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Title
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1991-1992 School Circular
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Date
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1991
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Creator
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The Pennsylvania Academy of the Fine Arts
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Is Part Of
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RG.03.04.01
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Medium
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digital reproduction
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Language
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eng
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Format
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PDF
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Rights
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extracted text
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TABLE OF CONTENTS
page
Life at the Academy......... .............................. ···l
History of the Academy...... ... .......................... 3
Academic Programs .............. ........ ................... 4
Certificate
Bachelor of Fine Arts
Master of Fine Arts
School Buildings ............. ............ ......... ........ ..... 6
Prizes, Awards, and Travel Scholarships .... .. 8
Faculty and Visiting Artists .......................... .10
Course Descriptions ............... ......... ............ .. . .11
Drawing
Painting
Printmaking
Sculpture
Lectures
Admissions .. ... .................................... ............. 21
Financial Informa tion .................................... .24
Scholarshi ps ...... ............................................... 25
Ad
· p0rICles
· .....................
ca eIDlC
26
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••• 0
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•••••••••••
Location ................................... .. .. ..................... 28
Administration ..... ................ .Inside back cover
Student Gallery, 1301 Cherry Street
LIFE AT THE ACADEMY
The people who come to study at the Pennsylvania Academy are people who
know that they want to be fine artists. They are looking for a place where they
can work with serious artists, hone their skills, and refine their techniques, so that
they can build a solid intellectual and practical foundation for their creative
expression. If this is what you are looking for, you will find a home here.
Although the students drawn to the Pennsylvania Academy are diverse in age
and background, they share a commitment to developing their fine art sensibilities. The student body reflects a diversity of educational backgrounds ranging
from high school diplomas to graduate degrees. While some students have been
working at their art most of their lives, others have work experience covering
every type of endeavor from construction to management to law or medicine.
Such a broad spectrum of life experience provides an extraordinarily rich
environment.
As a student, you will have a first year curriculum that is based on the classical
tradition where students work together in group studios, using a model for most
of the classes. Excellence in drawing underlies expression in all media. Students
concentrate on the human figure as they develop their skills, their techniques, and
mastery of materials. This figurative basis provides the foundation on which to
build during the succeeding three years.
Each student puts in a full day, five days a week. Class starts at 8:30 in the morning and lasts until 11:30, when the entire school takes an hour break for lunch.
There are regularly scheduled noon-time slide lectures presented by our faculty.
At 12:30, studios resume until 3:30. First- and second-year students are required
to take several lecture courses, some of which are a semester long, and some, two
semesters. The lectures are scheduled for late afternoon, so probably two days a
week, you won't finish until five o'clock.
You will spend a minimum of thirty hours a week in studio. Students find the
intense schedule very demanding, but appreciate being in an environment of serious study. For many of them, it is the first time in their lives that they have been
in a situation where everyone in their workplace is dedicated to the creative process. There is no unnecessary conversation, music, or distraction in the studios.
People work hard, and they respect and are inspired by the artistic learning atmosphere.
During the second year, students finq their schedules demanding also, but usually
undertake more of their own work in their out-of-class time. This makes for a
good transition to independent status in the third year.
Traditionally, students spend their third and fourth years at the Academy in ind~
pendent study, with only one required advanced drawing seminar and one semInar in the student's area of concentration. Many private studios are available at
the Academy, and third- or fourth-year students may compete to obtain one
of them.
1
At this stage in your studies, you will meet at least once a month with each of the
three faculty members you choose each semester to be your critics. This Critics
Program is based on the master/apprentice system. It provides a framework in
which you can discuss your ideas and progress on an individual basis with
faculty members who are professional artists. The purpose of this independent
study arrangement is to create a facsimile, as nearly as possible, of a working
artist's life, where you are setting your own problems and solving them, and, in
the process, learning to direct your own development as an artist in an intelligent
and productive manner.
During this time, you will not only have weekly meetings with your critics, but
you may also participate in group critiques if you wish. To supplement the
curriculum, the Academy offers a Visiting Artists program, whereby painters,
sculptors, performance artists, and critics come for a full day each of critiques,
lectures, and occasional workshops. Recent visitors have included Leon Golub,
Frank Stella, Gregory Gillespie, Nancy Spero, William Beckman, Joan Jonas, Jane
Piper, Irving Petlin, Grace Hartigan, and Clement Greenburg. This is a means by
which you, as a part of the Academy community, will have access to the experiences and talents of nationally acclaimed artists.
While you are studying here, you will be able to experience and absorb the
contemporary art world. There are many outstanding museums and galleries
within walking distance of the Academy. Philadelphia is located mid-way
between New York and Washington, D.C.; the Academy regularly schedules
inexpensive chartered bus trips to both cities so that students can see the major
exhibitions and visit galleries.
You will also have numerous opportunities to enter student competitions. Our
school gallery regularly holds juried student shows. In addition, there are fall and
spring prize competitions in which all students may participate. In May, we have
our Annual Student Exhibition for third- and fourth-year students. For this, the
main galleries in the museum are emptied, and each eligible student is assigned
an exhibition space. After the walls are hung and the sculptures assembled, the
faculty awards the prizes and travel scholarships. The Travel Scholarships provide for travel and study in Europe and other countries during the summer, and
some also provide for tuition at the Academy the following fall.
Our students invariably say that the most significant aspect of their years at the
Academy is being able to study with and work under our outstanding faculty.
All of our faculty members are working artists. Many of them studied at the
Academy, and are an essential element in preserving and continuing the esteemed
tradition of the Academy. This tradition is enriched by the diverse points of view
of other faculty members who studied at different schools around the country and
the world. Our faculty give students a rigorous education (as you will see from
the course descriptions included in this book), with the goal of growth and selfdevelopment through a command of the technical, philosophical, historical, and
contemporary aspects of art. The Academy has a very particular approach to
teaching art. We invite you to visit and see how this is done.
2
HISTORY
Pennsylvania Academy of the Fine Arts,
1806-1845, located on Chestnut Street
between 10th and 11th Streets.
In the early years of this country, there was no institution where an American
artist could receive professional training. In 1803, painter Charles Willson Peale
wrote to President Thomas Jefferson of his hopes to establish "an Academy for the
encouragement of fine arts." In 1805, seventy-one citizens met in Independence
Hall to prepare the petition for the incorporation of the Pennsylvania Academy of
the Fine Arts. The charter was obtained in 1806, and the school had a very strong
and successful beginning. Students did not pay tuition. Classes operated in an
informal fashion at first, and during succeeding years there was experimentation
with the structure of formal and informal teaching and critique. Artists associated
with the Academy in its early years included William Rush, Thomas Sully, and
Rembrandt Peale, son of the founder.
Study of the antique cast was initiated when the school opened and was the core
of the curriculum in the early years. In 1805, Peale and Joseph Hopkinson (17701842) wrote to the American minister general John Armstrong (1758-1843) in Paris
asking him to enlist the help of Napoleon in securing plaster casts of classical statues in the Louvre. The order was promptly filled, and more than fifty casts made
by "Getti, Moleur du Louvre," were shipped from Bordeaux in February 1806,
before the Academy even had its charter.
Pennsylvania Academy of the Fine Arts,
1848-1869.
Pennsylvania Academy of the Fine Arts,
1876 - present.
Drawing from the live model was introduced in 1812 or 1813, followed in succeeding decades by figure modeling and portrait classes. The anatomy program
at the Academy during the late nineteenth century was probably more comprehensive than that of any art school in the world. Lectures in artistic anatomy were
given by distinguished physicians and professors. Thomas Eakins restructured
the classes in which advanced students dissected human cadavers and animal carcasses, placing greater emphasis on that part of the curriculum.
In the mid-1800s, the Academy was guided to a great extent by the famous mezzotint engraver John Sartain, who served on the board. The faculty included
painters Christian Schussele and Thomas Anshutz, and at the end of the century,
Robert Vonnoh, Thomas Hovendon, William Merritt Chase and Cecilia Beaux.
The renowned American artist Thomas Eakins was a student at the Academy,
became a faculty member in 1876, and was appointed director of the School in
1882. Through the nineteenth and twentieth centuries, the Academy's students
included Mary Cassatt, Edwin Austin Abbey, Charles Demuth, Arthur B. Carles,
architect Louis I. Kahn, and movie director David Lynch.
Since 1891, annual awards have been made to Academy students for travel in
Europe. More than a thousand such scholarships have been awarded, many of
them from the endowment of a half million dollars left to the Academy in 1902 by
Emlen and Priscilla Cresson, in memory of their son William.
To this day, the Academy has maintained its tradition of educating the artist in a
classical manner. Many important artists who studied at the Academy later
became members of the faculty. Each generation of artists teaching and exhibiting
at the Academy continues to share its experience and expertise with the succeeding generation, creating an unbroken line of excellence that stretches from 1805 to
the presen t.
3
ACADEMIC PROGRAMS
THE CERTIFICATE
STUDIOS III & IV
Credits
The Certificate program is the heart of the education
offered at the Pennsylvania Academy of the Fine Arts.
It is a four-year program of intense training beginning
with courses in the classical tradition. Three majors are
offered: Painting, Printmaking, and Sculpture. All students are required to take drawing courses each
semester, regardless of major. The Academy believes
that artists should be knowledgeable in all fine arts disciplines, and the program of study is designed around
that concept. Students are encouraged to explore more
than one medium, and the program requirements allow
for considerable time to be spent studying in an area
other than one's major.
Painting major
Drawing
Life Pain ting
Portrait
Media on Paper
Electives
4.5
7.5
7.5
3.0
7.5
Printmaking Major
Printmaking
Printmaking Critique
Life Drawing
Painting
15.0
3.0
3.0
9.0
Sculpture Major
You may formally pursue a minor by enrolling for nine
credits of the major subject and six credits of the minor
subject each semester during the second, third, and
fourth years.
Sculpture
Drawing
Electives
The certificate is awarded to students who satisfactorily
complete a minimum of 120 semester credits, achieve a
grade-point average of 2.00 or a grade average of C,
attend the Academy for at least two years full-time, and
fulfill all departmental and class-level requirements.
18-24
3.0
3-9
STUDIOS V & VI
STUDIOS VII & VIII
INDEPENDENT STUDY
Painting Major
The Pennsylvania Academy of the Fine Arts is accredited by the National Association of Schools of Art and
Design.
Independent Study
Drawing Seminar
Elective
24.0
3.0
3.0
Printmaking Major
CURRICULUM REQUIREMENTS
Printmaking
Printmaking Critique
Drawing/Painting or Critique
1.5 credit hours are awarded for every three hours
studio time.
