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Title
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1945-1946 School Circular
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Is Part Of
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RG.03.04.01
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eng
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PDF
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HISTORY
The Pennsylvania Academy of the Fine Arts is t~e oI~est art institution in the United States and actually dates Its eXistence from
1791, when Charles Willson Peale commenced his efforts to
organize in Philadelphia a school for ~he fine arts. It w~s f.ormally founded in 1805, and chartered In 1806. Mr. Peale s first
efforts resulted 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. In 1805, in Independence Hall, where twenty-nine 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 gathering was a distinguished one, and included George Clymer, a signer of the Declaration of Independence; Joseph Hopkinson, the author of "Hail Columbia";
William Tilghman, President of the Court of Common Pleas, and
afterwards 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, William Rawle, Horace Binney, Simon Gratz, John
Reynell Coates, Richard Rush, Charles Biddle, John Redman
Coxe and Edward Penington.
The object of the association, quantity and vigorously expressed
in the language of the 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 Master~
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 exciting the efforts of
the Artists gradually to unfold, enlighten, and invigorate the talents of
our Countrymen."
THE FUNCTION of the Academy as one of the greatest
American galleries presents the public with its opportunity for
heightened appreciation and enjoyment and , on t~e other hand ,
its students with an easy and intimate contact With the best of
past and contemporary art. Its maintenance of one ?f t~e m?st
eminently renowned schools, winte~ and s.ummer,Julfrlls Its o~lg
inal pledge in providing students With their !echnlc~1 fo~ndatlon
and esthetic background. This circular c~ntalns ~etarled Inforrr: a tion relative to the Winter School in Phrlade lphla, Pennsylvania.
•
ROY C. NUSE
DANIEL GARBER
Instructor in Drawing and Preliminary and Advanced Life Painting .
Born in North Manchester, Indiana, in 1880. Studied in the Art Academy of
Cincinnati, and in The Pennsylvania Academy
the Fine Arts. Awarded:
First Hallgarten Prize, National Academy of Design, 1909; Honorable Mention, Carnegie Institute, 1910; 4th W . A. Clarke Prize and Honorable
Mention, Corcoran Gallery of Art, Washington, D. C., 1910: Honorabl.e
Mention, Art Club of Philadelphia, 1910; Bronze Medal, International ExposItion, Buenos Aires, 1910; Walter Lippincott Prize, The Pennsylvania Academy
of the Fine Arts, 1911; Potter Palmer Gold Medal, Art Institute of Chicago,
1911; 2nd W. A. Clarke Prize and Silver Medal, Corcoran Gallery of Art,
Washington, D. C., 1912; 2nd Altman Prize for Figure Painting, National
Academy of Design, New York City, 1915; Gold Medal, Panama-Pacific
International Exposition, San Francisco, 1915; Shaw Prize, Salmagundi Club,
New York C ity, 1916; Ha rrison S. Morris Prize, Newport, Rhode Isla nd, 1916;
1st Altman Prize for Figure Painting, National Academy of Design, New York
City, 191 7; Edward T. Stotesbury Prize, The Pennsylvania Academy of the
Fine Arts, 1918; Temple Gold Medal, The Pennsylvania Academy of the Fine
Arts , 191 9; First W. A. Clarke Prize and Gold Medal, Corcoran Gallery of
Art, Washington, D. C., 1921; First Altman Prize for Landscape, National
Academy of Design, New York City, 1922; Gold Medal, A rt Club of Philadelphia, 1923; Carnegie Prize, National Academy of Design, New York City,
1923; Third Prize, Carnegie Institute, International, 1925; The Academy Gold
Medal of Honor, The Pennsylvania Academy of the Fine Arts, 1929; The
Jennie Sesnan Gold Medal, The Pennsyl va nia Academy of the Fine Arts,
1927; Popular Prize, Annual Exhibition, The Pennsylvania Academy of the
Fine Arts, 1940-41; Pennell Medal , The Pennsylvania Academy of the Fine
Arts, 194-2. Member: National Academy of Design, New York City; National
Arts Club, New York City; Salmagundi Club, New York City.
0:
t
tor in Drawing and Preliminary Portrait Painting and Head of t he Coordi·
n:St:;cCourses of The Pennsylvania Academy of the Fine Arts with the University
of Pennsylvania.
I
Born in Springfield, Ohio, February 23, 1885. Pupil of Duveneck , Cincinnati
Art Academy, Pennsylvania Academy of the Fine Arts. Awards: C resson
European Scholarship, Pennsylvania Academy of the Fine Arts, 1917 ; Second
Cresson, Fi rst Toppa nand Fi rst Thou ron Prizes, Pennsylva nia Academy of
the Fine Arts, 1918; Medal, Philadelphia Sketch Club, 1921. Fellowship of
P.A.F.A. Gold Medal Award, 1940. Past President of the Fellowship of
Pennsylvania Academy of the Fine Arts.
GEORGE HARDING
Instructor in Illustration and Mural Decoration, on indefinite leave as Captain in
the United States Marine Corps.
Born in Philadelphia; studied in The Pennsylvania Academy of the Fin e Arts
with Howard Pyle and independently abroad. Illustrator and author of
descriptive articles and fictional work in Harpers and other magazin es.
Travelled extensively in the North, Australia, New Guinea and Asia. Commissioned Captain of Engineers and assigned as artist with the American
Expeditionary Forces in 1918-1919. Mural Decorations in banks , hote ls,
hospita Is , U. S. Cu stoms House Port of Ph iladel ph ia , North Ph iladelph.ia .Post
Office, U. S. Post Office Building, Washington, D. C., Federal Buddlng'f
World 's Fair, Edward T. Stotesbury Prize, 1938, Pennsylvania Academy 0
the Fine Arts. Member: National ACQQ~my of Design.
•
•
FRANCIS SPEIGHT
HARRY ROSIN
Instructor in Drawing and Painting .
Instructor in Construction and Sculpture.
Born in Windsor, North Carolina, 1896. Studied in The Corcoran School of
Art, Washington, D. C., and The Pennsylvania Academy of the Fine Arts .
Awards: Cresson Foreign Traveling Scholarships, 1923 and 1925, The Pennsylvania Academy of the Fine Arts; The Fellowship of The Pennsylvania
Academy of the Fi ne Arts' Gold Meda I, 1926; Fi rst Prize in La ndsca pe
Society of Washington Artists, 1929; The Fellowship of The Pennsylvania·
Academy of the Fine Arts Prize, 1930; First Hallgarten Prize, National
Academy of Desig n, 1930; M. V. Kohnsta m m Prize, The Art Institute of
Chicago, 1930; Landscape Prize, Connecticut Academy of Fine Arts, 1932;
Third W. A. Clarke Prize and Bronze Medal, Corcoran Gallery of Art,
Washington, D. C., 1937; Gold Medal, Philadelphia Sketch Club, 1938; The
Jennie Sesnan Gold Medal, The Pennsylvania Academy of the Fine Arts,
1940; The Academy Fellowship Prize, 1940. Member: National Academy of
Design, New York City.
