art classes 1944 1945 - New School Archives: Digital Collections

NEW
SCHOOL
FOR
SOCIAL
RESEARCH
ART CLASSES
1944
1945
66 WEST TWELFTH STREET
4°4
o'f')
piff
00
•
NEW YORK 11, N. Y.
-
INSTRUCTORS
CAMILO EGAS. Art Director
BERENICE ABBOTT
Photography
ALEXEY BRODOVITCH
Art Applied to
Graphic Journal:sm,
War Propaganda,
Advertising
STUART DAVIS
Modern Color-Space
Composition
JOSE DE CREEFT
Sculpture
CAMILO EGAS
Painting, Drawing,
Murals, Frescoes
STANLEY WILLIAM HAYTER
Atelier 17
LOUIS SCHANKER
Colored Woodblocks
YASUO KUNIYOSHI
Oil Painting, Drawing,
Cornposition
LECTURES*
8:30 Zucker
Principles of
History of Art
WEDNESDAY
8:30 Zucker
Styles Through
the Ages
6:20 Loeb
Introduction
to Art
8:00 Egos
1:30 Egos
Life Class
Drawing, Oil
Paintings, Murals,
Frescoes
8:00 Schanker
Colored
Woodblocks
8:00 Egos
Oil Painting,
Drawing
(Beginners)
TUESDAY
8:30 Schrecker
Introduction to
the Philosophy
of Art
8:15 Kuniyoshi
Oil Painting,
Drawing,
Composition
1:30 Egos
Drawing, Oil
Painting, Murals,
Frescoes
5:00 Hayter
Atelier 17
7:00 de Creeft
Sculpture
7:45 Egos
Drawing, Oil
Painting
(Advanced)
8:15 Brodovitch
Art Applied
8:30 Schapiro
Modern Painting
FRIDAY
THURSDAY
*Full descriptions of these courses are found in the
New School Catalogue, available on request.
6:20 Arnheim
Psychology of Art
8:00 Davis
Color-Space
Composition
7:00 de Creeft
Sculpture
6:00 Abbott
Basic Photography
Hayter
Atelier 17
WORKSHOPS s:oo
MONDAY
CALENDAR - ART CLASSES - 1944-45
CAM I LO 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
A.
BEGINNERS. 15 weeks, fall and spring. Tuesdays, 8-10 P.M. $22.50
each term; $40.00 both terms. Beginning October 3 and February 6.
Drawing and oil painting. Subject display; memory training; geometric figures; antique; still life and drapery.
B.
ADVANCED. 15 weeks, fall and spring. Thursdays, 7:45-10 P.M. $22.50
each term; $40.00 both terms. Beginning September 28 and February 8.
Still life; oil painting from life; memory training; composition; drawing and materials; quick sketches in drawing and in color.
C.
LIFE CLASS. 15 weeks, fall and spring. Wednesdays, 8-10 P.M. $22.50
each term; $40.00 both terms. Beginning October 4 and February 7.
Sketching, drawing and oil painting. For advanced students enrolled in the course,
instruction includes composition of the nude.
AFTERNOON CLASSES
D.
BEGINNERS AND ADVANCED. Tuesdays and Thursdays, 1:30-5:30 P.M.
$20 a month; $50 for 3 months. Beginning October 3 and February 6.
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. Beginning October 3 and February 6.
Development of composition.
Students in
mornings.
Relation of murals to architecture. Materials.
all classes may work without supervision Wednesday or Saturday
CAMILO EGAS. Graduate, Academia de Belles Artes, Ecuador; prize student of
the Ecuadorian government in Rome. Formerly professor of painting and design
al 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, 1925. Represented in 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 Wien Library, Ecuador, in the New School, in
private homes.
1
STANLEY WILLIAM HAYTER
ATELIER 17
15 weeks, $15 per month; $40 per term; $70 for 2 terms.*
ELEMENTARY. Mondays, 5-10 P.M. ADVANCED, Thursdays, 5-10 P.M.