3.0
12.0
Sculpture Major
STUDIOS I & II
Critique
Sculpture Classes
Drawing, Life Drawing or Anatomy
Credits
Cast Drawing
Life Drawing
Still Life
Life Painting
Basic Color
Printmaking
Etching
Woodcut
Lithography
Figure Modeling
Form & Structure
Introduction to Anatomy
Elective
15.0
3.0
3.0
4.5
4.5
6-27
0-21
3-24
LECTURES
to be taken during the first four semesters:
1 semester
Perspective
Art History
2 semesters
* Materials & Techniques 2 semesters
*(not required for sculpture majors)
1.5
1.5
1.5
1.5
3.0
1.5
To be eligible for Certificate, BFA, and Travel Scholarship,
you must complete these lecture courses .
1.5
3.0
Total 30.0
4
BACHELOR OF FINE ARTS
A Bachelor of Fine Arts degree may be earned by Academy
students participating in an affiliated program with either the
University of Pennsylvania or the University of the Arts. Both
institutions accept the Academy's Certificate as fulfillment of
the studio credit requirements for their respective B.F.A. programs. Application for one of these coordinated degree programs may be made through the Academy's Registrar after
the student matriculates at the Academy.
Because the Academy's studio program is so rigorous, students may begin the academic courses only after the successful completion of their first year. There is no time limit for
completion of the academic courses, so students may continue
to work on these courses after graduation from the Academy.
Each school will bill the student separately for tuition.
University of Pennsylvania
University of the Arts
There are two options with the University of Pennsylvania'S
program. In the first, the student will complete four years at
the Academy in addition to the academic work at Penn, either
concurrently or sequentially, and earn both the Academy's
Certificate and the Bachelor of Fine Arts degree from the University of Pennsylvania. In the second option, the student
may complete three years at the Academy and the academic
coursework at Penn. In this case, the student will earn only
the B.F.A. from the University of Pennsylvania.
In the program with the University of the Arts, the student
must earn the Academy's certificate and complete all the
required courses at the U. of A., and will be awarded both the
Certificate and a B.F.A. Up to twelve semester credits from
another college may be transferred if they meet the distribution requirements of the University of the Arts.
Requirements:
45 semester credits:
12 credits:
Two semesters (6 credits) of English Composition
(first semester may be waived if student has over
600 Verbal SAT)
Two semesters (6 credits) of Arts and Civilization
Courses are taken in the College of General Studies of the
University. Under certain circumstances, courses may be taken in the day division. No transfer credits will be accepted.
Requirements (one unit = one course):
16 units to include:
4 units of Art History
12 units of Electives
33 credits, 12 of which must be upper level courses:
Two courses in each of the following departments:
Language and Literature
History, Social Studies, Anthropology
Art History
Philosophy, Science, Psychology, Religion
Three electives
MASTER OF FINE ARTS
The Academy offers a graduate program leading to a Master
of Fine Arts degree. Artists holding a Bachelor of Fine Arts
degree or those holding a Bachelor of Arts with a significant
amount of studio work may qualify for the two-year, full-time
program. An outstanding portfolio showing mastery of
technique and development of concepts is a pre-requisite.
Details are available from the Admissions Office.
5
SCHOOL BUILDINGS
size work. There is a kiln for firing smaIl clay scuIpture, a
portable hoist, and a freight elevator. The wood fabrication
area is completely equipped with table saw, radial arm saw,
stationary sander, miter saw, bandsaw for metal and wood,
drill press, pneumatic air tools, and sand blaster. The moldmaking room is used for ceramic shell molds, rubber molds,
wax working, and patina work.
FURNESS/HEWITT BUILDING
The grand Gothic Victorian brick building at Broad and
Cherry Streets, which is pictured on the cover, was built in
1876 by Frank Furness and George Hewitt. Restored to its
original splendor and designated a National Historic Landmark in 1975, it houses the Museum and its renowned coIlection of American Art. It contains the historic studios where
generations of illustrious Academy alumni studied and
taught. Today, most of our first- and second-year students
have their classes in these studios, studying cast drawing,
figure drawing, and painting. One of the studios is used for
sculpture students doing large-scale figure work. The Art
History, Perspective, and Materials & Techniques lecture classes are given in the Auditorium. AIl of our students are
encouraged to avail themselves of the museum's coIlection for
study, and they may also receive permission to study artwork
which is currently stored in the vaults.
The library serves both the School and the Museum. Its
patrons are students, museum staff, facuIty, and the general
public. As an art school library, it provides materials that
stimulate and inspire the visual artist. As a museum library,
it coIlects materials that are needed for the interpretation and
research of American art. The coIlections are devoted exclusively to the visual arts. They provide an historical perspective with an emphasis on the work of individual artists, focusing on the thoughts and techniques of these artists. The
library has more than 12,000 books, a growing selection of
video tapes, and has embarked on a major acquisition program to expand its current collection of 12,000 slides. It subscribes to more than 70 periodicals. Of special interest is an
extensive artist file. Started as a WPA project, it is a coIlection
of newspaper clippings, gaIlery announcements, resumes, and
pictures of more than 4,000 artists, whose work is difficult to
document in books.
1301 CHERRY STREET
Students also study in the Academy's recently acquired studio
building a block away from the Furness/Hewitt building.
This 65,000 square foot, nine-story loft structure houses life
painting and drawing studios; still-life studios; complete
printmaking facilities; the entire sculpture department, which
includes a foundry and a stone carving room; private and
group studios; faculty studios; an exhibition gaIlery; the
library; and storage areas for student artwork.
The School GaIlery has exhibitions throughout the year, primarily featuring students' works. The school store, located in
the basement, stocks a wide variety of art materials and supplies. The school cafe, which is open during the week from
morning through the early evening, serves fresh and delicious
food, and is a gathering place for a never-ending dialogue
between students and faculty.
The group painting studios have skylights or northern exposures. There is a room dedicated to stilI lifes, and there is a
separate room with natural and flexible artificial lighting
reserved for criticism. Numerous private student studios and
private facuIty studios are located throughout the building.
Lithography, etching (intaglio), and woodcut classes are
taught in a spacious, open-plan studio with an abundance of
natural light, a state-of-the-art ventilation system, a separate
lecture and student archives room, and broad areas of working and storage space. There are three presses in the etching
studio, two with motorized press beds. Separately ventilated
acid and solvent washout rooms, each equipped with large
vent hoods, provide students with safe and efficient working
laboratories. There are four presses in the lithography area.
The presses in both areas are capable of puIling large format
work. In the woodcut area, there is abundant space for cutting, inking, and printing.
"Having decided to follow my instincts to pursue the
fine arts, I came to interview at PAFA. As the interview and tour of the building concluded, I had a new
sense and feeling that I had never experienced before.
This was the sense of 'home'. For the first time in 37
years, I knew where I belonged. I had found my home
at PAFA.
As I conclude my first semester, my feelings have
been confirmed. There is incredible opportunity for
growth and a wealth of nurturing from faculty, staff,
and fellow students. This is an uncommon, special
place for artists becoming artists."
The sculpture department occupies two floors. One is devoted to figure modeling, casting, and plaster work, and the other
is a fabricating floor with a wood shop, metal shop, foundry
(ceramic shell casting), and a separate shop dedicated to
wood and stone carving. The metal fabrication area has
nine ~elding stations and is equipped for gas, electric and tig
welding. The ceramic shell foundry is capable of firing any
First year student
6
1301 Cherry Street Building
Directory
9th floor
group painting and drawing studios
8th floor
private studios: faculty and students
7th floor
sculpture studios: plaster casting,
figure modeling
6th floor
sculpture studios: wood shop, metal shop,
foundry, carving
5th floor
private studios: faculty and students
4th floor
still life studio, private studios
3rd floor
printmaking studios, print archival room
2nd floor school offices, administrative offices
1st floor
library, student exhibition gallery,
cafe and student lounge
basement art supply store, art storage area
7
PRIZES, AWARDS, AND TRAVEL SCHOLARSHIPS
Academy students are the beneficiaries of an extraordinary array of
travel scholarships, awards, and prizes from funds given to the Academy
in bequests, endowments, or yearly donations. In 1991, a total of nearly
$100,000 was awarded. The prizes and the amounts awarded vary from
year to year. Every spring, works submitted by students are placed in
competition and judged by the faculty who confer the prizes.
The Lewis S. Ware Memorial Travel Scholarships, in accordance with the will of the testator, provide European Travel
Scholarships in amounts and under regulations similar to
those of the Cresson Scholarships. The Ware Scholarships
were first awarded in 1938. In 1991, two Ware Scholarships
of $4,300 each were awarded.
The William Emlen Cresson Memorial Travel Scholarships
were created by a generous fund established by the wills of
Ernlen Cresson and Priscilla P., his wife, as a memorial to their
deceased son, William Ernlen Cresson, Academician. The
income from the fund is applied by the Pennsylvania Academy of the Fine Arts to send pupils of merit to Europe. The
award of the Cresson Scholarships has had significant influence on hundreds of recipients over many years, and has been
a great boon to the Academy. These scholarships were first
awarded in 1902. In the spring of 1969, the one thousandth
award was made. In 1991, five Cressons of $10,050 each were
awarded. The funds covered the expenses of travel for a period of sixty to seventy days in Europe during the summer and
tuition costs for the following school year. Recipients are
required to return to the Academy for the continuance of regular studio work in an additional year as Independent students.
They are expected to help set high professional standards
among students after returning from Europe. A student who
wins a second Cresson Travel Scholarship will receive a sum
for travel expenses, and may use it any time within twentyeight months after receipt of the award.
The J. Henry Schiedt Memorial Travel Scholarships, in
accordance with the will of Cornelia Schiedt, provide the
award of Travel Scholarships according to the annual income
available from the fund. Eligibility for these is based on
requirements similar to the Cresson Scholarships; however,
these scholarships are not specifically designated for Euro- .
pean travel. The first one was awarded in 1949. In 1991, three
scholarships of $4,300 each were awarded.
Ware and Schiedt Scholarship winners are expected to travel
during the summer immediately following receipt of their
awards unless they are fourth year students, in which case
they have twenty months to complete their travels.
"When you're granted a private studio,you have to be responsible for yourself.
No one tells you what to do - you initiate your own work. A studio represents
your artistic independence."
