art classes - New School Archives: Digital Collections

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ART CLASSES
1942
1943
NEW SCHOOL FOR SOCIAL RESEARCH
66 WEST TWELFTH STREET
NEW YORK
CAMILO EGAS
DRAWING, OIL PAINTING, MURAL PAINTING AND FRESCO
These are work courses for amateurs as well as for students who have a serious interest in
art. In all classes memory training and creative development are emphasized.
EVENING CLASSES
BEGINNERS. 15 weeks, fall and spring. Tuesdays, 8-10 P.M. $20 each term;
$35 both terms. Beginning September 29 and February 2
Drawing and oil painting. Subject display; geometric figures; antique; st,11 I, re Ii,, ''i
A
B.
ADVANCED. 15 weeks, fall and spring. Thursdays, 7:45-10 P.M. $20 each term;
$35 both terms. Beginning October 1 and February 4.
Still life; oil painting from life; composition; drawing and materials; quick sketrli.
drawing and in color.
C. LIFE CLASS. 15 weeks, fall and spring. Mondays, 8-10 P.M. $20 each term;
$35 both terms. Beginning September 28 and February 1.
Sketching, drawing and oil painting. For advanced students enrolled in the course, instruction includes composition of the nude.
AFTERNOON CLASSES
D.
Tuesdays and Thursdays, 1:30-5:30 P.M. $25 a month; $60 for 3 months; $100
for six months. Beginning September 29 and February 2.
For beginners and advanced students. Drawing and oil painting of geometric figures,
landscapes, still life and the human figure. The study of design and composition takes into
account the relative importance of copy, interpretation, contrast, activity, movement, and
the preparation of materials.
E.
MURAL PAINTING IN OIL AND FRESCO. Tuesdays. 1:30-5:30 P.M. $15 a
month; $40 for 3 months; $75 for six months. Beginning September 29 and
February 2.
Development of composition. Relation of murals to architecture. Materials.
Students in all classes may work without supervision Wednesday and Saturday mornings.
CAMILO EGAS. Graduate, Academia de Belles Artes, Ecuador; prize student of the
Ecuadorian government in Rome. Formerly professor of painting and design at the
Academia. Fine arts representative for Ecuador, executed mural and designed façade,
Ecuadorian, Pavilion, New York World's Fair. Commissaire, Ecuadorian exhibit, Exposition
Internationale des Arts Decoratifs, Paris. Represented in permanent collections, National
Museum, Ecuador; Newark Museum; exhibited in the National Gallery, Rome; el Retiro,
Madrid; Salon d'automne, Tuileries, Salon des Independents, Paris. Murals in Jijon Library,
Fcuador, in the New School, in private homes.
YASUO KUNIYOSHI
OIL PAINTING, DRAWING AND COMPOSITION
15 weeks, fall and spring. Fridays, 8:15-10:30 P.M. $20 each term; $35 both terms.
Beginning October 2 and February 5.
A work course comprising painting in oil and drawing from life, still life and composition.
The main objective is to foster the individual approach. Important phases of the instruction
include developing of color relations, composition, and an understanding of technical
problems involving the fundamental theories of painting; also studies in three-dimensional
form.
Quick sketches in drawing, and observation for exercising the memory and imagination are
emphasized.
Students may work without supervision Wednesday mornings and Saturday afternoons.
YASUO KUNIYOSHI. Studied at Los Angeles School of Art and Design, National
Academy of Design, Independent School of Art, Woodstock Summer School, Art Students
League; under Kenneth Hayes Miller, Homer Boss, Francis Jones; in Spain, England, France,
Italy, Mexico; Guggenheim Fellow, 1935. Instructor, Art Students League. Member,
American Society of Painters, Sculptors and Gravers; president, An American Group, Inc.
Represented in major American museums and collections; one-man and group shows, New
York, Chicago; honorable mention, Carnegie International, 1931, second prize, 1939; Temple
Gold Medal, Pennsylvania Academy, 1934; first prize, American section, San Francisco
World's Fair Exhibition, 1939.
