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

Text from Pages 1 - 102 of the 1938 volume:

MASSACHUSETTS SCHOOL OF ART I NINETEEN HUNDRED AND THIRTY-EIGHT f o our unfailing source of security, quieting us in our confusion, en- couraging us with a word of praise, teaching the solving of problems, diverting us with a lively sense of humor, insisting we think for ourselves, . — our mentor and valued friend, Mr. Fred J. Thompson, we dedicate this book with sincere admiration. “Late Afternoon, Rockport Mr. Fred Thompson , RESIDENT OE M.S.A. State Director of Art Education We think, as vve work through untrouhled days, that we are hlessed with an inestimahle president. He makes no startling proclamations or disturbing innovations. If we are aware of him it is because the spirit of agreement in our corridors speaks for him, and in his jeweled office there is a spirit of abiding beauty. f EAN AND REGISTRAR r 1 Magnetic and tiny and fiasliing a smi le, M iss Murray sKoulders our worries and fosters our amijitions. Flntliusi- astically enterprising, she f)romised us music and dancing find festival; and, Ixdiold, tliey have come to j)ass. Witfi af)f)reciation for fier comf)etent solution of old problems, and gratefulness for lier inauguration of new pleasures, we welcome our dean. Frank Leonard Allen I lead ol Oesi$ n Department He tells us all about Picasso and Roosevelt and Kwan-yin; and tlirougb tbe lively telling runs his Jovian sense of the mystery and vastness of life, his conviction that the world does not end at our doorsteps. His hice is like a Chinese mask — impassive, impenetrable; and from behind gleam two mischievous laughing eyes. J. Mace Andress Psychology When Dr. Andress comes into class, all eager and brisk and ruddy, he appears to he the soul of open-heartedness. But ve suspect him of a canny showmanship. He fasci- nates us with words like myxedema and dementia precox, while he gives us a wholesome, prosaic understanding of the normal curve of distribution. Zella Buckingham Elementary Drawing, Oil Painting She is a fundamental person. It might seem to some out- sider hearing her gentle voice and hesitant corrections that she is unsure. She has, rather, the quiet unassertiveness of the person who knows that he is right. We find that the few things that she tells us are the few important things. Eheron 1. Cain Elementary Drawing, Perspective, Instrumental Drawing, Civic Art Prom behind an entanglement of T-squares comes a genial Good morning, ” and it is Mr. Cain, with the kind eye of horrid tick-strippish accuracy. I know a little rule, ” he says. Perhaps it will prove invaluable like his “little 1 ines we pul in just to show that we thought about it. Arthur Corsini Water Color Painting Our water color room is a kaleidoscopic place of changes. Sometimes there are quick poses, and sometimes bright flowers, or dark bottley groups. Mr. Corsini slips quietly about changing buttercups for buns. Once in a while be speaks a shy word of encouragement, and tries a mat tempt- ingly over an undecided painting. Cyrus E. Dallin Modeling Each year that we have Cyrus the Great” we think less entirely about bis Indian masterpieces. He becomes beloved to us because of bis immediate skill and criticisms and humor. Make it go round! be cries, vigorously punching our clay; and under our very eyes a nose exists” and a forehead be- comes juicy.” Genevieve B. Fairfield Costume Design Slim and young and charming, she influences as much by precedent as by her suggestions for a neater, trimmer, more stylish appearance. To the costume designers she is an exemplar of chic, marvelously only a little older than them- selves; and tliey relish her, loo, because she talks and acts like one of tliem. Mariha M. Punt Costume Design c� nd l attern Drafting lo find NIiss Mint one has to brave an intricate array of |)added forms and enloiling swathes of cloth in that crowded, teeming room from whi h she emerges only for lrium|)hs at fashion shows and |)ageants. I lore is born common garb, and silk of kings, and wings ol angels. Patrick Gavin I erspeclive, Life Drawing and Painting, Artistic Anatomy We fiave a great respect for Mr. Gavin, tlie extremely energetic Mr. Gavin, who is rather fun to tease and doesn t mind. And we admire the unconscious grace with which he flips the skeleton s feet and makes principal visual rays out of window sticks balanced on his eye. But lie wears us all out. E. Wilbur Dean Hamilton Figure Drawing, Still-Life Painting and Composition Mr. Hamilton has an immense self-Iessness. He tells us tales