Fourth year painting student
8
AWARDS
The Pennsylvania Governor's Award
The Philadelphia Mayor's Award
The Huldah Bender Kerner Scholarship
The Hobson Pittman Memorial Prize
The Franklin C. Watkins Memorial Grants
The Rohm and Haas Fine Arts Achievement Purchase Award
ARCa Chemical Company Purchase Award
The Fellowship Prize
The Alumni Award
PRIZES FOR SCULPTURE
The Mark Cullinane Memorial Prize in Sculpture
The Charles E. Dutrow Award
The Marcia Lampert Prize for a Construction
The Mary Townsend and William Clarke Mason
Memorial Prize
The Edmund Stewardson Prize
The Stimson Prize
The Benjamin Lanard Memorial Award
The Ward Prize in Sculpture
PRIZES FOR PAINTING
The Elena and Will Barnet Prize for Abstract Art
The Cecilia Beaux Memorial Prize
The Frances D. Bergman Memorial Prize
The Morris Blackburn Landscape Prizes
The Lambert and Emma Wallace Cadwalader Prize
for Landscape
The Lambert and Emma Wallace Cadwalader Prize
for Portraiture
The Cuff-Sammak Prize for Abstract Painting
The Jeanne Culver Prize
The Thomas Eakins Memorial Prize
The Louis S. Fine Purchase Prize
The Catharine Grant Memorial Prize
The Eleanor S. Gray Prize for Still Life
Historic Yellow Springs Prize
The Lance Roy Lauffer Memorial Prize
The Louis and Estelle Pearson Memorial Prize
for Landscape with Figures
The Robert A. Ricker Memorial Landscape Prize
The Benjamin West Prize
PRIZES FOR PRINTMAKING
The Morris Blackburn Print Prize
The Mr. and Mrs. Leon C. Bunkin Prize
The John R. Conner Memorial Prize
The Color Print Purchase Prize
The Monotype Purchase Prize
The Philadelphia Print Club Prize
The Henry C. Pratt Memorial Prize
The Peter Paone Small Black and White Print Purchase Prize
The Rose and Nathan Rubinson Prize in Memory of
Wharton Esherick
The Traditional Media Print Prize
The Robert T. Wickersham Memorial Purchase Prize
in Lithography
The Ruth and Ben Wolf Printmaking Department Prize
The Color Woodcut Purchase Prize
The Tobias Unique Print Purchase Prize
PRIZES FOR OPEN MEDIA
The Alexander Prize
The Gilbert M. Cantor Memorial Scholarship
The Cape May County Art League Award
The Mindel Caplan Kleinbard Award
The Michael G.Capuzzi, Jr. Memorial Award
The Michael Pearson Memorial Prize
The Philadelphia Artists' Prize
The Plastic Club Award
The Don Sa bath Award
The Edna Pennypacker Stauffer Memorial Prize
The Thouron Prizes
The Charles R. Weiner Prize
The Sylvia G. Wexler Memorial Prize
PRIZES FOR DRAWINGS AND WORKS ON PAPER
The Daniel Garber Drawing Prize
The Simone C. Titone Prize
The Samuel David Memorial Prize for Cast Drawing
The Deena Gu Prize
The Packard Prizes
The Philadelphia Watercolor Club Prize
The Ramborger Prize
The Charles Toppan Prizes
9
VISITING ARTISTS
FACULTY
APPOINTED
ADJUNCT
Jan Baltzell
Will Barnet
Linda Brenner
Moe A. Brooker
Murray Dessner
Sidney Goodman
Oliver Grimley
Alexander Hromych
Homer Johnson
Jimmy C. Lueders
Daniel D. Miller
Edith Neff
Steve Nocella
EoOmwake
Elizabeth Osborne
Frederick S. Osborne
Peter Paone
Jody Pinto
Seymour Remenick
Robert Roesch
Tony Rosati
Glenn Rudderow
Bruce Samuelson
David Slivka
Louis B. Sloan
Anthony Visco
Roswell Weidner
Steve Weiss
Ron Wyffels
Deborah Deichler
Stuart Feldman
David Fertig
Barbara Goodstein
Al Gury
Stanley R. Merz, Jr.
Shoji Okutani
Marjorie Portnow
Jill A. Rupinski
Patricia Traub
Gary Weisman
LECTURERS
Mark Bockrath
Linda Brenner
Daniel D. Miller
Peter Paone
The following are some of the artists who have visited
the Academy in recent years:
Alice Adams
DoreAshton
Alice Aycock
William Bailey
Jack Beale
William Beckman
Paul Brach
Judy Brodsky
Lowry Burgess
Charles Cajori
Natalie Charkow
Louisa Chase
Bob Cronbach
Larry Day
Arthur DeCosta
Donna Dennis
Lois Dodd
Marisol Escobar
Richard Estes
Jackie Ferrara
Eric Fischl
Janet Fish
Joel Fisher
Louise Fishman
Richard Flood
Antonio Frasconi
Jan Freilicher
Susie Gablik
Gregory Gillespie
Sam Gilliam
Leon Golub
Nancy Graves
Clement Greenberg
John Hanlen
Steven Hawley
ancy Holt
"We have a tremendous diversity of opinion available
to the students. They have to choose from all of the
criticisms received and make their decisions. Consequently, our students graduate as independent
artists."
Faculty member, Painting Department
10
Brian Hunt
Yvonne Jacquette
Joan Jonas
Wolf Kahn
Joyce Kozloff
Bob Kulicke
Donald Kuspit
Gabriel Laderman
Emily Mason
Michael Mazur
George McNeil
Ruth Miller
Mary Miss
Nicholas Moufarrege
Philip Pearlstein
Gabor Peterdi
Irving Petlin
Robert Pincus-Witten
Jane Piper
Deborah Remington
James Rosati
BetyeSaar
Italo Scanga
Carolee Schneemann
Judith Shea
Sidney Simon
Theodora Skipitares
Nancy Spero
Nora Speyer
Leo Steinberg
Frank Stella
Donald Sultan
George Trakas
Selina Trieff
Mia Westerlund
Theodore Wolff
COURSE DESCRIPTIONS
Any curriculum should be organic-a growing and changing group of
courses. Include? i? this secti?n are numerous course descriptions. By no
means should this lIst be consIdered complete, but these descriptions will
give you an idea of the many kinds of studio classes that are available
here, and will also give you some insight into the emphasis or focus of different faculty members.
Many of these courses are core requirements and the same required course
may be taught by several teachers. One of the special qualities of the
Academy's instruction is that different instructors have very different
approaches to the same subject. To illustrate this, we asked faculty members to outline their individual approaches for you. Following is a selection for you to read.
During the time you spend at the Academy, you will study with most of
the faculty, and gradually you will discover the ones who can help you
the most.
DRAWING
Cast Drawing From the School's Collection
CAST DRAWING
The purpose of drawing casts is to study values and the way light
strikes an object; not to render the casts, but to translate the casts;
to be accurate within a certain range. The first drawing will be
done as a reproduction; subsequent ones will be done not as
copies, but as drawings of your own. This provides a sound basis
for drawing the live figure. Working with values makes it easier
to translate into color. The class will paint a cast in monotone,
then limited palette, then full palette. Those who haven' t studied
painting before will start with the primary colors and black and
white.
The Academy's renowned antique cast collection, which is not
available to the general public, is used for cast drawing classes.
This collection of antique casts is probably the most extensive in
this area to be available for study. Most of these casts were in the
school when the Furness building opened in 1876. Some are even
older, like the Belvedere Torso, which is thought to be a survivor
from an original group of casts selected by the sculptor Houdon
on the order of Napoleon, and which the U.S. Ambassador
Nicholas Biddle brought back from France in 1805 for the newlyfounded Pennsylvania Academy of the Fine Arts. Academy students have drawn and studied these casts for almost two
centuries.
CAST DRAWING, Advanced
Using the cast collection as prototypes of anatomical canons, this
course is designed for students who wish to further their studies
of both casts and the figure and its anatomical inventions
throughout history. The casts provide the various proportion systems not found in the live model, along with individualized artistic conventions not found in the naturalist figure. Along with historical insights into the individual casts, the student will gain
further understanding as to when and how anatomical invention
became relevant.
CAST DRAWING
Thi~ Cast Drawing class emphasizes structure, energy flow, crosssectIOns of forms, axes, and the rhythmic relationship of points in
form and space. Movement and the use of light and dark are other key concerns. Drawing from the model is also part of the class
schedule. Small geometric shapes are utilized to help illustrate
basIC structures. Copies of master drawings are helpful in understanding these ideas.
This is an interdisciplinary course which will allow students to
interpret and transpose the information found in the casts in
terms of drawing, painting, and relief. The casts provide a broad
basis for understanding the complexities of monochromatic light
and shade. There will be demonstrations showing principles of
incandescent and natural light and how both can be utilized in
studio practice. There will be instruction and demonstrations in
monochromatic, bichromatic, and polychromatic techniques.
CAST DRAWING
This is a discipli.ne in seeing and re-creating relationships: one
lme to ano~her lme, one tone to another tone, making forms
appea.r solId, makmg spaces that help describe these forms.
Dr~w~g from casts is the most direct way to develop excellence
m Jud~mg these relationships. By using the timeless tradition
of dehrung the human figure, you will learn to exercise
eye/Inlnd/hand coordination, to see what is there instead of
what you think is there. Cast drawing trains you to search for and
create order. You will develop an appreciation for why certain art
IS conSidered great, which in turn provides a basis for judging all
art-your own as well as others'.
11
FIGURE DRAWING
Studying from life models, emphasis will be placed on rhythm,
ferm, and structure of the human figure, with an introduction to
anatomy. To heighten srudents' awareness and sensitivity, there
will also be discussiens of the handling of drawing materials and
the history and art of drawing.
PRELIMINARY FIGURE DRAWING
This class stresses the understanding of the proportion and
structure of the figure. Students will develop the ability to convey in a drawing a convincing sense of the figure as a volume 111
space, and also a sense of the total gesture or direction of a pose.
Students will work with both tone and line, first with charcoal.
and later with other media and papers. The class is structured
with short poses in the beginning of the semester and builds up
to longer ones, but each class throughout the semester starts .
with 20 to 40 minutes of short poses (2 to. 5 mmutes). There WIll
be seme eutside assignments - drawing ef hand and feet, fer
example. Slides will be shewn twice durin~ the semester, fe~
study ef "successful" drawings, and to. clarify cntique~ .. CntIcism will be individual; there w!ll net be any greup critiques.
Each class session will begin with warm-up drawings (1 to 5
minute poses), which will develop cencentratien and act as a
means of connecting with the materials and the subject. These
drawings are used as the understrucrure for longer poses to maintain the sense of rhythm and movement in the drawing. Drawings are kept light in line or tone in erder for the artist to develep
the drawing to a more completed stage. Once the rhythm is
established, fecus is placed on balance, mass, shape, seeing the
passive and forceful sides ef the figure, symmetry, and
proportien.
