At five o'clock p. m. the Cherry Street
entrance will be opened for members of the
night classes.
Day classes are held from nine to twelve
o 'clock and from one to four o'clock, six days
[ 21
1
Evening classes are held from seven
.
per wee k.
to ten a ,c lock five days, from Monday to Fnday ,
inclusive.
ADMISSION
Appl,icati<:n blank, sent upon request, must
be fdled In and returned with other required credentials to the Curator before
the student may register.
A student who is obliged to work outside of
school to earn his living, or who wishes to pursue
some other study in connection with his art
training, can arrange his schedule at the Academy with the Curator of Schools accordingly;
since advanceme nt is entirely by individ ual
progress and not by a system of credits.
Classes begin at nine a. m. promptly, and
students are urged to start work early to uti lize
the best light of the day. Regular attendance
by ~udents is not compulsory, but no reduction
from tuition is made on account of absence.
Any student who wishes to apply for credit
for work done in the Schools of the Acade my
toward a teacher's certificate or a college degree must arrange with the Curator to keep a
daily time record.
Visitors are admitted to the school on weekdays from four to five p. m.
[ 22
1
S
TUDENTS may register for the first term
after September 15th. Classes meet on
the first Monday in October. Students may
register for the second term after January 15th.
Classes meet on the first Monday after the end
of the first term. Students must register in
person.
No student under sixteen years of age is
eligible for admission.
No student is eligible for admission unless
possessed of a completed High School education or its equivalent.
Satisfactory references as to personal character must be furnished. The requirement of a
doctor's certificate safeguards every student
accepted by the school. A full-length snapshot
is necessary for identification.
All new students, except those applying for
admission to the modelling classes, must work on
trial in the Beginners' Classes in Painting and
Drawing to demonstrate their ability and to prepare for admission to the more advanced
classes.
For admission to the Life Modelling Classes,
photographs of work or specimens of modelling
of sufficient merit are required.
[ 23
1
FEES
Payment Must be Made in Advance to
the Curator.
T
HE payment of fees as listed below Covers
all fees, for both day and night classes, but
does not include the cost of materials. No
extra charge is made for the use of models.
Promotion entails no additional fee.
Tuition, per term (17 weeks) . . ..... . $1 00.00
Locker rent, per term. . . . . . . . . . . . . .. 1.00
Matriculation fee (charged to all new
students) .... ... ....... ... . .... 10.00
Total
$111.00
All checks in payment of indebtedness to the
Academy must be drawn to the order of the
Pennsylvania Academy of the Fine Arts.
Students are advised that all checks which
they wish to have cashed in Philadelphia should
be in the form of drafts on a Philadelphia bank.
TUITION FEES ARE NOT RETURNED FOR f\NY
CAUSE WHATEVER
No reduction is made to students registering
after a term has begun.
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.
View across Main Stairway to South Corridor
[ 25 J
,
INSTRUCTION
The general method of instruction is by
individual criticism of class work. The individuality of the student is not repressed
by fixed methods.
NSTRUCTION in the Academy at Philadelphia
is given in Drawing, Painting, Sculpture, Illustration, and Mural Decoration. These departments are closely allied and students in any department are privileged to work in the other
departments subject to the admission requirements. This entails no additional fee.
I
Now that collaboration among painters,
sculptors, and architects has become so important, it is urgent that students in one class
should have a sympathetic knowledge of the
work in other classes; supplemented, through
reading and observation, by an understanding
of architecture and other forms of applied art.
The purpose of the training given at the
Academy is not to create artists, but to encourage the development of the students' natural
abilities and to stimulate their sense of beauty.
Schedules on the following pages are for the
day classes. For evening class schedule, see
page 47.
One of the Life Painting Classrooms
[ 27
1
BEGINNERS' CLASSES
II LL
new stud~nts, except those who enter
the Modelling Classes, are required to
work on trial in the Beginners' Classes regardless of previous training.
n
\
•
All students who have had little or no previous
training in art are required to enter the First
Section of the Beginners' Classes.
Students who have had sufficient training in
drawing may be admitted immediately to the
Second Section of the Beginners' Classes.
A student in the First Section may apply for
promotion to the Second Section by submitting
to the Faculty at a stated monthly meeting a
group of drawings, each one of which has received the approval of the Instructor of the
class in which it was made.
The group must be composed of:
Antique Cast Drawing (head)
Construction Drawing
Costume Sketch (Drawing or Painting)
Beginners' Antique Drawing Classroom
Above: Group of Stewardson Prize Figures
If the Faculty finds the group of insufficient
merit to warrant promotion, the student may
prepare another group for submission to the
Faculty at any subsequent meeting.
[ 29
1
A student may apply for promotion from the
Second Section of the Beginners' Classes to the
Preliminary Life and Head Painting Classes or
Illustration Ciasses by submitting to the Faculty,
at a stated monthly meeting, a group of drawings and paintings, each one of which has received the approval of the Instructor of the
class in which the work was made.