Born in Philadelphia, December 21, 1897. Studied in The Pennsylvania
Academy of the Fine Arts and in Paris. Awarded: Stewardson Prize for
Sculpture; Cresson Traveling Scholarship, 1926; Widener Gold Medal, 1939;
P. A. Fellowship Prize, 1941. Fellowship of P.A.F.A. Gold Medal Award , 1942.
Re presented: by work for the French Government on the isla nd of Guadaloupe, French West Indies; a building in Papeete, Tahiti, South Seas; The
Samuels Memorial, Schuylkill River, Philadelphia; Private and Public Collections in London, Paris, Tahiti, New York and Philadelphia.
WALKER HANCOCK
Instructor in Sculpture, on indefinite leave as Captain in U. S. Army.
Born in St. Louis, 1901. Studied in the St. Louis School of Fine Arts and The
Pennsylvania Academy of the Fine Arts. Awards : Second Prize, St. Louis Art
League Competition, 1916; Edmund Stewardson Prize, Pennsylvania Academy
of the Fi ne Arts, 1921; Emlen Cresson Foreig n Travel i ng Schola rshi p, 1922
and 1923; Widener Memorial Gold Medal, Pennsylvania Academy of the
Fine Arts, 1925; Fellowship Prize, 1932; Helen Foster Barnett Prize, National
~cademy of Desig n, 1935. Awa rded Fellowshi pin the America n Academy
In Rome, 1925. Member: Architectural League of New York. The Fellowship
of T.he Pennsylvania Academy of the Fine Arts; National Sculpture Society;
National Academy of Design; National Institute of Arts and Letters.
PAUL MANSHIP
Instructor in Sculpture.
Born in St. Paul, Minn., 1885. Studied in The Pennsylvania Academy of the
Fine Arts. Member: Associate of the National Academy of Design, New
York, 1914; National Academician, 1916; National Sculpture Society, 1912
(pres.); American Institute of Arts and Letters, 1918; Chevalier, Legion
d' Hon neur, 1929; Century Association; Fellow, American Academy Arts and
Sciences; American Academy of Arts and Letters, 1932; National Arts Club;
Alumni Association of the American Academy in Rome. Awards: American
Academy in Rome Scholarship, 1909-12; Barnett prize, National Academy of
Design, 1913; Widener Gold Medal, Pennsylvania Academy of the Fine Arts,
1914; Gold Medal, Panama Pacific Exposition, San Francisco, 1915; Helen
Foster Barnett prize, National Academy of Design, 1917; gold medal, American Institute of Architects, 1921; medal, American Numismatic Society, 1924;
gold medal, Philadelphia Art Association, 1925; gold medal, Sesqui-Centennial Exposition, Philadelphia Exposition, Philadelphia, 1926. Represented
in Private and Public Collections.
•
EDWARD SHENTON
Instructor in Illustration.
Born in Pottstown, Pennsylvania, November 29, 1895. Studied in the Ph~la
delphia Museum School of Industrial Art; Pennsylvania Academy of the ~Ine
Arts; Pupil of Thornton Oakley; Henry ~cCarter; G:orge Hardln~.
Awarded: Lea Prize, 1922; Cresson Traveling Scholarship, Pennsylvania
Academy of the Fine Arts , 1922, 1923. Represented: Illustrations,
"Scribner's," "Saturday Evening Post," "The Yearling," 1937; " Cro~s Creek~"
1942; "Face of a Nation," 1939; "Dune Boy," 1943. Instructor, Philadelphia
Museum School of Ind ustrial Art.
JOHN F. LEWIS. JR.
Chairman e:r-officio, as Chairman of the Committee on Instruction of the Board
of Directors.
-
JOHN F. HARBESON. B.S. and M.S. in Architecture
Instructor in Perspective and Architectural Adviser in the Sculpture Class in
Composition.
Born in Philadelphia, July 30, 1888. Studied in the University of Pennsylvania.
Received B.S. 1910, and Arthur Spayd Brooke Gold Medal in Design, 1910;
t,I.S.A., 191 I; Cope Prize (Ph iladel ph ia Cha pter, A. I. A. and T Sq ua re
C lub), 1913. Architect, Assoc iate of Paul P. Cret. Fell ow, American Institute of Arc hitects; Associate Professor in Architectural Design, Sch ool of
Fine Arts, University of Pennsylvania; Author of "The Study of Architectura l
Design," Pencil Points Press, N. Y., 1926.
WILLIAM M. CAMPBELL. B.S. and M.S. in Architecture
Assistant Instructor in Perspective.
FRANKLIN CHENAULT WATKINS
Instructor in Painting and Composition.
Born in New York City, in 1894. Studied in The Pennsylvania Academy of the
Fine Arts. Awarded: William Emlen Cresson Memorial Traveling Scholarship, 19 17 , 1918; Second Toppan Prize, Pennsylvania Academy of the Fine
Arts , 1920; First Prize and Lehman Prize, Carnegie International Exhibition,
1931; Bronze Medal, Paris Exposition, 1937; Bronze Medal, Musee de Jeu de
Paume, Paris, 1938; First Prize and Corcoran Gold Medal, Corcoran Gallery
of Art, 1939; Second Prize, un restricted Division, Internationa I Art Exhibit,
Golden Gate Internatio nal Exposition, 1939; Beck Gold Medal, Pennsylvania
Acad~my of the Fine Arts , 1941; Lippincott Prize, Pennsylvania Acade'my of
the Fine Arts, 1942; Temple Gold Medal, Pennsylvania Academy of the Fine
A rt.s , 1944; also awards, Philadelphia Sketch Club, Philadelphia Art Club,
~h lcago Art Institute. Served Marine and Naval Camouflage operations,
First World War. Represented in Private and Public Collections.
Born in Germantown, Philadelphia, 1887; studied in the Univers ity of Pen nsylvania . B.S. in Arts, 1912. B.S. in Arts; R.A. Instructor in Elements of
Architecture in the School of Fine Arts, University of Pennsylvania.
PHILIP ALIANO
Instructor in Stone Cutting.
Born in Corleto Perticara, Italy. Studied drawing and modelin g at The
Spring Garden Institute and modeling at Drexel Institute. Received Honorab le Mentions.
Foreman in charge of stone, marble and granite for different studios; also
stone yard. Former Chairman of the Architectura l Sculptors and Carvers
Association of Philadelphia and Vicinity.
EDMOND J. FARRIS. B.A.• Ph.D.
Instructor in Anatomy.
Born in Buffalo, New York. Associate in Ana tomy, in Charge of Operat ion~
of The Wistar Institute of Anatomy and Biology. Author, "Art Stud ~nt~,
Anatomy" (Lippincott); "Anatomy and Physiology, Laboratory GU ide
(Lippincott) .