Prejects may include:
I. drawing the same pese from different views;
2. doing 5-minute gesrure drawings, then rerurning to. each
pose fer a lenger time, to. stress beginning any drawing with a
feeling fer the entire pese.
3. drawing the medel with his er her surreunding envirenment in erder to. use the spatial clues ef the environment to. help
with proportien and to. create a space for the figure;
4. changing the format of the drawing - square or horizontal,
cropping a pose, er drawing it in its entirety - to encourage
thinking about where in the space ef the page a figure is placed,
and to think about using the page to indicate closeness and distance;
5. toning the pages with charcoal and erasing to. create the
light in order to achieve a sense of tonal mass;
6. one er two class sessions of all gesrure: short drawings,
working from a meving model, having the model stop and hold
poses in sequence, seeing how one pose leads into another er
develops from a previous one, using these sessions to. stress the
role of line in conveying gesrure or movement;
7. using different media to. draw the same pose and to
explore different possibilities of various materials;
8. three-hour poses to allow the development of a more sustained drawing.
The introduction to anatomy will cover the moveable masses
(head, rib cage, pelvis), with the skeleten and casts used for reference. Continued emphasis will be placed on working from the
inside to the outside of the figure (skeletal to surface ferms).
Composition, perspective, and foreshortening will be stressed.
Brief lecrures will cover materials, papers, and works of artists
frem Giotto to artists of the twentieth cenrury, cencentrating on
the variety of ways form is created by line and tone.
FIGURE DRAWING
This class will use live models. In the first half of the semester,
the classes will begin with twenty minutes of I-minute croquis,
followed by a series ef 20-minute peses. The purpose ef the croquis is to relax and prepare the srudent for drawing; to. cemprehend the figure as a whole; to. focus on the gesrure; to. observe the
figure in positions not held during longer poses; and to. coordinate eye and hand movement. The purpose ef the 20-minute
pose is to focus longer en the simplicity and gesrure ef the figure,
and to concentrate on the fermal qualities of drawing (centour,
line, proportion, tonal contrast, structure, mass, composition).
During the second half of the semester, the poses will be three
hours long in order to provide in-depth srudy ef the figure and to.
werk on mastery of the formal qualities of drawing.
Charcoal materials will be used, but ence the srudent shews proficiency and skill in drawing, the use ef ether mediums will be
enceuraged. Instructien and demonstrations are directed to the
individual. Simplicity and vitality are encouraged, as are the srudent's personal vision and narural way of drawing. The impertance ef art history, srudy of narure, and hard werk are
emphasized.
12
DRAWING SEMINAR
The course will concentrate on the way in which the sculptor
approaches an idea and realizes three-dimensional design. There
will be drawing projects, slides, and discussions. Field trips may
also be scheduled.
FIGURE DRAWING
Drawing is a way of thinking about space and form in relationship to objects. Life drawing is a way of thinking about the single
object in relation to exploring its form. It requires careful study of
its parts and their relationships to the whole. Students will work
from the model in order to learn to draw. They will make no
assumptions or take any departures from the structure. The
observation and the doing will be all important.
"Drawing" in this case is being interpreted as a form of creative
action rather than a specific medium. Therefore, in this seminar,
you might think of your work as an exploration of a "drawing
out" of ideas, resources, and materials to expand the act of drawing. Various projects will be assigned with as much work as possible done during class time. There will be class discussion of
various topics and projects.
The drawing of the figure in the class will be based on observing
the model and building the struct'..lre. No measuring will be
allowed. Importance will be placed on eyeballing the measurements learned in cast drawing. By eyeballing, the student will
not only develop the coordination between mind and hand, but
will also be able to draw any object without the aid of a measuring device.
DRAWING SEMINAR
Working from models, students will do quick sketches with the
goal of further developing motor abilities and eye/hand coordination. Class work will be rigorous. The course will cover volume, direction, tonal range, lines and rhythms, and picture plane
exploration.
There will be two poses per three hour session, each for one and a
half hours; no three minute poses or warm-ups. Beginning students work only in charcoal; other students may work in any
drawing medium. Every four weeks there will be an open
critique on work done outside the class.
DRAWING SEMINAR
DRAWING SEMINAR
This class will be conceptual in its orientation, focusing on the
creative and imaginative use of the student's prior classical training. Topics to be explored will include: narratives, gestural drawing, creative reassembled realities and other problems. Some use
of a model will be included, although the emphasis here is not
figurative.
Drawing seminars will focus primarily on the aspects of representational and figurative art. Advanced and more concentrated
techniques and concepts will be stressed, although the fundamentals of drawing will be reviewed and discussed on an individual basis as the need is indicated.
The following aspects of drawing will be studied: 1. Drawing
from the figure and portrait in complex settings/ environments
utilizing props and lighting to understand how the figure relates
to space and atmosphere; 2. The differences between working
drawings and finished drawing, understanding the advantages
and disadvantages of each; 3. Understanding inspiration and the
subjective response of the artist to the subject matter, what to look
for, how to develop and express it successfully; 4. Basic drawing
and fundamentals, including: the value of drawing as a preliminary exercise to painting and sculpture; the correlation between
drawing and painting/sculpture; the strength of sound and
correct drawing in all art; the relationship of drawing to
structure, composition, and anatomical proportions; drawing
and distortion.
Students will be encouraged to approach drawing in a creative
and subjective manner while maintaining and promoting the fundamentals of drawing. Various media will be utilized, including
charcoal, pencil, pen and ink, ink painting, watercolor, colored
chalk, and oil paint.
Individual critiques will be given throughout the semester; a
general critique will conclude the semester. Students will be
encouraged to seek critiques on work in progress (other than
classwork) as a method of understanding the correlation of drawing to painting/ sculpture.
13
INTRODUCTION TO ANATOMY
ANIMAL DRAWING
Study will include birds, mammals and reptiles, both domestic
and wild. This course will focus on the sCIence and art of ammals
with reference to their structure, function, evolution, and classifications, so as to provide a foundation for understanding the
movements, forms, and anatomy of a particular species. Linear
and tonal perspective, space, and composition in both landscapes
and interiors will also be emphasized, in addition to the relationship of the animal to its environment. There will be field work as
well as studio work.
This class is designed to give students a basic understanding of
human anatomy that will allow them to study, design, and represent their figurative work with intelligence and confidence.
This is achieved by tailoring and simplifying the material so that
it will be useful to them as artists.
Important to this goal is the process of converting the complex
array of information into easily-grasped, unifying principles.
Therefore, in addition to learning the specific names and locations of muscles and bones, students will be taught principles of
movement, principles of construction of the body, and application of these to aesthetic principles. This particular study is not
a substitute for figure drawing or modeling, but is rather a tool
to keep the creative and stylistic interpretations of the figure
rooted in reality; i.e., to allow the student to keep the work
"believable" no matter how stylized. On the other hand, it will
enable students to break away from being "locked in" to creating figure study after figure study as their only means of dealing with the figure.
Working from life, students will concentrate on seeing repetition
in the movements of each species. As with figure drawing, there
will be emphasis on rhythm, movement, and form as the basis for
drawing. This will be followed by studying from a cast of a horse
or an animal sculpture from the museum's collection. If possible,
there will be observation of an animal dissection. Otherwise,
anatomy will be taught with demonstrations of drawings of
skeletal and muscle structure of wild and domestic animals. Similarities to human anatomy will be noted.
The major focus will be on working from life through the disciplines of drawing and observation, with concentration on one
species at a time in order to know it well enough to use the information in later studio work. Wild as well as domestic animal
behavior will be discussed. The class will look at works from the
Lascaux caves, DaVinci, Rubens, Stubbs, Sutherland, and Picasso
to survey the depiction of animals throughout history.
This class starts with an overall look at the human body and
principles governing its form and movement. The bulk of the
course is devoted to learning the important muscles and skeletal
parts and their specific functions. The final segment integrates
this information with artistic considerations.
This course is not approached as another drawing or modeling
class; these techniques, when employed, are used solely to
enhance anatomical knowledge, and are not judged on artistic
merit. The class sessions will be divided into two parts: the first
half will be lecture, and during the second half, there will be
some practical involvement by the students.
By the end of the course, the students should have a general
understanding of what they are looking at when viewing the
human form, and be able to analyze the model's forms and
movements. Also, students will have a solid foundation if they
wish to further their study of anatomy and figurative art.
At an age when many people are becoming settled
in their careers, I decided it was time to make a
change. I came to the Pennsylvania Academy with a
simple desire: to lay the best foundation possible in
my development as an artist. I feel the four year program offered at the Academy, the dedicated faculty,
and a serious commitment to work will result in a
solid foundation on which to build my life as an
artist. "
II
Second year student
14
PAINTING
FIGURE PAINTING
In order to accommodate the considerable disparity of background
and degree of skill of the students, this course will be conducted
on a one-to-one basis, meeting the specific needs of students
rather than pressing the entire class into a program. Preliminary
instruction will cover the materials needed, supports, laying out
of the palette, mediums, alternative methods of beginning a picture, general semester expectations and grading standards.
BASIC COLOR
This course is designed to familiarize the student with the basic
elements of classic color theories and applications of color in
painting. Color theories, color analysis of t~e subject, settin~ of
palettes, color mixing and color exercIses wIll be presented In
this course.
The subject of painting exercises will be the life model and his
or her environment. Regular demonstrations of the above topics will be presented by the instructor during class time. Each
demonstration and discussion will introduce a three week model
pose. Personal critiques tailored to the needs of each student as
well as group critiques and discussions will complete the course
material. Final critique will held on the last day of class.
Basic poses will be presented at first, avoiding difficult problems
and foreshortening. Much of the early emphasis will be on drawing, a basic observation of what is there and what is most pertinent. Brief drawing analysis of the figure before painting will be
encouraged.
Students will be encouraged to block in rapidly, working from the
general to the specific, and as much as possible, to involve the
entire surface of the canvas. Reference will be made to sculptural
modeling technique, where structure must precede details. Students will be expected to work with the full palette unless specific
problems suggest the need for alternatives.
Demonstration Sequence: (Paintings done by the instructor from
the life model). The Earth Palette-materials, concepts of color,
color analysis, warm and cool in color. Full Extended Paletteearth palette plus the prismatic palette. Impressionist Color
and Palettes. Modernist Color usage (Fauvism).
Students will learn to deal with the inside of the figure (the
"inside-out" concept), using planes as a method of rounding the
figure. Problems will be overpainted or wiped away in preparation for a fresh approach.
STILL LIFE
In this studio, there will be several settings of still life (inanimate
objects) which will stay set up for one or two months. Students
are required to make a painting monthly and register each with
the instructor. Students are encouraged to consider still life painting equally with other subject matter in painting. Instruction will
include composition, color, form, space, line, paint texture, and
awareness of art history and its impact on contemporary concerns
of painting.
