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Title
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1995-1996 School Circular
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Is Part Of
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RG.03.04.01
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Language
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eng
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PDF
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extracted text
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..-.---Pennsylvania
~.I.-,"_.L _
_
Pennsylvania Academy
of the
Fine Arts
Philadelphi a, Pennsylvania
Page
Pr'es ident's Message ................................ 3
..... we are a way of living and being." ....... 4
History of the Academy ........................... 5
Ccrtificate Program ................................. 7
Certificate Requirements: ......... ..... ... 11
Painting Department .................. '12
Printmaking Department ............ '15
Sculpture Department .... .... ........ 16
Bachelor or fine Arts Program ................ 18
Post-Baccalaureate Program ................... 19
Master of Fine Arts Program ................... 19
TABLE m' CONTENTS
Academic Policies ................................... 21
Museum of American Art.. ...................... . 22
Academy Buildings .................................. 24
FurnesslHewitt Building ................... 24
1301 Cherry Street ........................... 25
Directory .......................................... 26
12th and Vine Streets ........................ 28
LocationlMap .......................................... 29
Scholarshil)S ...... ...... ............................... 30
Awards and Prizes .............. ... ................ .. 31
Visiting Artists ........................................ 33
Alumni-The Fellowship of the
Pennsylvania Academy of the Fine Arts .. 34
Admissions Information ........................... 35
Financial Aid Inrormation ........................ 39
Faculty .................................................. 41
Ad junct Facu lty, Administration .............. 54
Board or Trustees .................................... 55
Insti tutiona l Policies ........................... .. .. 56
2
hc Pennsylvania Academy of the Fine Arts was founded in 1805, only
eightecn yca rs after the signing of the U.S. Constitution. As the nation's
first art school and museum, it was established to inspire and contribute
to the cultural life and well-being of a fledgling country. This mission is as true
today as it was then. Being an art school and museum, the Academy is devoted
to combining studio instruction and direct contact with historic and contemporary ar't objects.
"Fine Art is that in which the hand, the head, and the heart go togcther." This
precise epithet, written by John Ruskin two centuries ago in Great Britain, could
well be the Acadcmy's credo. An education here addresses each of these three
centers, and, most importantly, their integration.
There is an exceptional
commitment and seriousness
PRESIDENT'S
MESSAGE
among students and faculty
that bring a singular focus
and intensity to their daily
lives here.
All the above characteristics nurture and maintain an
atmosphere in which the
creative act flourishes. At the
Academy School, aspiring
individuals have the optimum
opportunity to develop into
accomplished fine artists.
We have tried to portray a
complete picture of the
Academy in this catalogue,
and I hope you will read
through it carefully. Nothing
replaces experiencing both
the School and the Museum
3
in person, so I urge you to move about, meet faculty and students, observe
classes, walk through the studiOS, and ask questions.
Most of all, I hope that those of you who have requested this catalogue,
because of your interest in the fine arts, find yourselves here, contributing to
and benefiting from the 'Academy experience.'
These sandstone plaques by Alexander Kemp are set high on the Academys facade (see photograph at right) . Based on a major work by French painter
Paul Delaroche, they depict artists' gatherings from the Middle Ages and the Renaissance, thus predating the activity within the building.
" ... we are a way of
living and being."
an Miller, who graduated from the Pennsylvania Academy and th e
University of Pennsylvania, has been a faculty member for thirty-one
yea rs and has held num erous positions here, He speaks and writes
frequently on the Academy experience. Following are several of his observations:
"We are not a school in the traditional sense, rather, we are a way of
living and being. We are more than curriculum, more than paint and
models. We are about the finding of the self. that truth within, and giving
that truth expression,-so we are about the development of intangibles, "
"We foster the truth of doing with no promises, At times, such truth is
harsh; yet a beginning based in honesty is the best guarantee of healthy
development. We attempt to lift the student from where he is, to where he
demonstrates he ought to be. "
"Any upper-level education must bring you, the student, into confrontation
with yourself and involve all aspects ofyour mind and spirit. Our students
are given the tools and the encouragement for survival, and a great many
become artists for life, and are making significant contributions ...
4
"A sense of art as a 'high calling'is offered to the student- art for its own
sake, without reward, for which the price is an unrelenting dedication. The
student must make his own decisions, ..
"A sound school is continually in the act of becoming. Only in this way can
it
be alive in the present, and only in this way can it develop an instinct for
change. Our challenge lies in preserving our past, but even more in what
lies ahead. "
HISTORY OF THE
ACADEMY
Furness Hewitt Building, 1876
he Pennsylvania Academy of the Fine Arts is the first and oldest art
school and museum in the United States, Its origin dates from 1791 ,
when Charles Willson Peale initiated efforts to organize a school for the
fine arts in Philadelphia. This resulted in the formation of the Columbianum in
1794. In 1795, under the auspices of that association, the first exhibition of
painting in Philadelphia was held in Pennsylvania's old State House, better
known today as Independence Hall. The Columbianum was ultimately succeeded
by the present Academy. In 1805, in Independence Hall, seventy-one publicspirited citizens met for formal organization. At that meeting the petition for
incorporation was prepared, and the Charter was obtained in March of 1806,
creating this new organization "To promote the cultivation of the Fine Arts in
the United States of America [and to] enlighten and invigorate the talents of our
countrymen." Artists aSSOCiated with the Academy in its early years included
5
William Rush , Thomas Sully, and Rembrandt Peale, son of the founder.
Study of antique casts was initiated when the school opened and was the
core of the curriculum in the early yea rs. In '1805, Peale and Joseph Hopkinson
wrote to the American minister general, John Armstrong, in Paris, asking him to
-
en list the help of Napoleo n in securing plaster casts of classical statues in the
Louvre. The order was promptly filled, and more than fifty casts made by Getti,
Majeur du Louvre were shipped from BOI'deaux in February 1806.
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 schoo l in the world. Lectures in artistic
anatomy were given by distinguished physicians and professors. The renowned
America n arlist. Thomas
L~8 kin s.
in tl'Ofll/ cecl (' lasses in whi ch eHlvanced Htudents
actually di ssected hum 8n ca daverH and anima l celr'casHes , placing evcn greater
emph as is on that pa rt of the cUITi culum .
In th e mid-1800 , the Academy was guided by til e famou s mezzoUnt en-
graver John Sarlai n. The facu lty in cluded painters Chr'isUan Sehusse le and
Thomas Anshutz, and at the encl of th e century, Robert Vonnoh, Thomas
lIovendon , William iVlerritt Chase , and CeCili a BeaLLx. Thomas Eakins, who was
a student at the Academy, and then a fac ulty member, was appoin ted director of
the Schoo l in 1882 . Mary Cassatt, Maxfi eld Parrish , Charles Shee ler, John
Sloan, Char'les Demuth , Arthur B. Carles, architect LouiS I. Kahn , and movi e
dir'ecto r DaVid Lynch are among those who have studi ed at the Pennsylvania
Aca demy of the Fine Arts.
Since 1891 , annual awards have
been made to Academy students for
travel in Europe. Well over a thousand such scholarships have been
awarded, man y of them from the
endowm ent left to the Academy in
1902 by Eml en and Priscilla P.
Cresson, in memory of their son
William.
The Academy has maintained its
tradition of educaUng the artist in a
classical manner. Today, thi s tradition
is merged with the most contemporary
philosophical and conceptual principl es of modern art to form an
educational program that is unparalleled in the country. Many infiuential
artists who studi ed at the Academy
have beco me member's of th e faculty.
Each generation of artists teaching
6
and exhibiting at the Academy co ntinues to share its experience and
experti se with the succeeding generalion , crea ting an unbroken line of
Cast collection in the historic studios, Furness Hewitt Building.
artistic innovation that stretches fl'om
1805 to the prese nt.
TIlE CERTIFICATE PROGRAM
The people who come to study at the Pennsylvania Academy are people who
know that they want to be fine artists. They arc looking ror a place where they
ca n work with serious artists, hon e their skills, and I'efin e their techniques, so
they ca n build a so liel intellectual and practical foundation ror their creative
express ion. Th e Academy stresses that its students' success rests solely with
their own hon est efrorts to grow; that there is no one to rool but themselves.
Their rewards are not grades or cre dits, degrees or awards, but rath er th e
satisfaction of seeing their work improve and mature. If this is what you are
looking for, you will find a home here.
Although the students drawn to the Pennsylvania Academy are of many ages
and backgrounds, they share a commitment to developing th eir fin e art sensibilities . The student
CERTIFICATE
PROGRAM
body renects a diversity of educational
experience, ranging
from high school
diplomas to graduate
degrees. While some
students have been
working at their art ror
most of their lives,
others have spent their
lives in widely different
ways, ranging From construction to medicine. Such a broad spectrum of life
experience provides an extraordinarily rich environment.
The Certificate program is the heart of the education ofFered here. It is a
four-year program of intense training that offers three majors: Painting,
Printmaking, and Sculpture. Th e Academy believes that artists should be
knowl edgea ble in all fine arts disciplines, and th e program or study is designed
around that concept. Students are encouraged to explore more than one discipline, and the program requirem ents allow time to be spent studying in an area
7
other than one's major.
As a student, yo u will have a f'il'st-yea r curriculum that is based on classica l
tl'aditions in which students work together in group studios. There is a strong
emphasis on representation and working from the human figure. This traditional
approach gives the developing arti sts the entire heritage 01' art hi sto ry to
measUl'e against. Within this initi al orientation , there is also an emphasis on
drawing, because the Acade my believes it to be a fund amental method of visual
thinking.
Students leave the Academy after fOUl' years, exp ress in g themselves in
abstract work, non-objective work, ri eld paintings. multi-media pieces, as well
as more trad iti ona l modes. Th e orienlation or the fil'st two years pl'Ovides a
strong roundation for whatever direction you dec ide to take.
Eacll studcnt pu ts in a rull rl uy. fi v(' days a wee k. ClasfJes start at8 :80 in th c
morning and last unlit I I :3 0. wh en til e enlil'(' scllool tak cs an hour hrea k for
lunch. Th el'e arc ,'cgul ar'ly schcelul c(ln oo ntim c slide lectu rcs. whi ch compl ement each majol' al'Ca of stuel y. prcscntcd by raculty anel vi siting arti sts. At
.12: 30, stueli o classcs r'cs um c until 3:3 0. First-ami second-yea r stud ents arc
r'eQuired to take sever'a l lecture courses. whi ch meet in th e lal er afternoon . As
you move th!'Ough th e Iwogram , you will be sc hedul ed with in creasing amounts
or indepenelent time . Even in th e l'irst year, stuelents are roster'eel with courses
that have non-instr'ucted as well as instru cted classes . This reinforces selfmotivation and encoUl'ages students to think and work independently r!'Om the
very beginning.
A minimum of thirty hours a week will be spent in studiO. Students find the
intense schedule very demanding, but appreciate being in an environment of
serious study. For many, it is
the first tim e in their lives that
they have been in a situation
wher'e everyone in their
workplace is dedicated to the
cl'eative p!'Ocess. There is no
unnecessary conversation.
music, or distraction in the
studios. People work hard, and
they l'espect and are inspired
by the artistic learning atmosphere.
During the second year,
students find their schedules
demanding, but undertake
more of their own work in
their out-of-class time. This
begins the transition to independent status in the third year.
In the third and fourth years, students are assigned private or semi-private
8
studios, and spend th e majority of their time in independent study.
At this stage in their' studies, students meet once a month with each of the
three faculty members that they will have chosen to be their critics. This Critics
P!'Ogram is based on the master/apprentice system. It p!'Ovides a fram ework in
which students can discu ss th eir ideas and p!'Ogress on an individual basis with
faculty members who are professional artists. The purpose of this independent
study arrangement is to create a facsimil e. as near'ly as possible. of a working
artist's life, wh ere stud ents are setting th eir own problems and solving th em.
and . in th e process , learning to dir'ect their own development as artists in an
intelligent and productive mann er. During thi s tim e, students will not only have
weekl y meetin gs with their cr'iti cs but may also participate in g!'Oup critiqu es.
To suppl ement the curri culum , the Aca demy offers a ViSiting Artists program, in which painters , scu lptors, perFormance artists, and critics come ('or a
full day each of critiques, lectures, anel occasiona l workshops. This is a means
by which yo u, as part of the Academy com munity, will have access to the
experiences and talents of nationally accla im ed artists. Recent visitors have
included Gregory Amenoff. Robert Bel'melin, Vin cent Desiderio , Lauren Ewing,
Randall Exo n, Susan Moore, James Rosen, Bill Scott, and Joseph Wesner.
While you are studying here, you will be able to experi ence and absorb the
co ntempOI'a ry ar t world. There are many outstanding museums and ga ll eries
within walking di stance of the Aca demy. Philadelphia is locate d mid-way
between New YOI'k and Washington, D. C.; and the Academy regularly schedules
inexpensive chartered bus trips to both citi es so that students can see major
exhibitions and visit galleries.
You will also have num erou s opportunities to enter student competitions.
Th e School Gallery regularly holdS juri ed student shows. In addition, there are
fall and spring prize co mpetitions in which all stud ents may parti cipate. [n May,
the institution proudl y hosts its Annual Student Exhibition for third-and fourthyear students. For this, the main galleries in the Museum are empti ed. and each
eligible stud ent is assigned an ex hibition space . After the walls are hung and
the sculpture assembled, the faculty awards the coveted Travel Scholarships.
The Scholarships provide for tl'avel and study in Europe and other countri es
during the summer, and some also provide for tuition at the Academy the
following fali (See Awards and Prizes) .
Students invariably say that the
most significant aspect of th eir yea rs
at the Academy is being able to study
with, and work under, the outstanding
faculty. All faculty members are
working artists. Many of them studied
at the Aca demy, and are an essential
clement in presel'ving and continuing
the tradition of the Aca demy. This
9
tra dition is enri ched by the di verse
points of view of other faculty members who studied at difFerent schools
around the cou ntl'y and the world. The
Facu lty give students a rigorous
education, with the goal of growth and
self-development through a command
of the technical , philosophica l, historical, and contempol'al'y aspects of the
fin e arts.
Visitors at the Annual Swdent Exhibition.
r
10
•
•
.
---='"\ ,
.~
FIRST YEAR
All students in their first year are exposed to the fundamentals of drawing,
paintin g, printmaking, and sculptUl'e. These two semeste rs provide the necessary familiarization with media and process; th e recognition of th e crea tive
connection among disciplines; and th e realization of an area of perso nal
creative strength. All of these assist each student in declaring a major at the
end of the yea r.
Stlldios I & II
CERTIFICATE
REQUIREMENTS
Cast Drawing
Life Drawing
Still Life
Life Painting
BaSic Color
Printmaking
Etching
Woodcut
Lithogl'a phy
Figure Modeling
Form & Structure
Introduction to Anatomy
Perspective
Total
Credits
3.0
3.0
6.0
4.5
1.5
1.5
1.5
1.5
3.0
1.5
1.5
1.5
30.0
(15 credits each semesler)
Art I-listory
(2 semesters, 20 sessions) These lectures must be completed
by the end of the second year.
Materials and Techniques
(2 semesters) These lectures must be completed by the end
of the second year, except Sculpture majors.
11
In one word , 'diversity' descr'ibcs the Painting Department. Throughout the four
years, students are able to draw on the coll ective cxperience or our faculty, who
come rrom varied backgrounds and who work in all possibl e styles with a broad
range or material s. Ther'e are those who work with precision in pen and ink,
silverpoint, or graphite; those who build their paintings rrom a highly developed
underpainting; and others who work directl y with paint, pastel. or charcoal,
employing repres entational , abstract, or non-objective imagery. Painting
students are Lhe dir'ecL benericiaries of the collective ex perience, being exposed
to instructors who will instill a sense or detail through exact measurement and
observation , and other's who will inspil'C students to express poetic and emotive
Qualities.
The Department's expectation is that its graduates will be independent artists ,
gr'ounded in the principles or the traditions , and launched on a lifetime Quest to
make meaningrul statements through their work.
PAINTING
SECOND YEAR
Studios 11/ & W
Credits
T Painting Major
Drawing
Life Drawing. or
StudiO Anatomy, or
Drawing. or
Animal Drawing. or
Advanced Cast Studies
Life Painting
Portrait
Media on Paper
Electives
Total
4.5
7.5
7.5
3.0
7.5
30.0
(15 credits each semester)
THIRD YEAR
Studios V & 111
T Painting Major
Third-Year Minimum ReQuil'Cments:
12
Independent Study
24.0
(divided between 3 Critics)
Drawing Seminar
Electives
Total
3.0
3.0
30.0
(15 credits each semester)
FOURTII YEAR
Studios VII & VIII
T Painting Major'
Fourth-Year Minimum ReQuir'ements:
Independent Study
(dividCCl between 3 Criti cs)
30.0
(1 5 credits each semester)
13
14
Pril1lmaker Raymond S, cth (/iscussC's
.1
drawing being developed on a lithog raphic slOlJC .