GEORGE SIMPSON KOYL. M.S. in Architecture
Dean of the School of Fine Arts of the University of Pennsylvania representin9
the University in the Coordinated Courses.
JOSEPH SCHINDLER. D.Chem.
Technical Advisor.
Born in Munich, Germany, 1906. Oberrealschule, 1925. Abiturient and
Polytechnicum, Munich, 1929. Applied chemistry and technology in the
Fine Arts on the basis of Prof. Max Doerner, Munich, and Dr. Hans Boehm,
Berlin. Dozent of Chemistry and Conservator at The Pennsylvania Academy
of the Fine Arts, Technological Department.
LOUISE BOWEN BALLINGER
Curator of Schools.
Graduate Philadel phia Museu m School of Industria I Art. Formerly instructor
in Fine and Vocati o nal Arts in Private Schools.
SPECIAL LECTURES. A special group of lectures will be arranged through-
out the entire winter session covering topics of broad interest.
The lecturers are each specialists upon their separate topics and the following is a partial list of the subjects as planned: the craftsmanship and technique a nd the chemistry a nd physics of fi ne arts pa inti ng; slow motion pictures
of the life figure in action; exhibition of contemporary illustrations and talks
by outside artists; a short history of architecture with slides; cartooning art.
Additional topics may be duly announced .
Thi s series of lectures will endeavor to introduce the student to a few of the
many avenues of activity with which he must cope when the period of his
school study is past.
Anna T. Achenbach
Cresson Scholar in Painting 1943
Toppan First Prize 1944
HE Facu lty constitutes the greatest single asset of the Acad 'emy's Schools. Many other factors, however, contribute to
th e stre ngth of the present institution. Its strategic location ,
Ga lleries, Library and Print Collection, the Coordinated Courses
with the University of Pennsylvania, the American Academy in
Rome Collaborative problem and the many scholarship advantages will be briefly outlined below. (See "Scholarships and
Prizes" for detail s under that head.)
T
LOCATION. The Academy building is located in the heart of
Philade lphia within one block of City Hall and within two or three
b~ocks of th e centra l city railroad stations. It is within walking
distance ,of practic~IIy every gallery, museum, library, theatre
and ~~S IC ha ll of Importance in the city. Considering Philadelphi a s weal~h In these cultural attributes , the student in the
Acad emy has Im~easurable opportunities of augmenting his or
her s~~ ool work In every possible field of inspiration for art
and livin g.
ACA~E,MY GALLERIES. The Academy's Permanent Collection
o~ Pa inti ng s and Sculpture affords an opportunity for the study
o ~xamples of. famous masters, and includes the Gallery of
The Annual Exhibitions held by the Academy, of which t his
year's will be the One Hundred and Forty-first, bring toget her
the best examples of current American painting and sculpt ure,
and enable students to follow intelligently the va ri ous move·
ments of contemporary art, and to study the technica l method s
by which the art of today is achieving its results. These exhibitions
have been recognized for many years as being the fo rem ost in
America. The Water Color Exhibition and the Exhibition of
Modern Miniatures are held in the Fall of each year. The
exhibition of work of students submitted in competition fo r
Cresson European Traveling Scholarships and othe r prizes is
held at the end of May. Other special exhibitions conti nua lly
change the aspect of the Galleries throughout the Win te r season.
A student ticket entitles the holder, during attendance at the
Academy, to free admission to the Galleries , Special Exhibitions,
Lectures, and to the use of the Library and Print Collection ,
LIBRARY. An excellent reference library is available to all registered students at specified times. A valuable exten sio n of this
library exists in a collection of books, easy of access to stu dents
for individual research.
~aillon~1 Portraiture by Early American Painters; the Temple
t' 0 e,tl onlof Modern American Paintings; The Gibson Collec-
tho n'L argbe y composed of works of the Continental schools' and
e am ert Collection of Contemporary Art.
'
PRINT COLLECTION. The Academy is the owner of one of the
largest and most valuable print collections in the Uni!ea States ,
with a total aggregate in all collections of 67 ,000 prints.
MAY 1944
CRESSON TRAVELING SCHOLARSHIPS:
PAINTERS: Helen Fellows Fitch , Marion Freeman Holland, Lilian Ma xim,
Helen Omansky Gross , Gertrude Schobinger.
ILLUSTRATORS : Filomena Della ripa, Dorothy G ilman.
SPECIAL CITATION IN ILLUSTRATION: Elizabeth Smyser.
SCULPTORS: Eda Kassel , Ame lie Zell Felton.
LEWIS S. WARE MEMORIAL SCHOLARSHIP: Paul Anthony Greenwood.
THOU RON PRIZE: Marie Egner, Edna Bistline, Filomena Dellaripa, Jea nne
McLavy, Lilian Maxim .
PACKARD PRIZES: Nancy Pease, Macy Elliott.
PERSPECTIVE PRIZE: Fil omena Dellaripa, Ona Beth O'Connell.
STIMSON PRIZE, November, 1944: Stephania Borys.
STEWARDSON PRIZE, March, 1945: Stephania Borys.
DEGREES AWARDED BY UNIVERSITY OF PENNSYLVANIA TO STUDENTS
IN THE COORDINATED COURSES: Diana Denny, B.F.A.; Jeanne McLavy, B.F.A.; Ona Beth O 'Con nell, B.F.A.; G ertrude Schobi nger, M.F.A.;
He len Fellows Fitch , M.F.A.
THE CHARLES TOPPAN PRIZES: Anna T. Achenbach, first prize; Madeleine
Robertson, second prize; Helen Omansky Gross, honorable mention.
COLLABORATIVE PRIZES
First Prize Colla borative Team
•
Madeleine Robertson, Mural Decorator
Irvin Maitin, Architect
Second Prize Colla borative Team
,
1943-44 Competition
Eda Kassel, Sculptor
1943-44 Competition
Marion Freeman H olland , Mural Deco rator
Jorge Bonino, Architect
Amelie M. Zell, Sculptor
Third Prize Colla borative Team
1943-44 Competition
Gertrude Schobinger, Mural Decorator
Paul Anthony Greenwood Sculptor
Joan Nichols, Architect
'
Stephania Borys
The Stewardson Prize 1945
The general method of instruction is by ind!vidual criticism of
class wor". without the repressing effect of fixed methods. T~~
purpose of this training is to. develop. the students' ~atural abd~
ties, to enable them to acquire technique, and to stimulate their
sense of beauty. The various classifications of study are closely
allied and students in one department are privileged to work in
the other departments by arrangement with the Curator. This
entails no additional fee.
ATTENDANCE. There is no compulsory attendance in any class
or classes of the Academy school, but every day student is afforded the fullest possible opportunity to actively participate in
a schedule which can completely fill six or seven day hours six
days of every school week plus three additional evening hours on
five of those days.
