1999-2000 School Circular

Item

Title

1999-2000 School Circular

Date

1999

Creator

The Pennsylvania Academy of the Fine Arts

Is Part Of

RG.03.04.01

Medium

digital reproduction

Language

eng

Format

PDF

Rights

Digitized archival materials are accessible for purposes of education and research. We have indicated what we know about copyright and rights of privacy, publicity, or trademark. Due to the nature of archival collections, we are not always able to identify this information. We are eager to hear from any rights owners, so that we may obtain accurate information. Upon request, we will remove material from public view while we address a rights issue.

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3

Introduction

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Students

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Faculty

10

Museum

12

Facilities

13

Campus Map

18

Philadelphia

25

Certificate Program/BFA Program

28

Curriculum Requirements

29

Painting

30

Printmaking

31

Sculpture

32

Other Programs

32

MFA Program

32

Post-Baccalaureate Program

32

Continuing Education

33

Visiting Artists

34

Exhibitions/Competitions

34

Alumni Association

35

The Details

36

Admissions

38

Academic Policies

39

Financial Aid

40

Scholarships

40

Prizes

42

Faculty Biographies

45

Administration

46

Institutional Policies

47

Application

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You've just picked up the catalogue for Am erica's first (and many

believe, finest) art school and museum, the Pennsylvania Academy of
Fine Arts (PAFA). Dating to an effort by Charles Willson Peale in 1791 ,
the School's Charter was obtained in 1806, "To promote the cultivation of the Fine Arts in the United States of America (and to) enlighten
and invigorate the talents of our countrymen."

While dynamic evolution has been PAFA's operative mode throughout
its history, this early description retains its power. You'll soon discover
that while every PAFA student's education is hued from the most
contemporary thinking, it is always bolstered by this unparalleled

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heritage. Its power is as pragmatic as it is philosophical, since stu-

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dents and faculty enjoy daily access to PAFA's exceptional resource,

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its Museum. It is the definitive archive of American painting; a study
collection without peer in this country.

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Today's PAFA students find themselves enlightened by the timehonored fundamentals of European art education, but alive in a city
teeming with art and artists. It's the perfect environment for fulfilling
your dreams and becoming a professional artist. You'll flourish, surrounded by other committed artists. Mentored by professional artists
who also teach. Master the hand/eye coordination that is the discipline and foundation on which all visual expression is built. Spend
two years in rigorous classical training and the next two unleashed in
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a studio to begin your life's work. You'll form a vision and learn how

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to express it uniquely. Acquire the skills necessary to realize that
vision eloquently in any number of ways. And become the artist you
already know you are.

Read through the catalogue and find out a little more about PAFA
and how our world works within the great art city of Philadelphia.
You'll discover an institution thriving on a shared passion for art and
the artist's work, and how everyone at PAFA relentlessly pursues
personal and shared artistic ideals. You may find PAFA is exactly
what you're looking for.

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PAFA attracts some of the most prom ising art students from all over

the globe, those ready to develop their lives as arti st s through PAFA's
outstanding faculty and curriculum and their own considerable
efforts. Approximately half the students are women, reflecting the
Academy's long-standing recognition of women as men 's artistic
equals, which dates from School Director Thomas Eakins's championing of women 's rights in the late nineteenth century. They may be
recent high school graduates, or older. They may be working towards
a PAFA Certificate, with the opportunity to acquire a BFA from the
University of Pennsylvania or The University of the Arts. While many
of the students have devoted much of their lives to their art, PAFA
also draws adventurous individuals in the process of reinventing
themselves after focusing on other areas, such as business or
medicine or architecture. These individuals add another exhilarating
element of diversity in age and experience to the student mix,
contributing perspectives that broaden the curriculum even further.

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Graduating students join a proud roster of PAFA alumni that
includes such luminaries of American art as Rembrandt
Peale, Mary Cassatt, Maxfield Parrish, Charles Sheeler, John
Marin, John Sloan, Charles Demuth , Arthur B. Carles, architect Louis I. Kahn, and movie director David Lynch. As a
PAFA graduate, your art will be informed by America's finest
art education and you will possess credentials honored
throughout the art world.

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For nearly two hundred years, PAFA's program has relied heavily on
its faculty to maintain its high standards in bringing the curriculum to
life. It is through them that PAFA students receive the rigorous education that enables them to master themselves and command the technical, philosophical , historical, and contemporary aspects of the fine arts.

Alumni invariably report the faculty's role as central to their development as artists and say their influence continues to inform their work
throughout their lives. A number of PAFA's faculty studied at the
Academy, thus forming an unbroken chain of artists handing down the
institution 's valuable traditions to succeeding generations. Others bring
different points of view to PAFA from having studied at other excellent
art institutions around the world.

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None of PAFA's faculty teaches full time, ensconced in an ivory tower
away from real art-world issues. Rather, they are all working artists.
Students benefit from the fact that eleven faculty members have
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their professional studios in the Academy's main building at 1301
Cherry Street.

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ing provided by PAFA's distinguished faculty. Throughout the year,

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Artists Program, enriching the curriculum and augmenting t he mentor-

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Other prominent artists play an important role through the Visiting

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painters, sculptors, performance artists, printmakers, and critics come

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to PAFA individually and spend several days visiting. They critique

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students' work and give lectures and workshops in a mutual
exchange, invigorating everyone involved .

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Philip Pearlstein , Frank Stella, Dore Ashton, Richard Estes, Janet Fish,
Joel Fisher, Nancy Graves, Judy Pfaff, Robert Pincus-Witten, Betye
Saar, Leo Steinberg, Gregory Amenoff, Louisa Chase, Jane Freilicher,
Brian Hunt, Wolf Kahn, Joyce Kozloff, Gabor Peterdi, Peter Plagens,
and Donald Sultan.

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Clement Greenberg, Donald Kuspit, Alfred Leslie, Elizabeth Murray,

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highly regarded artists as Alice Aycock, Eric Fischl, Leon Golub,

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Recent visitors under the Visiting Artists Program have included such

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The Academy's Museum, chartered in conjunction with the School
in 1806, is an integral part of PAFA, an aspect that sets it apart
from other art schools. The Museum celebrates the vitality of

American art with an unparalleled collection of more than 1,700
paintings, 400 sculptures and 14,000 works on paper, plus hundreds
of manuscripts, photographs, sketches and other primary source
material from the mid-1700s to the present. PAFA's active program
of acquiring the most exemplary pieces of contemporaneous art has
created a unique panorama tracing the evolution of the major
techniques, styles, and imagery developed throughout the history
of American art.

The artwork of PAFA alumni and faculty is
well represented in the Museum . In addition,
the Museum hosts important traveling shows
of contemporary art to supplement the
collection. In the summer of 1999, PAFA
exhibited the first-ever critical retrospective
of one of its most renowned graduates,
Maxfield Parrish.

Highlights of the collection include portraits by PAFA founder Charles
Willson Peale and his children, nineteenth-century genre paintings
and portrait busts, as well as an extensive collection of works by
former PAFA student and School Director Thomas Eakins and
forty-four important works by modern master Robert Motherwell.
The works-on-paper collection eloquently traces the development

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of American prints, drawings, and watercolors. It also documents

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Philadelphia's primacy as a nineteenth-century publishing center and
PAFA's singular role in shaping American art and art education.

The Museum fills a powerful role in students' daily instruction and
also serves as a bridge to the larger community. Classes are held not
only in the galleries, but in the vaults, allowing students ready access
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to works not currently on display.

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Furness/Hewitt Building The Academy's High Victorian Gothic build ing 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 the historic
studios where generations of students studied.

HIS TOR I CST U 0 lOS

Its design, which incorporates gallery space

for display and studio space for creation, symbolizes the institution's
mission. Today most first- and second-year students have their
classes in these studios, studying cast drawing, figure drawing, figure
modeling, and painting. The six studios are designed in the tradition
of the beaux-arts schools of Europe, with twenty-foot vaulted ceilings
and skylights with northern exposure. One of the studios is used for
students doing large-scale figurative work. These majestic spaces
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contain the Academy's famous cast collections of antique and
Renaissance sculpture, which have been part of the curriculum
throughout the School's existence. No student who works in these
spaces ever forgets the experience.

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NATURE LABORATORY

The Academy's Nature Laboratory houses

a collection of natural objects for study and demonstration. It primarily serves the Animal Drawing and Anatomy Programs, and is located
at the west end of the Furness/Hewitt building.

1301 Cherry Street Building This building (a block away from the

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Furness/Hewitt building) is almost entirely dedicated to school
facilities, and was retrofitted to be state of the art. This 65,000square-foot, nine-story loft structure houses life painting and drawing
studios; still-life studios; complete printmaking facilities; the entire
Sculpture Department, which includes a foundry and a stone-carving
room; faculty studios; an exhibition gallery; library; storage areas for
student artwork; art supply store; and a cafe.

PAINTING DEPARTMENT

Located t hroughout the bui lding, 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, many with natural light, are dedicated to third- and forthyear students.