JOSE DE CREEFT
SCULPTURE
A. MODELING. 15 weeks, fall and spring. Mondays, 7-9 P.M. $20 each term; $35
both terms. Beginning September 28 and February 1.
Modeling from life, one session per m,,r1th; the other sessions are devoted to the technical
and creative aspects of sculpture.
Students may work without supervision on Wednesday mornings and Saturday mornings.
B.
SCULPTURE IN WOOD. Tuesdays and Fridays, 7-10 P.M. $12 a month.
C. SCULPTURE IN STONE. Tuesdays and Fridays, 7-10. $12 a month.
A preliminary meeting of B and C will be held at the New School,
Tuesday, September 29, at 7 P.M.; subsequent classes are held at
Mr. de Creeft's studio, 218 Greene Street.
These classes in direct carving in wood and stone are open both to beginners and advanced
students. Instruction is individual. The aim is to teach the student to express his own
ideas from observation ol imagination in the most suitable medium, and to be guided by
the form and grain of the wood or the shape and color of the stone in adapting the idea
to the medium. It is an absorbing collaboration between artist and material which may vary
from portraiture or architectural sculpture to purely abstract form.
Students may work in both wood and stone.
JOSE' DE CREEFT. Trained in the ateliers of Barcelona, Madrid, Paris. Societaire, Salon
d'automne, Tuileries, Salon dos Independents; member, jury of the Exposition Internationale
des Arts Decoratifs at Industrials Modernes, Paris, 1925; jury of the Chicago Art Institute
exhibition, 1938; board of Sculptors Guild; American Artists' Congress. Represented in
permanent collections, Metropolitan Museum of Art, Museum of Modern Art, Whitney
Museum of American Art, Brooklyn, Seattle, West Palm Beach, Wichita museums. Commissioned by the city of Saugues, France, to design and execute its World War Memorial.
JOSE DE CREEFT
Direct Carving in Black Granite
STUART DAVIS
Detail of mural in Studio B of Station WNYC,
Municipal Broadcasting Company
STUART DAVIS
MODERN COLOR-SPACE COMPOSITION IN DRAWING AND PAINTING
A. 15 weeks, fall and spring. Wednesdays, 2:30-4:30 P.M. $20 each term; $35
both terms.
8.
15 weeks, fall and spring. Wednesdays, 5-7 P.M. $20 each term; $35 both terms.
Beginning September 30 and February 3.
This course, in which each student receives individual attention, is for beginners, advanced
students and professionals. The general structural principles developed are useful likewise
to artists and teachers working in the commercial art field.
Drawing, color and design are studied in relation to creative expression, as opposed to
instruction based on technical processes, or prefabricated aesthetic formulas.
Emphasis is on the use of contemporary subject matter from the standpoint of art expression,
rather than of its meaning at a political or economic level. Art expression is stressed as an
independent and direct social value.
Students may work without supervision Wednesday mornings and Saturday afternoons.
STUART DAVIS. Studied with Robert Henri, and independently in Paris. Taught at the
Art Students League. Mural paintings in Radio City Music Hall; Station WNYC; Communications Building, New York World's Fair. Member, An American Group, Inc. Represented in collections, Museum of Modern Art, Whitney Museum of American Art, Phillips
Memorial Gallery, Pennsylvania Academy of Fine Arts, Milwaukee Art Institute, Newark and
Los Angeles museums; important private collections. Author, Abstract Art in the American
Scene, Parnassus. March 1941.
Me.
ALEXEY BRODOVITCH
ART APPLIED TO GRAPHIC JOURNALISM. WAR PROPAGANDA, ADVERTISING
15 weeks. Tuesdays, 8:10-10 P.M.; Wednesdays, 7:30-10 P.M. $100; $35 for 4 weeks.
Beginning September 29.
Admission by consultation with the instructor, Tuesday, September 22 and 29, 6 to 8 P.M.
Applicants are requested to bring samples of their work. Subject to the limits of enrolment,
students may enter at any time after the course has begun.