SCHEDULE OF CLASSES. All new students, except those who
enter th~ Sculpture Classes, are required to work on trial in either
the Antique Cast Head or Antique Cast Figure drawing classes.
Stud~nts who present evidence of work accomplished in accred~ted a.rt schools may , upon consultation with the Curator, be
admitted Into more advanced classes immediately.
DRAWING. ~hese c1~sses a:e maintained primarily to provide
a groundwork In drawing which may be developed later in the
Painting and Illustration Classes. Working in monochrome (generally black and white) from the plaster cast, both head and
figure with unchanging light, provides the beginner with that
opportunity to grasp the problems of light and shade toward the
expression of form more easily than by work from living models.
First Antique Classes,
Antique Cast (Head) . . . . .
Construction (Life Model Proportions)
Sketch (Costumed Model)
Second Antique Classes,
Antique cast (Figure J •
•
•
•
•
•
•
•
•
•
•
•
•
•
Sketc h (Costumed Model)
Disc ussi ons in Painting and C omposition
Still Life .
. . . •
.
Construction
•
•
.
•
•
•
.
•
Fra ncis Speig ht .
Roy C. Nuse
Harry Rosin
. Roy C. Nuse
Daniel Garber
Francis Speight
. Roy C. Nuse
Harry Rosin
. . Roy C. Nuse
Franklin C. Watkins
. Francis Speight
SCULPTURE. This department introduces its students to and
trains technically in modelling and its application. Special emphasis is placed upon Sculpture as allied to its sister arts , Painting
and Architecture.
Life , Head, and C omposition
Sto ne Cutting
Perspective . . . . . . .
Croquis (Sk et ch i ng from Life , Action
. . .
C o nstruction
Anatomy .
.
Poses)
• •
. •
•
•
•
Paul Manship
· Harry Rosin
· Philip Aliano
John Harbes on
· Roy C. Nuse
. . . Harry Rosin
. Dr. Edmond J. Farris
•
PAINTING. The painting classes are pl~nned to assist each student, upon a sound knowledge of drawing as.a base, to a pe~
sonal expression through color; the ~hole b~I.lt upon composI tional understanding and sound technical faCility.
Preliminary Classes,
Life . . . . . .
Portrait, Costume, Sketch, and Croquis
Still Life .
Composition
Construction
. .
Discussions in Painting and Composition
Perspective .
Anatomy.
•
•
Advanced Classes,
Ad vanced Life .
Advanced Portrait and Compos:ti on
Costumed Sketch and Croquis .
Construction
Landscape
•
•
•
Daniel Garber
· Roy C. Nu se
· Fran cis Speight
Franklin C. Watkins
· . Harry Rosin
Franklin C. Watkins
John Harbeson
Dr. Edmond J. Farris
·
Daniel Garber
Franklin C. Watkins
· Roy C. Nuse
· Harry Rosin
Francis Speight
ILLUSTRATION. The purpose of the Illustration classes is to provide the student with such practical instruction in Drawing,
Composition, and Interpretation as will enable him to enter the
professional field of magazine and book illustrating.
Illustratio n Composition and Professional Practice
Life
'"
Costumed Model . . . .
Costumed Sketch and Croquis .
Construction.
.....
Com position.
Perspective
Anatomy .
Edward Shenton
Francis Speight
Edward Shenton
. Roy C. Nuse
. . Harry Rosin
Franklin C. Watkins
John Harbeson
Dr. Edmond J. Farris
lilian Maxim
Filomena Dellaripa
Cresson Scholar in Painting 1944
Cresson Scholar in Illustration 1944
MURAL DECORATION. The chief purpose of this class is to
train advanced students in solving the architectural problems of
decoration based upon a sound compositional knowledge, and
appreciation of scale. The actual mechani~s which this branc~ of
the Fine Arts involves are thoroughly studied so that the various
painting techniques employed in the mural expression may be
understood and acquired.
Mural Composition and Technical Research
Life . . . .
Costumed Sketch and Croquis .
Construction
Composition.
•
•
•
Instructor to be announced
Daniel Garber
. Roy C. Nuse
•
. . Harry Rosin
Franklin C. Watkins
BACHELOR DEGREE
University
Semester Credits
(a ) History of Art •
12
( b) English • • • •
12
( c) Modern Language
6
( d) General History.
6
(e) A Science • •
6
(f) Psychology
6
•
( g) Aesthetics . •
3
•
( h ) Electives
7
•
•
Academy (Technical)
•
•
MASTER DEGREE
Semester Credits
. • •
36
Academy
Technical.
University
History of Painting
Electives • . • .
. . .
.
•
•
4
8
Total Semester Credits
48
58
. 122
rotal Semester Credits 180
COORDINATED COURSES. The University of Pennsylvania
offers its degrees of Bachelor and Master of Fine Arts to students of Painting, Sculpture, Mural Decoration, or Illustration,
v-: ho have completed a course of academic study in the University and prescribed technical work in the Schools of The Pennsylvania Academy of the Fine Arts.
Th~ Co?rdinated Courses are normally five year courses, during
which tl~e 58 semester credits must be completed in required
academiC courses at the University and 122 semester credits in
the technical work of the Academy.
Advanced standing for academic work up to 22 semester credits
may be allowed by the University. For previous technical study
of the Fine Arts the Academy may allow credit up to 72 semester
credits of the 122 required. This does not apply to the terms of
the Cresson Competition.
The technical work of the student is judged each term by the
Committee on the Coordinated Courses. Reports are rendered
each term. In the academic courses the standing is reported
each term by the University.
The students in these courses share all privileges extended to the
student-body of each institution and are also subject to the
regulations imposed.
Candidates for admission to the Coordinated Courses must
meet the requirements of each institution. Application blanks
will be sent upon request.
•
REGISTRATION OF WORK. Each student is required to register
one example of work, once each month, representing effort in
each of the classes listed under the department in which he or
she is enrolled. For example: the student in Preliminary Painting
registers one Life, Head, Construction, Costumed Sketch, Com position and Still Life per month. The exceptions and ~pecial
classes are listed below. The same work cannot be registered
more than once. An unbroken record of registration is necessary
for eligibility for competitions, and is required of all students in
the Coordinated Course. Written requests for excuse upon legitimate grounds (illness, unavoidable absence, etc.) must be
addressed to the Curator for approval.
Attendance upon the classes on Discussions in Painting is not
compulsory but students are particularly urged to attend all
through their Academy experience, Composition studies and
finished work will be registered according to posted regulations.
Perspective drawing is a two-term (one-winter) course and is
compulsory of satisfactory completion before any student may
compete for a Cresson Traveling Scholarship, or receive the
award of a Collaborative Scholarship, and also upon all students
taking the Coordinated Course with the University of Pennsylvania. Every student is urged to get credit for this course in his
first or second year.