CENTER CITY PHILADELPHIA

PRINTMAKING DEPARTMENT

Lithography, etching (intaglio), and

woodcut classes are taught in a spacious, open-plan studio with an
abundance of natural light, a state-of-the-art ventilation system, a
separate lecture and student archives room, and broad areas of work

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CHERRY ST.

and storage space. There are three presses in the etching studio;
two with motorized press beds. Separately ventilated acid and sol-

ARCH 51

vent washout rooms, each equipped with large vent hoods, provide
students w ith safe and efficient working laboratories. There are four
presses in the lithography area. All presses are capable of pulling

MARKET 51

large-format work. In the woodcut area there is abundant space for
cutting, inking, and printing.

'Future home for School
facilities and Museum
expansion

SCULPTURE DEPARTMENT

The Sculpture Department occupies

two floors. One is devoted to figure modeling, casting, and plaster
work, and the other is a fabricating floor with a wood shop, metal
shop, foundry (ceramic shell casting), and a separate shop dedicated
to wood and stone carving. The metal fabrication area has nine welding stations and is equipped for gas, electric, and tig welding . The

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ceramic shell foundry is capable of pouring 120 pounds at a t ime.
There is a kiln for fi ring sm all clay scu lpture, a portable hoist , and a
freight elevator. The wood fabrication area is completely eq uipped
with table saw, radial arm saw, stationary sander, miter saw, band
saw for metal and w ood , drill press, and pneumatic air tools. The
mold-makin g room is used for ceramic shell m o lds, rubber m olds,
wax w orking , patina w ork, and sand blasting .

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SECOND FLOOR

The second floo r contains the School Admi ssions

Office and other administrative offi ces.

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The first floor of 1301 Cherry Street houses a
dynamic collection of spaces for student and
public use, as follows:

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LIBRARY

The Library serves both the School

and the Museum. Its patrons are students , staff,
faculty, and the general public. As an art school

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library, it provides materials that stimulate and

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inspire the visual artist. As a museum library, it collects materials that
are needed for the interpretation and research of American art.
Devoted exclusively to the visual arts, the collections provide an his-

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torical perspective with an emphasis on the work of individual artists,

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focusing on the thoughts and techniques of these artists. The Library
has more than 14,000 books, a growing selection of video tapes,
and a collection of 20,000 slides. It subscribes to more than seventyfive periodicals. Of special interest
is an extensive artist file. Started
as a Works Progress
Administration project, it is a
collection of newspaper clippings,
gallery announcements , resumes,
and pictures of more than 5,000
artists whose works are difficult to
document in books . In addition ,
there are several computers at the
School that allow students to
access the Internet.

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SCHOOL GALLERY

The School Gallery show cases student w orks

with juried exhibitions throughout the year. This gallery space, open
daily to the public , fac ilitates the showing and selling of student
works from the Certificate, Graduate, and Continuing Education
Programs.

ART SUP PLY S TOR E

PAFA's Art Supply serves the Academy

community as well as the general public. Merchandise is specifically
tailored for the fine artist. The store carries a wide range of domestic
and imported art supplies and papers, fine-art books , and an everchanging 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
receive a 20 percent discount on purchases, and students in good
standing may also maintain credit accounts.

CAFE

Located adjacent to PAFA Art Supply is the Cafe, which is in

a casual, open setting, and is the perfect spot to gather with friends
and faculty. The Cafe is open before and during school hours.

Gilbert Building IGraduate Facilities

The Graduate facilities are

located at the Gilbert Building, a loft building adjacent to 1301 Cherry
Street, the main school building. The Graduate Department consists
of two floors containing private studios that have been partitioned
into studios with natural light, ample wall surfaces, and locked doors.
Some interior studios provide for more personally controlled lighting.

In addition to the studios, there are larger spaces for community use
including a drawing room, a gOO-sQuare-foot seminar room, storage
areas, a small woodshop , and installation rooms.

In addition to ho using PAFA's Graduate Program , the Gilbert Building
also houses the internationally known Fabric Workshop and Museum .

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As the first capital city of the United States, Philadelphia boasts this
country's earli est and deepest connection with European artistic traditions. It's a livable yet exciting city, with everything an artist like you
could hope for within easy reach. It's a city that cherishes its closeknit arts comm unity, cateri ng to its needs in many ways. And in turn,
this special community holds PAFA's students and graduates in it s
highest regard. Over three-quarters of the work sold at the pivotal
Third Street galleries is said to be produced by PAFA students,
professors, and graduates.

Philadelphia, traditionally the City of Brotherly Love, based on its
peaceful Quaker heritage, now is proud to call itself "The Place That
Loves You Back." As a PAFA student, you'll soon learn that even trite
phrases like these ring true, since it is so much a student's city.
Philadelphia provides a great learning experience, particularly for students of the fine arts.

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a city for art and art

Dozens of great museums and galleries cater to your passion for art.
Within walking distance of PAFA are the Philadelphia Museum of Art,
the Rodin Museum, the Philadelphia Free Library as well as the
Academy of Music. In addition to the Academy, four great regional
schools introduce hundreds of your peers into the artistic life of the
city annually. The University of Pennsylvania, Tyler School of Art,
Moore College of Art and Design, and The University of the Arts all
have substantial art programs. As old a city as Philadelphia is , it is

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remarkably young and hip. Over 40 percent of its population is
between ages twenty-five and fifty-four. It's an athletic town, too, with
many sports to watch and play.

Contributing to Philadelphia's image as a globally recognized art
center is the fact that its museums are often on the highly select itineraries of landmark shows, such as the Philadelphia Museum of Art's
1998 exclusive North American exhibition of Delacroix: The Late Work.

Philadelphia's colorful historic and ethnic neighborhoods offer inspiring
art shows, fabulous dining and dancing, and shopping that break the
cookie-cutter mold. The Philadelphia Flower Show-the much-anticipated early tribute to the emerging spring and arguably the finest in
the nation-provides annual inspiration for our still-life classes. Nature
also holds forth at the Philadelphia Zoo (also the first in the nation) and
across the river at New Jersey's State Aquarium.

To complement your appetite for the fine arts, Philadelphia offers an
astounding array of affordable performing arts within a short distance
of PAFA. The lively, newly revitalized waterfront section includes Penn's

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Landing, where outdoor concerts and exhibitions are regularly held.
Classical musicians, from quartets to the superb Philadelphia
Orchestra, fill the air daily with fine performances. Internationally
acclaimed opera, ballet and modern dance, theatrical productions,
jazz, and film festivals complete the scene. For music lovers, the
clubs of Second and South Street attract today's most exciting rock,
alternative, rap, and jazz performers. The city's rich heritage is close
at hand on Philadelphia's cobblestone streets and narrow alleys. The
historic sites of Independence Hall, the Liberty Bell, Old City Hall, and
the Second Bank of the United States complement PAFA's historical
tradition and transport our artists to the roots of their Academy.

PAFA helps students enjoy easy access to neighboring art centers by
frequently sponsoring inexpensive chartered bus excursions to New
York and Washington, D.C. The entire Northeast Corridor is readily
accessible via automobile on 1-95 as well as by the conveniently
located local and interstate buses and trains. Philadelphia
International Airport, which brings the world to PAFA, is a mere eight
miles from PAFA's Center City location.
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PAFA's exceptional Certificate Program is a four-year program of
intensive education offering three majors: Painting, Printmaking, and
Sculpture. PAFA's Certificate Program is structured around the belief
that students' success always results from their own efforts to learn
and grow. A serious attentiveness to one's work is what the
Academy most wishes to foster. Every student leaves PAFA a mature
artist prepared for a life in the fine arts. Grounded by America's finest
education in portraiture and landscape, PAFA's contemporary graduates are also educated to express themselves in abstract work,
nonobjective work, field paintings, and multimedia pieces.

the heart of the PAFA experience
Central to the Academy's philosophy is the conviction that all the fine
arts are mutually informative and a serious art education should
advance knowledge in all fine-arts disciplines. For this reason, PAFA's
program requirements accommodate exploration of areas other than
your major and actively encourage you to do so. PAFA's program
addresses personal development, particu larly in the mentoring aspect
of the critic/apprentice relationship. This is also a direct service to art
because, as Leonardo Oa Vinci famously said, "The painter always
paints himself."

As a student, you'll spend your first two years at PAFA studying in
the aesthetic tradition first developed at the British Royal Academy
and imported to found PAFA in 1806. Working with other students in
group studios much of your day, your focus will be on representation
and working from models. Lecture courses add depth to the firstand second-year curricula. Here you'll
tap into the wealth of all art history as
you advance your skills and become

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acclimated to the rigorous schedule to
which PAFA's artists commit themselves. You'll spend at least thirty
hours per week in self-directed studio

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work in addition to fulfilling your course

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requirements. Non-instructed classes

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begin in the first year in order to
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PAFA, you'll assume the life of a professional artist, working independently in your private studio most of the time. You' ll meet regularly
with the three faculty members you've chosen to be your critics
under PAFA's Critics Program, which is rooted in the centuries-old
master/apprentice system that has proved to be so nurturing and
effective. Participation in group critiques further disciplines your
development as an artist.

By the third year, PAFA expects that you will have developed the
maturity and sophistication to pose your own creative challenges,
rather than merely fulfilling assignments and others' expectations.
You will receive abundant support from the faculty, critics, and other
students. You will be rewarded with student exhibitions, grades,
credits, prestigious degrees, and vie for generous travel and educational rewards. You will ultimately enjoy the prestige and viable art
careers open to PAFA graduates. But your most meaningful rewards
will come from within.