Til e tradi tion of pI'intmaking at the Aca demy is expli citly a form of rin e art
expression. An extensive techni ca l fo undation is provided La ensure that th e
student has the kn owledge to be able to fulJ y expl ore the potentials inherent in
pI'intmaking. The emph asis is on merging the conceptual with the technical,
in ord er to produce works that have relevan ce and signiri ca nce in th e context of
co ntemporary ar t. The printm akin g co urses focus on th e di sciplin es of intaglio,
lith ography, and woodcut, and in clude both traditional and experim ental approaches to im age makin g. In addition to being printm akers, th e fa culty work
in painting, drawing, and sculpture. Th e Department contains a Stud ent Archives Study ColJ ecti on. Selected prints from each class, each semester, have
been acquired for th e colJ ection. The work is used as teaching aids and for
exhibition PUI'poses. It is a ri ch source of examples of specific techniques as
welJ as a resource whi ch serves to inspire students.
PRINTMAKING
SECOND YEAR
Studios III & W
Cr edits
'Y Printmaking Major
Requirements:
Printmaking
18.0
Life Drawing
3.0
(in cludes Studio Anatom y)
Painting
9.0
Total
30.0
(1 5 credi ts each semester)
Till RD YEAR
Studios V & VI
'Y Printmaking Major
Third-Year Requirements:
Printmaking
Printmaking Critiqu e
Oth er Critiqu e
Drawing Semin ar
Elective
Total
15. 0
3. 0
3. 0
3. 0
6.0
30.0
(1 5 credits ea ch semester)
15
FOURTH YEAR
Studios VII & 11111
'Y Printm akin g Major
F'o urth-Yea r Requirements:
12. 0
Printm akin g
3.0
Prin tmakin g Sem inar
3.0
Prin tmakin g Critique
Drawi ng/Pa in ti ng/Cri Liq ue 12.0
Tota l
30.0
( 15 cre dit s each semes ter )
The Scu lpture Departm ent beli eves in simpli cily, bul addresses the fact that
scu lpture has become a field comp li cated by encompassing most modes of
three-dimensional artistic express ion. In the seco nd year, majors focus on
developing their skill s in adva nced studios, in cluding rabri caLion in wood, meta l
and mixed media , carving, figure modeling and anatomy, and technica l workshops such as cas ting methods. All classes co mbin e techni ca l information
about the sc ulpture process and issues relaled to composition and content. The
newest additions to the sc ulpture curri culum are studios in site-specifi c work,
and the iss ues attendant to public art. When students advance to their independent status in their third year , th eir studio experi ence is enhanced by the
cooperative atmosphere of the various departm ental workshops, in which, as
a basic premise of the education program, they are encouraged to learn from
one another. Third-and fourth-yea r students may also continue to enroll in
formal classes, working with instructors they wish to continue to benefit from .
SCULPTURE
SECOND YEAR
Studios 11/ & W
Credits
T Sculpture Major
Minimum Requirements:
Sculpture*
Drawing (200 level)
Studio Anatomy, or
Life Drawing, or
Animal Drawing, or
Advanced Cast Studies
Electives
Total
18.0
3.0
9.0
30.0
(15 credi ts each semester)
'Departm ent Courses Requi red During the Second Year: (may be taken either first or second semester)
Figure Modeling or
Head and Torso
4.5
Composition & Fabrication 1.5
Casting and Plaster Techniques
(Non-Credit-12 sessions)
Depa rtm ent Courses Recommended For the Seco nd Year:
16
Carving
Figure Modeling
Head & Torso Stud ies
Composition and Fabl'ication
TIJIRD YEAR
Studios V & VI
T Sculpture Major
Third-Yea r Minimum Rcquil'ements:
Sem inar
3.0
(Drawing Semin ar or Studio Anatomy)
Independent Study
9.0 to 24.0
(divided betlVeen 3 Critics)
Scu lpture classes
Total
3.0 to 18.0
30.0
(15 credi Ls eaeh sc mestcr)
FOURTH YEAR
Studios VII & VIII
Credits
T Sculpture Major
Fourth-Year Minimum Requirements:
Seminar
3.0
(Dr'awing or SculpLure class)
Independent Study
9.0 to 27.0
(divided among 3 Critics)
Total
17
Pouring rna/cen bronze in th e
foundry.
30.0
(15 credits per se mester)
BACHEL.OR OF FINE ARTS
A Bachelor' of Fine Arls (Iegrce may tw ('<lrll( ~ (j by !\ctHlI:rn y HtIHiI:nl!; par llr iPCiIing in an affi li ated progl'am wilh cIUHH' tile Ulllvel'sity of' 1'(:nnsylv,mi ,J or the
University of the AI'ls. Both inslitulions accept tile Acwlem y's Ctrllli CCitr: "''>
fulfillment of the studiO cred it req uireme nts for their' l'(lspecUV(: BY.A.
pl'ograms. Information for application to eith er' of these Cool'(linatecl degree
programs ma y be obtained through the Director of StudenVF"'Gulty AflCllr& Clfter
the student matl'ic ulates at the Academy.
BACIIELOR OF
FINE ARTS
University of Pennsylvania
Thel'e arc two options with the University of Pennsylvania's program. In the fir t ,
the student will complete four yea rs at the Academy in addition to the academic
wOl'k at Penn, either concurrenLly or cQuentially, and ea rn both the Academy;
Certificate and the Bachelol' of Fine Arts degree from the University or Pennsylvania. In the second option, the student may complete three years at the
Academy and the academic coul'sework at Penn. In this case, the student will
earn only the B.F.A. from the Univel'sity of Pennsylvania.
Coul'ses are taken in the College of General Studies of the niversity. nder
certain circumstances, courses may be taken in the day diviSion. 0 transfer
credits will be accepted.
T Requirements (one unit equa ls one course of three semester credits each)
16 units to include:
4 units of Art History
12 units of electives
University of the Arts
The p!'Ogram with the University of the Arts requires the student to earn the
Academy's Certificate and successfully complete all the required courses at the
University to receive its B.F.A. Up to nine semester credits f!'Om another college
may be transferred if the courses meet the distribution l'eQuirements of
the University of the Arts.
T Requirements: 14 classes at 3 credits each = 42 credits
15 credits:
Two semesters (6 credits) of Fir'st-Year Writing
1\\10 semesters (6 credits) of Introduction to Modernism
One semester (3 credits) of Language of Art lIistol'y
III
27 credits, 12 of which must be upper leve l courses:
1\vo courses in each of the following departments:
Language and Literature
Hi story, Social Studies , Anlhropo logy
Art Hi story Electives
Philosophy, Science , Psychology, Religion
One elective
I'OS'I~B!\CC!\I J\l I REA'I'E
J>ROGRAJ\1
The PORt-Bneenlaul'eate Program p!'Ovides those dedicated to becoming fine
fII'tis tS \\ ith the opportu nity to spend a year speCifica lly developing their artistic
nnd illt elleetu al sl-ills. The objective is to p!'Ovide individually designed programs
of st ucly for those who wish to fUlther their formal education , 01' who wish to be
competi tive for admiss ion to graduate-degree programs. The Post-Baccalaureate
pl'Ogram is designed for students with an undergraduate degree or extensive
studio wOI'k below th e gl'a duate level.
The clll'ri culum co mbines independent search and development in an apprenticeship studio setting cllal'acteristi c of graduate study, with more formal
course-wol'k typical of advanced undergraduate p!'Ograms. Graduate-level
se minar s co mplete the pl'ogram. Normall y, a student spends two full-time
semesters in the program , which can be started either in Septembel' or in
January.
OTHER ACADEMIC
PROGRMIS
The pl'ogram encompasses the disciplines available at the Academy-Drawing,
Painting, Printmaking, Scu lpture, and Multi-Media. Inform ation is available f!'Om
the Admissions Office , 2 15/972-7625.
MASTER OF FINE ARTS PROGRAM
The Master of Fine Arts Degree Program is designed to assist developing fine
artists realize their creative promise, including a solid intellectual and practical
foundation for their artistic expression. Students are encouraged and guided
toward development of an aesthetic of their own, whether it is expressed
through a realisticlI'epresentational , abstract/nonrepresentational, or conceptual approaCh , or other un iQue hybrid. The basis of the program is the give-andtake of intellectual exploration, creative dialogue, inspiration, and artistic
expression.
As a program in the Academy's tradition, the Graduate School is predominantly
built on the master/apprentice system that affords students individual criticism
with senior artists on a regular basis. As a community of teachers and students,
the program strives to advance individual artistic accomplis hm ent, and to benefit
from the diversity of the partiCipants.
19
The Critic Program is supplemented by assigning each student to a faculty
advisor, and by a required year-long seminar in Drawing, and two yea l'-Iong
humaniti es seminars titl ed Readings and Resea rch and AesthetiCS and Criticism.
Arti sts holding a bacca laureate degree are eligible to apply. This p!'Ogram is two
yea rs, full time, and a portfolio is l'eQuired to apply. Th e program encompasses
the di sci plin es available at the Aca demy-DI'awing, Painting, Printmaking,
Sculpture, and Multi-Media. Information is available f!'Om the Admi ss ions Office,
215/972-7625.
E\ ENING &. SATlIRIM\' (;IASSES.
SU~ntW~
SCII()()L
Tile f\caelerny offers a 13I'gr sclcctioll of studio cO lil'ses <J1l(1 intensive workshops
in th e nn e arts on a part-limc basis . The classes <J(,(' laught by regular Aca dcmy
raeulty. The~ aI'e atleneled by stucienls who w'c unabl e to stud y rull Lime, by
artisls who want stuci io Lime and/or' inSU'ucLion , or' by those who are preparing a
portfolio ror' admission to art school. StudcnlS in Lllese classes have ciiverse
backgl'Ounds and training, but all share a gcnuine ciesire to study the nne arts.
The cou r'ses arc designed to accommodate dirferent levels of compelency,
from beginning to advanced, and individual instrucLion is given.
The classes are open to anyone sixteen years or older. No entrance portfolio
review is required. Classes may be taken for co ll ege credit if desired. Classes
are sched ul ed in tllC evenings, daytime and weekends, during the school year
and the summer. The Academy also offers International Programs during the
summer. These programs allow students to work independently on location in
the midst of foreign cultures . The Academy has held programs in Africa, Prance,
Italy, and Mexico.
POI' a cata logu e or specific information , pl ease contact:
Evening & Summer Programs Office
Pennsylvania Academy of the Pine Arts
118 N. Broad Street
Philadelphia, PA 19102
215/972-7632
....,1
20
l.'
tudents are responsible for knowing and abiding by the Academy's
regulation s. Th e complete listing is in the Student Handbook.
MAJOR
Students arc required to declare a majol' (Painting, Printmaking, or Scu lpture)
at pre-I'egistration , after cOmpleting Stud ios I and II. The schedu le for each
successive academic year is then planned in consultation with the Dircetor of
Faculty/Student Affai l's, and faculty advisors.
MINORS
You may formally pursue a minor by enro lling for nine credits of a major subject
and six cred its of a minor subject each semester for your second, third, and
fourth years.
GRADING SYSTEM
ACADEMIC POLICIES
Letter
Grade
A+
A
AB+
B
Bc+
C
cD
F
S
U
4.33
4.00
3.67
3.33
3.00
2.67
2.33
2.00
1.67
1.00
0
0
0
Quality
Points
Numerical Interpretation
Equivalence
97-100
94-96
90-93
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)
Satisfactory (passing)
Unsatisfactory
Official withdrawals from the Academy must be made in writing through the
Data Services Office. A student who withdraws forfeits scholarship assistance.
There are no refunds of application fees or other fees.
No refund will be payable to a student who is dismissed by the School Administration [or disciplinary reasons.
21
Exceptions to the above regulations are:
1. In the case of any student who is ca lled into military service before or during
a schoo l term under provisions of the Selective Service Act; or
2. Students under Public Law No. 550 (G.!. Bill) .
In either case, ir 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.
HOUSING
The Academy does not provide housing; students secure their own housing.
However, loca l housing information is posted on bull etin boards ('or th e students' conveni ence, and the Admissions Office keeps listings or available
housing, local dormitory openings, and residences ror women. It also tries to
assist in finding roommates.
-
mong th e many r'eSOUl'ces and study opportunities that set the
Pennsylvania Academy apar'l r!'Om other edu ca tional institutions
is the Museum of Amer'ican Art. Founded as an integra l part of
the Academy in 1805, the nation 's oldest art museum possesses one of the
fin est co ll ectio ns of American art in the country. Iioused in the Furness/Hewitt
building, the coll ection contains ove r' 1,700 paintings, 400 sculptures and
14,000 works of art on pape l', plus hundreds of man uscripts, photographs,
sketches, and other primary so urce material.
The works acquired by the Pennsylvania Academy over the years span the
period from the mid-1700s to the present day. In its early days, the Museum
collection was th e equivalent of a Museum of Modern Art, establishing a tradition
of contemporary acquisition that has created a history of American artistic
MUSEUM OF
AMERICAN ART
expression spanning this country's lifetime. The works provide an overview of
techniques, styles, and imagery that retlect all of the major developments in
American al't. Many of the gl'eat works of the collection were done by Academy
students and teachers, and acquired during student shows and local expositions
before the artists became p!'Ominent. (The asterisk after names indicates Academy
alumni, faculty, or academicians.)
Major 18th-century works include portraits by Academy founder Charles
Willson Peale* and his brother James*. It also includes works by Charles Willson
Peale's renowned children, Rembrandt* , Raphaelle*, Rubens*, and Titian, and his
daughters Margaretta * and Sarah *. Other artists of the period represented by
major works include John Singleton Copley, Gilbert Stuart*, and Benjamin West*.
The 19th-centUl'y collection is extensive. Among its strengths are genre
paintings including several by William Sidney Mount and Henry Inman, figurative
paintings by Peter Rothermel , CeCilia Beaux*, Mary Cassatt*, and Daniel Ridgway
Knight*, and landscapes by Jasper C!'Opsey, Martin Heade, and William Trost
Richards. The collection of impressionist works is distinguished by major works of
Childe Hassam and Edward Redfield*. These are augmented by the t!'Ompe l'oeil
realism of works by William M. Harnett* , and John Frederick Peto*. The
Academy's extensive collcction of works and personal documents of Thomas
Eakins* (student and one-time Director of the Academy School) has made it a
22
world center for the study of Eakins, his works, and techniques.
The 20th century is represented by the paintings of John Sloan*, Robert
I1enri*, Charles Sheeler*, Arthur B. Carles*, Charles Demuth* , Arthur Dove, and
Thomas Hart Benton. Contemporary art is represented by Milton Avery, Andrew
Wyeth* , Philip Pea rlstein, Neil Welliver, Richard Diebenkorn , Robert Gwathmey*,
Sidney Goodman *, Will Barnet* , Gregory Amenoff* , Georgia O'Keeffe, Stuart
Davis, and Conrad Marca-Relli. The recent acquisition of thirty-four works f!'Om
the estate of Rober'l Motherwell has made the Museum a center for the study of
this twentieth-century master.
Long before diversity was even a concept, the Academy collected minority
artists. Horace Pippin and I-I enry O. Thnner* are join ed by contemporaries
Raymond Saunders*, Louis B. Sloan* , Jacob Lawrence, and Barklcy Hendricks* .
."."."."."."."."."."."."."."."."
."
'WY
¥¥¥¥¥¥¥¥¥¥¥ ~Vy
•
I.
.
The works-on-paper collection con i ts of the full range of American prints,
drawings, and watercolors over the la t 250 year . It particularly documents
Philadelphia's role a a publishing center in the nineteenth century, and the
Academ)Js role in shaping American art and art education.
The culpture collection i made up of over 400 objects and is noted for its
19th-century portrait busts, including everal by William Rush* , a founder of the
Academ~
with Charle \rillson Peale; its neoclas ical marble tatue ; and its
French-in pired figurative piece by such arti ts a Charle Gran) *. Alexander
Stirling Calder*, and Albert Laessle* Post-World War II is repre ented \\ith \\orks
b} cu lpto
uch a Walker Hancock* , \"anc~ Grave , Loui e \evel on, HarD
Bertoia, George egal, Omid mith, Red Groom , and "'harton Esherick*
In 1994. the .\Iu eum completed a reno,'ation of il gallerie and rehung
a selection of il rna lerwork lo ra'-e re,ie"
~ideo
. Il ha added an orientation
lheater and late -of-the-arl elf-guided audio lour -on e for children
and one for adu lt .