Anatomy lectures are not compulsory but every student is advised to attend regularly for at least two terms (one winter).
Paul A. Greenwood
Cresson Scholar in Sculpture 1943
The Stewardson Prize 1943
Ware Scholar 1944
,
•
PROMOTION. Application for promotion f.r0m the First ~n
tique Cast Drawing section .to the ~e~ond Antique C.ast Drawing
section and subsequently Into Painting or Illustration may be
made at any stated monthly meeting of the Faculty. A group of
Drawings or Paintings, one each from all branches of classes
attended, is placed for judgment with the application. Each work
submitted must have the approval of the Instructor of the class
in which it is made. If the Faculty finds the group of insufficient
merit to warrant promotion the student may submit another
group to the Faculty at any subsequent meeting. Admission to
the Advanced Head and Advanced Life Painting classes is also
by action of the Faculty upon the submission of one head or life
painting (respectively) accompanied by a line drawing made from
the life model as posed in the class. Work submitted needs no
Instructor approval.
Admission to the Mural Decoration Class is arranged by conference with the Instructor and the Curator.
All students in the Sculpture classes begin , upon entrance and
regardless of what previous experience they have had, in the
regular head and life classes. Their entrance into the broader
activities of the Sculpture department is arranged by conference with the Instructor and the Curator.
OPPOR~UNITIES FOR VETERANS. The Pennsylvania Academy
of !he Fine Arts offe~s opportunities for study to veterans who
s~tlsfy entr~nce requirements and who are eligible for educational benefits under the Servicemen's Readjustment Act of 1944.
EVENING CLASSES. The evening classes are planned for those
students whose activities or livelihood do not permit them to
attend the day session. Students admitted under this head are
not eligible to compete for prizes or scholarships and credits
are given only by special arrangement with the Curator. The
fees are set at a reasonable figure so that many may enjoy the
privilege of Drawing, Painting, or Modelling in the life classes.
See" Fees" for details. All day students are entitled to work in
~he evening classes without extra fee. Schedule follows on page 24.
Painting, Drawing and Etching,
Life
Costumed Sketch
Daniel Garber
Francis Speight
The Life model poses five evenings every week and the Costumed Sketch model every Tuesday evening.
Sculpture,
Life and Head
.
. Paul Mansh ip
Life models pose on Tuesday and Thursday evenings. Head
models pose Monday, Wednesday, and Thursday evenings.
PART TIME CLASSES. A courtesy part time registration without
prize or scholarship eligibility or credits is offered to former students at greatly reduced rates to aid them with instruction, the
invaluable continued use of models, and to concretely express
the genuine interest the Academy has in all those who have studied here. (See Rates.)
COLLABORATIVE PROBLEM. It is the aim of the Academy's
Schools to approach the fine arts in the broadest sense. Toward
that end and because of the ideal coordination with the University of Pennsylvania, through its School of Fine Arts, one of the
most valuable features is the participation through and with the
Association of the Alumni of the American Academy in Rome in
their Collaborative Problem. This project engages students in
architecture, landscape architecture, mural decoration and sculpture. Teams of four are formed, the latter two members from the
Academy, in the study of these, the four great art departments,
toward a perfect whole. The Academy deems the opportunities
thus afforded so valuable that it offers tuition scholarship prizes
to those students whose teams place in the prize winning groups
in the Rome Academy's judgment. For particulars see Collaborative Prizes under "Prizes and Scholarships."
An extracurricular activity of the winter of 1944-1945 was an
exhibitio n of student work organized by the Fellowship of the
P.A.F .A. This exhibition was designed to give students experience In. th.e prepa:ing and submitting of work for presentation
before IUries appointed by the Fellowship, and consisted of Paul
Froelich, William Campbell, William Jepson for the paintings
and Jan~ Lig~ett, Beatrice Fenton, Mary Lawser for the sculpture.
About fifty Items were registered and only twenty-eight items
were .accepted and hung. The exhibition was staged in Gallery A
op~nl.n~ with the reception of the Fellowship Annual Water Color
exhibition on March lOth and continuing until March 25th.
Gertrude E. Schobinger
Cresson Scholar in Painting 1943
Cresson Scholar in Painting 1944
Bachelor of Fine Arts 1943
Master of Fine Arts 1944
FREE TUITION SCHOLARSHI PS. Free tuition scholarships are
available to returning students whose financial obligations . have
been met in full, for at least two terms. These scholarships are
solely for the purpose of financially assisting those who would
otherwise be unable to pursue their study of art. Nineteen full
free tuition scholarsh ips and eight half tuition scholarships were
awarded in May, 1944, for the Winter School year 1944-1945 .
The major number of these are made available each year by
George D. Widener in memory of his father and mother, George
D. Widener and Mrs. Alexa nder Hamilton Rice, and through the
John Lambert Memorial Fund. Others are made available
thro ugh bequests of variou s friends of the Academy to be used
f~r scholarship aid: The Louise Harrison Memorial Scholarships
given by Thomas S. Harrison in memory of his wife; The Mary R.
BU.rton Scholarship; The Sarah Kaighn Cooper Memorial Scholarsh.lp through the generosity of Mrs. George K. Johnson; The
EII:abeth H. Thom~s Memorial Scholarship; and The George M.
Wdtbank Scholarships through the bequest of Annie C. Wiltbank.
Applicat~on may be made in the Spring of each year. These
scholars hlP.S are awarded by the Board of Directors upon the recomm~ndatlon of t~e.Committee on Instruction and the Faculty.
Appl icants must fdl In a prepared form and submit it together
with not more than four unframed examples of their work to the
Curator be!or~ the stated meeting of the Faculty for May, 1946.
These appllca~lons must be accompanied by a letter addressed
to th~ Committee on Instruction stating the necessity for requesting free tuition.
At the discretion of the management, and at times when there
is a particular demand for such help, certain of these scholarships
may be granted as half scholarships.
The Norman Bishusky Memorial Scholarship will be ava ilable for
the wi nter session of 1945-46 to a pupil from the Trenton Central
High School, Trenton, New Jersey.
One free tuition scholarship for two semesters is offered this year
through the Scholastic Magazine in their competition entitled
Scholastic Awards.
THE WILLIAM EMLEN CRESSON MEMORIAL
TRAVELING SCHOLARSHIPS
By th e liberal provisions of the wills of Emlen Cresson and Priscilla P., his wife, a
Fund has been created as a memorial to their deceased son, William Emlen Cresson,
Academician, the income of which is to be applied by Th e Pennsylvania Academ y of
the Fi ne Arts in sending pupils of merit to Europe. These scholarships shall be
av.arded under such ru les and regulations as shall be adopted from time to time by
Th e Boa rd of Directors of The Pennsylvania Academy of the Fi ne Arts .
The award of a Cresson Traveling Scholarship credits each student with $1 100; $900 to be used for a summer of travel and
traveling expenses, and the remaining $200 pays for tuition in
the ensuing two terms immediately following at the Academy.