Bachelor of Fine Arts A Bachelor of Fine Arts degree may be
earned by Academy students participating in an affiliated program
with either the University of Pennsylvania or The University of the
Arts. Both institutions accept the Academy 's Certificate as fulfillment
of the studio credit requirements for their respective BFA programs.
Information for application to either of these coordinated degree
programs may be obtained through the Director of Student Affairs
after the student matriculates at the Academy.

U N I V E R SIT V 0 F PEN N S V L V A N I A

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There are two options with the

University of Pennsylvania's program. In the first, the student will

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complete four years at the Academy in addition to the academic

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work at Penn, either concurrently or sequentially, and earn both the

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A cademy's Certificate and the BFA degree from the University of

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Pennsylvania. In the second option, the student may complete three
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years at the Academy and the academic coursework at Penn. In this

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case, the student will earn only the BFA from the University of

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Pennsylvania.

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Courses are taken in the College of General Studies of the University.

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Under certain circumstances , courses may be taken in the day
division. No transfer credits will be accepted.

Requirements: 16 units

THE UN IV E R S I TV 0 F TH E ARTS

The program 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 BFA. Up to nine semester credits from another college
may be transferred if the courses meet the distribution requirements
of The University of the Arts .

Requirements: 45 credits

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Curriculum Requirements

F=-.Jn the first year, students experience
the fundamentals of drawing, painting,
rintmaking, and sculpture. This year
rovides: (1) the necessary familiarizaion with media and process; (2) the
...........recognition of the creative connection
~=:::almong disciplines; and (3) the discovery of an area of personal creative
J:==Strength. All of these assist each stu.......,dent in declaring a major at the end of
he year.

•

ART HISTORY

STUDIOS I & II CREDITS

Cast Drawing
Life Drawing
Still Life
Life Painting
Basic Color
Printmaking
Etching
Woodcut
Lithography
Figure Modeling
Form & Structure
Introduction to Anatomy
Perspective
Tot al

3.0
3.0
6.0
4.5
1.5

(2 semesters, 20 sessions)
These lectures must be completed by
the end of the second year.

1.5
1.5
1.5
3.0
1.5
1.5
1.5

(2 semesters)
These lectures must be completed by
the end of the second year, with the
exception of sculpture majors.

30.0

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FIRST YEAR

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MATERIA L S AND TECHNIQUES

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Painting
'Diversity ' describes the Painting
Department. In their four years,
students can draw on the collective
experience of the faculty, who come
from varied backgrounds, and who
work in all possible styles and materials. There are those who work with
precision in pen and ink , silverpoint, or
graphite; those who build their paintings from a highly developed underp . ting ; and others who work directly
paint, pastel, or charcoal, employing representational , abstract, or
nonobiective imagery. Painting stu dents are the direct beneficiaries of

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this collective experience.

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•

SECOND YEAR

THIRD YEAR

S TUDI OS III & IV

S TU D I OS V & VI

Drawing
4. 5
Life Drawing,
Studio Anatomy,
Drawing,
Animal Drawing, or
Advanced Cast Studies
Life Painting or
Figure Composition
6.0
Portrait or Head Structure 6.0
Media o n Paper
3 .0
Painting Electives
3.0
Electives
7.5
Total

30.0

Minimum Requirements:
Independent Study
24.0
(divided between 3 Critics)
Drawing Seminar
3.0
Electives
3.0
Total

30.0

F OU RT H Y E A R

STUDIOS VII & V III

Minimum Requirements:
Independent Study
30.0
(divided between 3 Critics)

'1he Department's expectation is that

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'ts graduates will be independent
artists, grounded in the principles of
he traditions, and launched on a Ilfeime quest to make meaningful stateents through their work.

29 ...

Printmaking

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The tradition of printmaking at the
Academy is an independent freestanding fine-art discipline. An extensive technical foundation is provided
to ensure that t he student has the
knowledge to be able to fully explore
the potentials inherent in printmaking.
The emphasis is on merging the con ceptual with the technical in order to
produce works that have relevance
and significance in the context of con temporary art. The curriculum focuses
on the disciplines of intaglio, lithography, and woodcut, and includes both
traditional and experimental approaches to image making. In addition to
being printmakers, the faculty work in
painting, drawing, and sculpture.
The Department contains a Student
Archives Study Collection. Selected
prints from each class and semester
have been acquired for the collection.
The work is used as teaching aids and
for exhibition purposes. It is a rich
source of examples of specific techniques as well as a resource that
serves to instruct and inspire students .

~30

SECOND YEAR

STUDIOS I I I & I V

Printmaking
19.5
Life Drawing
3.0
(includes Studio Anatomy)
Courses outside the department

7.5

Total

30.0

THIRD YEAR

STUDIOS V & VI

Minimum Requirements:
15.0
Printmaking
Printmaking Critique
3.0
Other Critique
3.0
Drawing Concepts Seminar 3 .0
Elective
6 .0

Total

30.0

FOURTH YEAR

STUDIOS VII & VIII

Minimum Requirements:
Printmaking
12.0
Printmaking Seminar
3 .0
Printmaking Critique
3.0
Drawing/ Painting Critique 12.0

Total

30.0

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Sculpture
The Sculpture Department believes in
simplicity. However, it encompasses
most modes of three-dimensional
artistic expression in order to address
today's complex art world in a comprehensive fashion .
In the second year, majors focus on
understanding the relationship
between sculpture processes and
issues related to composition and
content. The second-year curriculum
includes studios in metal, wood,
mixed media or fabrication, casti ng,
carving, figure modeling, and
anatomy.
hen students advance to indepenent status in their third year, their
\
studio experience is enhanced by the
~ooperative atmosphere of the various
epartmental workshops, in which, as
basic premise of the education
program, they are encouraged to learn
'rom one another. Third- and fourthyear students may also contin ue to
~
nroll in upper-level elective studios .
hese classes are advanced, and are
nded to supplement the individual
---~ocus of the student, whether it be
~igurative, abstract work, or site--IPecific (public art).

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SECOND YEAR

FOURTH YEAR

STUDIOS III & IV

STUDIOS VII & VIII

Minimum Requirements:
Sculpture
18.0
Drawing (200 level)
3.0
Studio Anatomy,
Life Drawing,
Animal Drawing, or
Advanced Cast Studies
Electives
9.0

Minimum Requirements:
Seminar
3.0
(Drawing or Sculpture class)
Independent Study 9 .0 to 27.0
(divided among 3 Critics)

Total

Total

30.0

30.0
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STUDIOS V

&

VI

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Minimum Requirements:
Seminar
3.0
(Drawing Seminar or Studio
Anatomy)
Independent Study 9 .0 to 24.0
(divided between 3 Critics)
Sculpture classes 3.0 to 18.0

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Master of Fine Arts Program

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The Master of Fine Arts Degree
Program is designed to assist developing fine artists in realizing their creative promise. Students are encouraged and guided toward developing
their own aesthetic , whether it is
expressed through a realistic/representational, abstract/nonrepresentan
tional , or conceptual approach, or
;
nother unique hybrid. The Academy's
com munity of artists provides students
~--with an environment to advance their
___'ndividual artistic accomplishments
while benefiting from the diversity of
....-the students and faculty.

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V

he program is based on the development of intellectual exploration,
~creative dialogue, inspiration, and
artistic expression. It is built on the
ster/apprentice system, in which
ents meet regularly with senior
ists for individual and group cri~' tiques. Each student is assigned to a
acuity advisor. Students are also
required to take a year-long drawing
~seminar and two year-long humanities
seminars, which involve readings,
esearch, and the study of aesthetics

The two-year, full-time program
\
includes the disciplines of drawing,
~ainting, printmaking, sculpture, and
multimedia. A baccalaureate degree
nd portfolio are required to apply.
"-~ Information is avai lable from the

Admissions Office at 215-972-7625.

I

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Post-Baccalaureate Program
The Post-Baccalaureate Program provides individually designed programs
for those who wish to further their
formal education or who wish to be
competitive for admission to graduate
programs. The program is designed
for students with an undergraduate
degree with considerable studio art
c redit or extensive studio work below
the graduate level.
The curriculum, which includes the
disciplines of drawing, painting, printmaking, sculpture, and multimedia,
combines independent study with a
private studio, using the apprenticeship system characteristic of graduate
study with more formal course work
that is typical of advanced undergraduate programs. Graduate-level humanities seminars complete the program.
Normally, a student spends two fulltime semesters in the program, which
can be started in either September or
January.
Under normal circumstances, a
student admitted to this program may
apply after one year to the MFA
Program.

Continuing Education
The Academy offers a large selection
of studio courses and intensive workshops on a part-time basis. The
courses, taught by Academy faculty,
are designed to accommodate multiple levels of skill, from beginning to
advanced. The program and its broad
range of offerings are specifically

d i n d j I ttl s who e other
responslbiliti s preclud their studying
full tllne. CI sses range from those
designed to assist students in preparing a portfolio for art school admission
to those addressing advanced problems in the creation of art.
There are no admission requirements
and classes may be taken for academic credit. Classes in painting,
sculpture, drawing, printmaking, and
mixed media are scheduled days,
evenings, and weekends throughout
the academic school year, summers
included. In addition to the central
Continuing Education Curriculum,
this office also administers the Studio
for Advanced Study (SAS) program,
international studies, and the Special
Needs Program.