REQUIRED WORK
FIRST SECTI ON
Antiqu e Ca st . .................. .... Francis Speight
(head)
Constructi on ........................ Albert Laessle
Costume Sketch ....................... Roy C. Nuse
SECOND SECTION
The group must be composed of:
Antiqu e. Ca st ...................... {Daniel Garber
(full figure)
Francis Speight
Antique Cast Drawing (full-figure)
Composition (black and white or color)
Construction Drawi ng
Costume Sketch (Drawing or Painting)
Still Life Painting
Composition ............... . ....... Henry R. Poore
Construction . . ....... ............... Albert Laessle
Costume Sketch . .... ................. Roy C. Nuse
Still Life ..................... Hugh H. Breckenridg e
Students who have had sufficient training in
art before entrance to the Academy Schools
are promoted readily to the more advanced
If the Faculty finds the group to be of insuffi cient merit to warrant promotion, the student
~ay prepare another group for submission to
rhe Faculty at any subsequent meeting.
classes.
(
Instruction is given in the First and Second
Sections of the Beginners' Classes as follows:
Criticism is given twice a week in the antique
dra:v~ng classes, every other week in the com Plosltlon class, and once a week in the other
c asses.
[ 30
1
However, for students who have studied very
little or none at all, the Beginners' Classes provide an opportunity for thorough training in the
fundamentals of construction, drawing, painting,
color, and composition.
[ 31
1
PAINTING
Th e purpose of t hese classes is to give the
·student t horough training in the technique
of painting.
t
NSTRUCTION is given as follows : Criticism is
given every other week in the Composition
Class, and once a week in the other classes.
REQUIRED WORK
PRELIMINARY CLASSES
Composition . ............... . ..... . Henry R. Poore
Construction ........ . ...... . ..... ... Albert Laessle
Costume Sketch .......... . .... ....... Roy C. Nuse
Head ...... .. ....................... Roy C. Nuse
Life .............. . ............ ~. Jos~;hntl ~~~~:~
Perspective ...................... John F. Harbeson
Still Life . . . .................. Hugh H. Breckenridge
I
One of the Life Classes
ADVANCED CLASSES
Composition ....................... Henry R. Poore
Con struction ........................ Albert Laessle
Costume Sketch ........ . ........... ... Roy C. Nuse
Head ........... . ........... Hugh H. Breckenridge
Life . .. ......................... Joseph T. Pearson
Perspective ...... .. .............. John F. Harbeson
Still Life .... . ........ . ....... Hugh H. Breckenridge
All students in drawing and painting are recommended to acquire some skill in modelling.
Admission to the Advanced Head and Life
Painting Classes is by actio n of the Faculty.
[ 33 1
ILLUSTRATION
T
HE Class in 11.lustration is under .the direction
of Mr. Har?lng. Its purpose IS to provi de
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.
Criticisms are given once a week as follows:
REQUIRED WORK
Cla sses
Instructors
Construction . ................. . ..... Albert Laessle
Costumed Model .................. Georg e Harding
Costume Sketch ....................... Roy C. Nuse
Illu stration .... .................... George Harding
.
5 Daniel Garber
Life .... .. .. .. ................. I Joseph T. Pearson
Perspective .. ... ................. John F. Harbeson
The greatest effort is made to develop the
student's creative ability in making compositions. He is encouraged to search out his own
material by actual observation and to make use
of this knowledge through his own method of
•
expression.
Criticism (Illustration Class)
Stress is laid upon the use of lithography,
both in drawing upon paper and in actually
working upon stone. Other media us~d are pen
and ink, charcoal, water color, and ad.
[ 35
J
j
SCULPTURE
•
T
HE Classes in Sculpture are under the di-
rection of Mr. Hancock. The work of these
classes consists in modelling, generally in the
round, from the head and full -length figure, and
in ma ki ng com positions.
Instruction is given as follows: Criticism is
given once a month in the Composition Class
and once a week in the other classes.
Mr. Harbeson will give an informal advisory
talk in the Composition Class when the subjec+
announced may be interpreted architecturally.
REQUIRED WOR K
Cla sses
Instructors
Composition .. . ........... . ....... Walter Hancock
Construction ................. ....... Albert La essle
(drawing or modelling)
Head ........................... . Walter Hancock
Life ... ..... .... . ................. Walter Hancock
Perspective ... ........... . ....... John F. Harbeson
The Life Modelling Classroom
[ 37
1
•
-
•
-
Photographs of work or specime ns of mod.
elling of sufficient merit are required for admi ssion to the Life Modelling Classes.
A student not sufficiently adva nced for admission to the Life Class is requi red to model
from casts. When he has acqui red proficiency
he is admitted to the Life Class without the
payment of an additional fee .
Through individual criticism of work made
from the figure and head models, the student is
given an understanding of construction and
form with the purpose of applying this knowledge in the Com position Class. In addition to
the purely sculptural and interpretative subjects
of composition, practica l pro blems are given in
the application of sculptu re to architectural
needs. Consideration is given to the purpose
and placement of the sculpture and to the limitations of various mate rials.