about Tiimself, innumerable, strange, foreign, glittering tales, but they all go to prove a moral, that our vision is pe- culiar or our colors treacherous. Monkey-glass, paints, stories, demonstrations, all go to the same end, to make us draw like the old masters. Edwin A. Hoadley Design, Dynamic Symmetry, Drawing, Composition Sometimes we wonder which is more puzzling, dynamic symmetry or the prestidigitory Mr. Hoadley. The dynamic is forever slipping away, but we never catch Mr. Hoadley in his tricks. He is the master of skullduggery. We are con- tinually amazed at his blackboard drawing, dazed by his hypnotizing,— and enraged by his puns. Walter W. Jamison English Composition and Literature His lectures are swift progressions,— perhaps from Cornwall, through water dogs, to Tristran and Isolde, to give us a rich background for a poem. Eventually there are tests. And sometimes Mr. Jamison must feel as though he is out on the end of the Golden Bough, and sawing away at it. Albert Stearns Kendall Architecture, Perspective Shades of the Parthenon! Here are shades indeed, and projected onto curved columns and all over volutes and archi- traves in a manner completely inexplicable until Mr. Kendall takes our pencil, and estimates a quarter-inch- — estimates a quarter-inch! and plots a shadow with consummate skill and amusement at our helplessness. Emma P. Lennon Design Color vies with design, not only in her work hut in Miss Lennon’s vivid personality. Black hair and eyes give her a striking appearance; and just such a combination of black and red and white, along with their interesting patterns, makes the designs that decorate her walls so arresting. Ernest L. Major Composition, Figure Drawing, Still-Life Drawing and Painting Rich purple words and bountiful words belong to Mr. Nlajor, minister plenipotentiary ” and defender o f the faith’ ’ words that can fittingly describe our vehement in- structor who says. Never laugh because you are ashamed to weep.” Wisdom and ridicule, and then he smiles won- derfully at us and we know that he is k inc!. LaURIN EI. MARTtN letalcrafts In the mids t of the whirring emery wheels and blow-torches in the fumy metalcrafts room are contrived fragileness and Irailness, incongruous also beside Mr. Martin, who woidd like to tell us about his automobile. 1 le is iui unobtrusive lioverer over our cooking enamel-work and a respector of our p«Tsonal ideas, — altogether an amiable Cellitii. Ella Munsterberg Art 1 listory. Current Arts A ou see I just take you aloiitj on my little Imps and starts, says M iss jMunsterherjj, with her young-old-wise and utterly knowing look. How hroad-minded can ou he. ' ' e-es, I see what you mean. We want to he hroad-minded, of course, hut if you re too hroad you re just a pan-cake 1 suppose. Leo O’Donnell Life Drawing, General Illustration Llis role of a|ipreciator is almost uniriue. One has to Iiave an eye for situations, and spend hours of a)jprehensive dal- liance in libraries, and be as sentimental as a flowered waist- coat before he can heap his wheelbarrow full of books— in the W oollcott manner — and cry, W ' ho 11 buy, who II buy my violets? ’ Otis A. Philbrick Head of Drawing and Painting Department Here, here is sanctuary! No medieval fortress ever oijened doors more unobjectively to the persecuted. He regards us quizzically sometimes, but he touches our drawings with a gentle finger. As G. K. Chesterton said of Browning, the sense of the absolute sanctity of human differences is the deepest of all Iris senses.” Lillian A. Phillips Crafts He re is the smell of the glue-)3ot and wet raffia, an d the sound of scissors, and Miss Phillips busily exjjlaining things and looking as though she hardly expects us to understand. But we suspect that she has a secret sympathy with irre- sponsibility. She listens skeptically to our excuses, I)ut with a nice appreciation. Raymond A. Porter Head of Modeling Department Wlien Mr. Porter says. Gather round, people,” we desert our heads down in the modeling rooms, to hear about decora- tion through the ages or Pueh lo houses, or ' what-not.” Usually, though, he regales us while we work with history and literature and inexhaustible interesting descriptions of his travels in many lands. Gustave Nils Roubound Advertising Design He storms in from the office on Tuesdays and Thursdays, demands fresh air and legitimate type faces, and then settles down docilely to discover what the designers have been doing and wonder why they did it. He possesses an endearing smile and looks entertainingly anxious when he thinks