Fall and spring terms, beginning September 28 and October 2; again February
5 and 8. Atelier 17, originally organized in Paris, affords opportunity for artists
already familiar with the ordinary techniques of etching and engraving to carry
on independent investigation with a view to evolving for each artist's requirements a personal and original medium. Every known technique of expression on
metal for reproduction is offered in complete detail, from the preparation of
plates, of ink, paper, etc. to final printing on paper and on plaster.
Special attention is given to methods of printing in very large editions from
engraved plates at minimum cost for book illustration (technique of William
Blake).
Instruction follows the methods initiated in Atelier 17. The artist is given opportunity to make a rapid survey of some ten different techniques by making
plates in each. He is then in a position to choose for further study those which
appear to him to offer possibilities for development; they should lead to a
personal technique adequate to the requirements of his own expression, and very
much wider in application than the conventional methods used by most etchers
and engravers. Attention is given also to the classical technique of burin engraving, line and soft ground etching, and aquatint. 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. Their solution is considered a personal matter
for each individual artist; instruction is confined strictly to technical questions
and is designed to provide the artist with any means of expression that his work
demands, whether or not such effects have been previously realized.
* A fee of $3, payable on registration, is charged for such materials used in
the workshop as can be purchased only in bulk; all materials needed are available.
Members of the group have the privilege of working without supervision during
the day and some evenings.
STANLEY W. 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 modern
artists in Paris. Member, Surrealist Group, Paris, 1934-39. Represented in public
and private collections in Europe and the United States: Atelier 17 group and oneman shows in Paris, London, Brussels, Prague, San Francisco, St. Louis, Chicago,
New York—Museum of Modern Art 1944.
I
I
YASUO KUNIYOSHI
OIL PAINTING. DRAWING AND COMPOSITION
15 weeks. Fridays, 8:15-10:30 P.M. $22.50.
Fall and spring terms, beginning September 29 and again February 9. 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
Member, American Society of Painters, Sculptors and Gravers; president,
League.
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, Golden Gate Exposition, San Francisco, 1939.
STUART DAVIS
MODERN COLOR-SPACE COMPOSITION
IN DRAWING AND PAINTING
15 weeks. Mondays. 8-10 P.M. $22.50.
Fall and spring terms, beginning October 2 and again February 5. 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.
STUART DAVIS. Studied with Robert Henri. Taught at the Art Students League.
Worked also in the field of illustration and commercial design.
Member, Mural
Artists' Guild; United American Artists; An American Group, Inc.; the Society of
Painters, Sculptors and Gravers.
Mural paintings in Radio City Music Hall; Radio
Station WNYC of the Municipal Broadcasting Company: Brooklyn College: and
Communications Building, New York World's Fair, 1939-40.
Represented in the
collections of the Museum of Modern Art, Whitney Museum of American Art,
Phillips Memorial Gallery, Pennsylvania Academy of Fine Arts, Milwaukee Art Institute, Newark Museum, Los Angeles Museum, etc. Author, "Abstract Art in the
American Scene, "Parnassus, March, 1941.
-- •
-•
• 15.-
JOSE DE CREEFT
"Sergei Rachmaninoff"
JOSE DE CREEFT
SCULPTURE IN WOOD AND STONE
Mondays and Thursdays, 7-9 P.M. $15 a month.
Fall and spring terms beginning October 2 and again February 5. Open both to
beginners and to advanced students.
The method used is to carve the material
itself; instruction is individual. The aim is to teach the student to express his own
ideas in the most suitable medium—whether from observation or imagination—
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.
The class is held at Mr. de Creeft's studio, 218 Greene Street.
Registration takes place at the New School. 66 West 12th Street.