The School' in tructional program make u e of the \Iu eum and its collection
lhroughoullhe
~ear.
For e\ ample. cia e are held in the ,aults to lud\ \\orks not
CUf/vnl" on di pla\: \\orks hanging in the gallerie are copied on , ite: or a "ork in
a I('mporan exhibition i u ed by a facul~ member to illu trale a particular
(ooe I'pt Iw/.,he ha pre en ted in the ludio. The collection i an imaluable re(JUf( ('[lJ 1111' in<,lrurtional program. and el il apart from other school.
ACADEMY BUILDINGS
FURNESSIHEWITI BUILDING
The Academy's High Victorian Gothic building at Broad and Cherry Streets was
built in 1876 and designed by Frank Furness and George W. Hewitt, hence its
designation. Identified as a National Historic Landmark in 1975, this building is
one of the internationally known examples of historic, American architecture,
and together with the Museum 's collection is one of the nation's cultural treasures. It houses the Museum and thc historic studios where generations of
students studied.
Its design, which incorporates gallery space for display and studio space for
creation, symbolizes the institution 's mission . Today, most first-and second-yeal'
students have their classes in these studios, studying cast drawing, Figure
24
drawing, and painting. One of the studios is used for sculpture students doing
large-scale figurative work. The sL'I( studios are designed in the tradition of the
beaux-arts schools of Europe, with twenty-foot vaulted ceilings and skylights
with northern exposure. These majestic spaces contain the Academy's famous
cast co llections of antique and Renaissa nce sculpture. which have been part of
the curriculum throughout the School's existence. No student who wOI'ks in
these spaces ever forgets the experi ence .
Anatomical Studies Center
The Academy recenLly estab lished a naturc laboratory-a collection of natural
objects for stuely and demonstl'atiOI1. It primarily serves the Animal Drawing and
Anatomy programs, ancl is located at the west end of the F'urncss/I·lewitt building.
1301 CHERRY STREET BUILDING
This building (a block away from thc Furnesslllewitt building) is almost entirely
dedicated to school facilities, and was recently retrofitted to be state or the art.
This 65,OOO-square-foot, nine-story loft structure houses life painting and drawing
studios; still-life studios; co mplete printmaking racilities; the entire sculpture
department, which includes a foundry and a stone-carving room; private and group
studios; faculty studios; an exhibition gallery; the library; and storage areas for
student artwo['k.
The group painting studios have skylights or northern exposures. There is a
room dedicated to still liFes, and a separate room with natural and flexible artificial
lighting reserved for critiCism. Numerous private studios, for students and faculty,
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 3['chives 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 pulling large format work. In the woodcut al'Ca, there is
abundant space for cutting, inking, and printing.
25
DIRECTORY
1301 CHERRY STREET
9TH FLOOR
GROUP PAINTING AND
DRAWING STUDIOS
8TH FLOOR
PRlVATE STUD IOS:
FACULTY A 'D STUDENTS
7TH FLOOR
SGULPTURE STUDIOS:
PLASTER CASTING,
FIGURE MODELING
6TH FLOOR
SCULPTURE STUD IOS, WOOD
SHOP, ME'If\L SHOP,
FOUNDRY, CARVING
5TH FLOOR
PRlVATE STUDIOS:
FACULTY AND STUDENTS
4TII FLOOR
STILL LIFE ST DIO , PRlVATE
STUDIOS
26
3RD FLOOR
PRlNTMAKING STUDIOS,
PRlNT ARCH IVAL ROOM
2ND FLOOR SCHOOL
OFFICES, ADMISS IONS
OFFICE, ADM INISTRATIVE
OF'FICES
I ST FLOOR LIBRARY,
STUDENT EXIlIBITION
GALLERY, ART SUPP LY
STORE. CAFE. AND
STUDENT LO UNGE
BASEMENT
ART STORAGE AREA
T.he scu lpture department OCcupies two noors. One is devoted to figure modelin
casting, and plaster work, and the other is a fab' t'
tl
.
g,
rJca Ing 001' wIth a wood shop
meta ls hop, fo~ndry (ceram ic shell casting). and a separate shop dedicated to \~OOd
and. stone carving. The metal fabrication area has nine weld ing stations and is
cQul~ped for gas, electric .and tig welding. The ceramic shell found ry is capable of
pouring 12~ pounds at a tIme. Therc is a kiln fOI' tiring small clay scu lptu re, a
portable hO.ISt, and a freight elevator. The wood fabrication area is completely
equIpped wIth table saw, radial arm saw, stationary sander, miLer saw, band saw for
meta l and wood , drill press, and pneum atic air tools. The mold-making room is used
for cera mic shell molds, rubber molds, wax working, patina work, and sand blasting.
Th e second Floor contains the School Admissions Office, the other academic
offices, and the administrative offices.
The first Floor of 1301 Cherry
Stl'eet houses a dynamic
collection of spaces for student
and public use, as follows.
Library
Th e library serves both the School
and th e Museum . Its patrons are
students, museum staff, faculty,
and th e general public. As an art
school library, it provides materials that stimulate and inspire th e
visual artist. As a museum library,
it collects materials that are
needed for the interpretation and
research of Ameri ca n art. The
coll ections are devoted exclusively to the visual arts. They provide an histori cal
perspective with an emphasis on th e work of individual arti sts, focusing on the
thoughts and techniques of these arti sts. The library has more than 14,000 books.
a growing selection of video tapes, and a coll ection of 20,000 slides. It subscribes to
27
mo re than 75 periodicals.
or special interest is an extensive arti st fil e. Started as a
WPA project, it is a collection of newspaper clippings, gallery announcements,
resumes, and pictures of more than 5, 000 aJ'tists whose works are difficult to
document in books.
School Gallery
The School Gallery showcascs student works with juried cxhibitions throughout th e
yea r. This ga llery space, open daily to th c public, fa cili tates the showing and selling
of student works from til e Certificate, M.F'.A., and Evcning Programs.
Art Supply Store
Th e Academy's art supply store SCI'VCS thc Academy community as well as the
general publi c. Merchandise is speci l1ca lly ta ilored for thc fin e artist. The store
carries a wide range of domestic and imported art supplies and paper's, fin e ar't
books and texts, and an ever-changing assortment of "Academy" gift items. Store
hours vary during the year, depending on the Academy schedule, but always
include evenings and weekends. Academy students and alumni rcceive a
twenty-percent discount on purchases, and students in good standing may also
maintain credit accounts.
Cafe
Located ad jacent to the al't supply store is the cafe, which is in a casual, open
selling, and is the perfect spot to gather with friends an d faculty. The cafe is
open before, during, and after school hours.
Safety
The mann er of opel'ating all technical facilities is always seen as part of the
instructional program , and safety is a constant priority in all departments.
Material hazards is an integra l part of the Materials and Techniques course in
Painting, and is woven into safety presentations in th e other departments.
In Printmaking, all students receive special instructions on press safety, and
safe handling procedures for all solvents and acids. Ventilation systems are
carefully maintained and monitored. Surface cleanup of inks is now accomplished with a nontoxic, nonvapor system of vegetable oil and detergent.
No one is permitted to use power equipment in the Sculpture Department
until he/she has passed an extensive, hands-on shop-orientation course.
All departm ents maintain up-tO-date manuals on the hazardous properties of
materials used in their respective areas.
t 2T" AND VINE STREETS BUILDING
This building, which houses many of the private studios for the Certificate Program
and all of the Graduate studios, has been colloquially designated "12th & Vine"
because it is nea r the intersection of those two streets. In fact, the Goldtex
Building is a typical ten-story, big-city fa ctor y building with oversized factory
windows which are excellent for artists' studios. Th e Academy occupies the 6th
and 7th Ooors, each of which consist of approximately 12,000 square feet of lolt
space. These two large Ooors have been thoughtfully partitioned into studios with
28
natural light, ample wa ll surfaces, and locked doors. There are some interior
studios which provide fOI' more personally controll ed lighting.
There is a large DI'awing Studio for both instructed and other classes and group
critiques. There are also seminar/lecture rooms, a lounge with kitchen facilities,
three faculty stud ios, and a faculty office.
These studios are located three blocks from 1301 Chel'I'y Street, and four
blocks from the FurnesslHewitt building.
LOCATION/MAP
The Pennsylvania Academy of the fine Arts is located in Philadelphia's downtown
district, 'Centel' City.' Students have easy access to the cultural, recreational,
educational, comm ercial, and histo ric resources of the city.
Among the cultural institutions within walking distan ce of the Academy are
the Philadelphia Museum of Art, the Rodin Museum , the Philadelphia free
Library, and the Academy of Music, hom e of the world-renowned Philadelphia
Orchestra. Only seven blocks away is Independ ence National lIistorical Park,
which encompasses 26 historical sites, including Independence I-Iall.
Other al'eas of interest include fairmount Pal'k-the world's largest urban
pal'k,-Penn's Landing along the Delaware River, Reading Terminal Market,
Chinatown, the Philadelphia Zoo, the stadium complex for sports, concerts, and
special events, and the colorful outdoor Italian Market.
Public transportation provides bus and subway lines throughout the city, and
AMTRAK connects to Boston , New York, Washington, D.C. , and points west. The
Greyhound Bus Terminal is four blocks away.
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 I-Jill , Beaver, and Temple.
Pennsylvania Academy
of the FIne Arts
Pllfll4lol,hfa
MI.llm diAl!
1301 Cherry Street Building
FumenIHewltt Building
•
12th and Vine Building
• Rodin MlSeum
VINE ST
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CHERRY S'll
29
JOlt\' ' . KEEDY BLVD.
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he Academy was original l y structured as a stock -holding corporatio n, and the company's assets
provid ed tu i t i on-free instruction until the late '19th centu r y. Today, the in sti t u t i on 's endowm ent
a nd fundraising effOl'ts still provid e nea rl y h a lf of eve r y stud ent's tu iti o n. In add i t i on , there i s
more t ll a n $350,000 awa l'd ed in institutional tu iti on scholarships eac h year. Fo ll owin g i s a li st of the
des i gnated funds.
SCHOLARSHIPS
The Scholarship of the Alumni Assoc iation of the
Pennsylvania Aca demy of the Fine Arts
The Joseph Amar'otico Schol arship
The Arca dia Foundation Scholarship
The Morris Blackburn Scholarship
The Rh ea K. and Robert T. Brooks Scholarship
The Mary R. Burton Scholarship
The Gilbert M. Cantor Memorial Scholarship
Mary Cassatt Associates Scholarship
The August and Irma Howard Cook Memorial
Scholarship
The Sarah Kaighn Cooper Memorial Scholarship
The Earl T. Donelson Memor'ial Scholarship
Thomas Eakins Associates Scholar'ship
The Robert B. Ehrman Scholarship
The Geraldine Di etz Fox and Ri chard J. Fox Scholarship
30
The Franklin Mint Foundation for th e Arts Scholarship
Th e Barbara Specker Gorson Memorial Scholarship
The Catherine Grant Scholarship
The Eleanor S. Gray Memorial Scholarship
The Sophie Victor Greene Scholarship
The Albert M. Greenfield Schol arship
The Allen Harris Memorial Scholarship
The Loui se Harrison Memorial Scholarship
The Fred and Naomi Hazell Art Awa rd
Robert Henri Associates Scholarship
The Henry Hotz, Jr. Memorial Scholarship
The Hunt Foundation Scholarship
Th e Rondi Cristine Johnson Memorial Scholarship
The Huldah Bender Kerner Schol arship
The Suzanne H. Kin g Memorial Scholarship
The John Lambert Scholarships
The Bobette R. and Nelson C. Leidner Scholarship
The Jimmy C. Lu eders Memorial Scholarship
The Jane Darley Naeye Scholarship
The Goldie Pal ey Foundation Scholarship
The Angelo R. Pinto Memoria l Scho larship
The Salvatore Pinto Memorial Scholarsh ip
The Alb in Polasek Foundation Scholarship
The Wi lli am 'rylee Rann ey Scholarsh ip
Th e Raymond S. Reinhart Memorial Scho larsh ip
Th e Gilroy and Lill ian P. Rober'ts Scholarship
Th e Gilroy and Lillian P. Roberts Graduate Scholarship
The Sara Mary Barnes Roby Scholarship
The Joseph Sachs Memoria l Scholarsh ip
Th e Sa ul Schary Memorial Schola r'ship
Th e Marc Clarkson Schoettle Memorial Scholarship
'rh e M. Murray Schwartz Scholarship
The Sil ver, Harting and Greenfield Scholarships
The John Sloa n Associates Memorial Scholarship
The G. Ralph Sm ith Scholarship
The Lucille SorgenLi Scholarship
The Helen V. Stone Memorial Scholarship
Th e Walter Stuempfig Memorial Scholarship
Th e Elizabeth H. Thom as Memorial Scholarship
The Renee (Mrs. Jerome B.) Weinstein Scholarship
The Polly Mudge Welliver Memorial Foundation
Scholarship
Th e Margaret M. Welsh Memorial Scholarship for
Part-Tim e Evening Students
The George M. Wiltbank Scholarship
The Bonnie Wintersteen Scholarship
The Ben and Ruth Wolf Printmaking Department
Scholarship in Honor of Peter Paone
The Scholarships of th e Women 's Committee of
the Pennsylvania Aca demy of the Fine Arts
The Charl es Morris Young Scholarship
~othCl' of the Aca demy's pl'ivileged attributes is its prize endowments.
Each year, nearly $90,000 in prizes are a d d f
.
..
war e or the best work
executcd III specifi c categories. Students in all fo
..
·
.
ur
years
are
eligible
to
en t er, an d t h e Judging is don e by the faculty.
f
Because of the scale of thesc awards they const't t
,
I U e a orm of merit schol.
.
"
f
arships, slllce the cash almost invariably is used b
Y recIpi ents or educational
ex penses.
[n addition, each year the Annual Student Exhibition'S .
t
..
. .
I , III par, a competition
for the prestigiOus Cresson, Schicdt, and Ware travel scholarships (see below).
All these prizes provide incentives that increase students' ambition and
aspirations, often beyond anything they would ordinarily have expected of
themselves.
SCHOLARSHIPS
AWARDS & PRIZES
TRAVEL AWARDS
The William Emlen Cresson Memorial Travel Scho larships were created by a
generous fund established by the wills of Em[en and Priscilla P. Cresson as a
memorial to their deceased son, William Emlen Cresson, academician. The
income from the fund provides the opportunity for outstanding students to
travel and study in Europe. First awarded in 1902, the Cresson Scholarships
have had significant influence on hundreds of recipients. In the spring of 1969,
the one-thousandth award was made. In recent years, an average of three
students per year have received Cresson Scholarships. The funds cover the
expenses of travel for a period of 60 to 70 days in Europe during the summer,
and tuition costs for the following school year at the Academy. 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.
The Lewis S. Ware Memorial Travel Scholarships, in accordance with the will
of the testator, provide European Travel Scholal'ships in amounts and under
regulations Simil ar to those of the Cresson Scho larsh ips. The Ware Schola l'ships
were fi rst awarded in 1938. [n recent years, an average of two students per
31
year have been awarded Ware Scholarships.
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. Eligib ili ty is based on requirements
simi lar Lo the Cresson Scholarships; however, these scholarships al'C not
specifica ll y designated for European travel. The First one was awal'ded in 1949.
ach year have been awarded
[n recent years, an average of four stu den ts e
Schiedt Scholarships.