For students and professional artists interested in poster, layout, typography, fashion illustration, newspaper and magazine make-up, book design, package and product design, display, interior decoration, styling, art directing. The program is adapted to the experience
and natural gifts of the student. Special emphasis is laid on war requirements.
The aim is to help the student discover his individuality, crystallize his taste, develop his
feeling for the contemporary trend, by stimulating his sense of invention and perfecting
his technical ability.
The course is conducted as (a) an experimental laboratory: discovery of new techniques,
new materials, new fields of operation; (b) a practical workshop in close contact with
current problems of leading magazines, department stores, advertising agencies, manufacturers, government agencies. Professional problems are analyzed in class.
Aspects of the work include:
Nature as source of inspiration: illustration, fashion illustration, design
Composition: layout, typography, poster, photography, design
Evolution of taste: habits, trends. Text, slogan. Symbols, atmosphere. Fashion. Styling.
Art directing
Techniques: pen, wash, crayon, airbrush, photogram. Watercolor, tempera, pastel, oil.
Now tools, new mediums, new materials
Work in three dimensions: package and product design, exhibition and window display,
outdoor signs
ALEXEY BRODOVITCH. Art director, Harper's Bazaar and Saks Fifth Avenue; formerly
Aux Trois Quartiers, Madelios, Paris. In charge of Design Laboratory, Pennsylvania Museum
School of Industrial Art, 1930-34. War posters for the Treasury Department, U. S. Information Service, Office of Government Reports, Bundles for America, USO; advertising, product
and package design for Elizabeth Arden, Helena Rubenstein, Steinway, Climax Molybdenum,
Dupont, Sears Roebuck; interiors and facades: Aux Trois Quartiers, Restaurant Prunier, etc.;
exhibition displays: Art Directors Club, 1934; Franklin Institute, Philadelphia, 1937; New
York World's Fair — mural, 1940. Awards and medals from American Institute of Graphic
Arts, Art Directors Club, International Exhibition of Decorative Arts, Paris, 1925.
ALEXEY BRODOVITCH
"Freedom of Speech"
Project for poster. Office of
Co-ordinator of Inter-American Affairs
STANLEY WILLIAM HAYTER
"Lucretia"
STANLEY WILLIAM HAYTER. B. Sc. ( Hons. Chemistry), London; research in organic
chemistry under Professor S. Smiles; oil chemist, 1922-25. Conducted research group,
California Institute of Fine Arts, Summer 1940; founder, Atelier 17 school of modern technique of engraving and etching, 1927, a group of the most known modern artists in Paris.
Member, Surrealist Group, Paris, 1934-39. Represented in public and private collections
in Europe and the U. S.; Atelier 17 group and one-man shows in Paris, London, Brussels,
Prague, San Francisco, Seattle, Richmond, New York.
STANLEY WILLIAM HAYTER
ATELIER 17
15 weeks, fall and spring.
Thursdays. 5-10 P.M. $50* each term.
Beginning
October 1 and February 4.
Admission to the course is by consultation with the instructor on Thursday, September 24
and January 28, at 4:30 P.M.; later applicants may arrange special appointments. Samples
of drawing and of work on plates should be submitted. Open also to beginners.
The course affords opportunity to the artist already familiar with the ordinary techniques of
etching and engraving to make a rapid survey of some ten different techniques by making
specimen plates in each. He is then in a position to choose for further study those which
appear to him to offer possibilities of development; they should lead to a personal synthesis
adequate to the requirements of his own expression— a technique very much wider in
application than the conventional methods used by most etchers and engravers.
Every known technique of expression on metal for reproduction is offered in complete
detail, as line engraving, etching, aquatint: from the preparation of plates, of ink, paper,
etc., to final printing, on paper and on plaster. Attention is given also to methods of
printing in very large editions from engraved plates at minimum cost for book illustration
(technique of William Blake).
It is not the purpose of the group to influence the choice, either technical or artistic, of its
members. Problems of art are not dealt with directly; instruction is confined strictly to
technical questions.