Students are requ ired to fu rnish their own
clay, life modelling stand , and bucket for clay.
The Academy furnish es one head stand for each
student.
Costumed Model Classes
A special roo m and facilities are provided so
that the stude nts may cast their figure and
head studie s and compositions.
[ 39
1
•
MURAL DECORATION
T
HE Class in Mural Decoration is unde r the
direction of Mr. Harding. The purpose of
this class is to train advanced stude nts in solving the architectural problems of decoration as
well as the problems of composition and the
technique of painting.
Instruction is given as follows: C riticism of
mural decoration problems is given once each
month, from November to April, incl usive. Criticism in the other classes is give n once a week.
REQUIRED WOR K
Constru ction . .... . .................. Albert Laessle
Costum ed Mod e l ................. . George Harding
or
Head . . ..... . . . ..... . ............... Roy C. Nuse
Costum e d Sketc h . ...... . ....... .. .. .. Roy C. Nuse
Life. . . . . . . . . . . . . . . . . . . . . . . . . . .. .. Daniel Garber
Mura l Deco rati on ..... . ..... . ...... George Harding
Pe rspective . . . ........... . . . ..... John F. Harbeson
For admission to the cla ss in Mu ral Decoration, a student must submit spe cified work made
in the Schools of the Academy.
Fu ll-figure Antique Drawing Classroom
l 41 J
SPECIAL CLASSES
Open to All Students Without Extra
Charge
COMPOSITION
HENRY R. POORE
HE Class in Composition meets f?: ~riticism
every other Wednesday. All criticisms will
be personal, every student recei.ving special a~
vice and counsel on work submitted. Work In
composition is required of the students in the
beginners' classes and in the painting classes.
T
A necessary adjunct to the work of the class
will be to obtain and study some book on composition. This is a matter of greater importance than the production of pictures for review.
With the philosophy of construction understood through a study of any standard textbook, the student will be free to choose his own
subjects and treat them under the advice and
cautions which such books will supply.
CONSTRUCTION
ALBERT LAESSLE
. This class receives instruction through lectures
given by the instructor and through criticisms
of the individual work made from the living
model, in whatever medium the instructor may
sele~t. Special attention is paid to the proper
~Iaclng of ~asses controlling movement and
line. Work In construction is required.
[ 42
1
COSTUME SKETCH CLASSES
ROY C. NUSE
The chief object of the Costume Sketch
Classes is to teach students to grasp and record
quickly the spirit and character of the subject
presented.
Sketches are made in oil, pastel, water color,
charcoal, crayon, pencil, or pen and ink.
These classes are held three hours, one morning a week.
PRELIMINARY CLASSES
Various methods of approach are used in the
sketch classes. In one section, the model assumes one pose for three hours. In another
class, the model takes several short poses and
then maintains each of the same poses for a
longer period. An attempt is made to c?mbine
these few sketches into one composed picture.
ADVANCED CLASS
Students in the advanced head and life
classes work in the advanced sketch class. ~he
purpose of this class is to demonst.rate cr~atlve
power and to develop the capacity for I~ven
tion. The work shows the results of expe~len.ce
in the composition, head, life, and stdl life
classes.
I' .
The several poses which the mode IS gl~en
during the three-hour period are developed InJo
the form of a composition. Sketches are ma e
from memory, also, 0 f t he mo d e I ·In both pose
and action.
[ 43
1
DECORATIVE PAINTI NG
H ENRY McCARTER
Mr. McCarter gives le ctu res illustrated by
lantern slides of both ancie nt a nd modern art .
In the afternoon of the sam e day the class
meets for criticism of work sub mitted. The object of the class is the stu dy of decorative
design and color and t he e ncouragement of
forceful e xpression of the individual concepts
and impressions.
Mr. McCarte r tea ches comprehension, vision,
and inventi o n of the a rt of today as well as
appreciation and unde rsta nding of ancient art.
In Philadelphia there are nine accessible collection s of mod e rn picture s.
PERSPECTI VE
JOHN F. HARBESON
The Head Mo d e II'mg Classroom
The course consists of instruction in the elements of linear perspe ctive , shadows proje~ted
by artificial and natural lights, and reflections,
illustrated by drawings made before the cla~s.
Problems in drawin g and pai nti ng from the solid
object and from nature are given to the class
at stated intervals. Th e principles of perspective as used by artists of various schools ar.e
demonstrate d by la ntern projections of their
works.
[ 45
1
EVENING CLASSES
Antique
Head . . . . . . . . . . . . . . . . . " ..... " . . . . Dan'lel G ar ber
Full-figure" .. " . . . . . . . . .. " ....... " . Dan"lel G ar ber
Costume Sketch. " ... " . . . . . . . . . . . . . . . . . No Cr'lt'IClsm
.
Life
Drawing ....................... . . . Daniel Garber
Painting .... .. ... .. ............... Daniel Garber
Sculpture
Head ...... " ............. " ..... Walker Hancock
Life ..................... ... .. .. Walker Hancock
T
View from Gallery K
HE Sketch Class held on Tuesday evenings,
from seven o'clock to nine o'clock, is open
to all students" No criticisms are given in this
class.