An award is not to be regarded as a certificate of proficiency.
The winners should consider rather, that their industry and promise have won for them the opportunity to introduce into their
period of schooling this inspirational and broadening incident.
Each recipient is required to return to the Academy for f~rther
study and the financial arrangement is thus planned to Insure
this program.
The awards are divided among all departments of study and are
allotted as to standard of work as one factor, and the number of
contestants proportionally from each department as the other
factor.
The awards are made by the Board of Directors through its Committee on Instruction, upon the recommendation of the Faculty.
Nine students were awarded' Cresson Traveling Scholarships in
1944. The student illustrations in this catalogue are selected
chiefly from the work of the winners in the 1944 competition.
In the ca se of exceptional merit and when a very decided improvement is evident a student may, through the same authority,
receive the award a second time. Competition for a second
scholarship must be entered during the year succeeding the first
award, unless otherwise ruled or a satisfactory excuse be accepted by the Committee on Instruction.
The Faculty is not obliged to recommend awards of Cresson
scholarships if, in its opinion, the work submitted is not of sufficient merit to justify such recommendations.
RULES GOVERNING THE CRESSON COMPETITION. Every
student thirty-five years of age or younger, in good health and
without knowledge of any physical condition or any other reason
to prevent accepting and properly using such Scholarship, is
el igible for competition for a Cresson Traveling Scholarship when
they each have an aggregate of 96 Academy school weeks to
their credit, which must have been accumulated within five (5)
years of the date of competition. The final 32 weeks (two terms)
Stephania Borys
The Sti mso n Prize 1944
must be spe nt in th e Winter School of the Academy and must be
within the schoo l year of competition. Time spent in the Summer
School of the Academy is counted (provided certain requirements have been fulfi ll ed) in the aggregate of the first 64 weeks.
Every student must have a complete and unbroken registration
reco rd ove r the time included in computing eligibility (see "Registration of Wo rk"). They must also have completed satisfactorily
their work in Perspective (two terms). Delinquencies due to absence for ill ness or oth e r causes must be satisfactorily explained
in writi ng to t he Curator for excuse and all financial obligations
must be fu ll y pa id.
All stu dents entering the competition are required to procure an
application for permission to compete at the Curator's Office
before th e 13th day of March.
All wo rk submitted in competition must be that which has been
don e in the Academy classes or for Academy registration and
has received criticism from a member or members of the Faculty.
It ust also be work completed within the last 32 weeks of the
yY lnter School or in the Summer Session immediately preceding .
Either th e stamp from monthly registration or one by special
a r r~n~ emen t at the Curator's office must be upon each work
exhi bited.
All com penI ors are unrestricted
.
as to the amount and variety of
work t hey submit in the competition groups, provided they do
not e~ceed the space allotted to them, but each Painter's group
must Include a land scape.
:n
Paintings, .Drawings , and Illustrations exhibited in t he Pa inting
or Illustration groups must not exceed 36 inches in eithe r dimension, and must be exhibited unframed and unglazed . If tape is
used to trim unsightly edges of canvases it may be used to give
order rather than enhance and must not encroach upon the face
of the canvas.
A change f rom th e European travel stipulation ha s been granted
for the duration of the war by a special decree of t he O rphans
Court, dated April 26th , 1940. Winners in the competition of
May, 1946, will be required to use the traveling mon ey for travel
or study in the Western Hemisphere on schedules and itineraries
checked and approved by the Academy, unless in t he judgment
of the Academy traveling conditions in Europe are desirable and
safe. Each student awarded a First Cresson Traveling Scholarship will present a plan which covers a specified period of da~s
and a complete financia l and itinerary report as car ried out VIii I
be filed in the Office of the Curator before the first day of
November following the award. Each student awarded a S ec~nd
Cresson Traveling Scholarship is granted the privilege of uSing
the credit for travel ($900.00) any time within two years. and fo~r
months of the receipt of the award. The $200.00 credit for tUItion, however, must be used within the year following t he award.
The financial and itinerary report as approved ,by t~e A:a ~em'y
and as carried out must be filed in the Curator s office within SIX
weeks of the completion of the travel period.
In the event that in the judgment of the Academy conditions -for
European travel are desirable and safe, each student awarded a
First Cresson Traveling Scholarship must leave for Europe on or
before June 15th of the year of award; otherwise the scholarship
is revoked. A period of at least 90 days in Europe must be acco unted for in the financial and itinerary report which is required
for filing in the office of the Curator before the first day of
November following the award. Each student awarded a Second
Cresson Traveling Scholarship is granted the privilege of using
the credit for travel ($900.00) any time within two years and four
months of the receipt of the award. The $200.00 credit for tuition , however, must be used within the year following the award.
The financial and itinerary report covering the period of at least
90 days in Europe is also obligatory upon them and must be filed
at the Curator's office within six weeks of their return to America.
All the above rules are subject to change due to war conditions.
THE LEWIS S. WARE MEMORIAL SCHOLARSHIP. The Lewis
S. Ware Memorial Scholarship, in accordance with the will of the
Testator, provides a European Traveling Scholarship in amount and
regulations similar to those of Cresson Scholarships of that year.
This scholarship will be available at intervals of possibly three or
fc: ur years and is to be awarded when available by the President
with the advice of the Faculty to a student of outstanding merit
w~o is not receiving a Cresson Scholarship that year. This Scholarship was awarded in May, 1944.
Marion Freeman Holland
Cresson Schola r in Pai nting 1944
C resson Scholar in Painting 1943
Helen Omansky Gross
Cresson Scholar in Painting 1944 Toppan Honorable Mention 1944
•
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COLLABORATIVE SCHOLARSHIPS. Realizing the growing interest in and the demand for well-trained Mural Decorators and
Sculptors acquainted with the problems of their co-artists the
architects, this scholarship is designed particularly to encourage
talented students toward competent and thorough knowledge in
these fields.
Two terms of free tuition in the Winter School are, therefore, to
be awarded to each painter or painters and sculptor or sculptors
whose team or teams place first, seco nd or third in the Association of the Alumni of the American Academy in Rome judgment;
provided, that in the acceptance of such scholarship, the students
will major in their respective departments (Mural Decoration and
Sculpture), and shall use this tuition credit in the school year
directly following after that of the award.
THE CHARLE~ TO~PAN PRIZES. The Charles Toppan Prizes
for 1946 are: First Pme, $300.00; Second Prize, $200.00; and two
honorable mentions of $100.00 each.
These prizes were established in 1881 by the gift of Mrs. Charles
Toppa~, Miss Harriette R. To ppan, and Mr. Robert N. Toppan.