AWARDS AND PRIZES
Prizes for Printmaking
Awards
Elena and Will BarneL Prize for AbsLraet Art
(see PainUng)
The Morris Blackburn Print Prize
The MI'. and Mrs. Leon C. Bunkin Prize
The John R. Co nner Memorial Prize
The Co lor Print Purchase Prize
The Co lor Woodcut Purchase Prize
The Charles Crawley Black-and-White Woodcut
Purchase Prize
The Wharton Esherick Museum Award
Monotype Purchase Prize
Th e PeLer Paone Print Book Purchase Prize
The Loui s and Estelle Pea rson Memorial Prize
for Landsca pe with Figures (see Painung)
The Philadelphi a Print Club Prize
The Henry C. Pratt Memorial Prize in Printmaking
TradiUonal Media Print Prize
The Robert T. Wickersham Memorial Purchase
Prize in Lithography
The Ruth and Ben Wolf Printmaking Department Prize
Th e Alumni Awa l'd
ARCO Chemi ca l Company Purchase Prize
The RoberL Carlen Memorial Endowment
The Peal'l M. and Melvin P. Carpel Award
Th c F'ellowship Prize
Thc Pennsylvania Governol"s Award
Til e Philadelphia Mayor's Awa rd
Til e Rohm and Haas Fine Arts Achievement Purchase
Award
The F'ranklin C. Watkins Memorial Grants
Prizes for Painting
Elena and Will Barnet Prize for Abstract Art
The Cecilia Beaux Memorial Prize
The Frances D. Bergman Memorial Prize
The MorriS Blackburn Landscape Prizes
Th e Lambert and Emma Wallace Cadwalader
Prize ror Landsca pe
The Lambert and Emma Wallace Cadwalader
Prize ror Portraiture
The Charles Crawley Landscape Painting
Purchase Prize
Cuff-Sammak Prize for Abstract Painting
Jeanne Culver Prize
The Earl T. Donelson Figure Painting Awards
The James O. Dumont Prize
The Thomas Eakins Memorial Prize
The Louis S. Fine Purchase Prize
The Charles J. Frith , Jr. Landsca pe Purchase Award
Th e Catharine Grant Memorial Prize
Th e Eleanor S. Gray Prize for Still Life
Historic Yellow Springs Prize
The Lance Roy Lauffer Memorial Prize
Th e Jimmy C. Lueders Painting Prize
The Louis and Estelle Pearson Memorial Prize for
Landsca pe with Figures
Th e lIobson Pittman Memorial Prize
The Robert A. Ricker Memorial Landsca pe Prize
32 Th e Benjamin West Prize
Prizes for Drawings and Works on Paper
The Robert Carlen Memorial Prize for Aqueous
Media on Paper
Tile Irma H. Cook Prize, The August Cook Prize, and
tile Dani el Garber Prize for Excellence in Drawing
The Samuel David Memorial Prize for Cast Drawing
The Marie Donaldson WaLercolor Prize
Til e Deena Gu Prize
The Packard Prizes
The Philadelphia Water Co lor Club Prize
The Ramborger Prize
Simone C. 'l1tone Prize
Charles Toppan Prizes
Prizes for Sculpture
Lillian Chandler Memorial Sculpture Prize
The Mark Cullinane Memorial Prize in Sculpture
The Charles E. Dutrow Award
Perez and Mary Epstein Prize for Sculpture
The Flame Welding Supply Prize
The Marcia Lampert Prize for a Construction
(see Open Media)
The Benjamin Lanard Memorial Award
(see Open Media)
The Mary Townsend and William Clarke Mason
Memorial Prize
Th e Pennsylvania Steel Company Prize
Th e Edmund Stewardson Prize
Th e Stimson Prize
The Ward Prize in Sculpture
Prizes for Open Media
Th e Alexa nder Prize
Th e Mindel Caplan Kl einbard Award
Michael G. Capuzzi , Jr. Memorial EndowmenL
The Marcia Lampert Prize for a Construction
(see Sculpture)
The Benj amin Lanard Memorial Award
(see Sculpture)
The Michael Pea rson Memorial Prize
The Philadelphia MtisLS' Award
The Angelo Pinto Memorial Prize ror Experimental Work
Th e Plastic Club Awa rd
The Don Sa bath Award
The Ed na Pennypacker Stau ffer Memorial Prize
The Thoul'on Prizes
Th e Charles R. Weiner Prize
The Sylvia G. Wexler Memoria l Award
he Visiting Artist~ Lecture Series brings to the Academy each year a
se lect group of highly accomp li shed artists whose visits are multiFaceted. Each Visiting Artist presents a noontime lecture in th e
Hamilton Auditorium, which is open to everyone at the Academy and the
publi c. [n addition, they provide private studio critiques for stud ents who have
requested them. Both the Graduate and Certificate students have access to
these artists during the year.
Following are some of the artists who have visited the Academy in recent
years.
VISITING ARTISTS
Alice Adams
Janet Fish
Gregory Amenoff
Joel Fisher
Dore Ashton
Louise Fishman
Alice Aycock
Antonio Frasconi
William Bailey
Jane Freilicher
Will Barnet
Susie Gablik
Jack Beal
James Gahagan
Rosemarie Beck
Gregory Gillespie
William Beckman
Sam Gilliam
Robert Birmelin
Leon Golub
Paul Brach
Nancy Graves
Judy Brodsky
Clement Greenberg
Marjorie Portnow
Deborah Remington
Paul Resika
Lowry Burgess
John Hanlen
James Rosen
Tom Butter
Brian Hunt
Charles Cajori
Yvonne Jacquette
Cynthia Carlson
Joan Jonas
Betye Saar
Raymond Saunders
!talo Scanga
atalie Charkow
33
Joyce Kozloff
Bob Cronbach
Larry Day
Robert Kulicke
Donald Kuspit
Arthur DeCosta
Gabriel Laderman
Vincent Desiderio
Jacob Landau
Barbara Lekberg
Ri chard Estes
Lauren Ewing
Randall Exon
Jackie Ferrara
Eric Fischl
Alfred Leslie
Emily Mason
Michael Mazur
Ruth Miller
Mary Miss
John Moore
Robert Pincus-Witten
Peter Plagens
Bill Scott
Susan Shatter
Wolf Kahn
Louisa Chase
Lois Dodd
Marisol Escobar
Susan Moore
Elizabeth Murray
Philip Pearlstein
Marsha Pels
Gabor Peterdi
Irving Petlin
Judy Pfaff
Judith Shea
Sidney Simon
Nora Speyer
Leo Steinberg
Frank Stella
Donald Sultan
Joan Thorne
Selina Treiff
Ursula Von Rydingsvard
Mia Westerlund
Theodore Wolff
"We have a tremendous diversity of opinion available to the students. They have
Conseh . d .,
to choose from a11 of the criticisms received and make t elr eC1SJOns.
quently, our students graduate as independent artists. "
-F'aculty Member. Painting Departm ent
n April 17. 1897. five hundred former and then-current students
gathered into Lhe Academy's lecture room (today's auditorium) . They
were I'esponding to a noUce sent by the well-known painter Robert
Vonnoh announcing the formation of the fellowship of thc Pennsylvania
Academy or the Fine Arts. That evening. an alumni body was founded to foster
"a sp irit of fratel'l1ity and conUnuing mutual support among former and present
students or the Academy." The renowned painter Charles Dana was elected the
first president.
The fellowship sponsors num ero us activities throughout the year. many or
which benerit the Academy School. Its major annual event, sin ce its founding,
is a members juried exhibition.
The fellowship has exemplified its motto of "A rtists helping Artists" for
ALUMNI
THE FELLOWSHIP
OF THE PENNSYLVANIA
ACADEl\n' OF THE FINE ARTS
nearly a century. It will celebrate its 100th anniversary in 1997. All past and
present students of the Pennsylvania Academy of the Fine Arts are eligible to
become members of the Fellowship.
34
Portrait painting class, 1901 , tbree years after the founding of the Fellowsbip.
he ~ennSYlvania Academy of the rine Al'ts seeks students who are highly
motivated to develop their artistic abilities and to demonstrate a strong
commitment to the fine arts.
SCHOOL TOURS AND INTERVIEWS
Although a program can be described rully in words, there is nothing like seeing
a school firsthand to determine whether it will meet the applicant's needs.
Applicants arc encouraged to tour the school and talk with the admissions stafr.
Those who live within a reasonable distance of the school are expected to have
an interview. The best time to visit is during the school year, so that the applicant can see students working in their classes. If a visit is not possible during
that time, applicants are encouraged to schedule during the middle of May,
when the Annual Student Exhibition is on display.
APPLICATION
ADMISSIONS
The Academy acknowledges that it can be difficult to identify true artistic ability
before it develops. However, students acquire much of their education from each
other, so it is critical to maintain the highest possible level of creativity and
learning in the studios. For that reason, admission is a competitive process,
based on portfolio review.
The Pennsylvania Academy of the Fine Arts has a I'olling admissions policy.
Therefore, early application is recommended. Applications are reviewed each
month until the entering class is full. Applicants accepted after the school has
reached capacity will be wait-listed.
Requirements:
Application
Application fee $35 (U.S. funds)
Official transcripts (high school and/or college)
Two letters of recommendation
PortfoliO (12 to 15 works)
The Academy typically has a diverse group of entering students repre~e~ting
many age brackets and walks of life. Although there is no upper-age 1.lmlt, h' h
oun er students must be at least sixteen years or age and have received ~ Ig
Y
g .
. ' I nt (GED) High school equivalency scores Will be
school diploma 01' Its eqUlva ~ .
'.
be sent from the issuing
considered for admission. OffiCial ~rans.crIPt~, mulst t the Admissions Office or
institution's Guidance or Registrars omc~ dllect y ~dation should come rrom a
35
the Academy. At least one of the letterS? re~::~annot secure these lettel's
current or recent art instructor. An apPllca~n lace of a letter of recommendaca n sub mit a one-page personal s~atem~~~ter: of I'ecom mendation should
tion. Appli ca nts who cannot submit a~y.
discuss this with the Director of Adm iSS ions.
PORTFOLIO SPECIFICATIONS
Read the following specifications carefully. 12 to 15 samples of work. All work is
T The appli cation portrolio shou ld cont~1Il D not submit work that has been
to be done rrom life and direct observatIOn. 0
copied rrom a photograph.
.'
N10 commercia l work (suCh as
Ib
· carts ol'lentatlOn.
T All wOI'k should have a rIn .'
or animation) shou lc e
. I d rawl'ngs , com IC Stl'IPS,
advertising, mechanlca
subm itted.
•
1
•
'I/f Work should not exceed the dimensions of 40 by 60 inches. If the work is
larger, submit a slide or photograph of the piece.
'I/f Only unframed work may be submitted.
1\vo-Dlmenslonal Art
Examples of figure drawing, self portraits, still lifes, animals, or landscapes are
recommended. If the applicant has had experience in printmaking, examples of
prints should be included.
All drawings must be mounted or matted (on mat board or foam core). 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.
36
The back of each piece must be identified with the artist's name.
Three-Dimensional Art
Any three-dimensional work that is submitted must be presented by means of
slides or photographs. 0 original three-dimensional work will be accepted.
Slides
The applicant'S portfolio may be presented in 35mm slide form. Number each
slide and attach a corresponding sheet of paper identifying each (size, title,
media, and date). Indicate TOP on each slide. Make sure the slides are welllighted and that the image of the art wOl'k fills the slide frame. Each slide must
be identified with the artist's name.
Portrollo Cases
All original work shou ld be presented in a portfolio case. This is not only for the
proper presentation of work, but also For its protection. The case itself must be
marke~ with the artist's name. Although
great care is taken in handling each
portfolio , the Academy cannot assume responsibility for damage.
Portfolios of original work must be picked up the wcek following the review.
PI.ease call the Admissions Office at 215/972-7625 to confirm a time to do this.
Slides or photographs will be returned by mail. Please include a self-addressed,
stamped envelope to ensure the timely return of slides.
Portfolios should be brought or mailed to:
Admissions Office
Pennsylvania Academy of the Fine Arts
1301 Cherry Street, 2nd fioor
Philadelphia, PA 19102
TRANSFER STUDENTS
Transfer students follow the same admissions procedures as entering first-year
students. College transcripts must be sent before the portfolio is reviewed. 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, the Annual
Student Exhibition, or Studio Evaluation.
Transfer students should consult the Director of Admissions and the Director of
Academic Affairs regarding transfer credit. Credit for courses taken at other
institutions generally will be transferrable only ir the courses are the same as
ones taught at the Academy. Most students, regardless of their prior education
in the arts, must complete the first semester of the first year before petitioning
for Advance Standing. Transfer credit is applied to third- and fourth-year
studies. Final deCisions on transfer credit are made by the chairpersons of
the major departments.
INTERNATIONAL STUDENTS
37
Applicants who are not U.S. citizens should apply for admissions at least six
months in advance of their anticipated starting date, due to the time required to
receive and evaluate credentials. proor or compeLence in the English language
is required and is established by presenting a TOEFL Cfest of English as a Foreign
Language) score. The other requirements are the same as Lhose for U.S. students,
and are listed under the Application section. Official transcripts of high school
and college-level work completed outside the United States must be translated.
Under regulations stipulated by the U.S. Immigration and Naturalization Service,
all international students must file pl'Oof of their finanCial ability to support
themselves while pursuing their education outside their home country. The
Afridavit of Support form will be sent after the applicant has passed th e portfolio review and has been officially accepted to the pl'Ogram. The 1-20 (to apply for
the F-1 student visa) will be sent when all required documents have been
received and apPl'Oved, and the Confirmation or Acceptance and tuition deposit
is paid. The Academy has finan cial aid available to intel'national students.
Students wi shing to apply for financial aid should complete and return the
internation al student aid form. Any scholarship money Lhat is awarded may be
applied to tuition costs only, and musL be lIsed for the year in which it is
awarded; it cannot be defel'recl to a later Lel'm.
VETERANS
Th e Penn sylvania Academy of th e Fin e Arts is approved for veteran s' education
under th e provisions of Till e 38 U. S. Code Sec tion 1776 and th e Veterans
Administl'ation Regulation 'l42 51E. Th e regular school program is available to
vetef'ans on a full-time basis (1 5 credits per semester). Credit for previous
education and training is given when appropriate, and the length of study will
be shorten ed accordingl y. See th e Stud ent Handbook for regulations on students
enrolled under provisions of Titl e 38 U.S. Code for Veterans Education.
PART-TIME STUDENTS
The Academy does not have a formal part-time program. However, consideration will be given to applicants wishing to study at less than a full-time schedule. Placement in desired classes for part-time students is contingent upon the
availability of space in those classes. Registration for part-time students takes
place on a schedu led date after full-time registration is comp leted.
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.
Part-time students are eligible for certain types of financial aid and may
participate in the tuition management program (see Financial Aid). Part-time
students are not eligible for most prizes, studio space, or travel scholarship
competitions. A minimum of two years of full-time study is required for the
Academy's Certificate, in addition to other requirements.
The admissions procedure is the same as that for full-time students.
DEPOSIT POLICY
A $200 deposit must accompany each applicant's Confirmation of Acceptance
form. Return of the Confirmation of Acceptance form and deposit secures a
place for the student in the entering class. The deposit is cred i ted to the tuition
for the first semester of attendance.
MEDICAL CERTIFICATION
Upon acceptance to the School , all students are sent a Health Certificate 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 the start of classes. Students will not be permitted to register
unless this form is on file.
38
READMISSIONS
Students who have withdrawn officially from the school may contact the Director of Academic Affairs for readmittance within a two-year period. After two
years , a new application must be made through the Admissions Office. All previous
financial obligations with th e School must be settled beFore registef'ing.
Academy graduates wishing to enroll for further' study should contact the
Director of Academic AFfairs.
REAPPLICATION
Appli cants who did not compl ete th e appli cation pro cess, did not rec eive a
favor abl e dec ision , or wh o were acce pted and did not enroll , ma y reac tivate
th eir fil es within a two- yea f' period. Aftef' th at tim e, a new appli ca tion is
required.
T
he Academy's goal is to financially enable anyone who is qualified to enter
the Academy to enroll . Financial aid is awarded on the basis of need and
merit of the portfOlio. Approxim ately two-thirds of students at the
Academy receive some form of finanCial aid.
The amount of aSSistance allocated to each student varies according to the
individual'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 ass ista nce must reapply for aid each year. Students are
advised to observe and meet dea dlines established by the Financial Aid Office.
Information is ava ilabl e from the Financial Aid Office, 215/972-7600, ext. 3228.
FINANCIAL AID
INFORMATION
The Acade my can charge a relatively lower tuition than many other school s
because its endowment and fund-rai sing efforts underwr ite a significant
perce ntage of the total cost of tuition. There is included with this booklet a
se parate sheet listing current tuition charges and other fees or expenses.
Applicants who indicate on their application form s that they expect to apply
for finan cial aid will automatically be sent detailed information From the Financial Aid Office. The Academy partiCipates in an interest-free tuition payment
plan (sec Tuition Management Systems).
FINANCIAL AID PROGRAM
The Academy's Financial Aid Program is comprised of grants, work/study, loans,
and tuition scholarships. The Free Application for Federal Student Aid WAFSA),
along with an Academy institutional application, serve as application for aid
programs. Student loans require an additional application.
Any applicant or student who completes the FAFSA application and has a
compl ete fil e will be considered for assistance, but preference will be given to
those whose processed FAFSA applications have been received by May 1.
Appli cants to the School need not be accepted to apply for aid, but must
be accepted to the School before aid will be awa rded.
Transfer students should note that federal regulations req uire Financial Aid
Transcripts to be sent From each post-secondary insti tution previously attended,
whether or not ai d was received.
The prin cipal types of assistance are:
39
Federal Pell Grant: This is a federally adm inistered program in which grants
may be awarded to students who have not earned a bachelor's degree. Eligibility
is determined by the federal govel'nment.