A student who can attend only in the evenings and on Saturday afternoons, may substitute work done in the Tuesda y evening sketch
class for work required in th e Saturday morning
classes. He may work in the life drawing class
on Friday evenings to make the drawings required in the construction class.
The life d rawi ng and pa inti ng class meets five
evenings each week, with criticisms once a
week.
In the sculpture department, the he~d class
meets two evenings a week, and the life cla?s
on three evenings with criticism once a week In
each class.
[ 47
1
SCHOLARSHIPS AND PRIZES
Every year scholarships and prizes to the
amount of about $50,000 are awarded
students of the day and evening classes.
These prizes are open to students at
Chester Springs as well as students in the
Philadelphia School.
(--
THE WILLIAM EMLEN CRESSON
MEMORIAL TRAVELING
SCHOLARSHIPS
By the libe ral provisions of the wills of
Emlen Cresson and Priscilla, his wife, a
Fund has bee n created as a memorial to
their deceased son, William Emlen Cresso n, Academician , the income of which is
to be applied by the Pennsylvania Acade my of the Fine Arts in sending pupils of
merit to Europe .
FREE TUITION SCHOLARSHIPS
T
WENTY-THREE scholarships are available
this year for returning students who have
paid their tuition fees for not less than one year.
These scholarships are awarded by the Board of
Directors upon the recommendation of the
Committee on Instruction and the Faculty of
the Schools. They are solely for the purpose
of financially assisting those who would otherwise be unable to pursue the study of art. Application must be made before September 15th
to the Curator of the Schools.
Th:ough .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.
Under the will of Mary R. Burton, deceased,
a free s~holarship is provided, and through the
gSenehrosl~y of Mrs. George K. Johnson the
ara K h C
'
t bl' hlgd n ooper Free Scholarship has been
f\a d I.S e . A scholarship has also been estabIS e In memory of Elizabeth H Thomas.
[ 48
1
•
VERY year some twenty or more such scholarships of $1,200 each are awarded to
painters, sculptors, mural decorators and illustrators. These awards are made by the Board
of Directors upon the recommendation of the
Faculty.
The awards are divided among the Painting,
Illustration, Sculpture, and Mural Decoration
Classes, based upon the standard of the work,
as one factor, and the number of contestants
from each class as another fact or.
The award of a scholarship provides each
student with one thousand dollars to expend in
actual travel and traveling expenses. The r~
maining two hundred dollars of the award will
cover tuition for the ensuing school season ..
It is the intention of the Cresson Scholarships
to give to the students of the Academy the advantage of seeing some of the impo.rtant galleries and art schools abroad. The triP abroad
is limited to the summer vacation, a period of
E
[ 49
1
four months, from June to October, inclusive
so that students may r~turn to the Academy fo;
study during the ensuing year.
The Board of Directors, upon the recommen.
dation of the Co:nmittee ~:>n Instr~ction, may,
in case of exceptional merit, permit a student
to receive a second Cresson Scholarship. Unless some satisfactory excuse be accepted by
the Committee on Instruction, a second schola rship must be competed for during the year immediately succeedi ng the first award.
The award of a traveling scholarship is not to
be regarded as a certificate of proficiency.
Students receiving an award for the first tim e
are required to return to the Academy for further study after having traveled abroad in
accordance with the terms of the award. Students receiving a second award are expected
return to the Academy for further study durIng the school year next succeeding the award
and are given free tuition.
Students become eligible to enter the year
of. competition for a Cresson Traveli ng Scholarship after they have completed sixteen month s,
or fou: terms (not necessarily consecutive), of
study In the Academy's Schools.
In estimating the twenty-four months neces~hry to qualify, competitors, time registered in
S e. Aca.demy s Country School at Cheste r
pnngs IS counted (provided certain requireent
have. bee.n fulfilled) equivalent to a similar
engthof time In the Philadelphia Schools.
:0
i
[ 50
1
THE CHARLES TOPPAN PRIZES
The Charl es Toppan prizes for each year
are: First Prize , $300 ; Second Prize, $200;
and two Honorable Mentions of $100
each.
HESE prizes were established in 1881 by the
gift of Mrs. Charles Toppan, Mi ss Harriette
R. Toppan and Mr. Robert N. Toppan.
The prizes are awarded only to students who
have previously received and used a Cresson
Scholarship.
The work submitted in competition must be
an original painting, in oil or v:ater col?~, .the
unaided work of the student Without critiCism.
Members of the Committee on Instruction
judge the work submitted for the Toppan Prizes.
T
THE THOU RON PRIZES
Th e following awards, founded by the late
Henry J. Thouron , a former Instructor in
Composition, are made as follows:
/). PRIZE of $50 for a group of not less than
f \ three compositions upon subjects given. to
the class during the current season, and ~ prIZe
of $25 for a second similar group, the first to
be decided 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 secc:nd fo: the
work showing in its treatment of said sublec.ts,
, or a bstract, or 'd
the most poetic,
I ea I'IS fc
I , pOint
of view, both to be decided by the Instructor
of the class.