The Studio for
Advanced Study
The Studio for Advanced Study (SAS)
is specifically designed for developing
artists who have completed an undergraduate program, have a background
in studio art, and are looking for an
environment and community that will
advance their work. This program
offers great flexibility and support to
artists in a position to develop their
personal vision and skills, and assists
them in realizing their individual artistic
goals. This program may be taken by
semester, for up to two years. Studios
at the Academy are available to those
who wish to participate in residence.

International Programs
The International Program provides
students with the opportunity to work
with an Academy faculty member on
location abroad. The Academy has
conducted study abroad courses in
painting and drawing in Africa, France,
Peru, Italy, Mexico, and Ireland.

Special Needs Program
Each year, artists with disabilities compete for grants, allowing them the
opportunity to enroll in classes at the
Academy without charge. The program, which is underwritten by PAFA's
Women 's Committee and USArtis ts:
The American Art Exposition and Sale,
began in the fall of 1998.

Visiting Artists
The Visiting Artists Lecture Series
brings a select group of highly accomplished artists to the Academy for multifaceted visits. Each Visiting Artist presents a lecture that is open to everyone at the Academy and to the public.
In addition, they provide private studio
critiques for students who have
requested them. Both the Certificate
and Graduate students have access
to these artists during the year.
The following are recent distinguished
visiting arts professionals:
Alice Adams
Gregory Amenoff
Dore Ashton
Alice Aycock
William Bailey
Will Barnet
Jack Beal
Rosemarie Beck
William Beckman
Robert Birmelin
Paul Brach
Judy Brodsky
Lowry Burgess
Tom Butter
Charles Cajori
Cynthia Carlson
Squeak Carnwath
Natalie Charkow
Louisa Chase
Petah Coyne
Bob Cronbach
Emilio Cruz
Larry Day
Arthur DeCosta
Vincent Desiderio
Lois Dodd
Marisol Escobar
Richard Estes
Lauren Ewing
Randall Exon
Jackie Ferrara
Eric Fischl
Janet Fish
Joel Fisher
Louise Fishman
Audrey Flack
Antonio Frasconi
Jane Freilicher
Susie Gablik
Gregory Gillespie
Sam Gilliam
Leon Golub
Neysa Grassi

Nancy Graves
Clement Greenberg
John Hanlen
Brian Hunt
Yvonne Jacquette
Joan Jonas
Wolf Kahn
Joyce Kozloff
Robert Kulicke
Donald Kuspit
Gabriel Laderman
Jacob Landau
June Leaf
Barbara Lekberg
Alfred Leslie
Emily Mason
Michael Mazur
Ruth Miller
Mary Miss
John Moore
Susan Moore
Elizabeth Murray
Manuel Neri
Philip Pearlstein
Marsha Pels
Gabor Peterdi
Irving Petlin
Judy Pfaff
Robert Pincus-Witten
Peter Plagens
Deborah Remington
Paul Resika
Paul Russotto
Betye Saar
Irving Sandler
Raymond Saunders
Italo Scanga
Bill Scott
Susan Shatter
Judith Shea
Sidney Simon
Nora Speyer
Leo Steinberg
Frank Stella
Donald Sultan
Joan Thorne
Selina Treiff
Ursula von Rydingsvard
Mia Westerlund
Theodore Wolff

Exhibitions/Competitions
Becoming adept at the real -world
logistics of exhibitions and competitions
is one more step in your journey to
becoming a professional artist, PAFA
recognizes their importance and the
encouraging role they play, so students
have frequent opportunities to exhibit
their work and enter competitions, The
School Gallery regularly holds juried
student shows, Each fall and spring,
prize competitions, which are open to
all PAFA students, are held,
The Annual Student Exhibition in May
proudly displays the advanced work of
PAFA's third- and fourth-year students,
The faculty awards the coveted travel
scholarships, which enable students to
travel and study art in Europe and elsewhere during the summer, Some of the
awards also contribute to tuition fees
for the following fall,

~34

Alumni Association
The Alumni Association of the
Pennsylvania Academy of the Fine
Arts was established in 1998 to provide institutional support and connection for all former students of the
Academy, Currently composed of
more than 3,000 alumni who are living
and working throughout the United
States and in countries such as
Japan, Ghana, and England, the
Alumni Association is an important
aspect of the Academy experience,
After leaving PAFA, all former students
automatically become members of the
Association, and can tap into the
resources of fellow alumni through the
PAFA website, the Alumni Newsletter,
and regional activities,
The Alumni Association offers services
to all alumni, regard less of their profession, including privileged access to
PAFA's Membership, Continuing
Education, and Museum Education
Programs, Alumni also enjoy openings
and events in cities across the United
States,

Together with the historic Fellowship,
the Alumni Association offers exhibition
opportunities, networking events, job
li stings, and painting residencies
specifically for artists,
Goals of the Alumni Association
include:
• Fostering a strong bond between the
Academy and its alumni
• Providing services for the alumni as a
constituency
• Acting as an advocate for alumni as
artists
• Assisting in the development of
Academy programs
• Participating in the support of the
Academy
• Continuing to partner with the historic
Fellowship
For more information, please contact
the Office of Alumni Relations by phone
at 215-972-2092 or by E-mail at
alumni@pafa.org ,

The Fellowship
"Artists Helping Artists"
In 1897, hundreds of former and thencurrent students gathered into the
Academy's lecture room (today's auditorium), They were responding to a
notice sent by the well-known painter
Robert Vonnoh announcing the formation of the Fellowship of the Pennsylvania Academy of the Fine Arts , That
evening, an organization of alumni was
founded to foster "a spirit of fraternity
and continuing mutual support among
former and present students of the
Academy,"
Based in Philadelphia, the Fellowship
was formed because, until 1998, there
was no alumni association, Today it
sponsors numerous activities throughout the year including a major annual
members' juried exhibition in the
Philadelphia area,
The Fellowship has exemplified its
motto of "Artists Helping Artists" for
more than a century, All past and
present students of the Pennsylvania
Academy of the Fine Arts are eligible
to become members of the Fellowship,

Jim Brassy, Strawberry Shortcake , M ixed media an canvas

Admissions

36

Academic policies

38
financial Aid

39

ScholarshiPS

40
40
42
45

prizes
faculty BiOgraphies
Administration
Institutional policies

46
47

\

APplication

Admissions
T he Pennsylvania Academy of the Fine
Arts seeks students w ho are highly
motivated to develop their artistic
abilities and to demonstrate a strong
commitment to the fine arts.

School Tours
and Interviews

~36

Although a program can be fully
described in words, there is nothin g
like seeing a school firsthand to determine whether it will meet the applicant's needs. Applicants are encouraged to tour the School and talk with
the Admissions staff. Those who live
within a reasonable distance of the
School are encouraged to schedule
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 tours during
the middle of May when the Annual
Student Exhibition is on display.

Applications
The Academy acknowledges that it
can be difficult to identify 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 leaming in the studios. For that
reason, admission is a competitive
process based primarily on portfolio
review. Letters of recommendation
and prior academic performance are
also taken into account when reaching
an admissions decision.
The Pennsylvania Academy of the Fine
Arts has a rolling 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.

The Academy typically has a diverse
group of entering students representing many age brackets and walks of
life. Although there is no upper-age
limit, younger students must be at
least sixteen years of age and have
received a high school diploma or its
equivalent (GED). High school equivalency scores will be considered for
admission . Offic ial transcripts must be
sent from the issuing institution's
Guidance or Registrar's Office directly
to the Adm issions Office of t he
Acad emy. At least one of the letters of
recommendation should come from a
current or rec ent art instructor. An
applicant who cannot secure these
letters can submit a one-page personal statement in place of a letter of rec ommendation. Applicants who cannot
submit any letters of recommendation
should discuss this matter with the
Director of Admissions.

Portfolio Specifications
Read the following specifications
carefully
• The application portfolio should contain fifteen samples of work. The
majority of the work should be done
from life and direct observation.
Applicants may also show examples
of conceptual or personal work. Do
not submit work that has been
copied from a photograph.