JOSE DE CREEFT. Trained in the ateliers of Barcelona, Madrid, Paris, Societaire,
Salon d'automne, Tuileries, Salon des Independents; member, jury of the Exposition
Internationale des Arts Decoratif et IndustrieIs Modernes, Paris, 1925; jury of the
Chicago Art Institute Exhibition, 1938; board of Sculptors Guild; American Artists'
Congress. Sculpture Victory Prize of $5,000.
Metropolitan Museum of Art, 1942
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.
LOUIS SCHANKER
COLORED WOODBLOCKS
15 weeks. Wednesdays. 8-10 P.M. $22.50.
Fall and spring terms, beginning October 4 and again February 7. Instruction is
individual, adapted to amateur and professional artists, teachers in the public and
high schools; some knowledge of drawing is presupposed. The course consists of
cutting and printing woodblocks, achieving different effects with tools not ordinarily
used, e.g. wood files, plastic wood, etc. Intensive instruction is given in the complete process of woodblock cuffing, printing, registering the blocks for each color,
superimposing one color on another for desired effects.
This instruction deals mainly with the technical aspects of woodblock printing and
the new and varied effects that can be achieved. Students are encouraged to express
their own ideas and are not influenced in their art expression.
LOUIS SCHANKER. Trained in Cooper Union Art School, Art Students League,
ateliers of Paris and Spain. Artist. Works in Brooklyn Museum, Wesleyan College,
J. P. Morgan Collector, William Munson Proctor Institute, Utica, New York, represented in exhibits at the Whitney, Modern, San Francisco and Philadelphia Museums; one man show, Brooklyn Museum.
4
BEREN ICE ABBOTT
"Red River Lumber Smoke Stacks"
BERENICE ABBOTT
WORKSHOPS IN PHOTOGRAPHY
15 weeks, fall and spring. Mondays, 6-8 P.M. 530* per term.
I
BASIC.
Fall term, beginning October 2.
The importance of sound fundamentals for beginners is emphasized. Practical work
in laboratory and field, including a field trip, is coordinated with lectures on photographic theory. Printing, developing, use of cameras, lenses, exposure, enlarging, are
studied; criticism of individival work is made the basis of class discussion.
II
ADVANCED.
Spring term, beginning February 5.
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,
retouching, composition, still life, copying, multiple flash and other subjects of interest to the class. Lectures, laboratory and field work are supplemented by group
criticism and discussion.
* A 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. Professional photograpny,
Paris, 1924-29; New York since 1929. Exhibited in many European cities, including
"Fotografie der Gegenwart," 1927; one-man shows, Museum of the City of New
York, Julien Levy Gallery, Hudson Walker Gallery, Springfield Museum of Fine Arts,
M. H. de Young Museum, San Francisco, etc.; in "Photography: 1839-1937," "Art
in Our Time,'' 1939, "Twentieth Century Portraits," 1942, and "Art in Progress,"
Museum of Modern Art, 1944; 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 at many American
colleges and universities. In charge of Federal Art Project Documentation of New
York City, 1935-39. Known especially for portraits, including Fortune series of
American business men, and for photographs of New York City; now working on
scientific and industrial subjects. Photographs in Fortune, Life, U. S. Camera,
Vogue, Harper's Bazaar and many other American and European publications. Author,
Changing New York; A Guide to Better Photography; magazine articles.
ALEXEY BRODOVITCH
ART APPLIED TO GRAPHIC JOURNALISM
15 weeks. Thursdays, 8-15-10:15 P.M. $50. 4 weeks, $15.
TYPOGRAPHY, LAYOUT, DESIGN, PACKAGE, PRODUCT, DISPLAY
Fall and spring terms, beginning September 28 and again February 8. Instruction
is individual and adapted to the needs of beginners, of students and professional
artists.
The aim of the course is to help the student discover his individuality, crystallize his
taste, and develop his feeling for the contemporary trend by stimulating his sense
of invention and perfecting his technical ability. It is conducted as (a) an experimental laboratory, taking account of continuous change, the discovery of new techniques, new materials, new fields of operation; (6) a practical workshop in close
contact with current problems of leading magazines, department stores, advertising
agencies and manufacturers. Experience and natural gifts of the students are
taken into account in preparing them for the ever increasing opportunities in the
commercial field.