The 'prIZes are awarded only to students who have previously
r~celved and used a Cresson Scholarship. Competitors who fulfill all of the requirements for a Second Cresson Traveling Scholar-
ship will , at th~ same time, ?e considered eligible to compete for
a Toppan Pme. Competitors who have previously won two
Cresson Scholarships and who are attending school, followi ng
the award of the Second Cresson Scholarship, are required to
register one piece of work each month and will arrange individually with the Curator in regard to the requirements in the
various departments.
Any student having received one Toppan prize is debarred from
receiving another Toppan prize of the same or lower va lue.
The work submitted in competition must be an original painting,
in oil, tempera or water color, the unaided work of the student
without criticism. The subject for the paintings to be submitted
will be announced Friday, November 9, 1945. Al l work in competition must be submitted without signature by Saturday,
May I I, 1946, 12 o'clock noon. No student may subm it more
than one example. Work submitted mu st not mea sure less than
twelve inches nor more than thirty-six inches in either dimension ,
and must not be framed or presented under glass, .though paintings upon paper may be matted.
Canvases are numbered by the Curator, and a memorandum of
the numbers and competitors' names is kept in a sealed envelope
which is opened after the prize-winning canva ses 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 RAM BORGER PRIZE. From the income of a fund established by the late William K. Ramborger, Esq., as a memorial to
his sister, Aspasia Eckert Ramborger, who for some years wa s a
student of the Academy, an annual prize of $25 .00 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. Each competitor may submit one unmounted drawing on white paper 19 by 25 inches in
size. Having once received an award, a student becomes thereafter ineligible to compete again.
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 EDMUND STEWARDSON PRIZE. The Edmund Stewardson
Prize of One Hundred Dollars in the Department of Sculpture will
be awarded for the 46th time at the close of the school year.
This is an annual prize, competed for by present students of the
Academy with such pupils of other art schools as may be approved by the Committee on Instruction.
The subject for the competition is a full-length figure from Life
in the round. 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.
A student receiving one Stewardson Award is ineligible to compete a second time.
Amelie Zell Felton
Cresson Scholar in Sculpture 1944
The Stimson Prize 1942
No one except the competitors are adm itted to. t.he competition
room at any t ime during the days of the competition, and no one
except the members of the Jury are present during the judging
of the studi es.
Each competito r d raws a number by lot. This number determines
the competitor's position in the competition room and a corresponding numbe r is placed upon an envelope which contains the
competito r'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 t he Ju ry of Award.
The J ury of Award consists of three professional sculptors, having no offic ial connection wit h the Academy, or any other schools
whose pupils may have ta ken part in the competition. When the
successful number ha s been announced by the chairman of the
Jury, the Secret ary , in the presence of one or more of the officia ls
of the Academy, opens the envelope bearing that number and
ann.ounces the name of the successful competitor. If no study be
s~ tl sfa ctory to the Jury , the prize may, at their discretion, be
with held: W~en no award is made, the amount of the prize may,
a! th e dlscretl~n of the Board of Directors, be added to the prinCipal of the prIZe fund or distributed with future prizes.
!he clay mo~~ls offe:ed in c~mpetition must be kept standing
In good cond iti on until otherwi se ordered and figures cast by the
Aca demy become its property.
The Ju ry of Award judging the competition held during the second term of the school year 1944-45 con sisted of Jose De Creeft
and Oronzio Malda relli.
THE STIMSON PRIZE. This prize wa s estab lished in memory of
Emma Burnham Stimson and wa s c reated for th e award each year
of a prize in sculpture of $100.00 for the best work done by the
students in the regular course of t he cl ass.
The contest is open to students wh o have been registered for
three terms and who are members of t he Life Mode ling C lasses ,
but is not open to former students who wo rk in the class by special permission . Time spent at work in t he Sculpture C lasses at
the Chester Springs Country Schoo l will be counted up to two of
the three terms.
The subject for competition is a ful l- length figu re from life, in the
round, not less than two feet ~ i x in ches in hei ght, and must be
made during class hours as a pa rt of th e regula r work in the cla ss.
The work must be submitted ano ny mo usly to a ju ry appointed by
the Committee on Instruction of t he Boa rd of Directors. The Jury
must not include any instructor in the Sch ool.
The Jury is not obliged to award pr izes o r honorable mention s if,
in its opinion , the work submit ted is not of suffic ient merit to
justify making the awards.
The Jury of Award judging the compet iti on held d uring th~ fi r~t
term of the school year 1944-45 consisted of Salvatore Bilotti,
He rmon A. MacNeil and Carl Schmitz.
THE THOURON PRIZES. These award s were founded by t he
late Henry J. Thouron, a former In structor in Compo.si:ion .
A prize of $5000 and a prize of $25.00 for com p?sltlons completed during the current season are offered , th e first to be decided by the Faculty, the seco nd by a vote of the students; an d
a prize of $50.00 and a prize of $25.00 both to be awarded by
the Instructor of the class.
A competitor is not eligible a second time for the same prize,
and cannot receive more than one award the same season.
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 PACKARD PRIZES. From the income of the John H. Packard Fund, established by the children of the late John H.
Packard, M.D., for many years chairman of the Academy's Committee on Instruction, annual prizes of $30.00 and $20.00 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. A student having once received a
prize becomes ineligible to receive the same prize the second time.
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.
SCHOLARSHIPS. The Board of Public Education of the City of
Philadelphia awards a number of scholarships to students who
receive appointments. G raduates of all the City High and Manual Training Schools are eligible for these appointments, nominations for which are made by the Board of Education on the
recommendation of the Principals of the several schools, to whom
all applications should be addressed.
Helen F. Fitch
Cresson Scholar in Painting 1943
Cresson Scholar in Painting 1944
Master of Fine Arts 1944
•
ADMISSION. Application blank, sent upon request, must be
Evening School,
fill ed in and returned to the Curator with letters of character
reference, a doctor's certificate of health, a full-length snapshot,
and , on request, the applicant must submit examples of work in
wh ich the Faculty can find an apparent ability and promise and
a n evident sincerity of purpose, before the student may register.
Admission is contingent upon complete satisfaction to Faculty
and Management in each and every particular and is always subject to the unreserved right of dismissal. No student is eligible
unless at least sixteen years of age and possessed of a completed high school education or its equivalent. The Committee
o n Instruction reserves the right to limit the number of students
und e r any or all classifications.
Tuition Fee for Single Term
. . .
Matriculation Fee (paid only on e ntrance)
Locker Fee per term
..
"
Total per Single Term , Even ing School
$37.50
5.00
.75
$43.25
Part Time (for former P.A.F.A. studen ts),
Tuition Fee per term (3 full day privileges per
week) .
.
Locker Fee per term
•
Total Fee per term
$62.50
1.00
$63.50
Service Men and Women are admitted to the Evening
FEES. Day School,
Classes upon presentation of credentia ls a nd examp les of
work on request, to the satisfaction of the manageme nt,
paying a locker fee only .
1.00
Tuition Fee per term .