• All work should have a fine-arts orientation. No commercial work, such
as advertising, mechanical drawing,
graphic design, comic strips, or
animation, should be submitted.
• The Admissions Office encourages
applicants to submit portfolios in
slide format accompanied with a fact
sheet listing corresponding dimensions, title, medium , and date.
App licants who wish to submit
original work should not exceed the
dimensions of 40 x 60 inches. If the
w ork is larger, submit a slide or
photograph of the piece.
• Only unframed work may be
submitted .
TWO - DIMENSIONA L ART

Examples of figure drawing, self-portraits, still lifes, animals, and interior
spaces are recommended. If the applicant has had experience in printmaking, examples of prints should be
included.
All original 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. The back of
each piece must be identified with the
applicant's name.
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REQUIREM E NT S:

Application
Application fee $35 (U.S. funds)
Official transcripts (high school and/ or
college)
Two letters of recommendation
Portfolio (15 works)

,

--

THREE - DIMENSIONAL ART

Any three-dimensional work that is
submitted must be presented by
means of slides or photographs. Show
at least two views on each piece. No
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
fact sheet of paper identifying each
piece (dimensions, title, media, and
date). Indicate "TOP" on each slide.
Make sure the slides are well lighted
and that the artwork fills the slide
frame. Each slide must be identified
with the artist's name.
PORTFOLIO CASES

All original work should be presented
in a portfolio case, clearly marked with
the applicant's name. This is required
not only for the proper presentation of
the work, but also for its protection.
Portfolios of original work must be
picked up the week following the
review. Please call the Admissions
Office at 215-972-7625 to confirm a
time to pick up your portfolio. Slides
and 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 floor
Philadelphia, PA 191 07

Transfer Students
Many Academy students begin their
education at other accredited colleges, universities, or two-year colleges. Transfer of studio credit is done
after the student has been officially
accepted to the program, and is
determined by an evaluation of the
applicant's portfolio and official college
transcripts (student copies are not
acceptable). Credit for courses taken
at other institutions generally will be
transferable only if the courses are
similar to ones taught at the Academy.
No transfer credit is awarded for
courses with a grade below "C" (2.0).

The final approval on transfer credits is
made by the chairperson of the major
departments and the Director of
Student Affairs.
Transfer students should follow the
same admissions procedure as firsttime, entering students, including submission of a portfolio, letters of recommendation, and transcripts from high
school and other institutions attended.
Portfolio submissions should include
work specifically representative of the
c lasses the student wishes to be considered for transfer credit.

International Students
Applicants who are non-U.S. citizens
living outside the continental borders of
the United States should apply for
admission at least six months in
advance of their anticipated entrance
date due to the time required to receive
and evaluate credentials. Proof of competence in the English language is
required and is established by presenting a TOEFL (Test of English as a
Foreign Language) score. A minimum
score of 500 is required before an
accepted applicant can begin classes.
International students may retake the
TOEFL test as many times as they wish
to increase their score before attending
school. The other requirements are the
same as those 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 proof of their financial ability to support themselves while pursuing their
education outside their home country.
The Affidavit of Support form will be
sent after the applicant has passed the
portfolio review and has been officially
accepted into the program. The 1-20
form (required to apply for the F-1 student visa) will be sent when the Affidavit
of Support form is returned and all the
other required documents have been
received and approved, and the
Confirmation of Acceptance and tuition
deposit is paid.

The Academy has financial aid
available to international students.
Students wishing to apply for financial
aid should complete and return the
international-student aid form. Any
scholarship money that is awarded
may be applied only to tuition cost
and must be used for the year in
which it is awarded; it cannot be
deferred to a later term.

Veterans
The Pennsylvania Academy of the Fine
Arts is approved for Veterans' education under the provisions of title 38
U.S. Code Section 1776 and the
Veterans Administration Regulation
14251 E. The regular school program
is available to Veterans on a full-time
basis (15 credits per semester). Credit
for previous education and training is
given when appropriate, and the
length of study will be shortened
accordingly. See the Student
Handbook for regulations on students
enrolled under provisions of title 38
U.S. Code for Veterans Education.

Part-time Students
The Academy does not have a formal
part-time program; however, consideration is given to applicants w ishing to
study at less than a full-time schedule.
The minimum commitment for parttime study is five class sessions per
week (7.5 cred it hours per semester).
Students who cannot undertake that
commitment should consider the
Academy's Continuing Education
Program.
Part-time students are eligible for
certain types of financial aid and may
participate in a tuition payment plan
(see Financial Aid). Part-time students
are not eligible for most prizes, studio
space, or travel scholarship
competitions.
In addition to other requirements, a
minimum of two years of full-time
study is required for the Academy's
Certificate.
The admissions procedure is the same
as that for full-time students.

37<11

Deposit Policy
A $200 deposit, which is c redited to
the tuition for the first semester of
attendance, must accompany each
applicant's Confirmation of Accep tance form. Retum of th is form and
the deposit secures a place for the
student in the entering class.

Medical Certification
Upon acceptance to the School,
all students are sent a Health
Certificate form. The medical examination must be completed, and the form
must be signed by the student's d octor, or other recognized physic ian, and
returned to the Admissions Office
before the start of c lasses. Students
will not be permitted to attend c lasses
unless this form is on file.

Readmissions

~ 38

Students who have withdrawn officially
from the School may contact the
Director of Student Affairs for readmission within a two-year period of leaving the program . After two years ,
applicants must submit a new application and portfolio. All previous financial
obligations with the School must be
settled before registering for c lasses.
Academy graduates wishing to enroll
for further study should contact the
Director of Student Affairs.

Academic Policies

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Selectlvo SrJrvlfh ArJ, f~r
2. Students undor PutJlif, U~ N rio. 550
(G .I. Bill).

Students are responsible for knowing
and abid ing b y the Acad emy's regulatio ns. The complete listing is in the
Student Handbook .

Major
Students are requ ired to declare a
major (Painting, Printmaking, or
Sculpture) at their second -year preregistration , after complet ing Studios I
and II. The schedule for each successive academ ic year is then planned in
consultation with the Direct or of
Student Affairs and fac ulty advisors.

In either case, if a student fails to enter
the cou rse, or withdraws, or is discontinued therefrom at any time prior to
com pletion, the rules c oncerning
Veterans will apply.

Housing
The Academy does not provide housing; students are responsible for
securing their own. However, local
housing information is posted on bUlletin boards, and the Admissions
Office keeps listings of available housing , local dormitory openings, and residences for women, and will assist in
finding roommates .

Minors
Students may formall y pursue a minor
by enrolling fo r a spec ified number of
major and minor credits per semester
in the second, third , and fourth years.
Students in their second year and
beyond may register for classes outside of their major, without formally
declaring a minor.
Official withdrawals from the Academy
must be made in writing through the
Registrar's Office. A student who withdraws forfeits scholarship assistance.
There are no refunds of application
fees or other fees . A student who is
dismissed by the School Administration
for d isciplinary reasons will not receive
a refund.

Reapplication
Applicants who did not complete the
application proc ess, did not receive a
favorable admissions decision , or who
were accepted and did not enroll, may
reactivate their application files within a
two-year period. After that time, a new
application is required.

GRADING SYSTEM

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4.33

97 -100

Outstanding

A
A-

4.00

94-96

Excellent

3 .67

90-94

3.33

87-89

Very Good

3.00

84-86
80-83

Good

77-79

Satisfactory

B+
B
BC+
C
CD
F

S
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2. 67
2.33
2.00
1.67
1.00
0
0
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74-76
70-73
60-69
0-59

Poor but Passing
Failing (no credit)
Satisfactory (passing)
Unsatisfactory

Financial Aid Information
The Academy's goal is to provide
financial assistance to students who
qualify, based on need and merit.
Approximately 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, portfolio ranking,
and the availability of funds. Because
these factors vary from year to year,
financial aid is awarded on an annual
basis. Therefore, students who want
financial assistance must reapply for
aid every year. Students are advised to
observe and meet deadlines established by the Financial Aid Office. For
information, call 215-972-2019.
The Academy can charge a relatively
lower tuition than many other private
institutions because its endowment
and fund-raising efforts underwrite a
significant percentage of the total cost
of tuition. Included with this booklet is
a separate sheet listing current tuition
charges and other fees or expenses.
Applicants who indicate on their application forms that they expect to apply
for financial aid will automatically be
sent detailed information from the
Financial Aid Office.

The principal types of assistance are
as follows:

This is a federally administered program
in which eligible students are awarded
grants. Eligibility is determined by the
federal govemment.
PHEAA GRANT

EMPLOYMENT

Awards are available to established
Pennsylvania residents who have not
eamed a college degree, are enrolled at
least half-time, and demonstrate financial need. Application must be made by
the deadline. (Note: other states have
scholarship programs for their residents.
Information and applications should be
available from the respective State
Boards of Education. However, some
grants may not be transferable to
Pennsylvania.)

The School is contacted by outside
employers with various job opportunities. Notices of openings are posted
on Academy bulletin boards

FEDERAL PELL GRANT

FEDERAL SUPPLEMENTAL
EDUCATIONAL OPPORTUNITY
GRANT (SEOG)

This is a federally funded, schooladministered program. Grants are
awarded to the most needy Pell Grant
eligible recipients, based on the availability of funds.
Students who have earned a bachelor's degree do not qualify for the
above aid funds.
ACADEMY SCHOLARSHIPS

Through its endowment, the Academy
offers numerous named tuition scholarships, awarded primarily on the
basis of need. All eligible students,
including foreign students and students with college degrees, are considered for these scholarships.
MONITORSHIPS

Any applicant or current student who
completes the FAFSA application and
has a complete financial aid file will be
considered for assistance, but preference will be given to those whose
processed FAFSA applications have
been received by the deadline.
Applicants to the School need not be
accepted to apply for aid, but must be
accepted to the School before aid will
be awarded.

WORK/STUDY

The Financial Aid Office will make a
determination of a student's eligibility
to work on campus. A work/study
award indicates the amount a student
is eligible to earn if he or she secures
a job at the Academy.

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 (FAFSA), along with an Academy
institutional application, serves as the
application for aid programs. Student
loans require an additional application.