PHEAA Grant: Awards are available to estab lished Pen nsylvania res idents who
have not earned a coll ege degree, are enroll ed at least half-time, earn a minimum of 24 cred its per year, and demonstrate fi nancial need. Application must
be made by May 1. (Note: Other states have scholarship progl'ams for their .
residents. Information and appli cations shou ld be ava il ab le from the respective
State Boards of Education.)
Federal Supplemental Educational Opportunity Grant (SEOG) : This is a
fe derally funded, school-administered program. GI'ants are awarded to needy
stuclents who do not hold a Bachelor's degree. SEOG gl'ants arc awarded to Pell
Grant recipients on a funds-available basis.
Aca demy Scholal'ships: Through its endowment, the Aca demy offers a number
of tuition schol arships. awarded on th e basis of need and merit. Foreign
students, students holding college degrees, and all other eligible students are
considered for these schol arships (see Scho larsh ips).
Monitorshil)s: Th ese al'e work exchange scholarships awarded by the Aca demy.
The Tax Reform Act of 1986 mandates that the portion of the monitorship which
represents compensation for se rvi ces is taxable and is awarded as Work
Scholarship. The remaining portion is not taxable , and is awarded as Tuition
Remi ss ion.
Federal and Instilutional Work/Study: The E<'inancial Aid Office will make a
dete rmination of eligibility to work on campus. A Work /Study award indi ca tes
the amount a student is eligible to ea rn if he/she secures a job at the Academy;
it is not a guarantee of a job. Paym ent is made through the bUSiness
office directly to the employed student.
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 in many
areas of the Academy. The Museum , school offices , and library all utilize work/
study students heavily. Positions require various levels of skill and experience.
Work/Study is funded through federal and institutional sources.
Employment: The E<'inancial Aid Orfice is contacted by outside employers with
various job opportunities. Notices of openings are posted on bulletin boards in
both buildings.
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/her choice,
the student must first complete both a PAFA and a FAFSA 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 and PLUS loans. Details are in the
information sent by the Financial Aid Office.
40
N.B.: The loan application process usually takes two to eight weeks.
TUITION MANAGEMENT SYSTEMS
Th e Academy wants to help students to afford the expense of higher education
by conserving their savings and limiting th eir borrowing. For this reason , an
Interest-E<'ree Monthly Paym ent Option is offered, allowing the student to spread
expenses over the academic yea r.
Expenses may be sprea d over the aca demi c year, in ten equal monthly payments. without interest. This will enable the student to more easily budget
expenses. Th e cost of this monthly paym ent option is an annual $45 enrollment
fee. This in cludes automati c life insurance which covers the unpaid balance of
th e student's annual budget. The Intel'est-E<'ree Monthly Paym ent Option may
prove helpful , whether or not the student qualifies for financial aid. Information
is avai lab le from the E<'inancia l Aid Office. 215/972- 7600, ext. 3228.
he Pennsylvania Aeade my of the Fine Arts has traditionally been known
ror exce lling in the teaching of techniqu e and technical skills; sc rupulou s
attention is sti ll given to the craft or each disc iplin e. However, the most
encompassing question being asked today is: What constitutes art? The questions
that follow are: What ca n its content be? How is it judged or evalu ated? Arc there any
rights and wrongs? Is th e artist now more a problem-shaper than a problem-solver?
Addressing these issues has become a major part of the Academy curriculum.
The faculty's chall enge is to maintain a balance between the necessary rigor
and disciplin e that must be acquired for an artist to be successful, and the space
and freedom necessary to nurture the individual's developm ent of imagination and
sense of exploration . The des ire for personal search, experimentation, inquiry into
unknown realms , risk, chance,
and above all, the developm ent of
FACULTY
confidence in one's own intuition
are critical ingredi ents in the
Academy's educational process.
The Academy deliberately
fostel's and protects the relationships struck between students
and a faculty mentor, because
that mutual sympathy is the
critical factor in the students'
artistic development, and the
instructor's continued growth. It
is my privilege to introduce to
you, on the following pages, th e
appointed members of the
Certificate faculty.
41
Frederick S. Osborne
Dean and Director of the School
Frederick S. Osborne received his Bachelor of Fine Mts degree
with honors from Temple University in 1963, and a Master of
Fine Arts degree in sculptu re from Yale Univers ity in 1965. He
served as criti c in th e M.F.A. program , and as head of the
undergraduate sculpture department at the Umvel's lty of
Pennsylva ni a Gradu ate SchOol of Fin e Mts for eleven years.. I'
From 1977 to 1985 he was a special lecturer and th eSIS advlso
for th e Mastel' of Education program . and Director of th e Omce
of Continuing Studi es at the Ph il adelphia College of Art (now,
The Univel'sity of the Mts).
Dean OsbOl'lle is a founder of the Vermo nt Studio centc\~e~Ved
as its co-director fl'Om 1984 through '1989. and IS presen Y
member of its Board of Trustees, li e has been Dean and
"
Directo r of the School of the Pennsylvani a Academy of the 1 me
Arts since 1985.
Jan C. BaUzell
Instructor of Drawing and Painting, Critic
Solo Exh ibitions: Mangel Gallery. Philadelphia, 1994. Prin ce
Street Ga llery. NYC, 1994. Rosemont Co ll ege. Rosemont. PA.
1994. Mangel Ga ll ery, Philad elphi a, 1992. Cars pecken-Scott
Ga llery, Wilmington. DE . 1991. Gia nn etta Gall ery, Philadelphia ,
1989. Peale Club Gallel'Y, Philadelphia, 1987. Gross McC leaf
Gallery, Phil adelphi a, '198 I. 1983. 1985. I-Iahn eman n Uni vel'sity
Ga llery. Philadelphia. 1985. 1I0lzman Ga ll ery, Towson State
University, 1984. Eastern Co llege, St. David 's, PA, 1983.
Cosmopo litan Club. Philadelphia. 1980. University of Pennsylvani a, 1978 . Les Amis. Philadelphia . 1978.
Selected Group Exhibitions: Carspecken-Scott Gallery,
Wilmington, DE. 1994. D.C.CA, Wilmington, DE, 1992. F.A.N .
Gallery. Philad elphia , 199 1. Ri sing Tid e Ga ll el'Y. Provin cetown.
MA. 1989. Giannetta Gallery, Philadelphia , 1989. 21 st Juried
Exh ibition, Allentown Art Museum, 1988. Philadelphia Drawing
Competition . Art Alliance. 1988. Invitational, Bowery Gallery,
NYC, 1984, 1988. Invitational. Drawing/Work on Paper.
University of Indiana, School of Fine Arts, Bloomington , 1987.
New Attitudes: Recent Pennsylvania Abstraction, South ern
Alleghenies Museum of Art, 1987. Art in City Hall , Abstract Art,
Philadelphia , 1987. Honorable Mention, 18th Juried Exhibiti on ,
Allentown Art Museum, 1982 . Eastern Pennsylvania Regional
Drawing Exhibition, Beaver College, 1981 . Three Visiting Artists,
University of Wisconsin , Madison, 1980. Woodmere Annual
Juried Exhibition, Phil adelphi a, 1980.
Linda Brenner
Chairperson of the Sculpture Department, 1992-95
Instructor of Sculpture and Drawing, Critic
Sel ected Solo Exhibitions: E1'S Conference Center, Princeton,
NJ. 1990. Rodger LaPell e Gallery. Phil ade lphia , 1984. Vivian
Brant Gallery, NYC, 1980. Philadelphia Art Alli ance, 1979.
American Institute of Arch itects , Philadelphi a, 1972. Temple
Un iversity. 1970 .
Selected Group Exh ibitions : James A. Michener Art Museum.
Doylestown , PA, 199 1. Woods Gerry Ga ll er y, Providence. Rl .
1990. Aart Vark Ga llery, Philadelphia. 1989. Long Beach Island
Foundation of the Arts, NJ, 1985. Rutgers University, 1981.
Museum of the Philadel phi a Civic Center, 1980. Woodmere Art
Museum, Philadelphia, 1978. So uth ern Alleghen ies Museum of
Art, 1977.
Represented In collections 0(: Philadelphia Museum of Art.
The National Museum of Women in the Arts, Washington, D.C ..
The State Museum of Pennsylvania, Harrisburg. New Jersey
State Museum, Trenton . Bryn Mawr College, Bryn Mawr, PA.
IBM . Fidelity Bank. CIG A Companies, World Hea dquarters.
Wills Eye Hospital. University of Pennsylvania. Science Cente l',
Philadelphia . CIGNA Companies. Chicago.
Publications: "Rabb it Run" colorplate 6B in Introduction to
VisuaJ Literacy, Deborah Curtiss, Prentice-Hall In c. "Sound of
Light" reproduction as cover for Alice Walker'S In Search of Our
Moth ers' Gardens, Keizersgracht 32 1, Amsterdam. "Still Life
Extended," Contemporary Women Artists 1985 Ca len dar, BoTree Production, Palo Alto. CA.
Education: Miami Unive l'si ty, M.F.A., 1976
Philadelphia College of Art, B.F.A. , 1971
42
Commissions : University of Pennsylvania , Graduate School of
Fine Arts; designed and executed an ed ition of bronze commemorative awards including presentation packaging, 1994.
Eastern State Penitentiary: Crucible of Good In tentions,
Philade lphia Museum of Art: commiss ioned to fabricate two
models based on John Havil and's master plan to express what
had been constructed on the site by the mid-1830s. Both models
involved reseal'ch of al'chiva l documents and site to illustrate
what had eXisted. A collaborative proj ect with two other ar tists.
I. Site model: V'6" = 1'0". cast plaster. 2. Section model of cell
block #7: W' = 1 '0"; 1994. Archi tectural models of Louis Kahn
projects for the Museum of Contemporary Art. Los Angeles;
exhib it to travel to Ph il adelphi a Museu m of Art; Centrc Geo l'ges
Pompidou. PariS; Museum of Modern Art. NYC: Museum of
Modern Art, Gunma. Japan; Kimbell Art Museum. Fort Worth:
Wexner Center 1'01' the Visual Al'ts , Ohio State Univers ity. '199 J1994. Meda lli on for th e Law Schoo l of th e University of
Pennsylvan ia. Space study model of the rotu nda and north lobby
of the Natio nal Gallery of Art fO l' I-lyman Myel'S of Vitetta GI'O Up.
Architects. 1982 .
Educatio n: Tyler School of Pinc Ai'ts, 1962-63
Rhode Island School of Des ign. B.F.A .. 1962
Sidney Goodman
Instructor of Painting. Critic
A\\ards: Governor's Award for Excellence in the Arts. Pcnnsylvailia CounC Il on the Arts , 1986. Awards in the Visual Arts . 1984.
Plrst prize, 39th Annual Midyear Show. Butlel' Institute of
American Art. 1975. National Endowment for the Arts Grant.
1974. Pirst prize in painting. 'ational Academy of Design , 1971.
Guggenheim Pellowsh ip, 1964. Pord Foundation Purchase ,
1962. Yale-Norfolk Pello\Ysh ip. 1957.
So lo Exhibitions: Floreur East. London, England. 1993. Terr)
Dintenfass, 2 I shows from 1961 through 1992. University of
Geol'gia Museum, 1991. Rosenthal Pine Arts. Chicago. 1989.
Greenvill e County Museum of Art. SC, 1987. Philadelll!lia
~Iuseum of Art, 1985. Wichita Art Museum , 1984. Institute of
Contemporary Art, Vil'ginia Art Museum. 1981-82. Boston
Univers ity, 1982. Queens Museum. 1981. Columbus Museum of
Art. 1981. Arkansas Art Center, 1981. Delaware Art ~ I useum,
1981 . Museum of Art. Pennsylvania State Universit), 1980.
Schenectady Museum. 1978. Pennsylva nia Academy of the I' ine
Arts, 1975. Universi ty of Rhode Island. 1974. George Washington UniverS ity, 1969.
Murray Oessner
Instructor of Drawing and Painting, Critic
Awards: Purchase Prize. Fellowship of the Pennsylvania
Academy of the Fine Arts. 1990. Philadelph ia Museum Purchase
Prize. Cheltenham Art Center, 1969. Gibbons Fellowship
Painting Prize, 1968. Sch iedt Travel Scho larship, 1966. Cresson
Travel Scholarship, 1965.
Solo ExhiblLions: Moore College of Art. Philadelphia, 1991.
Vorpal Gallery, 'ew York, 1984, 1986. Marian Locks Ga llery,
Philadelphia, 1972, 1974-78, 1980, 1984. Pacific University,
Forest Grove, OR, 1983. Cornell Fine Arts Center Museum,
Rollins Co llege , 1982. Pennsylvania Academy of the Fine Arts,
1970. East Hampton Gallery, New York, 1969. Vanderlip Ga ll ery,
Philadelphia , 1968. Friends eighborhood Guild, Philadelph ia,
1967.
43
GI'OUP Exhibitions: Academy Faculty Exhibition, Artists' House
Gall ery, Phi ladelphia, 1994. Pennsylvan ia Academy of the Fine
Arts Fellowship Exhibition, 1964-69, 1971-72 , 1993.
Cheltenham Art Center Annua l Painting Exhibition, Che ltenham,
PA, 1966, 1969-70, 1972. In ternationa l Art Festiva l, Puerto
Rico. 1969. "Pittman Sel ects," Kenmore Gallery, Philadelphia,
1968. Philadelphia Art Alliance, 1967. Rhode Island Schoo l of
Design, 1964. Pennsylvania School of Design,1964.
Rellresented In collections of: Pennsylvania Academy of the
Fine Arts. Philadelph ia Museum of Art Fidelity Mutual Life
Insurance Company. Penn Federal Savings and Loan Associations . Gira l'd Bank. Bryn Mawr Co llege. COl'l1e ll Fine Arts Center
Museum. PI'ivate co llections.
Edu cation: Pennsylvania Academy of the Fine Arts, 1962-66
Pleisher Art Memorial. 1960-61
Selected Group Exhibitions: 1useum of ~ ! odern Art, Whitn ey
Museum of American Art. Pennsylvania Academy of the Pine
Arts. Phil adelphi a Museum of Art. American Academy and
Institute of Arts and Letters. ationa! Academy of Design.
Museum of Fine Arts, Boston. Corcoran Gallery of Art. National
Portrait Ga llery. Queens ~ Iu se um. Butler Institute of American
Art. Cleveland Museum of Art. Columbus Museum of Art. The
Chrysler Mu eum. Delaware Art Museum . DeCo l'dova Museum.
Joslyn Art Museum . Sheldon Memorial Art Gallery. Minnesota
Museum. Sogo Museum of Art. Yokohama , Japan. Gotcbol'g.
Sweden. Poundation Na tion ale des Arts Graphiques et
Plastiques. Victoria Coll ege of Arts, Melboul'l1e, Australia.
Represented In the collections of: Metropolitan ~ Iu sc um of
Art. Museum of Modern Art. Whitney Museum of American Art.
Brooklyn 1useum. Pennsylvania Academy of the Pine Alts.
Philadelphia Museum of Art. Hirshhorn Museum. Library of
Congress. Nation al Museum of American Art.
Education: Philadelphia Co llege of Art, 1958
Olh'er Grimley
hlstructor of Drawing, Critic
Awar'ds: Ralph Pallen Co lema n Prize for Illustratio n, 1973.
J980, 1984. J.W. Zimmerman Memol'ial PI'ize, 1979, lI al'J'ison S.
MorriS Prize, 1975, Woodmere PI'ize, 1975. First pI'izc 1'0l'
scu lpture, Regional Council of Com munity Arts Center, 1974.
Fil'st prize for watercolor, Jenkintown Festival of Ai't, 1973. The
Bruce C. ~Jarks PI'ize for drawing, 1971 . Pennell Memol'ial
~Iedal Awan/. 1966, 1968, 1970, Fl'Cedom Foundation Award,
'1953. Listed in Who's Who in American Art. First prize 1'01'
Perspective, First Thouron Prize 1'01' CompOSition, Cresson li'avel
Scho larship, and Sehiedt Travel Scholarship, Pennsylvania
Academy of the Fine Arts.
Exhibited: Metropolitan Museum of Art. Whitney Museum of
American Art. Pennsylvania Academy of the Fine Arts, Library of
Congress. Philadelphia Art Alliance, Woodmere Art Museum.
Commissions: Philadelphia Eagles Football Club. Sun Oil
Company, Murals for Commonwealth Fed eral Savings and Loan,
American Bank and Trust Company of Pennsylvania, and Th e
Hamilton Relian ce Savings Association.
Education: Pennsylvania Academy of the Fine Arts
niversity of Pennsylvania , B.F.A., M. I~A.