As the basic stages of development are mastered, there will be
movement toward a more subjective approach, working from an
idea inherent in the subject toward a personal conception, the
development of a point of view.
Students will be made to feel at ease, studying and enjoying the
process rather than the product of painting. Individual critiques
will help the student "after the fact" to make decisions after a presentation of alternatives.
FIGURE PAINTING
This course will use the live model and the poses will last from
three to four weeks. There will be one general critique per
semester. Oil paint is the preferred medium. There will be discussion of setting up a palette and other basics. Instruction and
demonstrations will be directed to the individual. Basic beginnings of a painting will be suggested: oil wash drawing; dry
brush; wipe-out method. Direct and indirect painting will be discussed. The formal qualities of painting that will be considered
include: drawing, composition, color, paint texture, tonal contrast, and mass. The student's personal vision and natural way of
painting will be encouraged. The importance of art history, study
of nature, and hard work will be emphasized.
FIGURE PAINTING
This class will focus on a way of seeing essentials with regard to a
figure in space. Students will work in a small format, completing
one or two poses per class session. The small format encourages
an immediate, vigorous, and direct response to the visual stimuli.
It eliminates the fear and pressure that beginning or inexperienced students often have, and makes them more comfortable
and relaxed in dealing with the oil paint medium. The small scale
also enables them to learn how to adjust and correct their work
more easily.
15
FIGURE PAINTING
FIGURE PAINTING
The class will work primarily in oils, doing figure and interior
compositions in one- or two-session poses. They will advance to
doing quicker studies, and lea.rn to paint m~r~ rapidly.. Emphasis
is on working with the figure m the composItIon, working qUickly, and usually not on large canvases. There will be discussion,
group critiques, and slides of the instructor's own work. T~e
instructor is interested in having the students capture the figure
in the environment, thinking about the whole composition of the
canvas instead of the isolated figure. Students will also work
with trying new color relationships with full palette, and will concentrate on brushwork, strokes, marks of the brush, and how they
are individually oriented.
Life painting classes will focus primarily on the fundamental
principles and techniques of painting from the figure. This
includes correct drawing, the relationship of drawing to painting,
anatomical proportions, perspective, pictorial structure, and composition. Learning to judge relationships of values, proportions,
and color, and the methods for expressing them successfully will
be taught, as well as specific study with monochromatic, warm/
cool, low-key and high-key palettes. Procedures for developing
painting compositions utilizing the figure within space in a
successful manner will be stressed. Proper painting materials
will be discussed throughout the semester.
Students will be assigned two out-of-class aSSignments: to paint
one self-portrait and one composition with a figure, in any medium other than pencil. Critiques will be given throughout the
semester on an individual basis, and an open general critique will
conclude the semester. This critique will be devoted to work
completed during the studio/ class and will afford the student
and instructor the opportunity to review together the student's
body of work and to appraise the student's progress.
FIGURE PAINTING
Emphasis is on the structure and proportion of the figure (rather
than on one style of painting), the space and color of the figure's
environment in the painting, and the interaction of the figure and
the space around it. Stress is placed on the role of value in establishing the figure as a believable volume in space. Students will
receive individual criticism.
There will be discussions of various artists' working processes,
and different strategies for organizing or approaching a painting.
Slides will be shown.
PORTRAIT
Students will be asked to respond in an energetic, simplified
approach in doing a portrait. Emphasis is placed on a strong
visual response to the structure and volume of the sitter's presence. Students are not required to paint in any particular style.
They are encouraged to respond in their own way, using their
own methods, but must be responsible for their own method of
approach. An important aspect of the class will be to develop a
critical eye for one's own work and that of others. Poses will be
held for three weeks.
Poses are for two or three weeks, in a constructed set-up, or environment, for the model. In the first pose, students do two or three
paintings from the same viewpoint, but vary the composition to
include more or less of the space around the figure, vary the format, vary where the figure is placed in the painting itself. Students will be encouraged to become more aware of the choices
they have before they begin a work, and how compositional
choices are an integral part of the meaning of a work.
PORTRAIT
Many of the components of studying drawing are included in this
class. While the student is assisted as a matter of course in
achieving a likeness or in capturing the character of the sitter, the
emphasis is placed on creating a work that is significant as a
painting. The goal is to increase the student's sensitivity to the
visual world and to how this translates into the use of color and
composition.
Other projects during the semester are: 1. A large painting for
which the students do a small color study or compositional drawmg, and then use the studies as a basis for the larger work. 2. A
two-figure pose stressing scale and relationship. 3. A set-up in
which one model takes two poses and the students create a twofigure composition from the alternating poses. In this painting,
students are encouraged to try to create a different space (other
than the studio) for the figures, if possible. There will be discussions about how to find sources for the elements in the painting,
usmg as resources other paintings (students' or other artists'),
photographs, or drawings, and how to integrate divergent
sources.
The handling of materials is discussed on an individual basis
with students. There will be informal discussions on the history
of portrait painting and on the various approaches and working
methods that have been employed by artists throughout history.
16
PRINTMAKING
LANDSCAPE
The Landscape course is taught in various locations in Philadelphia. The student will be taught skills for work in the field, ~nd
will be encouraged to use those skills. A vanety of media Will be
explored. Students will be encouraged to experiment with new
techniques and approaches.
ETCHING, Preliminary
This course surveys the traditional etching techniques of drypoint,. etched line, openbite, hard-ground, soft-ground, and
aquatmt as a means of producing both linear and tonal effects. A
demonstration of a technique will be presented at the beginning
of each class, after which each student will be expected to make a
small format print using that technique. Ser;ous experimentation
is ex pected.
WATERCOLOR
This class will begin with a discussion of watercolor materials
(paper, brushes, paints, containers) and move on to demonstrations of watercolor techniques (washes, wet into wet, dry on dry,
color mixing, and shading). Still life setups include objects and
colors related to the technical problems. Later in the semester,
students will work from the figure (life and portrait), and in the
final weeks, there will be landscape painting. There will be slide
presentations on traditional and contemporary watercolorists and
on the instructor's work, and there will be group discussions of
the students' work.
Portfolio requirements are as follows: I. Four experimental plates,
each demonstrating one of the techniques presented, using 3"x5"
plates, with a minimum of 3 prints from each plate. Rework
plates between prints, experiment with plate tone and trick wipe.
2. Three major prints using any process or combination of processes. Minimum size of 6"x8", printed in a consistent edition of
six each. There will also be demonstrations of crayon resist,
engraving, and monoprint.
ETCHING, Intermediate
Portfolio requirements: 1. Exchange print: a small format print,
paper size 11" x 71/2"; plate 2"x3" minimum, 5"x9" maximum.
Dry process (no etching). Subject matter open. Edition must
exceed number of students in the class by two. 2. Black and white
etching; black ink may be tinted. Must be etched plate, but may
be enriched with dry processes. Minimum plate size 9"x11". Edition - six. 3. Color print: must incorporate a printed color. More
than one plate may be required. Hand coloring may be added as
well. Minimum plate size 9"x11". Edition - six.
MEDIA ON PAPER
Discussions and demonstrations of the following media will precede class work. Watercolor materials: paint, papers, watercolor,
box, brushes, palettes, gum arabic. Watercolor techniques: wet,
dry, stain, lifting. Acrylic: making acrylic watercolor, use of
acrylics as opaques, varnishes, glazing, distilled water, papers.
Acrylic ground with oil pastel: paper preparation, flat acrylic
base, oil pastel, use of turps and alcohol, brushes, scraping,
papers. Conte and color pencils, fixatives, papers. Liquid
graphite: numbered pencils, graphite pencils, graphite powder,
use of turps and alcohol, fixatives, papers. Silver point will be
included if time permits.
Other demonstrations will include: Crayon and marker resist
monotype; lift grounds; electric engraving; relief etching. Color
and intaglio printing-mixing inks. Relief and intagliO; split font
and color fade; stencil and rolled color. Monotype color; hand
coloring. Multiple plate printing. Ongoing individual critiques.
At least two group wall critiques.
LITHOGRAPHY, Preliminary
Lecture/ demonstrations will include: the lithographic stone-selection, graining, and preparation for drawing; the use of lithographic drawing materials on the stone; etching the drawing on
the stone and the theory involved; roll-up of image on stone and
second etching the stone; working up the image on stone using
the press; proofing and printing of the stone; counter-etching and
re-drawing the image on stone. There will also be slides of
lithographs, examination of real lithographs, and discussions of
technique and print quality.
"Academy students think more art, and when you
think more art, you do more art. We not only teach a
skill, we have to teach a thinking process, a way of
life. "
Chairman, Printmaking Department
LITHOGRAPHY, Intermediate and Advanced
This course emphasizes the pursuit of personal and individual.
aesthetic and technical concerns through hand lithography. This
course covers: the use of aluminum plates (as well as stones); color ink modification; multi-color registration; transfer lithographs;
non-traditional drawing techniques; special projects r.elated to
individual and group concerns; technical and aesthetic cntlques
of printed lithographs.
17
PRINTMAKING SEMINAR, Advanced
This seminar is designed to deal with the three major issues
confronting the advanced printmaker: 1. the conceptual thought
process of relating the concept to the medium, whether it be
representational or abstract. 2. advanced print process not dealt
with in the second and third years. 3. the business aspects of the
print world: presentation, marketing, commercial printers,
commissions.
WOODCUT, Preliminary
An introduction to the art of the woodcut, emphasizing basic
drawing, cutting, and printing techniques, and stressi.ng the black
and white hand print. Some color expenment IS possible near the
end of the term. Slide lectures are offered on alternate weeks
which survey, in depth, the history of the medium, citing the
work and concepts of major figures past and present. The course
is designed to help the student understand the nature of prints
and to begin thinking in terms of the medIUm.
WOODCUT, Intermediate and Advanced
This class is an elaboration of the preliminary class, allowing for
greater independence in print design and hand or press printing.
This class opens areas of experiment with color, papers, inks, and
cutting and printing methods. Alternate week slide lectures deal
with vital areas of woodcut history as well as with such topical
areas as color development and the varying uses of subject
matter.
The course is designed to make students aware of the expanding
possibilities of the medium and to help them gain incremental
expertise as they work toward the personal statement.
18
SCULPTURE
FOUNDRY
Foundry is an independent class available to sculpture
majors who have proficiency in either welding or plaster
mold making. The student will be expected to work on independent pursuits in sculpture. This course is not a class in
the technical reproduction of sculpture; editions are
discouraged.