FEDERAL AND INSTITUTIONAL

These are work-exchange scholarships awarded by the Academy involving important duties which assist faculty members. (The Tax Reform Act of
1986 mandates that the portion of the
monitorship that represents compensation for services is taxable and is
awarded as Work Scholarship. The
remaining portion is not taxable, and is
awarded as Tuition Remission.)

Loans
Student loans, including Stafford,
Unsubsidized, PLUS, and Alternative
are available at low-interest rates and
with extended repayment terms to
assist students in meeting both tuition
and living expenses. Although these
loans are transactions between a student and a bank of his or her choice,
the student must first complete both a
PAFA and a FAFSA application as well
as loan applications 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.
Details are included in the information
sent by the Financial Aid Office. The
loan application process usually takes
two to eight weeks.

Tuition Management Systems
The Academy offers an interest-free
monthly payment option, which allows
students to spread tuition expenses in
ten equal monthly payments over the
academic year, enabling students to
more easily budget expenses. The
enrollment fee for this option includes
automatic life insurance that covers
the unpaid balance of the student's
annual budget. This option may prove
helpful, whether or not the student
qualifies for financial aid.

Scholarships, Awards,
and Prizes

Scholarships
The Scholarship of the Alumni
Association of the Pennsylvania
Academy of the Fine Arts
The Joseph Amarotico Scholarship
Anonymous Scholarships
The Arcadia Foundation Scholarship
The Elizabeth Arrasmith Memorial
Scholarship
The Morris Blackburn Scholarship
The Charles Bregler Art Scholarship
The Rhea 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 Violette de Mazia Memorial
Scholarship
The Earl T. Donelson Memorial
Scholarship
Thomas Eakins Associates
Scholarship
The Robert B. Ehrman Scholarship
The Perez and Mary Epstein
Scholarship
The Geraldine Dietz Fox and
Richard J. Fox Scholarship
The Franklin Mint Foundation for
the Arts Scholarship
The Barbara Specker Gorson
Memorial Scholarship
The Catherine Grant Scholarship
The Eleanor S. Gray Memorial
Scholarship
The Sophie Victor Greene
Scholarship
The Albert M. Greenfield
Scholarship
The Allen Harris Memorial
Scholarship
The Louise Harrison Memorial
Scholarship
The Fred and Naomi Hazell
Art Award
Robert Henri Associates Scholarship
The Henry Hotz, Jr. Memorial
Scholarship
The Hunt Foundation Scholarship
The Rondi Cristine Johnson
Memorial Scholarship

The Huldah Bender Kerner
Scholarship
The Suzanne H. King Memorial
Scholarship
The John Lambert Scholarships
The Benjamin Landis Memorial
Scholarship
The Jacob Lawrence Scholarship
The Bobette R. and Nelson C.
Leidner Scholarship
The Conrad J . Linke Memorial
Scholarship
The Jimmy C. Lueders Memorial
Scholarship
The Jane Darley Naeye Scholarship
The Goldie Paley Foundation
Scholarship
The Angelo R. Pinto Memorial
Scholarship
The Salvatore Pinto Memorial
Scholarship
The Jane Piper Memorial Scholarship
The William Tylee Ranney
Scholarship
The Raymond S. Reinhart Memorial
Scholarship
The Gilroy and Lillian P. Roberts
Scholarship
The Gilroy and Lillian P. Roberts
Graduate Scholarship
The Sara Mary Barnes Roby
Scholarship
The Joseph Sachs Memorial
Scholarship
The Saul Schary Memorial
Scholarship
The Marc Clarkson Schoettle
Memorial Scholarship
The M. Murray Schwartz
Scholarship
The Silver and Harting Scholarships
The John Sloan Associates
Memorial Scholarship
The Louis B. Sloan Scholarship
The G. Ralph Smith Scholarship
The Lucille Sorgenti Scholarship
The Helen V. Stone Memorial
Scholarship
The Walter Stuempfig Memorial
Scholarship
The Elizabeth H. Thomas Memorial
Scholarship
The Silvia S. and Miron M. Walley
Memorial Scholarship
The Renee (Mrs. Jerome B.)
Weinstein Scholarship
The Polly Mudge Welliver Memorial
Foundation Scholarship

The Margaret M . Wol(;h Murf10niJI
Scholarship for Part rirf1fJ vunlng
Students
The George M . Wiltbank
Scholarship
The Bonnie Wintersteen Scholarship
The Ruth and Ben Wolf Scholarship
in Honor of Peter Paone
The Scholarships of the Women's
Committee of the Pennsylvania
Academy of the Fine Arts
The Women's Committee SpeCial
Needs Scholarship
The Charles Morris Young
Scholarship

Prizes and Awards
PRIZES

Each spring, the Academy awards
nearly $30,000 in individual prizes for
the best work executed in specific
categories. Students in all four years
are eligible to enter, and are judged by
the faculty. All of these prizes provide
incentives that increase students'
ambition and aspirations-often
beyond anything they would ordinarily
have expected of themselves.
TRAVEL SCHOLARSHIPS

Each year, part of the Annual Student
Exhibition is a competition for the
prestigious Cresson, Schiedt, and
Ware Travel Scholarships.
The William Emlen Cresson Memorial
Travel Scholarships were created by a
generous fund established by the wills
of Emlen Cresson and Priscilla P., his
wife, 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 sixty to seventy days in
Europe during the summer, and tuition
costs for the following school ye r at
the Academy. Recipients are requiled
to return to the Academy for til
continuance of regular studio w
in
an additional year as ind p I1d I1t stu·

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AWARDS

The Robert Carlen Memorial
Endowment
The Pearl M. and Melvin P Carpel
Award
The Faculty Award
The Fellowship Prizes
The Pennsylvania Govemor's Award
The Philadelphia Mayor's Award
The Rohm and Haas Fine Arts
Achievement Purchase Award
The Franklin C . Watkins Memorial
Grants
PRIZES FOR PAINTING

The Linda Lee Alter Award
Elena and Will Barnet Prize for
Abstract Art
The Cecilia Beaux Memorial Prize
The Frances D. Bergman Memorial
Prize
The Lambert and Emma Wallace
Cadwalader Prize for Landscape
The Lambert and Emma Wallace
Cadwalader Prize for Portraiture
The Lois and Charles X. Carlson
Landscape Painting Residency
The Charles Crawley Landscape
Painting Purchase Prize
Cuff/Sammak Prize for Abstract
Painting
Jeanne Culver Prize
The Arthur DeCosta Prize for
Painting
The Ear1 T. Donelson Figure Painting
Awards

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The Robert A. Ricker M morial
Landscap Prize
The Selma and Samuel J. Savitz
Purchase Prize
The Louis B. Sloan Landscape or
Still Life Prize
The Valerie Lamb Smith Landscape
Painting Residency
The Benjamin West Prize

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provide travel sch larships based n
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Prize
Til Malk Cullinane M ",onal Prile
in Sculpture
nle harl s r. OutraN Award
Perez and Mar! rpstew Prile for
Sculpture
Valley Natl0nal Gases Prize
KatManDu Prize for Outdoor
Sculpturs
The Marcia Lampert Prize for a
Construction (see Open Media)
The Benjamin Lanard Memonal
Award (see Open Media)
The Mary Townsend and William
Clarke Mason Memorial Prize
The Edmund Stewardson Pr ze
The Stimson Prize
The Ward Prize In Sculpture

PRIZ E S F OR DRAWING S AND
WORKS ON PAPER

The Susan Carlen Brown Memorial
Prize for Aqueous Media on Paper
The Irma H. Cook Prize, The August
Cook Prize, and the Daniel Garber
Prize for Excellence in Drawing
The Samuel David Memorial Prize
for Cast Drawing
The Marie Donaldson Watercolor
Prize
The Deena Gu Prize
The Packard Prizes
The Philadelphia Water Color Club
Prize
The Ramborger Prize
Simone C. Titone Prize
Charles Tappan Prizes
PRIZES FOR PRINTMAKING

Elena and Will Barnet Prize for
Abstract Art (see Painting)
The John R. Conner Memorial Prize
The Color Woodcut Purchase Prize
The Charles Crawley Black-andWhite Woodcut Purchase Prize
The Wharton Esherick Museum
Award
The Louis and Estelle Pearson
Memorial Prize for Landscape with

P RIZES FOR OPEN MEDIA

The Alexander Prize
The Artists' House Gallery Award
The Judith McGregor Caldwell
Purchase Prize for the Academy's
Permanent Collection
Michael G. Capuzzi, Jr. Memorial
Endowment
The Janet Fleisher Pnze
The Haney Foundation Award for
Philadelphia Artists
The Ethel Morrine Kaplan
Memorial Prize
The Mindel Caplan Kleinbard Award
The Marcia Lampert Prize for a
Construction (see Sculpture)
The Benjamin Lanard Memorial
Award (see Sculpture)
The Michael Pearson Memorial Prize
The Angelo Pinto Memorial Prize for
Experimental Work
The Plastic Club Award
The Don Sa bath Award
The Edna Pennypacker Stauffer
Memorial Prize
The Thouron Prizes
The Charles R. Weiner Prize
The Sylvia G. Wexler Memorial Award

41 ...

