Millikin University - Millidek Yearbook (Decatur, IL)

Page 42 text:

Srhnnl nf Illini' aah Applirh Arts N order to cover the lield of modern Art edu- cation, the School of Fine and Applied Arts has two lines of stndyg the Fine Arts, for the training of the painter, illustrator or teacher, and the Applied Arts, embodying the handicrafts in silver. copper' illlll Clay. ln accord with the approved systems at present in use in the Art schools of the country, we have tried to over- come the idea that the study of Art is a lJilSllmC. i11fCll1l0ll primarily for copying the work of others and to occupy leisure moments. The students work directly from still life. flowers, or costumed model, in the various mediums, not with the idea of merely copying the subject before them, but rather of using it as reference material in creat- ing a picture, -with the aid of what has already been vis- ualized from previous pictures. This method, it 'will be seen, gives the student a wide range of available knowledge, to be used in the creation of a harmonious whole with the stalnp of the painter's in- dividuality. not a copy of a subject which may be inhar- monious and lacking in picture-making qualities. The Applied Arts work of the United States is drawing attention to that most important department of our na- tional artistic growth. There is possibly no greater satis- faction than that which comes in our Applied Arts course from watching the transformation ofthe crude sheets of silver, copper, or shapeless lump of clay, through its various changes until it Iinally comes forth the completed productg ax glowing vase with its rich and mellow glaze, a beaten copper bowl, the hammer marks showing its trans- formation, or the graceful lines of silver pin or pendant with the glittering accents of semi-precious stones. The commercial value of this line of work is shown by the steadily increasing orders for lamps, electroliers, and jewelry made by advanced students in the fully equipped studios. The normal class intended for the training ot' special teachers in Art, gives the student a valuable train- ing in teaching. One half of the year is given to teaching assigned lessons in the ward schools of the city. The growth of the School has been such, that at the end of the fifth year the number of students has doubled. With our increased number of studios, a faculty of spe- cialists secured from Chicago, Boston and Paris, and an increasing number of prospering graduates, we look for- ward to a still more successful year to come. Uhr illlillihrk 1 H II B

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Uhr illltllihek 1 B IJ H Zllinr anh Applivh Ariz William H. Varnum, Fine and Applied Arts. -Rinclgc Manual Training School, Cambridge, Mass., 18943 Jnlicnnc Studio. Paris. 1901: School of Design, llarvarcl University, 19023 Massa- chusetts State Normal Art School, 1903. ln- strnctor lfrechancl and Mechanical Drawing and Designing, Rinclgc Manual Training School, 1900-1902g Principal Art Dcpartmcnt Cambriclgc Y. M. C. A., 1898-19035 Instructor City of Boston 'Evening Drawing Schools. 190l-19033 Practical experience in mechanical drafting. Around thc mighty Master came Thu marvel which his pcncil wrought, Those miracles of power whose fanic ls wide as human thought. 40

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Uhr Dillillihrk 1 HU H Emma L. Baker, Instructor in Applied Arts and Keramics.-Lincoln University, 13. S., 19005 The James Millikin University, B. S. with Pedagogy, 19053 Art Tnstitute, Chicago. Summer Term, 1905. Harriett L. Dunn, Assistant Fine Arts.- Columbns Art School, 18935 New York School of Design for VVomen, 1903. Student, Arthur W. Dori' Teachers' College, Columbia, 1906: New York School of Art, 1907g Art Students' League, New York, 19075 Normal Work, Ohio State University, 1907.