[ 51 J
THE PACKARD PRIZES
RO t'v1 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 Instruction,
annual prizes of $30 and $20 are awarded for
the best and second best groups of original
studies made from living animals in the Zoological Garden. These prizes are open to all students of the Academy who have registered for
both terms of the school year.
THE STEWARDSON PRIZE
F
THE RAMBORGER PRIZE
F
ROM 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 line 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 current school year.
[ 52
1
The Edmund Stewardson Prize of One
Hundred Dollars, in the Department of
Sculpture, will be awarded at the close of
the school year.
T
HIS is an annual prize, competed for by
students of the Academy with such pupils
of other art schools as may be approved by the
Committee on Instruction.
The subject for the competition is a fu lllength figure from life in the round. Studies
may 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 si x sessions of
three hours each.
The Jury of Award consists of three professional sculptors, having no official connection
with the Academy, or any other schools whose
pupils may have taken part in the competition.
The contest each year takes place in March.
[ 53
1
THE STIMSON PRIZE
THE CHARLES M. LEA PRIZES
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
regular course of the class.
The Pennsylvania Academy of the Fine
Arts holds a Special Exh ibition of Drawings by Students of all Am erican Art
Schools, in November
T
HE 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, and must be made
during class hours as a part of the regular work
in the class.
The contest takes place during the month of
January each year.
i'1FIRST prize of two hundred dollars , a second
I\prize of one hundred and fifty dollars, and
a third prize of one hundred dollars are awarded
res pectively to the best, the second best and
the third best drawings.
Any student having received one Lea prize is
de barred from receiving another Lea prize of
the same or lower value.
Drawings eligible for competition must be
executed by students regularly enrolled before
November Ist, in any American School of Art
wh ich has a faculty of at least two instructors.
A competitor may not submit more than two
drawings.
The drawings must be upon white paper
eig hteen by twenty-four inches in size unmounted and unframed.
[ 54
I
The subject must deal with the human figure
(not the head only), either singly or in composition, and be executed in black and white by
[ 55
I
pen, pencil, or hard crayon, but not in chalk or
charcoal. The awards are based upon the precision, accuracy of delineation, proportions, detail, simplicity, and picture quality of the drawings submitted.
FREE-HAND DRAWING PRIZES
FOR THE
HIGHER SCHOOLS OF PHILADELPHIA
AND VICINITY
Given by the Academy
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 com
petitor; 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
that school.
Drawings must reach the Academy not later
than November 15th.
The Directors of The Pennsylvania Academy of the Fine Arts have established a
system of prize awards for original Freehand Drawing by students of the high er
schools of the city of Philadelphia and
immediate vicinity.
T
HE purpose of making these awards is to
stimulate interest in Free-hand Drawing , to
discover those who possess marked talents , and
to offer them the advantages of study at the
Academy. The drawings must be made free hand from a cast or other object assigned by
the instructor and must be the unaided work of
the student, without criticism.
A fi rst prize of $ lOa nd 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.
[ 56
1
The drawings must be made with lead pencil,
charcoal or crayon on white paper eighteen
inches by twenty-four inches in size and unmounted.
r 57
J
The drawings may be made at any time during the months of March and Apri l, but must be
submitted to the instructor of the school where
made, and the prizes announced before April
30th.
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 15th.
The Faculty of the Academy will then judge the
drawings submitted, and award the final prizes
as follows:
Twenty-five dollars for the best drawings; fiftee n dollars for the second, and ten dollars for
the third.
All entries must have the foll owing information legibly written on the ba ck: name of the
co mpetitor; name of the school in which the
student is working, and the signature of the
Principal of the school. Drawings will be returned to the schools from which received.
•
Full-figure Antique Drawing Classroom
Above: Group of Stewardson Prize Figures
It is hoped that these awards, and the stimulus they afford, will lead to a closer sympathy
between the art instruction in th e city's higher
schools and the work of the Academy itself.
[ 59
l
RULES OF THE SCHOOL
DEPORTMENT
Students are expected to be self-govern-
MATERIALS
Materials for study must be provided by the
student. Articles required in the classes are
for sale in the school store at lowest prices. All
sa les are for cash only.
ing, and to know and obey the rules of
the Academy from principles of honor.
IOLATION of the rules will result in suspension or dismissal from the Academy.
Any conduct unbecoming a student is a violation of the rules.
V
Students are not to be called from the classroom unless in the judgment of the Curator the
matter is of urgent importance.
Telephone calls are not reported to students.
Messages are placed in students' mail boxes.
Student,s are required to register their work
each month. A record of these registrations is
kept for determining the standing of a student
at the end of the year and eligibility for enter'ng the Cresson competition.
[ 60
1
LUNCH-ROOMS
luncheon must not be eaten in the schoolrooms. 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
pro perty of any kind about the schoolrooms because 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.
A handbook of rules and further detailed information will be given to the student at time
of enrollment.