FIGURE MODELING, Preliminary
This modeling class will focus on the human figure and its
aspects of anatomy, proportion, space, and light. Students
will be instructed in the use of hand tools and constructIOn
of armatures. By using water clay and working directly from
the model, students will gain an understanding of the
dynamics of the figure. C~asswork will include plaster casting, mold making and patmatIon.
Initial class instruction involves making a rubber mold, a
wax, a refractory mold, pouring bronze, welding, chasing,
patination, and presentation or mounting. The instruction is
carried out on a sculpture completed before the beginning of
the semester. The lab fee covers all materials (rubber, plaster,
hemp, wax, slurry) to produce a 30 lb. bronze casting, less the
cost of bronze, or enough slurry to pour 70 lbs. of bronze, less
the cost of bronze. Bronze may be supplied by the student or
purchased before a pour.
PRINCIPLES OF FORM AND STRUCTURE, Preliminary
This is an introductory course dealing with basic design concepts of volume and space with regard to sculptur~l form:
Projects will be developed to create an understandmg of lmear form, geometric form, orgamc form, proportIon / scale
(measurement, symmetry, harmonic figure, Golden Section),
and composition (unity, balance, orientation, rhythm).
Subsequent semesters of Foundry are concerned with
improving technical skills, and exploration of the cast medium, e.g. bronze, aluminum, glass casting and slumping, cast
paper, direct wax working, direct casting of flammable
objects (wood, paper, leather etc.), green sand casting, and
color in three dimensions. The cast medium is explored as a
compositional tool to be integrated into mixed media sculpture fabrication (wood, steel, stone, etc.).
Projects will be designed so that the student can investigate,
in a variety of materials, the principles of modeling, carving,
assemblage, and environmental work.
Extensive use of maquette and preliminary models will be
utilized in order to explore the possibilities of eliminating
some of the technical problems involved in executing projects
in their final materials and/ or size.
CONSTRUCTION AND FABRICATION, Intermediate
Creative thinking, both figurative and abstract, will be
encouraged in this course, which is designed to teach the student / artist the correct choice and use of tools and materials
to transform ideas into plastic images. The student will be
introduced to the constructivist format, in both an additive
and subtractive context. It will explore both traditional and
technical or industrial materials: steel, aluminum, wood,
paper, bricks, air, water, light. There will be dialogue
between instructor and student(s) to stimulate the choice of
appropriate materials with which to realize ideas.
The selection, use, and care of tools will be integral to the
course content. There will be instruction on the methods for
altering, changing, and connecting raw materials. Safety and
studio discipline will be a major part of the learning process.
I _1
19
CARVING
The ph.ilosophy of this course is primarily to teach and guide
carving students in their individual image-I.naklng. Though
imagery is left open to the student, emphasIs IS placed on developing sound technical skills and on how to forl?e, dress, and .
temper one's own tools. Since most of the carving tools used In
this class are difficult to purchase, means of makmg tools are
demonstrated. Techniques of pointing, duplicating, and enlarging are covered. Free-hand carving and maquette building
methods are also emphasized throughout the class.
LECTURE COURSES
Carving is done on wood and a variety of stone surfaces, induding soapstone, limestone, alabaster, and marble.
MATERIALS & TECHNIQUES
First Semester: Pigments. Solvents and toxicity. Pigment
history and use in media. Flexible and solid supports for
painting. Fabricated panel supports. Fabric supports.
Grounds and sizes for supports. Oil painting techniques. Oil
media. Historical survey of artists' palettes. Synthetic paint
media. Varnishes.
Prerequisites for the Certificate, Independent Status,
Studio Competition, and Travel Scholarships include
several lecture courses. Painters and printmakers must
complete Materials & Techniques, Perspective, and Art
History. Sculptors must complete Perspective and Art
History only.
This class is recommended for those with some background in
sculpture, as it is important that carving students be familiar
with general principles and terminology.
Second Semester: Egg tempera. Distemper, casein, gilding
techniques. Encaustic. Buon fresco. History and construction of paper. Drawing materials. Pastel drawing. Inks.
Watercolor. Gouache. Framing and packing of artworks.
Photographing artworks.
PERSPECTIVE
The goal of this course is to develop the artist's spatial sensibilities and skills in three-dimensional representation
through the use of perspective in such a way that this insight
will become an integral part of each student's artistic knowledge. The following will be covered: History of Perspective;
Terminology; One-Point perspective; Two-point perspective;
Visualization Exercises (Finding the Vanishing Points); Art in
Architecture; Art in Public Places; Anatomy in Perspective;
Sketching; Perpetuate Perspective (A Response to the Renaissance); Modern Masters of Perspective.
ART HISTORY
This is a survey of the history of art as it applies to the studio
experience. Emphasis is placed on the painting, sculpture
and architecture of Western Art, and the 19th and 20th century movements of Modern Art. A survey of American Art
will be taught by faculty and museum staff, making use of
the Academy's permanent collection. Art History is a yearlong course, but may be started at mid-year.
BUSINESS SEMINAR
Three lectures will be given each spring, covering the
following materials: 1. The first five years after art school:
open exhibitions, studio setups, locations, studio sales.
2. Galleries and contracts: agreements, agents, consignments,
exhibitions. 3. Pricing, commissions and related matters:
studio sales, pricing (paintings, prints, sculpture), commission
contracts, copyrights, taxes, studio deductions, casting cost.
This series is especially important for third and fourth
year students.
20
ADMISSIONS
PORTFOLIO SPECIFICATIONS
Read the following specifications carefully. Portfolios not
adhering to these specifications will not be accepted for
reVIew.
Your portfolio should contain eight to ten samples of your
work. All work is to be done from life. Do not submit work
that has been copied from a photograph or another picture.
We want to see your own observations.
All work should have a fine arts orientation. No commercial
work (such as advertising, mechanical drawings, comic strips,
cartoons, or illustration) should be submitted.
Work should not exceed the dimensions of 24" by 36". If you
have work that is larger than that, submit a slide or photograph of it.
Only unframed work may be submitted.
Since its beginning in 1805, the Pennsylvania Academy
of the Fine Arts has been attracting students committed
to an intense and comprehensive training in the fine
arts. Students not only work in the very same studios
as did Thomas Eakins, Mary Cassatt, Cecilia Beaux, and
John Sloan, but they also follow a curriculum similar to
theirs-a classical program focusing on the human figure .
The Pennsylvania Academy of the Fine Arts seeks students who are highly motivated to work in the fine arts
and who give strong evidence of talent and potential.
SCHOOL TOURS AND INTERVIEWS
Although a program can be described rather fully in words,
there is nothing like seeing a school first-hand to determine
whether it will meet your needs. Aspiring artists are
encouraged and invited to tour the school and talk with the
Dean of Admissions. Applicants who live within a reasonable
geographical distance of the school are expected to have an
interview. The best time to visit is during the school year, so
that you can see what out students are doing in their classes.
If you cannot visit during that time, try to visit during the
middle of May, when the Annual Student Exhibit is on
display.
Two Dimensional Art
Include some drawings and paintings in any medium.
Examples of figure drawing and painting are recommended.
You may include prints if you have any experience with
printmaking.
All drawings must be mounted or matted. They should be
covered with acetate or other transparent material to prevent
smearing, dust transfer, or color pick-up. Do not use opaque
paper to cover drawings.
APPLICATION
Early application is recommended. The Faculty Committee
reviews portfolios once a month throughout the year. Applicants who are accepted will have guaranteed admission to the
School. Applications received after we reach capacity will be
wait-listed.
Three Dimensional Art
Any three-dimensional work that you wish to submit must be
presented by means of slides or photographs. No original
three-dimensional work will be accepted.
Slides
35mm slides in a slide sheet holder may be presented as your
portfolio. Number each slide and attach a corresponding
sheet of paper identifying each. Indicate TOP. Make sure your
slides are well-lighted and that the image of the art work fills
the slide frame. Make sure your name is on each one!
Requirements:
Application
Application fee $25 (US Funds)
Official transcripts (high school and college)
Two letters of recommendation
Portfolio
Portfolio Cases
All original work should be presented in a portfolio case.
Loose work, or work that is in plastic or paper bags will not be
accepted. This is not only for the proper presentation of your
work, but also for its protection. Your name must be on the
back of each piece. The case itself must be marked with your
name. Although we take great care in handling each portfolio,
the Academy cannot assume responsibility for damage.
The Academy typically has an entering class of students of all
ages and from all walks of life. Although there is no upper age
limit, younger students must be at least sixteen years of age
and have received a high school diploma or its equivalent.
High school equivalency scores will be considered for admission. Official transcripts must be sent from the issuing institution's Guidance or Registrar's Office directly to the Admissions Office of the Academy. At least one of the letters of
recommendation should come from a current or recent art
instructor. An applicant who cannot secure these letters
should discuss this with the Dean of Admissions.
When the application is received, the applicant will be notified
of the date the portfolio is due in the Admissions Office for
review. All of the material listed above must be on file prior to
submitting the portfolio.
Portfolios of original work must be picked up the week following the review week. Please call the office at 215/972-7625
to confirm a time to do this. Slides or photographs will be
returned by mail.
Portfolios should be brought or mailed to: Admissions Office,
P.A.F.A., 118 N. Broad Street, Philadelphia, PA 19102.
21
TRANSFER STUDENTS
Transfer students should follow the usual admission procedures. College transcripts must be sent before the portfolio is
submitted. A maximum of two years of studio credits (60)
may be accepted toward the Academy's Certificate; credits
earned more than ten years prior to the date of application
will not be considered. No transfer credits are accepted
toward the requirements of the Cresson, Schiedt, or Ware
Travel Scholarships, toward the Annual Student Exhibition,
or toward Studio Evaluation.
VETERANS
The Pennsylvania Academy of the Fine Arts is approved for
veterans' education und er the provisions of Title 38 U.S. Code
Section 1776 and the Veterans Administration Regulation
14251E. The regular school program is available to veterans
on a full-time basis only (1 5 credits per semester). Credit for
previous education and training is given when appropriate,
and the length of study will be shortened accordingly. See the
Student Handbook for regulations on students enrolled under
provisions of Title 38 U.s. Code for Veterans Education.
Transfer students should consult with the Dean of Admissions
regarding possible transfer of credit. Credit for courses taken
at other institutions generally will be transferrable only if the
courses are the same as ones that are taught at the Academy.
Most students, regardless of their prior education in the arts,
undertake the entire Program of Study in order that they may
have the opportunity to study with the Academy's faculty.
Their transfer credit is applied to their third or fourth year
studies. Final decisions on credit transfer are made by the
Registrar and the Director of Student Affairs.
PART-TIME STUDENTS
The Academy does not have a formal part-time program.