.
. .
.
Matriculation Fee (paid only on entrance)
Locker and Library Fees per term .
.
$125.00
10.00
2.00
These fees do not include the cost of any ma t e ria ls.
Total, First Term . .
.
Tuition Fee, All Subsequent Terms
Locker and Library Fees per term
$137.00
125.00
2.00
PAYMENT REGULATIONS. All fees are payable in advan ce
Total Fees, First Two Winter Terms
$264.00
Students paying the Day School fees are entitled to all the privileges of the Evening School classes.
Summer School, apply to the Cu rato r fo r information.
and no deduction is made for late registration o r for a bsence and
no refund is made for any reason whatsoever.
Payment shall be made in cash or by check draw n to the order
of The Pennsylvania Academy of the Fine Arts for the exact
amount due.
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Tuition fees are payable in two equal instalments. The first payment shall be made on or before the date of registration and the
second payment on or before January 28th. Official credit or
recommendation will not be granted by the Academy either to a
student or a former student who has not completely satisfied, in
the opinion of the management, his financial obligations to the
Academy.
Non-payment of fees according to the announced dates, as stated
above, shall prohibit such delinquent students from attendance
in all classes, lectures, etc.
New registration cards shall be issued at the beginning of each
term to students at the time of the payment of fees.
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Day classes are held from nine to twelve and from one to four
o'clock six days per week. Evening classes are held from seven
to ten o'clock from Monday to Friday, inclusive. All exceptions
are noted in the Calendar.
DORMITORIES. The Academy maintains in Philadelphia Day
and Evening schools only, and assumes no responsibility for students beyond the limits of the school buildings. However, women
s.tu.den:s registering at the Academy are granted the privilege of
livin g In the dormitory system conducted by the Moore Institute. of Art, Science, and Industry and the Philadelphia School of
Design for Women. The Academy can highly recommend these
accommodations. For rates , etc., write to Miss Julia Owings at
1922 Race Street, Philadelphia.
Dorothy Gilman
Cresson Scholar in Illustration 1944
•
Students are expected to know how to conduct themselves upon
principles of honor without specific rules.
The management of the school reserves the right, at any time
and without advance notice, to reject or dismiss any student without recourse, for any reason which may seem sufficient in the
opinion of the management, and without assigning any reason.
Students will not be called from the classrooms to answer personal or telephone calls except when, in the opinion of the Curator, there is an extreme emergency. Messages will be recorded
and placed in the student's mail boxes.
Art supplies must be provided by the students. These supplies
may be purchased at the school store at reasonab le prices.
A lunch room and kitchen are provided for the use of those students who prefer to prepare their lunches and suppers at the
school. No food is on sale in the Academy Buildings.
The Academy claims the right to reproduce and retain, temporarily, examples of students' work for use in exhibition held both
in the Academy and for rotary or special exhibitions for which
the school may arrange.
Visitors are admitted to the school between the hou rs of 4:00
and 5:00 P. M.
The Academy assumes no responsibility concerning the property
~f stude.nts whether by loss or damage. A large steel locker,
flHe? . with a combination lock, is provided for each student.
Additional locker space may be arranged by the paying of
extra fees.
Application forms and any further information .desired concerning the schools may be obtained by addreSSing the Cu rator,
Broad and Cherry Streets, Philadelphia.
CALENDAR, School yea r 1945-1946:
Registration.
(on or after) September 10th.
First Term begins.
September 24th.
First day of Pose for Stimson Competition in
Sculpture
. . . .
October 22nd.
Stimson Prize judgment and award .
November 17th.
Thanksgiving Day holiday
. November 22nd.
Christmas holiday . . . December 17th to January 2nd.
Registration for Second Term.
(on or after) January 14th.
Second Term begins . . .
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January 28th.
.
. February 22nd.
Washington's Birthday holiday
Stewardson competition
. . March 18th, 19th and 20th.
Stewardson Prize judgment and award
. . March 20th.
Ea ste r holiday . . . . . .
April 19th and 20th.
Placement of Cresson Competition
exhibits. . . . . . . . May 13th to 17th.
Judgment for Toppan Prizes
. . ..
May 13th.
Judgment for Cresson Scholarships, Thouron,
Packard, Ramborger prizes . . . ,
May 2 Ist.
Exercises in Gallery F for the award of year prizes
May 22nd.
Exhibition of Competitors' Work
May 23rd to Jun e 9th.
Last day of Winter School . .
May 25th.
No models are engaged to pose or criticism given for the last
week of the Second Term except by special arrangement.
Summer School . (apply to Curator of School for information)
•
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Eda Kassel
Cresson Scholar in Sculpture 1944
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The Stimson Prize 1943
:Jhe management
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THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
cOI.jiattlj invilej thoje interejteJ in ilj jupport
to tecome memterj.
ANNUAL MEMBERS
An nu al Members a re such persons as contribute $ lOa n n ua Ily for the ma i ntenance of the Academy.
LIFE MEMBERS
Li fe Members are such persons as make an outright contribution of $100.
PRIVILEGES
Life and Annual Members receive notices of all activities, invitations to all
Priva te Views, access to the Print Collection (67,000 items, plates and original drawings), use of the Art Reference Library, and participation in the
Academy's educational program through lectures, demonstrations, etc.
Checks may be made payable to The Pennsylvania Academy of the Fine Arts.
Membership cards will be mailed. Membe rsh ip dates from one year, beginning from the date of subscription. Under a ruling by the Commissioner of
I~terna l Revenue, any contributions to The Pennsylvania A cademy of t he
:In e Arts are deductible from income, in accordance with the rules applyIng thereto.
FORM OF BEQ~EST
I give, devise and bequeath to "The Pennsylvania Academy of the Fi ne Arts"
.... , " .... . '.' ................ Dollars, in trust to invest and keep invested
a nd apply the Income only to the maintenance of the said Academv.
:Jhe :Jellowjhip
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THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
The Object of the Fellowship is to foster a spirit of fraternity among the
former and present students of THE PENNSYLVANIA ACADEMY OF THE
FINE ARTS in the interests of art. It functions somewhat as an Alumni , establishing a continuing link with the Academy after student days. The FELLOWSHIP activities inclu d e exhibitions of the work of its members in the various
medii, and it conducts a series of evening talks in the Academy Lecture Room
on subjects of interest to all art workers, and also fosters social activities.
Admission is free and advance notices are sent by mail to all members.
Dues for Resident Members are Four Dollars a year, and for Non-Res ide nt
Members (living more than fifty miles from Philadelphia) Two Dollars a year .
Life Membership, Fift y Dollars. Bills for dues will be rendered by mail.
If you have been, or are, a student at The Pennsylvania Academy of the Fine
Arts you are cordially invited to become a member of the Fellowship and to
join with it in building up and preserving a united spirit of true fellowsh ip
in the interest of Art and in association with your Academy.