Alexander Hromych
Instructor of Sculpture, Critic
Awards: Bronze Medal for Scu lptul'C, Nationa l Arts Club, 1971.
Mary Kent PI'ize, 1971 , Artist Fund Prize, National Academy of
DeSign , 1970. May Audubon Post Prize, Fellowship of the
Pennsylvania Academy of the Fine Arts, 1967, Cl'Csson Travel
Scholarship, 1961. Stimson Prize, 1960. Mary Townsend and
William Clarke Mason Memorial Prize, 1960, Stewardson Prize,
1960,
Represented In: private collections in the U.S. and Europe,
Edncatlon: Pennsylvania Academy of the Fine Arts
44
HOllier W. Johnson
Instructor of Painting and Drawing, Critic
Awards: Dcne M. Louchheim Fa culty Pellowship of the Samuel
S. Flcisher Alt Memol'ial. 1995. Percy Owens Award. Distinguished Pcnnsylvan ia Altist, 1992. Second PI'izc in "Celebration
of the Figure." Wallingford Art Cente l',1990. Strathmore Award
Philadclilhia Watel'color Club, Woodmere Art Gallcl'y, Philadel- '
phia, 1989. Pirst Prize in aqueous media , Philadelphia Watercolor Club, 1979. Nancy Gill Memorial Prize, Phil adelphia
\\ atel'Co lor Club, 1972. Ranger Fund Purchase Prize, American
Watercolor Society. Nationa l Academy of Design , 1972. Lambert
Pund Purchase Prize. Pennsylvania Academy of th e Pine Arts,
1959. TiITany Grant, '1959. CI'Csson Traveling Scholarsh ip. 195 1.
..
Daniel D. Miller
Instructor of Painting, Printmaking and Art History; Critic,
Chairperson of the Painting Department, 1987-93;
Acting Director, 1984-85;
Assistant Dean of Faculty, 1983-84
Awards: Pennsylvania Academy of the Fine Arts Dean 's Award .
1989. Pel'cy Owens Award. 1986. Leona Karp Braverman Prize,
1976. Bertha M. Goldberg Award. 1975. Honorable Mention,
Graphics and Drawing Annual. Wayne Art Center. 1973.
Purchase Prize, 41 st Annual Exhibition , Cumberland Valley
Artists, 1973. Watercolor Annual. Friends Central School. 1972.
Cresson Travel Scholarship, 1958.
Solo Exhibitions: 57
Solo Exhibitions: Artists' House. Phiiadelphia.1993. CrozerGhester Medical Center. 1991 . West Village Meeting House.
Brattleboro, VT. 1988. Southern Vermont Art Center. 1985.
Cabrini Gollege. 1984. Woodmere Art Gallery. Philadelphia.
1972. Philadelphia Art Alliance. 1971. Peale House Galleries,
Pennsylvania Academy of the Fine Arts . 1966. Woodmere Art
Gallery. Philadelphia . 1965. Philadelphia Art Allian ce. 1962.
45
Selected Group Exhibitions: Windham Art Gallery. Brattleboro.
VT. 1994. 1995. Southern Vermont Artists. Manchester. vr.
1990-94. Brattleboro Museum of Art. 1983. Brooks Memol'ial
Library. Brattleboro. VT. 1980. Regional Art Exhibition.
University of Delaware. 1977-78. Annual Traveling Exhibition of
the American Watercolor Society. 1975-76. Earth Show.
Philadelphia Civic Center. 1973. Pennsylvania '7 1, lI arris burg.
PA. 1971. Museum of Fine Arts. Springfield. MA. 1966.
Pennsylvania Academy of the Fine Arts Watercolor Show, 1965.
Regional Drawing Exhibition. Philadelphia Museum of Art. 1965.
Butler Institute of America n Art. Youngstown. OH . 1965.
Pennsylvania Academy of the Fine Arts Regional SholV. 1964.
Represented in the collections of: Butler Institute of
Ameri can Art. Smith Kline and French Laboratori es. United
States Embassy, Lima , Peru. Private Collection s.
Education: Pennsylvania Academy of the Pine Ar ts. 1946-52
Barnes Poundation
Member of American Watercolor Society and Philadelphia
Watercolor Club
Represented in the collections of: Pennsylvania Academy of
the Fine Arts. Philadelphia Museum of Art. Univers ity of
Pennsylvania Library. Wilmington Society of th e Fine Arts.
Pennsylvania State University. Di ckinson College. Rutgers
Museum. Princeton University Library. Philadelphia Public
Library. Friends Select School. University of Maine. LaSalle
Univers ity. Member of the Philadelphia Watel'Color Society and
the American Color Print Society.
Education: Pennsylvania Academy of the Fine Arts . 1955-59
University of Pennsylvania, M.F.A .. 1958
Pennsylvania State University summer painting classes under
Hobson Pittman
Lafayette College. B.A.
Edith Neff
Instructor in Painting, Critic
Awal'{ls: American Artist Magazine "Arti t Achievem ent ill PasLel
Awa l'd ." 1994. Bus Shelter Competition, Phil8dclpllia ArL ow.
1988. Venture rund Grant. Ca rn egie-M ell on Foundation/ I'lle
Philadelphia Co ll ege of Art. '1983 and 1986. Pcnnsylvania Cou ncil
of the Arts rellowship Grant. 1982. Philadelphia Muse um
Purchase Prize. Chelten ham Art Center. 1974. Purchase Prize.
"Drawings. USA. " Minnesota Museum or Art. 1972.
Sel ected Solo Exhibitions: Rider Co llege. Lawrenceville. IJ.
1992. Western Carolin a niversity. Cullowhee. C, 1990. The
Schoo l Gallel'y, Pennsylvania Academy or lhe Fine Arts. 1989.
Southern All egheni es Museum or ArL. 1989. The More Gall ery.
Philadelphia. 1988. Marian Locks Gallery, Philadelphi a. 1982.
1984 . Adam L. Gimbel Gallery. NY. 1982. Gross-M cC leaf Gallery.
Philadelphia. 197 1. 1979 . Memoria l Ga llery. Phi ladelphi a. 1977.
Jerrerso n Commons. Jefferson University. Philadelphi a. 1969.
Ph il adelphia Art Alli ance. 1967.
Selected Group Exhibitions: Phil adelphia Art Alii ance . 1995.
Butler Institute of American Art. Youngstown. OH. 1994.
Institute or Contemporary Art. Ph il adelphia. 1991 . Delaware
Center for the Contem porary Arts. 1989. Nationa l Aca demy of
Design. New York. 1987-88. Robischon Gallel·Y. Denver. 1987.
Al lentown Museum of Art. PA, 19979. 1983. Oakland Museum.
1982. Richmond Museum of Art. 1982. Pennsylvani a Academy of
the Fine Arts. 198 1. Allan Stone Gallery. NYC. '1981 . Phil adelphia Museum of Art. 1976, 1979. Genesis Gallery, NYC , 1978.
Aldrich Museum of Art. Ridgefi eld. CT. 1976. "The Figure in
Recent American Painting". a traveling exhibition. 1974-75.
Philadelphia Civlc Center Museum. 1974. Minnesota Museum of
Arl. 1973.
Steven Nocella
Chairperson of the Sculpture Department, 1995
Instructor of Sculpture, Critic
Exhibitions: Sande Webster Gallery. 1993. 1994. 1995.
Centennial Hall . Haverford School, PA. 1995 . Institute of
Contem pora r y Art, Philadelphia. 1995. Pennsylvania Academy of
the Fine Arts Faculty Sculpture. 1992. Philadelphia Art Alliance,
1990, 1992. Suzanne Gross Gallery, Phi ladelphia. 1985. 1986.
Alumni Sculpture Show, Phil adelphia College of Art. 1983.
Intern ational Invitational Scu lpture Show. Chcster County Arts
Center. PA 1982.
Commissions: Cooper HospitaVUniversity Medical Center.
Camden. J. School of Nursing. University of Pennsylvania. One
Logan Square Associates . Philadelphia . University SCience
Center. Philadelphia.
Represented in the collections of: Butler Institute of
American Art, Youngstown, OH. Pennsylva ni a Co nvention Center
Philadelphia. Allentown Art Museum. Rhon e. Polenc-Rohrer
.
Collegevill e. PA. Philadelphia Museum of Art. PennSYlVania'
Academy or the rine Arts. Wash ington and Jerrerson University,
Washington. PA . Minnesota Museum of Art. St. Paul. Chemical
Bank or ew York. Vi ll anova University. Free Library or Philadelp~la . Equ itable Lire Assurance Co mpany. Worth in gton. OH. Rita
Rich Co llection.
46
Education : Philadelphia College of Art, B.F.A.. 1965
Education : Un iversity of Pennsylvania. M . I~ A " 1984
Philadelphia Co ll egc or Art. B . I ~ A " I 98 I
J>\'lcr Paone
Inst~uctor of Printmaking and Drawing, Critic
ChaIrperson of the Printmaking Department, 1983-93
I
Awards : Pennsylva nia Council for the Arts Grant. 1986.
Print Club of Philudelphia, Award of Merit. 1983. Louis
Gomfort Tiffany Foundation Grant, 1964. 1965. Simon
Guggenheim Foundation Grant, 1965. Listed in Who's Who in
America and Who's Who in American Art.
Selected Solo Exhibitions: Hooks Epstein. Houston . DaVid
Mancini. Philadelphia. Robinson Galleries. Kennedy
Galleries, YC . DaVid Gallery, lIouston. Clytie Jesso p
C. Print Club. PhiladelGallery, London. Forum Gallery.
phia. Contemporary Arts Museum. Houston . Amarillo Arts
Genter. As ociation of American Artists. McAllen International Museum . Makler Gallery, Philadelphia. Benson
Gallery. Long Island, NY. Roswell Museum, M. Galerie E.
lJilger, Vienna. Represented in 28 group exhibitions.
Elizabeth Osborne
Instructor of Painting, Critic
A"ards: MacDowell Colony FellolV, 1983. Richard and Hinda
Rosenthal Foundation Award, National Institute of Arts &
Letters, 1968. Fulbright Grant to Paris, 1963-64. Schiedt Travel
Scholarship, 1958. Cresson Travel Scholarship, 1957.
Catherwood Travel Fellowship, 1955.
Solo Exhibitions: Marian Locks Gallery, Philadelphia, 1972,
1976, 1978, 1988, 1992, 1994. Fischbach Gallery, NYC, 1980,
1982,1984, 1987. Gimpel and Weitzenhofer Gallery, NYC, 1974,
1977. Makier Gallery, 1970. Sao Paulo, Brazil, 1969.
47
Group Exhibitions: 'orth Dakota Museum of Art, 1994. Jane
Ilaslem Gallery, Washington, D.C., 1992, 1994. ational
Museum of Women in the Arts, Washington, D.C., 1991. Marian
Locks Gallery. Philadelphia, 1991. Museum of Modern Art, 1990.
Buller Institute of American Art, 1987. San F'ancisco Museum of
Modern Art, 1986. Florida International University, 1983.
Silverman, CT. 1982. Hecksher Museum, Huntingdon, NY, '1982.
McNay Art Institute, San Anton io, TX. 1982. Pennsylvania
Academy of the Fine Arts. 1976, 1981. Univel'sity of North
Dakota Art Galleries, 1980. Philadelphia Museum of Art, I 979.
Westmoreland County Museum. Women Printmakers. San
Francisco, I 979. Still Life Prints, Boston, 1979. Indianapolis
Museum of Art, 1978. Los Angeles, 1977. Philadelphia Museum
of Art, 1976. Bronx Museum of the Arts, 1975. Springfield Art
Museum. MO, 1975. Woman's WOI'k - American Art, 1974.
i\ational Institute of Arts & Letters, 1968.
Education: Univers ity of Pennsylvania , B.F.A., with honol's. 1959
Pennsylvania Academy of the Fine Arts, I 958
Represented In the collections of: Museum of Modern Art.
Victoria and Albert Museum, London. Philadelphia Museum
of Art. Pennsylvania Academy of the Fine Arts. Art Institute
of Chicago. ational Gallery of Art. Library of Congress.
Delaware Art Museum . New Jersey State Museum. Butler
Institute of American Art. Yale University Art Gallery.
Syracuse University. University of Massachusetts. ~ Iu seum of
Art, Pennsylvania State University. Tamarind Insitute,
Albuquerque. Print Club, Philadelphia, Free Library of
Philadelphia. The Summer Foundation. Princeton Library.
Utah Museum. Carl Sandburg Memorial Library. The General
Mills Collection. Atlantic Richfield Co., Los Angeles.
Education: Philadelphia College of Art, B.A. , 1958
Barnes Foundation, 1953-54
London , England
Jod) Pinlo
,,
Instructor of Drawing, Painting. and Sculpture, Cn/lc
AW31'(lslGr3 nl s: Joan Mitchelll'ounliation Gr'Jnl. 199'1-95 , Nt'\\
Yor'k Foundation 1'01' the Arts Gr'ant, 1993, Design Ii ono r' Aww'cl.
Amer'ican Society of Landscape Mchitects, 1992, 1,'leisher'
~Icmor'ial Awarxl 1'01' Excellence in the Arts, 1992 , Ame ri ca n
In stitute or Architects, 1988. New Jersey Co un Cil on til e Arts,
1982, Pennsylvania Council on the Arts, 198 1, N,EA Grant.
1979, Cr'csson Fellowship, 1967,
Sel ected Publi c Wor'ks: "Remembrance Park," Syracuse, NY,
1993-94, "Southern Ave, Streetscape/ Patrick PQI'k Plaza",
Phoenix, AZ, 1988-93, "~ l etro -Link " design team , St, Louis, MO,
1988-93, "Papago Park/City Boundary" Desert Restoration
Projecl. Phoenix, AZ, 1990-92 , "Grand Center' Master Plan
Extens ion," Sl. Lo uis, 1990-92, "East/West Mbor and Girt
Gardens," Ag-Trade Center, Spokane, WA, 19899-91,
"Finger'span Br'idge," Fairmount Pa r'k, Philadelph ia, 1981-87,
Seymour Umnenick
Instructor of Painting, Critic
Awards : Louis Com fort 'l1ffany Grant. Benjamin Altm an
Landscape Pr'izc, Nationa l Academy or Design, lI alimark
Pur'chase Prize,
Works in "!'ogress: "Riverside South" design tea m, Hudson
River Waterrront, 59th to 72 nd Sts .. NYC, 1995, San Anton iO
Con\,ention Cente r' design team, Sa n Anton iO, TX, 1995, "Beach
Improvem ent Group Project" design team, Santa Monica, CA,
1995, Al aster Plan, F't, Lauderdale/Hollywood Internationa l
Airport and Port Everglades design team, Browar'd County, FL,
1995, "Central ArterylTunnel Project, " three pedestrian bridges ,
Boston, 199·1. ~lillbl'ae \Vater FaCilities Project, Millbrae, CA,
1993. "Sea Wall ," restoring Roosevelt Island sea wa ll an d
amenities, Roose\'elt Is" NY, 1993, "Pa r'k One Park," open park/
plaza in ~liami International Airport, '1993,
Public collections : Ph il ade lphia Museum or Art, Pennsylvania
Academy of the Fine Arts, Neuberger Museum, Purchase, NY,
\Vhitney Museum of American Art. Guggenh eim Museum, Denver
Art Museum,
Publications: "Quintessence" Cata logue, 1978, Wright State
Cniversity, "Excavations and Constructions: Notes 1'01' the Body/
Land," ~Iarian Locks Gallery, Philadelphia,
Education: Pennsylvania Academy of the Fin e Arts, 1968
Philadelphia College of Art, B,F.A .. 1973
48
Solo Exhibitions: Davis Gallery, New York, Philadelphia Art
Alliance, Peridot Ga llery, New York, Pearl Fox Ga ll ery, Melrose
Park, PA, Ga ll ery K, Washington , D,C .. Rosemont Co ll ege, PA,
Selected Group Exhibitions: American Federation of Arts
Tours, "American Landscape: A Living Tradition ," Smithsonian
Institute , "American Painting," Rome, Italy, Third Biennial
Exh ibi t, Bordighera, Italy, "Four Young Americans," Rhode Island
School of Design , La Napoule Foundation, Paris, France, "Eleven
Contemporary Ame r'ica n Painters," Syracuse Museum of Fine
Arts , "Three America n Pa inters," Festival or the Arts, Spoleto,
Italy, Na tional Academy of Design. Butler In stitute of American
Art, "Phil ade lphi a: Three Centuries of Ameri ca n Art," 1976,
Philadelphia Museum or Art, 1976,
Represented ill the collec tions or: lI ir's hh orn Museum , Library
or Congress, National Museum or American Art. Pennsylvania
Academy or th e Fine Arts, Phil adelphi a Museum of Art.