ALEXEY BRODOVITCH. Art Director, Harper's Bazaar; formerly Saks Fifth Avenue;
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 Rubinstein, Steinway, Climax Molybdenum, Dupont, Sears Roebuck; interiors
and façades: 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.
ART LECTURES
MODERN PAINTING
15 weeks. Thursdays, 8:30-10:10 P.M. $15.
MEYER SCHAPIRO
Fall term, beginning September 28. This course deals with the content, forms,
theories and social origins of modern painting since impressionism. The lectures are
illustrated by slides.
Lecture topics include: the characteristics of modern art; impressionism; Degas and
Renoir; Cezanne; Seu-at; Gaugin and the symbolists; Van Gogh; Munch and Ensor;
expressionism; Matisse and the Fauves; Picasso and cubism; abstract art; objective
and classicistic art; surrealism; painting in the United States and Mexico.
PSYCHOLOGY OF ART
15 weeks. Mondays. 6:20-8:00 P.M. $15.
Spring term, beginning February 5.
I. Dynamics and equilibrium in artistic representation.
II. Art as a healer, educator and interpreter.
III. Art's function in life.
RUDOLPH ARNHEIM
INTRODUCTION TO THE PHILOSOPHY OF ART
15 weeks. Fridays. 8:30-10:10 P.M. $15.
PAUL SCHRECKER
Fall term, beginning September 29. The problems discussed are concerned mainly
with the inner structure of artistic life, its function in a civilization, its interaction
with other branches of civilized life characteristic forms of production and enjoyment, the distinctive feature of processes in the history of the arts, the phenomena of
styles and their changes.
STYLES THROUGH THE AGES
15 weeks, fall and spring.
PAUL ZUCKER
Wednesdays, 8:30-10:10 P.M. $15.
Beginning October 4 and February 7. The aim of this course is to study styles
and periods in a comparative survey. Masterpieces of art are shown and discussed in their historic continuity with reference to their sociological implications
and the general culture of each period. The lectures are illustrated by lantern
slides.
Fall term: from Antiquity to the Renaissance, including Egyptian, Babylonian
and Assyrian art; Greek and Roman; early Christian and Byzantine art; Romanesque,
Gothic, and early Italian Renaissance.
Spring term: from the Renaissance until today, including the High Renaissance; Spanish, Flemish and Dutch painting; French, Italian and English art of the
18th century; the 19th century; post impressionism and the beginnings of American
art.
F
PRINCIPLES OF HISTORY OF ART
AND ART APPRECIATION
15 weeks, fall and spring. Mondays, 8:30-10:10 P.M. $15.
PAUL ZUCKER
Beginning October 2 and February 5. A seminar for advanced students who
have participated in the courses on "Styles Through the Ages" or who have had
comparable work elsewhere. The course is based on thoroughgoing discussions and
a more detailed analysis of individual works of art than is possible in the survey
courses.
Sessions are held at 105 East 55th Street.
Fall term:
Portrait; landscape; symbol and reality in religious representations.
Spring term: The problem of space; sculpture and the architecture: interpretation
c),` space in painting.
INTRODUCTION TO ART
15 weeks. Wednesdays, 6:20-8:00 P.M.
JANICE LOEB
Spring term, beginning February 7. To appreciate art is to see what is to be
seen; content in all its detail of arrangement, light, color, texture, etc. This
is the basis for understanding the individual work of art. The course is a combination lecture, seminar, and workshop, with discussion centering on concrete objects
of art, flashed on the screen or seen in current exhibits. The capacity to see and
to analyze works of painting and sculpture is further developed by comparisons of
art objects, by informal sketching, and a consideration of some of the important
theories of criticism.
0.40-s- 120