Faculty
This is only a partial list of faculty
achievements.
JAN C. BALTZELL

B.F.A., Philadelphia College of Art,
197 1. M .F.A., Miami University, 1976.
Collections: Philad elphia Museum of
Art; National Museum of Women in the
Arts, Washington, D. C. Represented
by Mangel Gallery, Philadelphia. Solo
Exhibitions: 16. Resident Critic at
Vermont Studio Center.
LINDA BRENNER

B.F.A. , Rhode Island School of Design,
1962. Tyler School of Fine Arts,1963.
Artists Residency: The Hambidge
Center, 1998. Projects: Eastern State
Penitentiary Models for the
Philadelphia Museum of Art, 1994;
Louis I. Kahn Models for the Museum
of Contemporary Art, Los Angeles,
1990-91; Space Study Model,
National Gallery of Art, 1982.
~42

Michael Bartman, Red , Oil on masonite

MURRAY DESSNER

Certificate, Pennsylvan ia Academy of
the Fine Arts, 1965. Solo Exhibitions:
16. Collections: Philadelphia Museum
of Art; Pennsylvania Academy of the
Fine Arts ; Picker Gallery, Colgate
University.
RENEE P. FOULKS

B .F.A. , Moore College of Art and
Design , 1980. M.F.A., Tyler School of
Art, Temple University, 1982. Solo
Exhibitions : 7. Mellon Foundation
Venture Fund Painting Grants: 1992,
1994, 1996, 1998. Represented by
Gallery Henoch , N.Y. Represented in
numerous private and public collections including Delaware Art Museum.
SIDNEY GOODMAN

Philadelphia College of Art, 1958.
Boston Art Institute, Honorary Degree
(Commencement Address), 1996.
Selected Exhibitions: Philadelphia
Museum of Art, Retrospective, 1996;
Salander and O'Reilly Gallery, N.Y.,
1996-1998. Collections: Metropolitan
Museum of Art; Whitney Museum of
American Art; Museum of Modern Art.
OLIVER GRIMLEY

B.F.A., Pennsylvania Academy of the
Fine Arts, 1949. M.F.A., University of
Pennsylvania, 1950. Recipient of The
William Emlen Cresson and Henry
Schiedt Traveling Scholarships, 1948
and 1950. Publications: American
Artist magazine, 1950 and 1970.
Commission : Seven-foot eagle for the
private office of Leonard Tose, former
owner of the Philadelphia Eagles,
1970. Group Exhibition: Metropolitan
Museum of Art, 1953.
ALEXANDER HROMYCH

Certificate, Pennsylvania Academy of
the Fine Arts, 1969. Solo Exhibitions:
2 . Private collections. Group
Exhibition : National Academy of
Design , N.Y., 1978.

HOM ER W. JOHNSON

Certificate, Pennsylvania Academy of
the Fine Arts, 1952. Barnes
Foundation, 1960s. Tiffany Grant. Solo
Exhibitions: 12. Collections: Butler
Institute of American Art, Youngstown,
Ohio. Crest Award, Philadelphia
Watercolor Club, 1997.
STANLEY R . MERZ , JR .

Philadelphia College of Art, 1964.
Certificate, Pennsylvania Academy of
the Fine Arts, 1974. Group Exhibition:
American and National Academy and
Institute of Arts and Letters, N.Y. Solo
Exhibitions: 8. Collections: Arthur M.
Sackler Collection , N.Y.; Pennsylvania
Academy of the Fine Arts.
DANIEL D . MILLER

PETER PAONE

ROBERT ROESCH

BA , Lafayette College, 1951 .
Certificate, Pennsylvania Academy of
the Fine Arts, 1959. M.FA, University
of Pennsylvania, 1958. Dean's Award,
Pennsylvania Academy of the Fine
Arts, 1989. Solo Exhibitions: 59. Percy
M. Owens Memorial Award, 1986.
Numerous public and private
collections.

BA, Philadelphia College of Art,
1958. Two Tiffany Foundation Grants.
Guggenheim Foundation Grant. Solo

B .FA, Pratt Institute School of Fine
Arts; Recent Public Projects: Wind
Spirit Gateway, Gateway to the city of
Wichita, Kansas; Orion: Science
Complex Plaza, state of North Carolina.
Cultural SpeCialist grant from U.S.
Information Agency for travel to Cairo,
Egypt, Damascus, Syria, Ecuador,
Argentina, and Burma (1994-1998).
Exhibitions: Kunstzaal Marktzeventien
and Enschede, Holland.

Exhibitions: Kennedy Gallery, N.Y. ;
Institute of Contemporary Art,
Houston; Merlin Verlag Gallery,
Hamburg . Collections: Museum of
Modern Art, N.Y.; Art Institute of
Chicago; Victoria and A lbert Museum ,
London. Group Exhibitions: 54.

STEVEN NOCELLA

B.FA , Philadelphia College of Art,
1981 . M.FA., University of
Pennsylvania, 1984. Westby Art
Gallery, Rowan University, Glassboro ,
N.J., 1997. Group Exhibitions: White
Box Gallery, Philadelphia; Sande
Webster Gallery, Philadelphia. Solo
Exhibitions: 5.
ELIZABETH OSBORNE

Certificate, Pennsylvania Academy of
the Fine Arts, 1958. B.FA with
Honors, University of Pennsylvania,
1959. Fulbright Grant: Paris 1963-64.
Rosenthal Foundation Award:
American and National Academy and
Institute of Arts and Letters, NY, 1968 .
Solo Ezhibltions: 20. Group
Exhibitions: 61 Perc; M. Owens
Memorial Allard, 1989.

JODY PINTO

Certificate, Pennsylvania Academy of
the Fine Arts, 1968. B .FA.,
Philadelphia College of Art, 1973.
Recent Awards: Design Excellence
Award, "Fingerspan Bridge," AlA,
Philadelphia; Design Award, NEA,
Federal Design Achievement Award.
Recent Public Art Projects: Rio Salado
Park & Open Space Master Plan,
Tempe, Arizona; Brays Bayou Bridge,
Hermann Park, Houston. Collections:
Guggenheim Museum ; Whitney
Museum of American Art; National
Gallery of Art. Exhibitions: Venice
Biennale, Italy; Whitney Biennial
Exhibition, Whitney Museum of
American Art.

ANTHONY ROSATI

BA, Rider College, 1969. M.FA. ,
Tyler School of Art, Temple University,
1980. Solo Exhibitions: 19. Group
Exhibitions: 85. Pennsylvania Council
of the Arts Program, Artist in
Residence Grant (1984, 1985).
Represented in nine public museum
collections including the National
Gallery of Art.
JILL A . RUPINSKI

Pennsylvania Academy of the Fine
Arts, 1977. B.FA., Philadelphia
College of Art, 1981. Spanish
Exchange Program for one-month
travel in Spain from the Creative
Artists Netwo rk, Philadelphia, 1989.
Landscapes, Oils and Pastels,
Philadelphia Art Alliance, 1996.
Leclure: "Color-Earth and Prismatic,"
Reading Public Museum, 1998.
Collections: Colgate University,
Ilamiiton, N.Y.

GARY WEISMAN

Art Institute of Chicago. B.F.A.,
Columbia College, 1970. Solo
Exhibition: American Cultural Center,
Taipai, Taiwan, 1998. Berry Hill
Galleries, N.Y., 1997. Commissions:
City of Philadelphia; City of Chicago;
American Embassy to North Vietnam.
S TEVEN L. WEISS

Art Students League, 1974 .
Skowhegan School of Painting and
Sculpture, 1976. M .F.A., University of
Pennsylvania, 1977. Exhibition: The
Unbroken Line, 1897-1997, Museum
of the Pennsylvania Academy of the
Fine Arts, 1997.
RONALD E . WYFFELS

BRUCE W. SAMUELSON

~44

Certificate, Pennsylvania Academy of
the Fine Arts, 1968. Collections:
Philadelphia Museum of Art;
Pennsylvania Academy of the Fine
Arts. Solo Exhibitions: 22. Group
exhibition: American and National
Academy and Institute of Arts and
Letters, N.Y. , 1977.

B.F.A., State University College at
Buffalo, 1973. M. F.A. , Montana State
University, 1981 . NEA Visual Arts
Fellowship Grant, 1983. PAFA
Museum Purchase Award, 98th
Annual Juried Exhibition of the PAFA
Fellowship. Represented by the Roger
LaPelle Gallery, Philadelphia.
Represented in numerous public and
private collections including University
of Kyoto, Japan.

PATRICIA TRAUB

York Academy of Arts, 1969.
Certificate, Pennsylvania Academy of
the Fine Arts, 1988. Leeway
Foundation Window of Opportunity
Award, 1998. International Solo
Exhibition: Oslo, Norway, 1998.
Extensive travel and study in Southeast Asia, Borneo, East Africa, France,
and Ireland. Group Exhibitions: 40.

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ANTHONY V I SCO

B. F.A. , Philadelphia College of Art,
1970. Accademio della Belle Arti,
Florence, Italy, 1971. University of
Pennsylvania, 1983. Fulbright-Hayes
Grant, Florence, Italy 1971. Elizabeth
T. Greenshields Award , 1975-76. Solo
Exhibitons: 11. Recent Commission:
St. Joseph's University Chapel,
Stations of the Cross, 1993.