Metropolitan Museum of Art.
Edu C31101l : Tyler Sc hool of Fine Arts
Acaclemie des Bcau1l.-Arts, Paris
lIans lIormann School
Pennsylvania Academy or the I"irll' Arts
Bar'ncs fo und ation
Robe"t Roesch
Instructor of Sculpture, Critic
ONY ROSATI
WI
Gl'lInlslAwards: Cultural ALLachc to th e America n Embassy in
Bur'ma. 199-1. Pcnn sylva ni a Cou ncil on thc Arts/Grant ror
Co ll abo r'a tion. 1993. Cultural Speciali st Gr'a nt rrom U.S.
Infor mation Agency. rund cd by N.E.A., '1992. Mid-AUanlic States
Visual Arts AwareV one-month res idcncy to crea te a book at
Visual Studi es Workshop, Rochester. NY. 1992. Pennsylvania
Co un cil on th e Arts Fellowship Grant, 1989. Sou nd and vi(leo
docum entation 01' works or art and projects shown at Nexus
Gall er')', Ph il ade lph ia. runded by Th e Foundation For Tod ay's Art,
1985-88. Nationa l Endowment ror the Arts grant ror' the
ex ploration of tWO-dimensional work. 1985 . Wistariahurst
Muse um Scu lptu re Awa r'd, 1977 .
SelecLed Solo ExhibiLions: Kun stzaal Marktzeventi en,
Enschcde. Th e Neth erlands, 1994. The Ga ll ery at Con tinental
Bank/Center Square, Philadelphia , 1992. Nerlin o Gallery, NYC,
1989, 1990, 1991. Sch mid lJDean Gall ery, Phil ade lphi a. 1990.
Ernst Alexandra Ga ll er y, Washington , D.C., 1988. Ben Mangel
Gallery, Philadelphi a, 1983, 1986. Sega l Gallery, ew York,
1984. 1985. Gall ery Ca mino Rea l, Boca Raton , FL, 1984. Art at
Aa r'On Berman Ga ll er')', New York , 1983. Kornbluth Gallery.
Fairlawn , NJ , 1983. Louise Him elfarb Gallery, Southampton , NY,
1978, 1982, 1983. Fontana Gallery. Phil adelphi a, 1981 .
Pbiladelphi a Art Alliance, 1980. Fine Arts Gall ery, Southampton ,
NY, 1978. Thomas Greenly Ga ll ery, Sculpture in Tran Siti on, Long
Island , NY, 1976. Channel Ga ll ery, Long Islaml, NY, 1975. Chuck
Levitan: Works of Art, NYC, 1974.
WORKS ON P""Eft
Anthony Rosati
Chairperson of the Printmaking Department
Instructor of Printmaking, Critic
GranLsiResldences: Venture Fund Grant. The Univers ity of th e
Arts, Philadelphi a, 1993, 1989. Artist in Residence Grant,
Longstreth Elementary School, Warminster. PA. 1992. Shoemaker Visiting Lecturel' Pl'Ogram, Westtown School. Westtown ,
PA, 199 1. Arti st in Res idence Grant. Abington Art Center.
Jenkintown. PA 1986-87. Pennsylvania CounCil on the Arts
Program , Artist in Res id ence Grant, 1985-86, 1984-85.
Solo Exhibitions: Th e Print Club, Philadelphia. 1995. ArtiSts '
I-louse Gallery, Philadelph ia, 1994. Westtown School. Westtown.
PA, 1991. Rider Co ll ege Ga ll ery, Lawrencevill e, NJ. 1989-90 . The
Philadelphia Al't Alli ance, 1980, 1990. Ga llery Avenue Kobe.
Japan, 1987 . Woodm ere Al'L Museum, Philadelphia. 1985. Th e
George School. Newtown. PA, '1983. 'ewtown Savings ASSOCiation, PA, 1983. Phi ladelphi a Co llege or Alt , 198 1. Tyler School or
Al't. Templ e University, Philadelphi a. 1980.
Selected Groull Exhibitions: DeCordova Muse um , Lin coln , MA.
199 1. Pcnnsylva nia Aca demy of th c Pine Arts, '199 1. James A.
Mi chener Museum . Doylestown. PA. 199 1. Philadelphia II-Iusc um
ArL, 1990. The lli cks Art Ccnter. Bucks Co unty Comm unity
Co ll cge. 1990. Abington Art Centcl'. Jenkintown . PA. 1989.
Pennsylva ni a Schoo l of Al't and Dcs ign. Lancaste l" PA. 1989.
Jess ica BCl'wind Ca ll ery, Phil adelphi a, 1988. 64th Annual
Co mpctiti on or Pr'ints and Photographs. Thc Pr'int Club.
Philad clphi ". 1988. Beaver Co llcgc. 1988. IVoodmcl'C Art
Muscum , Phi lade lphi a. 1988.
49
or
Rellresented in the collections or: Gateway to th c City or
Wi chita, Kansas. Waterwall I'or' Beth Israe l lI os pital , NYC.
U.S. I.A., Washin gton. D.C., Marin e Midl and Bank. RCA VicW r'.
NYC. ARA Towcr', Fideli ty Bank, Philad elphi a. So uth Wa lnu t
Plaza, Wilm ington. DE. Sa nborn Squ are PDI'k. Boca Raton . III..
Lynmark Group, Su rrern , NY. Metr'o poli tan Musc um 01' Art. Cora l
Ca blcs . FL. State Uni vers ity 01' New Yo r'k, lIar'mingdalr.
Rcpt'CSl'nlcd In Ihe collt'clions of: Library or Congress. PC\I
Chal'itable 'Ii'Ll stS. Phi laclclph ia. II . Thomas Taylor. Inc., Austill .
TX . Roncl' & Well s CO l'll.. NYC. National Ca llcl'Y of Art. Pennsylvll ni a f~carll' m y 01' the Fi ll e AI'IS. Plliladl' lphi a ~ Iu se um o~ Arl.,.
DCCO l'doHI IIIISCU Ill . ),inco ln . 1 Ii\. Dulin Ga ll el') 01tll't. Knox\llI r.
TN . ,Iilll(, l oo l'hcrs Zillll1l!'l'li I I'I IIIIS(, UIll. RulgC l'S LIHl eI'SII Y..
I'hilmlelph lu Jlrr /llIi;llI ce. II ()odnH'I'c II'I ~ I USCUIll. Philade lphia.
Ed ucation: Studi O ASS istant. David Lee Brown . New Yor'k
Pratt Institute, BYA.
Statc Univcrsity or New YO I'k, Farm ingda lc. BAA .
EIIUI'aliun : 'I') In Schoo l of 'II'I. ~1.i'>1 ., 1980
Kldl'l' Co ll ege. II.'\.. 1969
Brucc W. Samuclson
Jill A. Rupinski
Instructor of Painting and Drawing, Critic
Chairperson of the Painting Department
Instructor of Painting and Drawing, Critic
Awards : Spanish Excha nge Progr'a m, Cr'CDLive Art ists Network,
1989. MriliaLion Program. Cr'ca tive Artists Nctwork. 1987.
Blumenthal Memorial Awa rd . Chel tenham Art Center. PA, 1986.
Ptll'chase Pr'izr, Eastern Pennsylvania Regional Drawin g
Ex hibiti on, 198 1. Charles Knox Sm ith Founder's Prize. 1979:
Paul Gi ll Prize. 1978. Woodmere Art Ga ll er'y. Phil adelphi a.
Cresson Travel Scho lar'ship. 1976.
Awa rd s: First prize 1'01' Dl'<rwing. Drawing Exhibition,
Chel ten ham Art Center. 1994. May Aud ubon Post Prize for
painting, 1972, Schi edt 'I)'avel Schola rshi p, 1968. Cresso n Travel
Scholarsllil), 1967. Charles Toppan Prize for Dnrwing, '1967.
Solo Exhibitions: "White to Black." Library of thc Pennsylva nia
Academy of the Fi ne Arts, Philadelphia, 1993. Rosenfeld Ga ll cr y,
Phil adelphi a, 1977. 1978, 1980. 1984, 1986, 1990, 1992, 1993.
Sc leclcd E,hlbitions: "Six plus Six." Philadell)hia Sketch Club.
1995. Solo show. "Bucks County Landscal)Cs." Windy Bush
Galler'y. New IIope. PA, 1994. "Continuin g Con nection s," Wayne
Art Center, PA , J 994. "S ix Points of View," Vera Red mond
Gallery, Philadelphia, 1992. "Rea lism Painting: Th e Ultimate
illusion," Abington Art Center. PA, and Glassboro State College,
NJ, 1991 . CAN Spanish Exchange Exh ibiLi on, Por't IIi story
Museum, Phiiadelphia, 1989. "Contempo r'a ry Wom en Artists of
Philadelphi a," Wallingford Community Arts Center, PA, 1986,
or
Commissions : Portrait copy of Dr. Steele, SllI'in ers Hospita l,
Philadelphia , 1990. Stage Set Design, "Under Milk Wood ,"
Temple University. 1989-90. Portrait co py of' Dr. Jaco b
Ehrenzeller. Pennsylvania Hospital , Philadelphia. 1987.
Landscape painting For doctors' dining room, Hahnemann
L.:niversily, Philadelphia, 198 7. Portrait copy of Dr, Robert GroFf,
Co llege of Phys icians. Philadelphia . 1986.
Represented In the collections of: Duan e, Morris and
lIec ksher. Philadelphia. Haworth, Inc,. Philadelphia , Pennsylvania Hospital. Philadelphia. College 01' Physicians, Philadelphia.
CIGNA. Beaver' Coll ege, Hahn emann University. Federal Reserve
Bank 01' Philadelphia.
Education: Vermont StudiO School. 1985. graduate studies
Philadelphia Co llege of Art, B.F.A .. 1981; graduate studi es
1984-85
Pennsylvania Academy of the Fine Arts, 1977
50
Gallery Doshi , Ilar ri sburg, PA, 1973, 1979. Wayne Art Center,
PA , 1979. Philadel,)hia Art Alliance, 1977. Bloomsburg State
Coll ege, 1977. Cross McCleaf Gallery, Philadelphia, 1975,
Woodmere Art Museum, Philadelpbia , 1974. Robert Louis
Gallery, Philadelphia, 1973. West Cbester State Teachers
Co ll ege, 1970.
Selected Group Exhibitions: "Figuring," inVitational group
exhibition, Woodmere Art Museum , Philadelphi a, 1993. "The
Figure, an Interpretive Study, " Tower Galler y, NYC. 1985. "Th e
Figure," Woodmere Art Museum, Philadelphi a, 1980. Philad elphia Drawing II , Philadelphia Museum of Art, 1979. Pennsylvania Academy of th e Fin e Arts, 1978. National Drawing Exhibition , Rutgers University, 1977. Philadelphi a Invitational,
Hunterton Art Center, 1976, Awards Exh ibiti on for th e American
Academy and Institute of Arts and Letters , 1976. Students of
I-Iobson Pittman at the Pennsylva ni a Academy of th e Fine Arts,
1973.
Represented In the col/ections of: Woodm ere Art Museum,
Philadelphi a. Pennsylvani<;r {\cademy of th e, Fine Arts. Phil adelphia Museum 01' Ar t. Rutgers University. LaSalle College. Free
Library of Philadelphia. Villanova University. Berman Museum.
Education: Pennsylvania Academy or lire Fine Arts, 1964-68
Louis B. Sloan
Instructor of Painting, Critic
President of the Fellowship of the Pennsylvania Academy of the
Fine Arts, 1968-74;
Vice-President, 1975-76
Awards: James Van Del' Zee Award , Brandywine Workshop,
1991. Eal'lh Ai't II Purchase Award, 1975. John Sim on
Guggenheim Fell owship, 1964. Jennie Sesa n Golf Medal, 1962.
Emily Lowe Grant. 1962. Louis Comfort mfany Grant. 1960.
1961. Second Prize, Wilkie Buick Regional Exhibition . 1960.
Cresson Travel Schola l'ship , 1956.
Solo Exhibitions: Artists' House Ga llery. Philade lphi a. 1995.
Windy Bush Gallery, 1995. The Hahn Gallery, Philadeillhia,
1991. Woodmere Museum , Philadelphia, 1978. "Black Perspective on Art" Exhibition, New York, 1975. "A merican Painters in
Paris" Exhibition, 1975. Peale Galleries of the Pennsylvania
Academy of the Fine Arts. 1964.
Selected Group Exhibitions: Creative Ai'tists Network Advisors
Exhibition , 1991. The 25th Annual Indoor Juried Museum
Exhibition of Greater Harrisburg Art [<'estival, 1989. Networking
the Arts: A Spanish-American Exchange, Philadelphia, 1989.
Seven Afro-American Artists of the Delaware Valley. Widener
University. 1981. National and international juried and open
exh ibitions.
Represented in the collections of: Philadelphia Museum of
Art. Woodmere Art Museum. Philadelphia. Afro-American
Historica l and Cultura l Museum , Philadelphia. Private collections. Serves on the Board of Advisors of the Creative Artists
Network. Philadelphia. Assistant Conservator, Philadelphia
Museum of Art. 1963-81.
Education: Pennsylvania Academy of the Fine Arts, 1957
51
Patricia Traub
Instructor of Drawing, Critic
Solo Exhibitions: Windy Bush Gallery of Art, New Hope. PA ,
1994. ['A.N. Gallery. Philadelphia, 1993.
Selected Group Exhibitions: "Message [<'rom the Planet: Artists
Work to Save the Earth." Noyes Museum. Oceanville. 'J.1995.
Pleiades Gallery, New York, 1995. Woodmere Art Museum
Annua l. Philadelphia , 1994. Amos Eno Gallery. Small Works
International Competition, New York, 1993. F.A.N. Gallery,
Philadelphia. 1992. 1991. Port of History Museum. Philadelphia,
1991-92. Woodmere Art Museum. Philadelphia , 1990. Birehrun
Gallery, Birchrunville. PA, 1990. 1989. 1988. Paley Gallel'y,
Moore Coll ege of Art and Design, Philadelphia, 1990, 1987.
Education: Atelier La Grande Chaumiere, PariS. 1990
Pennsylvania Academy of the Fine Arts, 1988
Studi es in Drawing and Painting in Kenya, BQrneo, [<'lorida and
[<'rance, 1981-8~
York Academy of Arts, 1969
Anthony Visco
Instructor of Sculpture and Anatomy, Critic
Chairperson of the Sculpture Department, 1986-1992
Awards : Greatel' IlarTi sbul'g AI'LS PesLiva l Drawing Awa I'd , The
State Museum or Pennsylvania. 1989. Faculty Venture Grant,
Philadelphia Co ll ege 01' Art, travel and study in ILaly, '1984.
Arthur Ross Awa rd for SculpLuI'e, Class ica l Ameri ca. 1984. The
Elizabeth T. GI'eenshi elds Award, PI'ivate StudiO Work, 1975-76.
Pulbl'ight-liayes Grant, Sculptural Studi es. Florence. Italy. 197071. Summel' Scholarship, Skowhegan School of Painting and
Scu lptu re, 1969. Pu rchase Prize ror Drawing. Boalxl 01'
Educa tion Award ror Printmaking, 1966.
Roswell Weidner
Instructor of Painting and Drawing, Critic
Director of Extension Programs 1962-73.
President of the Fellowship of the Pennsylvania Academy of the
Fine Arts, 1956-67
Awards: Thornton Oakley Award. 1977 . Dawson Memorial
Award. Phil adelphia Watercolor Club Exhibition, 1975. Percy
Owens Award, 1975. Dawso n Memorial Medal . 1965, 1972.
Granger Awar'd, Pennsylvania Academy of thc Pin c Alts
f ell owshill. 1959. Fellowship Prize, 1943. Pirst Tappan Prize ,
1936. CI'esson Travel Schol arsh ip, 1935.
Solo ExhiblLlons: " Drawings and Architectural Models." 1989.
and "Th e SLations of the Cross ." 1984. Bryn Mawr PI'esbyterian
Church. PA. "Via Dolorosa," MOITis Gallery, Pennsylvania
Academy or th e Pine Arts, 1983. Th e Bourse Building, Philadelphia. 1981. Cabl'ini College, 1981 . Lace Gall er y, Philad elphi a,
1981. Fil'st Street Gall er y, New YOI'k, '1980 . Th e Italian Trade
Commiss ion. Barclay Hotel, Philadelphi a, 1976.
Commissions : Holy Pamily Co ll ege Challel, Phil adeillhia, 1\vo
Bronze Reli ers, 1995. St. Maria Goretti R.C. Church. Hatfi eld, PA .
