Massachusetts College of Art and Design - Palette and Pen Yearbook (Boston, MA)

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HIGH LIGHTS OF OUR GET-TO-GETHERS SMOCK DAY: Freshmen, we envy yon. Here yon are with four years of honndles s oppor- tunity before yon. four years to do with as you will, to mar or to make. Many of us would filadly swap places witli you today because we realize oidy too well what a great e.xperience it has been, an e.xperience which never can be dupli- cated. Yon have oidy these things to remember, business before pleasure, but a good do.se of pleasure just the .same, right always in the place of wrong, and that failure usually precedes sncce.ss. Above all, don ' t become di.s- conraged, for ‘‘it is usually the la.st key in the bunch that opens the lock.” May I extend to you freshmen, each and every one of you. my very best wish for your hapf)iness and success at the Art School. Harb. k. Knkjut, ' .‘33 CHRISTMAS: Jr. T. T. Pantomime, “The Seven Gifts” “Jolly Caper ' Marionettes The “Spread” PRODl ' CTlOXS: Mascart Theatre Concert, ()rche.stra and Chorus Magic Club MUSICAL: Flute: Christina Meade Sa.xophone: Barbara Nicolai and Frances Archibald Piano: Marjorie Carr Marion Lusk Lynette Mantor Lawrence Hayford SPEAKERS: Mr. Alcott, “Europe ' ’ Mr. Andrew, “Perspective” Mr. Kendall, “Architecture” Mr. Philbrick, “The Arti.st ’’ Mr Linderg ' reen, “. rt in Everyday Life ' ’ Madame Tomita, “Japan ” OUTINGS: . pril 19, “Concord and Lexington” June, Picnic

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MONOLOGUE 1’la( k: li-7 ' l iMp;: !):0.) on a Tuesday morning ( ' iiAHA( TKUs: I’rsa Major, (’anis Major, and an invisible and indefinite numher of little piteliers with large pietnres. (Caiti.s Major is wandering aliout between the easels looking for unguarded [jieces of charcoal. I ' r.sa Major stands in the middle of the room gazing intently in the general direction of the door. The little pitchers lurk in a state of suspended animatioti l ehind their portfolios with their ears all a-quivcr.) Tr.sa Major; (in a tone of linrt snrpri.se to ernitty-lianded new arrival) “Why, Phoehe, are you come so .soon? Where are your Iterries, chihi?” (in- credulously) Down.stairs! Oh, naughty, naughty! (resignedly) Well, don’t run through the corridors (turning around, his hands thrust deep in his pock- ets). Bring them u[), bring them up. — No, I (ion’t like it; it doesn ' t amu.se me. Tear a piece off the Itottom and tack it on the top. Kind a more amusing atti- tude for the man. liring up .some more. — Yes, they had a very wonderful |)erformance of “Hamlet ” once. Hamlet was left out. (iet that? Where ' s the hor.se, the beautiful white horse? W hat do you mean by leaving out the hor.se? Huh? Huh? That f)ush, yes, I know that l)u.sh, — device No. ()748. I even know the number. I’ve l)een .seeing it ever since I was knee high to a lame duek. It’s always down in front like the Harvard student in armour while Sarah Beridiardt was up in back saying, “ lark .Vntoine, Mark .Vntoine” to a l)eautiful man. (bady in yellow shivers like the stage-.struck Harvard student as her attempt is cast on the table). — What’s that man doing? “Here, Maria, take the sandwiches.” No! What’s the matter with yon? He’s su|)posed to be making love to her! Stand on your head, daughter, stand on your head! Shut your eyes and look at it! Here I give you a perfectly beautiful subject with a [)erfectly beautiful white horse, and a faery’s daughter leaning forward and making sweet moan to a knight; and you give me a farmer who’s been eating ramrod .sou|)! (raising voice) Shut up, the old man’s talking! What the — , what the — , I mean what the dickens! Always .say “the dickens”. How do they get that way? ( ' ome here, Minook, don’t flirt with the girls. You know, I like dogs; they’re intelligent. Here I go all the way to Europe and bring back beautiful photographs to show you when I could have them up in my own studio, and you don’t ever look at them. Two or three hundred years ago I used to spend all my spare time in the (’orcoran .Vrt (iallery. I come uj) here and try to teach you something — the trouble is I do too much for you. Here, look at this, come up all of you. No, don’t look at that, you’ll get indigestion. I think this is the most beautiful, most con- summate piece of art in the world. Get down on your knees, you savages, and worship. Tones, tones, now give me tones like that. There goes the bell. Cio, get your water, mes enfants. Oh, liello mon cher, come in. Martha Burnham, ’85

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WARREN KAY VANTINE STUDIO 0 F F I G I A L P K 0 T 0 G H A P I f F] H S FOK tkf: m s. a. annual 19 3 3 TJie Distinctive and Superior Pliotograpliers for Sciiools and Golleges l6o BOYLSTON STREET :: BOSTON, MASS.