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Adjunct Faculty
Anthony J. Ciambella
Fred Danziger
James E. Dupree
Stuart M. Feldman
Carson Fox
Barbara Goodstein
Albert F. Gury
John Horn
Kevin P. Lewellen
Gilbert Lewis
Douglas S. Martenson
William Scott Noel
Katja Oxman
Cynthia Porter
Marjorie Portnow
Osvaldo Romberg
James Rosen
Glenn Rudderow

Administration

Board of Trustees

president

OFFICERS

Joshua C. Thompson

Donald R. Caldwell
Chair
Kevin F. Donohoe
Vice Chair and Treasurer
Vivian O. Potamkin
Vice Chair
Herbert S. Riband, Jr.
Vice Chair and Secretary
Richard B. Worley
Vice Chair and Assistant Secretary

Executive Director and Provost

Derek A. Gillman
Vice President of External
and Alumni Affairs

Frederick S. Osborne
Director of Admissions

Michael S. Smith
TRUSTEES

Admissions Associates

Ellen Dougherty
Lauren Rambow
Director of Student Affairs

M.J. Caro
Director of Financial Aid

Wayne A. Morris
Registrar

Richard E. Dunn
Librarian

Aurora Deshauteurs
Models and Props Coordinator

Richard L. Distefano
Graduate Programs Chair

Daniel D. Miller
Director of Continuing Education Programs

Neil di Sabato
Director of Special Gifts and
Alumni Relations

Marian C. Florence

John B. Bartlett
Elaine V Bell
Max N. Berry
Stewart R. Cades
Winston J. Churchill
Jonathan L. Cohen
John A. Fry
Barbara J. Gohn
Mary P. Graham
Barbara L. Greenfield
Kenneth F. Herlihy
John A. Herring , M.D.
Warren W. Kantor
Robert D. Lane, Jr.
Gabriele W. Lee
H. Craig Lewis
Richard B. Lieb
James R. Palmer
Thomas N. Pappas
Charles P. Pizzi
Richard S. Rueda
John M. Ryan
Samuel J. Savitz
William H. Schorling
Henry B. duPont Smith
William J. Stallkamp
Wayne A. Stork
Gerard H. Sweeney
Barbara A. Sylk
Edna S. Tuttleman
Harry Wallaesa
Robert G. Wilder
Richard E. Woosnam
EX OFFICIO

Jane Fortune
PreSident, Women's Commltl e
Joshua C. Thompson
President
Ronald E. Wyffels
Faculty Representative

Committee for the School
John B. Bartlett
Chair
Barbara A. Sylk
Vice Chair
George A. Beach
Elaine V Bell
Felicity R. Benoliel
Stewart R. Cades
Winston J . Churchill
Allan L. Edmunds
Margaret Engman
John A. Herring, M.D.
Deena Gu Laties
Mary MacGregor Mather
Guna S. Mundheim
Susan A. Nelson
Wayne A. Stork
EX OFFICIO

Jan C. Baltzell
Faculty Representative
Donald R. Caldwell
Chair, Board of Trustees
Teresa Curran
Student Representative
Diane Dalto
Arst Deputy City Representative
Office of Arts and Culture
Marian C. Rorence
Director of Special Gifts and
Alumni Relations
Jane Fortune
President, Women's Committee
Derek A. Gillman
Executive Director and Provost
Mary Anne Dutt Justice
Director of Development
Frederick S. Osborne
\lice President of External
and Alumni Affairs
Daniel Rosenfeld
Director f the Museum
Joshua C. Thompson
Pre ident

45 ...

Institutional Policies

Accreditation

Contact Us

Discrimination

The Pennsylvania Academy of the Fine
Arts is accredited by the National
Association of Schools of Art and
Design (NASAD).

School Admissions

The Academy does not discriminate
on the basis of race, color, national or
ethnic origin, sex, age, religion , handicap, disability, sexual orientation,
financial situation, or geographic
location in admitting students to the
School, or in the administration of its
educational policies, or scholarship
and loan programs.

Privacy Policy
The Academy is in compliance with
the Family Education Rights and
Privacy Act of 1974. A copy of the Act
may be obtained from the Registrar's
Office.

215 . 972.7625

Financial Aid
Membership
The 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 international study, opportunities to study and
have Internships in New York City, faculty and staff development programs,
and advocacy for the strengthening of
visual arts education.

215.972.2019

Student Affairs
215.972.2039

Continuing Education
215.972.7632

Alumni Association
215.972.2092

Student Artwork

~

46

The Academy reserves the right to
retain, photograph, reproduce, or
display works of art produced by
students enrolled in its academic programs. The Academy is not responsible for loss or damage to student
work or property.

Drugs and Alcohol
The Academy's policy concerning
drugs and alcohol is published
annually in the Student Handbook.

'"
co

Harassment

>
c::

The Academy's policy concerning
harassment is published in the
Employee Handbook.

co
<.>

c
o

Smoke Free

o

All Academy buildings are designated
Smoke Free.

.,'"'"

Revisions

-

....

This catalogue is not a contractual
document. The Academy reserves the
right to change any curricular offering,
policy governing students, or financial
regulations stated herein, whenever
and as the requirements of the
School demand.
o

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<

Application

Pennsylvania Academy of the Fine Arts
Certificate Program

Merit Scholarship Deadline March 1 / Priority Scholarship Deadline April 1

PLEASE TYPE OR PRtNT

Name

ALL INFORMATION
NEATLY AND LEGIBLY ,

Address

Applying For:

City. State. Zip

Telephone I Day

Date

Year

Fall Semester 20_ _

Evening

Spring Semester 20, _ _
Date of Birth

o
o

Social Security Number

If under 21 years old, please list name and address of parents:

Permanent Address , if different from above:

Full Time
Part Time

Do you intend to apply for
Financial Aid?

o

Yes

ONo
Are you interested in an
Academic degree?

o Yes
o No
Intended Major:

Telephone

Telephone

o Painting
o Printmaking
o Sculpture

Spouse's Name (if you are married)

How did you learn of
EDUCATIONAL BACKGROUND

PAFA?

High School

City. State

Art Instructor

Year of Graduation

o Art Instructor
o Students
o PAFA Alumni
o Admissions
o Representative
II Advertisement (specify)

Colleges or Universities Attended

Major

Dates Attended

Degree(.) Earned

Portfolio Day at:

MAIL COMPLETED
APPLICATION WITH THE
$35 APPLICATION FEE
TO:

TotaJ number of Studio Arts Credits Earned

Pennsylvania Academy
Us! names and addresses of two people (preferably art teachers or other professionals who know your work woll) Wll0 will furnish
letters of recommoodatlOl1 regarding your artistic ability, Please ask theBo people to send a lottor dlroctly to tho Adll'1lsSlolls OffICO,

of the Fine Arts
Admissions Office
1 18 North Broad Street

1

PI,lIodelphia. PA 19102

-2

I IlOil O

215.972.7625
SignaturE>

0 1

I mllil
dml slon @pafa,org

Pennsylvania Academy of the Fine Arts
Certificate Program

Application

PERSONAL INFORMATION

Government and educational agencies requ ire t hat we furnish them w ith reports and
statistics concerning our student popu lation. The information you provide wi ll be kept
confidential and is used only to comply with regu lations. No individual is specifically
identified when we submit reports.
PLEASE TYPE OR PRINT ALL INFORMATION NEATLY AND LEGIBLY.

o

SEX

Female

o

Male

Place of Birth (city. state. country)

RACE

(u.s.

Citizens and Permanent Resident Aliens Only)

o White, Non-Hispanic Origin
o Black, Non-Hispanic Origin
o Hispanic

o

Asian or Pacific Islander

o

American Indian or Alaskan Native

o

Other

o

From Birth

CITIZEN OR ALIEN REGISTRATION

Citizen of U.S.

o Yes

o

Immigrant since _ __

If not a U.S. Citizen, type of Visa:

o Student,

F-1

0 Resident (Immigrant)

Name of Country

Visa Number

County of Legal Residence

TOEFL Score

TOEFL Examination Date

o Other

Photographs
PAGE 4

Attributod to Susan

Macdowel! Eakins

Thomas Eakins

In

frontal

View, in Chestnut StudiO,

1891 92. dry plate nega-

tive. Charlos Breglor's
Thomas Eakins
Collection. Purchased
with the parMI support
01 the Pew Memorial

Trust.

RICK ECHELMEYER

page 10

DAVID GRAHAM

Cover. inside and back
cover, pages 1,3,4,5
(bottom), 6, 7, 8, 9, 11

(bottom), 12, 13,14,15,

16,17,19,20 (top), 21,
24, 28 (top), 30, 31 (bottom) , 35, 43, 44 (top)

KAREN MAUCH

pages 25, 27, 31 (lop),

32 (top), 34, 36, 42,
44 (bottom), 46

PETER OLSON

pages 18, 20 (bottom).
23

MICHAEL PILLA

pages 5 (top), 29 (bot
tom), 32 (top)

PATRICIA TRAUB

page 28 (bottom)

c

o

c
o

~

I

I

I

Ill"

Pennsylvania Academy 01 the Fine Arts, Broad and Cherry
Streets, Philadelphia, PA 19102, 215.972.7625, www.pala.org



Item sets

PAFA School Catalogs