*A fee of $3 each term, payable on registration, covers all materials used in the workshop,
except copper plates, supplied at cost price. Members of the group may work without
supervision during the day and evening.
I
BERENICE ABBOTT
WORKSHOPS IN PHOTOGRAPHY
A. BASIC. 15 weeks, fall and spring. Thursdays, 8-10 P.M. $25* each term; $45
both terms. Beginning October 1 and February 4.
The importance of sound fundamentals for beginners is emphasized. Practical work in
laboratory and field is coordinated with lectures on photographic theory. Printing, developing, kinds and uses of cameras, lenses, exposure, enlarging and finishing are studied.
Criticism of individual work is given as a basis for class discussion of photographic problems.
The creative contribution of composition to photography as an expressive medium and as a
means of communication is stressed.
B.
ADVANCED. 15 weeks, fall and spring. Mondays, 6-8 P.M. $25* each term; $45
both terms. Beginning September 28 and February 1.
This course is planned to enable those who have taken the basic course or who have had
equivalent experience to perfect their mastery of the photographic medium.
Specialized technical problems are studied in portraiture, lighting, color filters, miniature
camera work, copying, still life, montage, photoflash and multiple flash work, and other
subjects of interest to the class. Students may also carry out individual projects, determined
in conference with the instructor. Lectures, laboratory and field work are supplemented by
group criticism and discussion.
CA darkroom is available to students for a fee of $2 per term, hours to be arranged with
the Superintendent.
BERENICE ABBOTT. Studied art in Paris and Berlin, 1921-23. Professional photography,
Paris, 1924-29; New York since 1929. In charge of Federal Art Project photographic documentation, "Changing New York." Has exhibited in most European cities; one-man shows,
Museum of the City of New York, Julien Levy Gallery, etc.; in "Photography: 1839-1937,"
and "Art in Our Time," Museum of Modern Art, 1939; First International Photographic
Exposition, 1938; "Trois Siecles d'Art aux Etats-Unis," Paris, 1938; Pageant of Photography,
Golden Gate Exposition, San Francisco, 1940; architectural photographs of American universities. Known especially for photographs of New York City, portraits of European artists
and writers, and the Fortune series of American business magnates. Photographs in U. S.
Camera, Fortune, Life, etc. Author, Changing New York; Guide to Better Photography.
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BERENICE ABBOTT
"Pearl Street"
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JOSE DE CREEFT
Sculpture
CAMILO EGAS
Painting, Drawing,
Murals, Frescoes
ALEXEY BRODOVITCH
Art Applied to
Graphic Journalism,
War Propaganda,
Advertising
STANLEY WILLIAM HAYTER
Atelier 17
STUART DAVIS
Modern
or-Space
Compc
YASUO KUNIYOSHI
Oil Painting, Drawing,
Corr position
CALENDAR -ART CLASSES-1942-43
MONDAY
6:00 Abbott
WORKSHOPS Advanced
Photography
7:00 de Creaft
Sculpture
8:00 Egos
Life Class
f LI ESDAY
WEDNESDAY
1:30 Egos
2:30 Davis
Drawing, Oil
Painting, Murals, 5:00 Color-Space
Composition
Frescoes
7:30 Brodovitch
7:00 de Creeft
Art Applied
Sculpture
(218 Greene St.)
8:00 Egos
Oil Painting,
Drawing
(Beginners)
ittURSDAY
1
1:30 Eget
Drawing,
oil pnti„g
7:00
S, .1,
(2 Ill
5:00 Hayter
Atelier 17
8:15 t
Oil l'.5.
Drawili
Compui
7:45 Eget
Oil Painting,
Drawing, (Adv.)
St.)
8:00 Abbott
Basic
Photography
8:10 Brodovitch
Art Applied
LECTURES*
8:20 Mae Werthsinter
Psychological
Principles of
Music and Art
(Spring term)
8:20 Amedee
Ozenfant
Leaders of
Modern Art
8:20 Josef Frank
Modern Art and
Architecture
Paul Zucker
Styles through
the Ages
• Full descriptions of these courses are found in the New School catalogue, available on request.
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