Application forms and any other inf~rmation
regarding the Schools may be obtained bv
addressing
ELEANOR A. FRASER,
Curator.
Broad Street, above Arch,
Philadelphia
[ 61 J
TEMPLE SILVER MEDAL
HONOR ROLL OF THE ACADEMY
Medals and Prizes Awarded in the Academy's Annual Exhibiti ons
ACADEMY GOLD MEDAL OF HONOR
1893
1894
1895
1896
1898
1898
1899
190 I
1902
1903
1904
1905
1905
1906
D. Rid gway Knight
Alexander Harrison
William M. Chase
Winslow Homer
Ed win A. Abb ey
Cecilia Beaux
Charles Grafly
Henry.
J Th ouron
James A. McN eill Whistler
John S. Sargent
John W. Alexander
William T. Richards
Violet Oakley
Horatio Walker
1907
1908
1909
1911
Edward
Edmund
Thomas
Willard
W. Redfield
C. Tarbell
P. Anshutz
L. Metcalf
1914 Mary Casatt
1915 Edward H. Coates
(A Wdrd ed for eminent servi<-es
the ACddemy)
1916 J. Alden Weir
1918 John McLure Hamilton
1919 Hugh H. Breckenridge
1920 Chi Ide Hassam
1926 Frank W. Benson
1929 Daniel Garber
TEMPLE GOLD MEDAL
884 George W. Maynard
885 Charles Sprague Pearce
887 Clifford Prevost Grayson
888 Charles Stanley Reinhart
889 Anna Elizabeth Klumpke
890 William Henry Howe
891 Abbott H. T~ayer
892 Henry S. Bisbi ng
894 Jas. A. McNeil Whistler
894 John S. Sargent
895 Edmund C. Tarbell
895 John H. Twatchman
896 Gari Melchers
896 J. Humphreys Johnston
897 George DeForest Brush
897 John W. Alexander
898 Wilton Lockwood
898 Edward F. Rook
899 Joseph DeCamp
899 Childe Hass am
900 Cecilia Beaux
901 William M. Chase
902 Winslow Homer
903 Edward W. Redfi eld
904 Thomas Eakins
905 J. Alden Weir
[ 62 J
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
1923
1924
1925
1926
1927
1928
1929
1930
Eugene Paul Ullman
Willard l. Metcalf
Frank W. Benson
Frederick P. Vinton
Howard Gardiner Cushing
Richard E. Miller
Emil Carlsen
Frederick Frieseke
W. Elmer Schofield
Charles W. Hawthorne
Joseph T. Pearson, Jr.
George Bellows
George Luks
Daniel Garber
Earnest Lawson
Leopold Seyffert
William l. Lathrop
Walter Ufer
William Glackens
Clifford Addams
Haley Lever
Leon Kroll
James Chapin
Robert Henri
Arthur B. Carles
883
: 884
1885
887
: 888
William Thomas Trego
Thomas Hill.
William T. Rlch.ards
Alexander Harmon
Howard Russell Butler
1889
1890
1891
1892
Arthur Parton
Edward l. Simmons
Kenyon Cox
George Inness
WALTER LI PPI NeOn PRIZE
to
1894 William Sergeant Kendall
1895 Edmund C. ~arbell
1896 William L. PlCknell
1897 Albert Herter
1898 James Jebusa Shannon
1899 John W. Alexander
1900 Henry O. Tann er
190 1 Charles H. Davis
1902 Walter MacEwen
1903 Frank W. Benson
1904 Mary Cassatt
1905 Alexander Stirling Calder
1905 T. W. Dewing
1906 Childe Ha ssam
1907 Marion Powers
1908 James R. Hopkins
1909 Thomas P. Anshutz
191 0 J. Alden Weir
191 1 Daniel Garber
1912
1913
1914
1915
1916
1917
1918
1919
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
1930
Edward W. Redfield
Emil Carlsen
M. Jean McLane
William M. Paxton
Karl And erson
Arthur B. Carles
DeWitt M. Lockman
C ol in Campbell Cooper
Joseph DeCamp
Irvi ng C ouse
Irvi ng R. Wiles
Charl es W. Ha wthorne
Edward Dufner
E. Martin Hennings
Robe rt Vonnoh
Guy Brown Wiser
Feodor Zakharov
Leopold Seyffert
Abram Poole
MARY SMITH PRIZE
879
880
88 1
882
883
88 4
885
887
888
889
890
891
1892
1894
1895
1896
1897
Susan H. McDowell
Catheri ne A. J a nvi er
Emily Sartain
Mary K. Trotter
Emily Sartain
Lucy D. Holme
Cecilia Beaux
Cecilia Beaux
Elizabeth F. Bonsall
Elizabeth W. Roberts
Alice Barber Stephens
Cecilia Beaux
Cecilia Beaux
Maria l. Kirk
Gabrielle D. Clements
Elizabeth H. Watson
Eliza beth F. Bonsa II
1898 Caroline Peart
1899 Carol H. Beck
1900 Ma ry F. R. Clay
1901 Janet Wh eeler
1902 Elin or Earle
1903 Jessie Will cox Smith
1904 Lillian M. Genth
1905 Elizabeth Shippen Green
1906 Alice Mumford
1907 Mary Sm ythe Perkins
1908 Elizabeth Sparhawk Jones
1909 Martha Walter
1910 Ali ce Mumford Roberts