Statuary ror Goretti Shrine. 1995. Our Lady of Mt. Carmel,
Berlin. NJ, Sanctual'y Wall. Relief Sculptul'e with Mosaic, 1994.
St. Joseph 's University Chapel. Philadelphia. Stations or the
Cross, Plaster Polychrome RelieF, 1993. Bryn Mawr Presbyterian, Catherin e Pew Memorial Chapel, PA, Raredone Reli ef
Panels. Bronze, 1987-89. Church of the Assumption. Atco. NJ.
Res ul'I'eclion Altarpiece, Bronze AssumpLion Reli ef. 1986. Old
Saint Joseph 's NaLional Shrine. Philadelphia . "Religious
Freedom", 1986; Stations of the Cross Reliefs. 1981 . Sa int
Genevieve's R.C . Church, Plourtown , PA, Sa int Steve n Bellesini
Statue, 1981 . Cabrini College, Radnor. PA. Tondo Relief of Saint
Prances Cabrini, Terra Cotta, 1980. Sa int Anastasia's R.C.
Church. Kennett Square, PA. Processional Cross and Baptismal
Pont Cover, BI'Onze, 1977.
Education: University 01' Pennsylva nia. 1983
Aecademia dell a Belle Arti. Plorence, Ita ly, '1970-7 1
Phil adelphia College or Art, B.P.A .. 1966-70
Skowh ega n School of Painting and Sculpture, 1969
Fleisher Art Memorial, Philadelphia , 1964-66
52
Selected Solo Exhibitions: P.A.N. Gall er y, Philadelphia. 1995.
Newman Ga ll cries, Philadeillhia, 1978, 1987. Gross-M cC leaf
Gall er y. Philadelphia, 1970, 1985, 1986. Marian Locks Galler y,
Philad elphia , 1981 . Woodmere Art Museum. Pbiladelphia. 1978.
William Penn Mcmorial Mu seum, Harrisburg. PA . 1966. Pea le
I-louse Ga lleries , Philad elphi a, 1965. Philadclphia AI'l Alliance,
1962. Rea ding Museum . 1961. Pennsylvania Academy of the
Pine Arts, 1940, 1960.
Represented in lhe collections of: Metropolitan Muse um of
Art. Philad elphia Museum or AI't. Pennsylvania Academy or thc
Pin e Arts. Pennsylva nia State University. Univer sity or Pennsylvania. Rea ding Musc um , PA . Conn ec Licut State Library. Na ti ona l
Association of Broadcaster s, Washington. D.C .. Smith Klin e and
French. Library of Congress. Pirst Pennsylvania National Bank
Collections. Pairmount Institute . Hahn emann Hospital. Private
coll ecLio ns.
Education: Pennsylvania Academy of the Fine Ar ts
Barnes Pou ndaLion
Ronald Eo Wyffcls
Instructor of Printmaking, Critic
Grants: N,)SCA Visual Arts Grant, 1985. NEA Visual Altists
Fellowship Grant, 1983. Stiel'en Travel and Enrichment Grant,
1983.
Exhibitions: I"ellowship Award Exhibition, Leo na Karll
Braverman Memorial Award in Sculpture. Museum of American
Art of the Pennsylvania Academy of the Fin e Arts, Philildelphia,
1995. Rodger LaPeli e Galleries. Philadelphia , 1986-1995. 97th
Annual JUI'ied Exhibition of lh e Fellowship of th e Pennsylvania
Academy of lh e Fine Arts , The American College, Bryn Mawr, PA,
1994 . Pal ey Design Center, Phil adelphia, 1994. The Gallery al
the Slate Theatre for the Arts , Easton, PA, 1993. Samuel S.
Fleisher Art Memorial Cha ll enge Exhibition , Philadelphia, 1993.
StC\ICII
L. Wciss
Instructor of Drawing and Sculpture, Critic
Selccted Exhibitions: Artists' House Gallery, Philadelphia,
1994. Pennsylvania Academy of the Fine Arts ScUl lltUrc Faculty
Show, 1990-1995. First Annual M.F,A. Alumni Exhibition ,
University of Pennsylvania. 1992. Artworks Show, Nassau Club,
Princeton, NJ, 1990. Audubon Artists Annua l Show, aUonal
Arts Club, New York, 1988. Ellarsli e Open VII. 1988: "PM at
Ellarslie," 1986, 1987, Trenton City Museum. Princeton Art
Association Show, 1986, 1987. "A Celebration of New Jersey
Artists from the Capital to the Cape," oyes Museum ,
Oceanville, NJ. 1983. "Affects/ Effects, "Phi lade lphi a Coll ege of
Art, 1983. Philadelphia 200th Anniversary Show, Philadelphia
Art Alli ance. 1982. Allied Artists of America Annu al, Academy of
Arts and Sciences, New York, 1980. 19th Annual Regional Art
Exhibition, Un iversity of Delaware, 1980. New Jersey Artists
Biennial, New Jersey State Museum , Trenton. 1979.
Rcpresented in : Private collections.
Education: University of Pennsylvania, M.F.A., 1977
Skowhegan School of Painting and Scu lp ture
Art Students League
53
The Print Club, Philadelphia, 1991. Woodm ere Art ~Iuseum ,
Philadelphia. 1987, 1988. 1991. Pennsylvania State \luseum.
I-Ial'fisburg. 1990. Bernice Steinbaum Gallery, ;\e\\ York. 1989.
Cheltenham Center for the Arts. 1989. Perkins Center for the
Arts, ~loorestol\l1 , ;\J , 1988. 1989. Touchstone Gallery,
Washington, D.C .. 1988. PhoenLx Galler~. " ell York, 1988. The
~lorris \Iuse um. ~lo rristo\\'n. :\'J. 1987. Peale House Gallery,
Philadelphia. 1987. San AntoniO 31useum ofArI. 198-1. 1986. Art
~Ius e um of outh Te,as. Corpus Christi. 1982. 198-1. D\\
G3I1er~. Dall as. 198-1. an -\ntonio Art Institute. 1982. 1983.
\I c;\a\ \ rt \I u,('um. an -\nlonio, 1983, Patrick Galler~. Austin.
1'\ . 1983, The Lallllelale Alternatile pace, Houston, 1983_ The
Bank of San \nl onio. 1983, trul-e Galler~, Chicago, 1982.
Danforl h Gallcr~ , Lilingslon, \ IT, 1981. Landfall Gallery,
Chi cago, 1981. t-..l ein Gallc~. Chicago. 1981. Ketterer Galler~,
\ IT. I flRO. Sill ,'r B,l\1 \ rlS Foundation, Butte, ~fT. 1980,
II nc k ad,l ~ C,'nler for till' -\ rls. t-..alispell. \IT. 1980.
RI'III'I'SI'nl eel In I he I'olll'el ions of: I nil ersifl of "-~ 010. Japan.
(~l'Ol'gi,l IIl~tll Ill<' of T",'hnolog:., \Iallufacl urers HanOI er Trust
C,llllp.lIl) Fir~1 1\,111 S)~ll'lll, Inc \I c \ a~ \ rt \Iuseulll , The Bank
"fS,1Il \ nlonl<) 1 he Fl't'" l.ihr;lr) oll'hiladt'lphia Rh one-Poulenc
~O"'I" Inc Pri,.lIl' l'()Ih'<'li()n~
Elhlt',llhHI \1(1111.111.1 SI,1I<' I ni\<' : itl \1 F \ . 19RJ
SI,II<' I nlll'I':-II) .11 1\un.l1<, n F \ 1973
,
ADJUNCT FACULTY
ADMINISTRATION
ADJUNCT FACULTY
ADMINISTRATION
Deborah Deichlel'
Vincent Desiderio
Stuart M. Feldman
David Fertig
Renee P. Foulks
Barbara Goodstein
Albert F. Gury
John I-lorn
Kevin P. Lewellen
Douglas S. 1artenson
Stanley R. Merz, Jr.
Creighton Michael
Lesley Mitchell
Shoji Okutani
Marjol'ie Portnow
Osvaldo Romberg
James Rosen
Wade Schuman
Gary Weisman
President
Gresham Riley, Ph.D.
LECTURERS
Mark Bockrath
Daniel D. Miller
Dean and Director of the School
Frederick S. Osborne
Director of Admissions
Michael Smith
215/972-7625
Assistant Director of Admissions
Linda Chapman
Director of Faculty and Student Affairs
Julie R. Valenti
Director of Financial Aid
Frank Tynan
Manager of Data Services
Kristen R. Kelley
Librarian
Marietta P. Boyer
Models and Props Coordinator
Richard L. Distefano
Director of Graduate Programs
Michael G. Moore
Director of Evening and Summer
Programs
Angela Gonzalez-Walker
215/972-7632
54
BOARD OF TRUSTEES
COMMI'ITEE FOR TIlE SCHOOL
Officers
John B. Bartlett
Charles L. Andes
Chairman
Herbert S. Riband . Jr.
First Vice Chairman
Kevin F. Donohoe
Second Vice Chairman
Richard B. Worley
Third Vice Chairmanfl'reasurer
Lyn M. Ross
Secretary
Trustees
BOARD OF TRUSTEES
COMMI'ITEE FOR THE
SCHOOL
55
John B. Bartlett
Felicity R. Benoliel
Mrs. C. Graham Berwind. Jr.
Stewart R. Cades
Donald R. Caldwell
Milton Ginsburg
Barbara L. Greenfield
Samuel M.V. lIamiiton
Ragan A. Henry
Warren W. Kantor
Argeris N. Karabelas. Ph.D.
Stephen B. Klein
Leonard J. Korman
Mary MacGregor Mather
Allen J. Model
Charles P. Pizzi
Mrs. Meyer P. Potamkin
Adele K. Schaerrer
Garry J. Scheuring
Harold A. Sorgenti
Wayne A. Stork
Barbara A. Sylk
Edna S. Tuttleman
Archbold D. van Beuren
Cornel West. Ph.D.
J. Rorre Wike
Ex ofticio
Gresham Ril ey. Ph.D.
President
Steven Nocella
Faculty Representative
Hon. Joan Specter
City Representative
Chairman
Archbold D. van Beuren
Vice Chairman
Ceorge A. Beach
Felicity R. Benoliel
Allan L. Edmunds
Margaret Engman
Dr. Julia A. Ericksen
Jane Fortune
Mrs. Robert A. Hauslohner
Ragan A. Henry
Mrs. Nelson J. Leidner
Mary MacGregor Mather
George McMonigle
Susan A. Nelson
Mrs. Leonard A. Sylk
Arnold W. Wright. Jr.
Ex officio
Charles L. Andes
Chairman
Maureen A. Brusca
Vice President for Finance
Diane Dalto
First Deputy City Representative
Wendy T. Harnwell
Student Representative
Steven Nocella
Faculty Committee Representative
Frederick S. Osborne
Dean and Director of the School
Maynard W. Poole IV
Vice President for Development
Gresham Riley
President
Anthony Rosati
Faculty Representative
INSTITUTIONAL POLICIES
DIscrl III Ina lion
The Academy docs not discriminate on th e basis of race . co lor. national or ethnic origin . sex.
age. religion . handi ca p. finan cial situation . or geographic location in ad miUing stuelents to the
School. 01' in the adlllinistralion of its ed ucalio nal poli cies. or scholarship and loan programs.
Privacy Policy
The Academy is in com plian ce with the Family Education Rights and Privacy Act of 1974. A
copy of th e Act may be obtained from the Data Services Oflice.
Student Artwork
The Academy reserves the right to retain. photograph . reproduce. or display works or art
produced by students enrolled in its academic pr'ogl'ams. The Academy is not responsible for
loss or damage to student work or property.
INSTITUTIONAL
POLICIES
Drugs and Alcohol
The Academy's poli cy concerning drugs and alcohol is published annua ll y in the Student
Ilandbook.
Ifal'assment
The Academy's policy concel'ning harassment is publi shed in the Employee Handbook.
Smoke Free
All Academy buildings are designated Smoke FI'ee.
Rm1slons
This catalogue is not a co ntractual document. The Academy reserves the right to change any
curricular offering, policy governing students, 0 1' financial l'Cgulations stated herein , whenever
and as the requirements of the School demand.
AccredItation
The Pennsylvania Academy of the Fine Arts is accrediteel by the Nationa l Association of
Schoo ls of Art and Design.
MembershIp
Th e Academy is a member of the Association of Independent Colleges of Art and Design
(AICAD) . The Association provides benefits to its member colleges, including a student
mobility program . access to in ternational study, opportunities to study and have internships in
New YOl'k City, faculty and staff development programs, and advocacy For the strengthening or
visual arts education.
CREDITS
Design: Diane K. Becotte
56
PrlnUng: BecoLLe & Gel'shwin, Inc .. 1995
Photography credits:
Will Brown, cover photographs
John J. Carlano. p. 43(right)
Wayne Cozzolino, co urtesy Fairmount Park
Art ASSOCiation, p. 48(left)
Susa n R. Geller, p. 53( lert)
Kelly & Massa p. 13(top)
Michael Pilla , pp. 7- 20. 25 , 27-36, 42.
44-47 (l eft) . 48(right). 49(right)- 52 (left) ,
53 (ri ght)
Jonathan Wil son. pp. 3, 41
PENNSYLVANIA ACADEMY OF THE FINE ARTS - ACADEMIC CALENDAR 1996-97
FALL 1996
Orientation for new students
Registration for Day School
full-time:
part-time:
First day of class
Last day for late registration
Last rlay for drop/add
Last day for withdrawal from class
Last day for removal of incompletes
Stimson Prize Competition
Studio applications available
Pre-registration for
STUDIOS VII-VIII
Spring '97
STUDIOS
V-VI
STUDIOS
III-IV
•
•
STUDIOS
I-II
•
•
Thanksgiving Holiday
"
"
Wednesday, Aug.
Thursday, Aug.
Tuesday, Sept.
Thursday, Sept.
Thursday, Sept .
Thursday, Sept.
Thursday, Oct.
Thursday, Oct.
During October
Friday,
Nov.
Monday,
Nov.
Tuesday,
Nov.
Wednesday, Nov.
Thursday, Nov.
Monday,
Nov.
Tuesday,
Nov.
Thursday, Nov.
Friday,
Nov.
Friday,
Dec.
Last day of classes
Winter Break
*** December 23 - January 10 ***
28
29
3
5
19
19
17
17
*
8
11
12
13
14
18
19
28
29
20
SPRING 1997
Orientation for new students
Registration for Day School
full-time:
part-time:
First day of class
Last day for late registration
Last day for drop/add
Travel Scholarship and Annual Student
Exhibition applications available
Last day for withdrawal from class
Last day for removal of incompletes
Stewardson Prize Competition
Studio applications available
Spring Break
*** March 3 - March 7 ***
Deadline for Travel Scholarship & Annual
Student Exhibition applications
Pre-registration for
STUDIOS VII-VIII
Fall 1997
STUDIOS V-VI
STUDIOS III-IV
•
•
STUDIOS I-II
•
Spring prize submission
Last day of classes
Judging for Travel Awards
Awards Ceremony, Commencement and
Opening of Annual Student Exhibition
Last day of Annual Student Exhibition
•
Tuesday,
Wednesday,
Friday,
Monday,
Monday,
Monday,
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Tuesday,
Monday,
Monday,
Feb. 11
Feb. 24
Feb. 24
7
B
10
13
27
27
Ef;6RLlAR:I*
Feb. 25
Tuesday,
I.:lLlBIH~
Wednesday, Mar. 12
Monday,
Tuesday,
Wednesday,
Thursday,
Monday,
Tuesday,
Wednesday,
Friday,
Monday,
Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
Apr.
May
May
Friday,
Sunday,
May
June
17
18
19
20
24
25
23
2
5
9
1
,.
PENNSYLVANIA ACADEMY OF THE FINE ARTS
The actual cost per year to educate each student at the Academy is
approximately $16,000.
Every student enrolled at the Academy is
subsidized for almost · half the tuition cost.
This portion is
covered by the Academy using revenues from its endowment and from
fund-raising efforts. Therefore, tuition charged for the 1995-96
academic year is $7,950, which is half of the actual cost.
In
addition, for those students unable to pay the tuition, the Academy
and federal and state government agencies provide significant
financial assistance.
Foreign students are not eligible for
government assistance, but may apply to the Academy for institution
aid.
student's tuition for 1995/96 academic year
Registration fee
Lab Fees
There are lab fees for
provided by the school.
bill.
$7,950
$25
studio courses in which supplies are
These will be included in the semester
Tuition Management Plan
The Tuition Management Plan provides the opportunity to divide your
tui tion into ten (10) equal payments between August and May. There
is a $45 charge per year for this plan.