Consideration will be given to applicants wishing to study
part time; however, placement in desired classes is contingent
upon the availability of space in those classes. Registration for
part-time students takes place on a scheduled date after fulltime registration is completed.
The minimum commitment for part-time study is five class
sessions per week (7.5 credit hours). Students who cannot
undertake that commitment should consider the Academy's
Evening, Saturday, and Summer Classes.
Placement in the Academy's program is based on the recommendation of the Faculty Committee that reviews portfolios
and the department chairpersons.
Part-time students are not eligible for financial aid (except
CSL), some prizes, studio space, or scholarship competitions.
A minimum of two years of full-time study is required for the
Academy's Certificate, in addition to the other requirements.
FOREIGN STUDENTS
Applicants who are not u.s. citizens should apply for admission a year in advance because of the time required to receive
and evaluate credentials. Proof of competence in the English
language may be established by presenting an English
Proficiency Certificate available at any consulate or United
States Embassy, or by presenting TOEFL (Test of English as a
Foreign Language) scores. The other requirements are listed
under Application (see above). Official transcripts must be
tra nsla ted.
The admission procedure is the same as that for full-time
students.
"1 had been working in Hollywood for the last eight
years as a professional set and model maker. 1 felt my
career was consuming me. 1 didn't have time to do
my own work. 1 was looking for a place that allowed
me to develop my personal direction . 1 found this
place. The Academy has given me the freedom that 1
want and the instruction when 1 need it."
Under regulations stipulated by the Immigration and Naturalization Service, all foreign students must file proof of their
financial ability to support themselves from their own
resources for the full term of study. The Declaration of
Finance form will be sent to the applicant upon receipt of the
application. The 1-20 will be sent when the applicant is
accepted, all required documents have been received and
approved, and the tuition is paid. Foreign stud ents who wish
to withdraw must clarify their status with INS before formally
withdrawing.
Advanced sculpture student
The Academy has limited financial aid available to foreign
students. Any scholarship money that is awarded may be
applied t? tuition costs only, and must be used for the year in
which It IS awarded; it cannot be deferred to a later term.
22
SUMMER SCHOOL, EVENING & SATURDAY CLASSES
The Academy offers a great variety of studio courses in the
fine arts. The classes are taught by regular Academy faculty.
They are attended by students who are unable to study fulltime, by artists who want studio time and/or instruction, or
by those who are trying to prepare a portfolio for admission to
art school. Students in these classes have various backgrounds and training, but all share a genuine desire to study
the fine arts. Therefore, the courses are designed to accommodate different levels of competency, and individual
instruction is given.
DEPOSIT POLICY
A $50 deposit must accompany each applicant's acceptance of
admission. The deposit is credited to the tuition for the next
semester.
MEDICAL CERTIFICATION
Upon acceptance to the School, all students are sent a Medical
Form. The medical examination should be completed, and the
form signed by the student's doctor or other recognized physician and returned to the Admissions Office before Registration. Students will not be permitted to register unless this
form is on file.
The classes are open to anyone sixteen years or older. No
portfolio review is required. Classes may be taken for credit if
desired. Classes are scheduled in the evenings and on Saturdays during the school year. Daytime classes are offered during the summer months.
READMISSION
Students who have withdrawn officially from the school may
contact the Registrar for readmittance within a two year period. After two years' time, application must be made through
the Admissions Office. All financial obligations with the
School must be settled before registering.
For a catalogue or specific information on classes,
please contact:
Evening & Summer Programs Office
Pennsylvania Academy of the Fine Arts
118 N. Broad Street
Philadelphia, PA 19102
215/972-7632
Academy graduates wishing to enroll for further study should
contact the Registrar.
REAPPLICATION
Applicants who did not complete the application process, did
not receive a favorable decision, or who were accepted and
did not enroll, may reactivate their files within a two-year
period. After that time, a new application will be required.
"Over the last several years, I had the opportunity to see the Annual Student
Exhibitions. The quality of the work and the variety of the content were
consistently high every year. Through the years that I've been able to attend,
the exhibits have enriched my understanding of modern and contemporary art.
I applied to the Academy because I wanted to avail myself of the level of
teaching that was evident in this work."
First year student
23
FINANCIAL INFORMATION
Supplemental Educational Opportunity Grant (SEOG): This
is a federally funded, school-administered program. Grants
are awarded to needy students who do not hold a Bachelor's
degree. Typically, SEOG grants are awarded to Pell recipients
on a funds-available basis.
Students accepted to the Academy enjoy a relatively lower
tuition expense than they would encounter at most other
schools because the endowment of the Academy underwrites
a great deal of the expenses of the school. There is included
with this booklet a separate sheet listing current tuition
charges and other fees or expenses. Applicants who indicate
on their application forms that they expect to apply for financial aid will automatically be sent detailed information from
the Financial Aid Office.
Academy Scholarships: Through its endowment, the Academy offers a number of full and partial tuition scholarships,
awarded on the basis of need and merit. Foreign students,
students who have degrees, and all other eligible students are
considered for these scholarships.
FINANCIAL AID
Financial aid is awarded on the basis of need and merit of the
portfolio. Approximately two-thirds of the students receive
some form of financial aid. The amount of assistance varies
according to the individual student's needs and the availability of funds. Because these factors vary from year to year,
financial aid is awarded for one year at a time. Therefore, students who want financial assistance must re-apply for aid
each year. Students are advised to observe and meet deadlines issued by the Financial Aid Office. The phone number of
the Financial Aid Office is 215/972-7624.
Monitorships: These are work exchange scholarships awarded by the Academy. The Tax Reform Act of 1986 mandates
that the portion of the monitorship which represents compensation for services is taxable and is awarded as Work Scholarship. The remaining portion is not taxable, and is awarded as
Tuition Remission. All Financial Aid applicants are considered for these positions.
Work/Study: The Financial Aid Office will make a determination of your eligibility to work on campus. A Work/Study
award indicates the amount a student is eligible to earn if he
or she secures a job at the Academy; it is not a guarantee of a
job. Payment is made through the business office directly to
the employed student.
The Academy's Financial Aid Program comprises grants,
work/study, loans, and tuition scholarships. The Pennsylvania State Grant and Federal Student Aid application issued by
the Pennsylvania Higher Education Assistance Agency
(PHEAA) serves as the application for all aid programs. Student Loans require an additional application.
Eligible students are permitted to work up to twenty hours
weekly when classes are in session. Students are paid at least
minimum wage, and hours are arranged to accommodate class
schedules. Jobs are usually available throughout the
Academy in the areas of housekeeping, security, maintenance,
museum, school offices, and library. Positions require various
levels of skill and experience. Work/Study is funded through
federal and institutional sources.
Any applicant or student who completes the PHEAA application and has a complete file will be considered for assistance,
but preference will be given to those whose processed PHEAA
applications have been received by May 1. Applicants to the
School need not be accepted to apply for aid, but must be
accepted to the School before aid will be awarded.
Employment: The Financial Aid Office is contacted by outside employers with various job opportunities. Notices of
openings are posted on bulletin boards in both buildings.
Transfer students should note that federal regulations require
:in~ncial Aid Transcripts to be sent from each post-secondary
Institution preVIOusly attended, whether or not aid was
received.
LOANS
Student loans are available at low interest rates and with
extended repayment terms to assist students in meeting both
tuition and living expenses. Although these loans are transactions between a student and a bank of his or her choice, the student must first complete both a PAFA and a PHEAA application in order to apply for a student loan. It is suggested that
students await notification of other possible grants or scholarships before undertaking indebtedness of this kind. The student alone is responsible for repayment of this financial obligation. Student loan programs include Stafford, PLUS, and
PHEAA alternative loans. Details are in the information sent
by the Financial Aid Office.
The Principal types of assistance are:
Pell Grant: This is a federally administered program in which
grants of up to $2,400 may be awarded to students who have
not earned a bachelor's degree and have not received financial
aid beyond the allowable number of semesters. Eligibility is
determined by the federal government.
PHEAA Grant: Awards are available to established Pennsylvania resident.s who have not earned a college degree, are
enrolled fu ll-hme, earn a miniumum of 24 credits per year,
and demonstrate financial need. Application must be made
by May~. (Note: other states have scholarship programs for
their reSidents. Information and applications should be available from the respective State Boards of Education.)
N.B.: The loan application process usually takes five to seven
weeks.
24
SCHOLARSHIPS
The Scholarship of the Alumni Association of the
Pennsyl·vania Academy of the Fine Arts
The Joseph Amarotico Scholarship
The Arcadia Foundation Scholarship
The Morris Blackburn Scholarship Fund
The Rhea K. and Robert T. Brooks Scholarship
The Mary R. Burton Scholarship
The Gilbert M. Cantor Memorial Scholarship
The Melvin Paul and Pearl Miller Carpel Scholarship
Mary Cassatt Associates Scholarships
City of Philadelphia Art Scholarships
The Sarah Kaighn Cooper Memorial Scholarship
Thomas Eakins Scholarships
The Robert B. Ehrman Scholarship
The Geraldine Dietz Fox and Richard J. Fox Scholarship
The Franklin Mint Foundation for the Arts Scholarship
The Barbara Specker Gorson Memorial Scholarship
The Catherine Grant Scholarship Fund
The Eleanor S. Gray Memorial Fund
The Sophie Victor Greene Scholarships
The Albert M. Greenfield Scholarship
The Allen Harris Memorial Scholarship
The Louise Harrison Memorial Scholarship
The Fred and Naomi Hazell Art Award
The Hunt Foundation Scholarship
The Rondi Cristine Johnson Memorial Scholarship
The Suzanne H. King Memorial Scholarship
The John Lambert Scholarships
Robert Henri Scholarships
The Henry Hotz, Jr. Memorial Scholarship
The J.J. Medveckis Scholarship
The Jane Darley Naeye Scholarship
The Goldie Paley Foundation Scholarship
The Albin Polasek Fund
The William Tylee Ranney Scholarship
The Raymond S. Reinhart Memorial Scholarship
The Saul Schary Memorial Scholarship
The Marc Clarkson Schoettle Memorial Scholarship
The M. Murray Schwartz Scholarship
The Allen Serody Scholarship
The Silver, Harting and Greenfield Scholarships
The John Sloan Memorial Scholarship
The Lucille Sorgenti Scholarship
The Helen V. Stone Memorial Scholarship
The Walter Stuempfig Memorial Scholarship
The Elizabeth H. Thomas Memorial Scholarship
The Renee (Mrs. Jerome B.) Weinstein Scholarship
.