1911 Alice Kent Stoddard
1912 Elizabeth Sparhawk Jones
1913 Alice Kent Stoddard
1914 Nina B. Ward
[ 63 1
MARY SMITH PRIZE (Continued)
1915
1916
1917
1918
1919
1920
1921
1922
Gertrude A. Lambert
Nancy M. Ferguson
Elizabeth F. Washington
Helen K. McCarthy
Juliet White Gross
Mildred B. Miller
Katherine Patton
Mary Townsend Mason
1923
1924
1925
1926
1927
1928
1929
1930
GEORGE D. WIDENER MEMORIAL GOLD MEDAL
Isabel Branson Cartright
Lillian B. Mees er
Mary Butler
Wenonah Bell
Pearl Aiman Van Sciver
Laura D. S. Ladd
Edith McMurtrie
Grace Gemberling
1913
1914
1915
19 16
1917
1918
1919
1920
1921
JENNIE SESNAN GOLD MEDAL
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1915
1916
W. Elmer Schofield
Colin Campbell Cooper
Edward W. Redfield
Albert L. Groll
Ernest Lawson
Everett L. Warner
Theodore Wendel
Chi Ide Hassam
Joseph T. Pearson, Jr.
William L. Metcalf
George Bellows
Robert Spencer
Carol S. Tyson, Jr,
Emil Carlsen
1917
1918
1919
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
1930
John S. Sargent
Adolphe Borie
Edmund C. Tarbell
Joseph DeCamp
J. Alden Weir
Robert Henri
Charles Hopkinson
Douglas Volk
Joseph T. Pearson, Jr.
Leopold Seyffert
Leslie P. Thompson
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
1930
Eugene Speicher
George Bellows
Ellen Emmet Rand
Lilian Westcott Hale
Sidney E. Dickenson
William James
Alice Kent Stoddard
John C. Johansen
William M. Paxton
Richard Lahey
Leon Kroll
THE EDWARD T. STOTESBURY PRIZE
1916 Joseph T. Pearson, Jr.
1917 Hugh H. Breckenridge
1918 Daniel Garber
1919 Arthur B. Carles
1920 Edward W. Redfield
1921 William M. Paxton
[ 64]
1924
1925
1926
1927
1928
Joseph Capolino
Charles Morris Young
Leopold Seyffert
Leslie P. Thompson
Aldro T. Hibbard
1922
1923
1924
1925
1926
1927
1928
1929
1930
Beatrice Fenton
Brenda Putnam
Arthur Lee
Walker Hancock
Adolph A. Weinman
Katherine W. Lane
Albert Stewart
Bruce Moore
Mitch ell Fields
THE JAMES E. McCLEES PRIZE
Haley Lever
J. Alden Weir
Charles H. Davis
Hugh H. Breckenridge
Charles Morris Young
George Oberteuffer
Aldro T. Hibbard
Walter Griffi n
Walter Emerson Baum
Charles Rosen
John R. Grabach
Kenneth Bates
Charles Buchfield
S. Walter Norris
1927 Jess Lawson Peacey
1928 Albert Laessle
1929 Hallie Davis
1930 Gaetano Cecere
CHARLES W. BECK, Jr., PRIZE (Water Color Exhibition)
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1916
CAROL H, BECK GOLD MEDAL
1909
1910
1911
1912
1913
1914
1915
1916
1917
1918
1919
Charles Grafly
Paul Manship
Albin Polasek
Edward ~c.C:a:tan
Atillio PIcCIrilli
Albert Laessle
Jess M. Lawson
Malvina Hoffman
Evelyn Beatrice Long ma n
•
Joseph Lindon Smith
Henry McCarter
Elizabeth Shippen Green
Maxfield Parrish
Ernest L. Blumenschein
N. C. Wyeth
Jessie Willcox Smith
W. J. Aylward
Jules Guerin
Thornton Oakley
Blanche Greer
1917
1918
1919
1920
1921
1922
1923
1925
1926
1927
H. Giles
C. B. Falls
Henry Reuterdahl
F. Walter Taylor
George Wright
Ethel Betts Bains
Nat. Little
Edward H. Suydam
Frederic A. Anderson
James Preston
THE DANA GOLD MEDAL (Water Color Exhibition)
1918
1919
1920
1921
1922
1923
Francis McComas
Alfred Hayward
M. W. Zimmerman
Joh n R. Frazier
Wilmot E. Heitland
Charles H. Woodbury
1924
1925
1926
1927
1928
1929
Frank W. Benson
William Starkweather
Charles H. B. Demuth
M. Lois Murphy
J. Frank Copeland
Wayman Adams'
THE PHILADELPHIA WATER COLOR PRIZE
(Water Color Exhibition)
1915
1916
1917
1918
1919
1920
1921
1922
Alice Schille
Dodge McKnight
Gifford Beal
Hayley Lever
Childe Hassam
John R. Frazier
Francis McComas
Birger Sandzen
1923
1924
1925
1926
1927
1928
1929
Frank W. Benson
W. Emerton Heitland
Florence Este
Emil J. Bistran
Paul Gill
Howard Giles
William Starkweather
[ 65
1
THE ALICE McFADDEN EYRE GOLD MEDAL
(Water Color Exhibition)
1924 George Bellows
1925 Herbert Pullinger
1926 Edward Howard Suydam
1927 Frederick G. Hall
1928 Asa Cheffets
1929 Allan A. F. Thomas
THE JOSEPH PENNELL MEMORIAL MEDAL
1928 Frank W. Benson
1930 Rockwell Kent
MINIATURE PAINTERS' MEDAL OF HONOR
(Miniature Exhibition)
1916
1917
1918
1919
1920
1921
1922
Laura Coombs Hills
Lucy May Stanton
Margaret Foote Hawley
Emily Drayton Taylor
Mabel R. Welch
Maria J. Strean
A. Margaretta Archmbault
1923
1924
1925
1926
1927
1928
1929
Rosina C. Boardman
Harry L. Johnson
Anna Hurlburt Jackson
Clara Shepard Shisler
Rebecca B. P. Patterson
Evelyn Purdie
Eulabee Dix
Country Schoo I
Chester Springs
Chester Co., Penna.
Open throughout the year. Instruction in Drawing, Painting, Illustration,
and Sculpture.
•
THE CHARLES M. LEA STUDENT PRIZES
Ist Prize
1917 Edith Sturtevant
1919 John H. Crosman
1st Prize
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
Ruth H. Deal
Edward Shenton
Sarah Langly
Luiqi Spizzirri
Glenna Latimer
Mildred Smith
Allen A. F. Thomas
Henry Cooper
Robert Volz
Ruth Wilkie
[ 66
1
2nd Prize
Rowley W. Murphy
Susan A. Jones
2nd Prize
Semour Bigelow
Sarah Langly
Glenna Latimer
Edwin B. Rosskam
Paul D. Webb
Edward Biberman
Haral Arensbach
Edw. R. Strawbridge
Nicholas J. Marsicano
Charles Ward
3rd Prize
Ralph Smith
Beatrice M. Dwan
Luigi Spizzirri
Eleanor Beckman
Betty Welsh Paul
Robert Crowther
Ruth H. Reeves
Robert Volz
Marian Barclay
Michael Sareskey
Students fulfilling certain requirements are eligible to compete for
all prizes offered in the City School.
Address
D. ROY MILLER
Resident Manager
[ 67]
CONTENTS
PAGE
Admission ...... . . ...... .... ............... "
Advantages of Location ...... ..... .. ........ "
Beginners' Classes . ...... .... ...... . ..........
Calendar ............ .. ............ . .. ... ...
Country School . .... .. .... .... ...............
Exhibitio ns .. .. .......... .... . ...............
Eveni ng Classes .. , ....................... .. "
Faculty ........ ...... ........ . ..............
23
18
29
20
67
17
47
9
Fees .. .. ..... . ........ . .... ................ 25
Foundation of the Academy . . . . . . . . . . . . . . . . . . .. 6
General Announcement ....................... 15
Honor Roll of the Academy. . . . . . . . . . . . . . . . . . ..
Illustration ..... .............................
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "
Management ................... ........ .. . . .
Mural Decoration ... .. .... . ..................
Painting ................. . ..................
Privileges for Students .................... . .. "
Rooms and Board in Philadelphia. . . . . . . . . . . . . . ..
Rules of the School. . . . . . . . . . . . . . . . . . . . . . . . . ..
Schola rships and Prizes ................... . . .. "
School Hours ........
. . . .. ... . . . . . . . . . . . . . . . .
Sculptu re . . . . . . . . . . . . . . . .
.
62
35
27
5
41
33
16
19
60
48
21
. . . . . . . . . . . . . . . . . . 37
Special Classes ...... ..... .. ................. 42
University of Pennsylvania .................. .. . . 16
ANNUAL MEMBERSHIP IN
THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS
A NNUAL members are such persons as con-
,
n
tribute $10 annually for the maintenance
of the Academy.
LI FE
MEMBERSHIP
Life members are those who contribute the
sum of $100. Annual and life members are
admitted to all the public exhibitions and
lectures at the Academy, have a right to use
its library, subject to the regulations of the
institution, and receive an admission ticket.
They have all the privileges of stockholders
except the right to vote. Checks may be
sent to Henry C. Gibson. Treasurer. at the
Academy.
FORM OF BEQUEST
I give. devise and bequeath to "The Pennsylvania
Academy of the Fine Arts" ........................................... .
Dollers. in trust to invest and keep invested and
apply the income only to the maintenance of the
said Academy.
,
.'"
'1
•
,
•
•
,
•
•