The Polly Mudge Welliver Memorial Foundation Scholarship
The George M. Wiltbank Scholarship
The Bonnie Wintersteen Scholarship
The Ben and Ruth Wolf Scholarship
The Scholarship of the Women's Committee of the
Pennsylvania Academy of the Fine Arts
The Charles Morris Young Scholarship
SCHOLARSHIPS
The Gilroy and Lillian P. Roberts Scholarships
Two one-year full-tuition scholarships are awarded each year
to incoming students holding an undergraduate degree. The
scholarships are awarded on the basis of need and ment of the
portfolio. Students who are offered admission by July 1 and
who have filed the Pennsylvania State Grant and the Federal
Student Aid form will be considered for these scholarships.
Recipients will be notified by July 15.
Scholastics Art Award Scholarship
The Academy offers a one-year half-tuition scholarship to a
high school senior selected by the Scholastics Art Award Association. Details may be obtained from your high school art
department.
Foreign Student Scholarships
Since foreign students are not eligible for state or federal
financial aid, the Academy offers some partial-tuition scholarships on the basis of artistic merit and financial need. Awards
are made for one year only. Scholarships cannot be deferred
to another year if the recipient chooses not to enroll in the
term for which the scholarship was awarded. Proof of financial support other than tuition must be provided, as cited in
Foreign Student Admissions.
"You learn technique. You learn vocabulary. Eventually, you'll have enough confidence in your ability so
that you'll be able to produce something you feel is
significant. "
Second year student
25
ACADEMIC POLICIES
GRADING SYSTEM
Students are responsible for knowing and abiding by the
Academy's regulations, some of which are in this book. The
complete listing is in the Student Handbook.
Letter
Grade
A+
A
AB+
B
Bc+
C
cD
F
I
S
U
PG
W
MAJORS
At the end of Studios I and II, at pre-registration, students
are required to declare a major (Painting, Printmaking, Sculpture). The schedule for the next academic year is then
planned in consultation with the Registrar or the Director of
Faculty and Student Affairs.
MINORS
You may formally pursue a minor by enrolling for nine credits
of the major subject and six credits of the minor subject each
semester during the second, third, and fourth years.
"As an older student who has earned a BFA from
another institution, I am more than satisfied to have
enrolled in PAFA's Certificate Program. The combination of caring and knowledgeable professors, serious students, the demand for establishing the fundame~t~ls in stud.io art and the encouragement of
artlstzc expressIOn makes the environment both nurturing and challenging."
First year student
26
Quality
Points
4.33
4.00
3.67
3.33
3.00
2.67
2.33
2.00
1.67
1.00
0
0
0
0
0
Numerical
Equivalence
Interpretation
97-100
94-96
90-94
87-89
84-86
80-83
77-79
74-76
70-73
60-69
0-59
Outstanding
Excellent
Very Good
Good
Satisfactory
Poor but passing
Failing (no credit)
Incomplete
Sa tisfactory (Passing)
Unsatisfactory
In progress
Withdrawal
DROP/ADD
A student has two weeks from the date of registration in
which to change his or her course schedule. The change must
be documented in writing by the Registrar. Verbal agreement
with individual faculty will not be considered official.
TRANSCRIPT REQUESTS
Requests for Day School transcripts must be received in writing by the Registrar. Allow two weeks for issuance. Enclose
$2 for the first official transcript and $1 for each additional
copy. The Academy will not grant official credit or issue
transcripts of record to any student who has not completely
satisfied all financial obligations to the institution.
WITHDRAWAL AND REFUND POLICY
Official withdrawals from the Academy must be made in writing through the Registrar's Office. A student who withdraws
forfeits scholarship assistance. There are no refunds of application fees or other fees. Refunds of tuition will be calculated
according to the following schedule:
Withdrawal
Requests must include: Name (including maiden name), the
name of the institution or person who is to receive the transcript, student's social security number, current address, and
the dates you attended the Academy. Requests must be
signed.
% tuition charged
Please address all correspondence to:
Pennsylvania Academy of the Fine Arts
REGISTRAR'S OFFICE
118 N . Broad Street
Philadelphia, PA 19102
Prior to first day of cIasses ............................ O%
During 1st week of term ............................... 20%
During 2nd week of term ............................ 40%
During 3rd week of term ............................. 60%
During 4th week of term ............................. 80%
After the 4th week ...................................... 100%
Requests for transcripts for evening, Saturday, or summer
courses should follow the same procedure, but Evening and
Summer Programs should be designated in the address.
No refund will be payable to a student who is dismissed by
the School Administration for disciplinary reasons.
PRIVACY POLICY
Exceptions to the above regulations are:
The Pennsylvania Academy of the Fine Arts is in compliance
with the Family Education Rights and Privacy Act of 1974. A
copy of the act may be obtained from the Registrar.
l. In the case of any student who is called into military
service before or during a school term under provisions
of the Selective Service Act; or
2. Students under Public Law No. 550 (G.!. Bill).
In either case, if a student fails to enter the course, or withdraws, or is discontinued therefrom at any time prior to completion, the rules concerning Veterans will apply.
MEDICAL INSURANCE
"After years of teaching, I gave up all other positions
to teach only at the Academy. The environment is
challenging and stimulating, constantly creating a
renewed excitement. The students are eagr!r to participate in criticism and are willing to learn."
Medical group insurance is available, for an annual fee, to all
full time Academy students. Information is available at
Registration and throughout the year in the Business Office.
215/569-2797.
HOUSING
The Academy does not provide housing; students secure their
own housing. However, local housing information is posted
on bulletin boards for the students' convenience, and the
Admissions Office keeps listings of available housing, local
dormitory openings, and residences for women. It also tries
to assist students in finding roommates.
Critic Will Barnet
27
LOCATION
the stadium complex for sports, concerts and special events,
the colorful outdoor Italian Market, and terrific fashion shopping in upscale Rittenhouse Square and Walnut Street, east of
City Hall on Market and Chestnut Streets, or along trendy
South Street. Wonderful restaurants, small cafes, and pizza
parlors are found across the city.
The Pennsylvania Academy of the Fine Arts is located in historic center city Philadelphia. Our students have access to the
cultural, recreational, educational, and historic resources of
the city, while enjoying a rich and unique artistic experience at
the Academy. Part of their cultural enrichment comes from
access to the treasures of the Museum of the Pennsylvania
Academy. Students are not only welcome, but also are
encouraged to study works in the collection, whether in the
galleries or in the vaults.
Public transportation is good, with bus and subway lines
throughout the city, and AMTRAK connections to Boston,
New York, Washington, D.C., and points west. The Greyhound Bus Terminal is only four blocks away.
Among the cultural institutions within walking distance of the
Academy are the Franklin Institute, the Philadelphia Museum
of Art, the Rodin Museum, the Philadelphia Free Library, and
the Academy of Music, home of the world-renowned
Philadelphia Orchestra.
There are many colleges in the greater metropolitan area,
including the University of Pennsylvania, Drexel, Swarthmore, Haverford, Bryn Mawr, Villanova, Immaculata, Rosemont, LaSalle, St. Joseph's, Chestnut Hill, Beaver, and Temple.
Only seven blocks away is Independence National Historical
Park, which encompasses 26 historical sites, including Independence Hall, the Liberty Bell, Carpenter's Hall, and
Franklin Court.
So whether it's the Philadelphia Orchestra or the Pennsylvania
Ballet, the Morris Arboretum or Longwood Gardens, the Flyers, the Eagles, the Mummer's Parade or Benjamin Franklin's
Post Office, a cheesesteak or a hoagie, the rowers on the
Schuylkill River or the ships on the Delaware, Philadelphia
has plenty that will enrich your life while you are studying
at the Academy.
Other areas of interest nearby are Fairmount Park, the world's
largest city park, Penn's Landing along the Delaware River,
Reading Terminal Market, Chinatown, the Philadelphia Zoo,
VINE ST.
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ADMINISTRATION
BOARD OF TRUSTEES
President
Officers
Harold A. Sorgenti, Chairman
J. Roffe Wike, Vice Chairman
Allen J. Model, Treasurer
Lyn M. Ross, Secretary
Frank H. Goodyear, Jr.
Dean and Director of the School
Frederick S. Osborne
Dean of Admissions
Rosanne M. Barrett
215 /972-7625
Director of Faculty and 'Student Affairs
Julia R. Valenti
Registrar
E. Ashley Izard
Director of Financial Aid
Betty L. Huston
215/972-7624
Admissions Assistant
Michael S. Smith
Models and Props Coordinator
Richard L. Distefano
Librarian
Marietta P. Boyer
Graduate School Coordinator
Terri Brown
Director of Evening and Summer
Programs Office
Angela Gonzalez-Walker
215/972-7632
Trustees
Charles L. Andes
John B. Bartlett
George A. Beach
Mrs. C. Graham Berwind, Jr.
Mrs. Thomas Dolan IV
Kevin F. Donohoe
Caleb L. Fowler
Milton Ginsburg
Barbara L. Greenfield
Samuel M.V. Hamilton
Mrs. Robert A. Hauslohner
Ragan A. Henry
Stephen B. Klein
Leonard 1. Korman
Daniel R. Kursman
Frederick W. Kyle
Terrence A. Larsen
Peter McCausland
Mrs. Meyer P. Potamkin
Lynda Rae Resnick
Herbert S. Riband, J r.
Eileen Y. Rosenau
Mrs. E. ewbold Smith
Benjamin Strauss
Edna S. Tuttleman
Robert G. Wilder
Richard B. Worley
Ex officio
Frank H. Goodyea r, Jr., President
Louis B. Sloan, Faculty Representative
Hon. Joan Specter, City Representative
COMMITTEE FOR THE SCHOOL
The Academy does not discriminate
on the basis of race, color, national or
ethnic origin, sex, age, religion, handicap, financial situation, or geographic
location in admitting students to the
School, or in the administration of its
educational poliCies or scholarship
and loan program.
Cover Photo: Will Brown
Design: Mezza Luna Graphic Design
Editor: Rosanne Barrett
John B. Bartlett, Chairman
Archbold D. van Beuren, Vice Chairman
George A. Beach
Alla n L. Edmunds
Margaret Engman
Dr. Julia A. Ericksen
Caleb L. Fowler
Mrs. Robert A. Hauslohner
Ragan A. Henry
Mrs. Nelson J. Leidner
George McMonigle
Jane F. Medveckis
Harvey S. Shipley Miller
Susan A. elson
Judith Rothschild
Mrs. Leonard A. Sylk
Ex officio
Harold A. Sorgenti, Chairman
Tony Rosati, FaCIlity Representative
Victor Chira, Vice President for Development
Frank H. Goodyear, Jr., President
D. Lora Kronik, Vice President
for Finance alld Administration
Frederick S. Osborne, Dean
and Director of tire School
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