we re laughing at him. Mary M. Rugg Costume Advertising and Illustration There is always fun in the costume illustration room. It is no wonder that the fashion sketches done in her room are so clever and sparkling. They get their esprit from Mrs. Rugg, and are drawn in the up-to-date techniques that she finds out about almost as soon as they appear. loiIN IT Shar.man Advanced Drawing I le gives us devastating criticisms, groping lor the pencils and soft erasers that every one is holding out to him, re-mark- ing with a sidewise look at us out ol a mild sardonic eye ihat, if the paper were Hatter or the pencil point longer, — atui then breaking down completely and shaking with silent laughter. Fred J. Thompson Elementary Drawing, Color Harmony, Design ' Tommy ” first gets us full of enthusiasm over his new problem. Then he brings out those impossibly good plates that the class before us did. “You’re going to do me some better ones, he says. And such is the power of his eye that we go to work actually believing him. Efi IE B. WhITTET Librarian, Library Methods She sits competently among her books, and is the gracious guardian of those tables to which we go in frantic haste. From her perpetual court of appeals in the room of plans and investigations, she sends us with sympathy and bandages, withdrawing our souls from black thoughts an d the Spirit of perdition. Amy R. Whittier Head of Teacher Training Department Miss Whittier is a perfect example of what every art teacher should be, beautifully groomed, pleasant, and in- finitely wise in the history of education and informed about the newest developments. We should like to copy her agreeable manner, her competence, — and her script writing. Und er her training there will always be fi ne teachers. Isabella T. Damrell School Secretary In her particular office of remembering where President Newell is and knowing whether he is busy, this quiet twinkly- eyed lady gives out a constant bulletin to a stream of ques- tioners. But we ask her for extra notices, too, and all sorts of things, confident of her interest and her pleasant answer. Eileen M. Kelly Dean’s Clerk It is to Mrs. Kelly that we all go, guilty and spotless, to ask if — if we may see the dean. To those who are about to enter, her smile is heartening, and to those who are depart- ing, sad and wise, her bright smile is a promise that there is always hope. Margaret C. Wolahan Bookkeeper, Stenographer With the same agreeahleness, she finds us catalogues and keys and N.Y.A. checks Even the third lost locker key brings us no rebuke. Her tolerance simply grows deeper and more imperturbable as each new flock of incorrigibles wonders if it should pay its tuitions here, and has she seen a pocketbook. Lilah M. Vaughan So ciology Dr. Vaughan, flashing in to see us only too infrequently with her red hair and smart black and white hats, is an immensely busy person, writing books and lecturing. She gives us a really applicable course in sociology, using an abundance of examples from real life to illustrate her points. FTER half a year of anxious publicity, there came at last the moment iJI Snow White and the Seven Dwarfs began, when the curtain was raised, when the book was opened to Once upon a time . All over the audience apprehensive artists and youngsters beside them moved closer on the edges of their chairs: for they both had much at stake. If it were possible for paint and ink to create national legendary heroes as the camera did. Snow W hite was to prove it. And applause for Snow White, more than the applause of all the children who had ever clapped for Tinker Bell since Peter Pan was born, was to determine whether or not the fairies should live. It was a hushed expectant moment. Fairy tales, like all legends, and like sunlight and laughter and the four seasons, are common f)roperly; they belong to all of us, to do with as we like. I hey are no more than outline, a framework for us to build on; and we Sf)end our dreaming hours rounding them and filling in the long descri[)tive f)as- sages, bringing to them all the fancy and the music and invention we [)ossess. hat the reader imagines has ever been more im[)oitanl than what the writer says, and the fairy tale is wise to briefly tell what happens and let the reader do the rest. For unless the writer he some wise llioreau who, knowing the woods better than we, leads unerringly to hutter-ciips and herry patches, it is tiresome fo lly to dog h is heels on the road, stepping carefully into his footprints, while magic entices in bypaths and fancy beckons us afield. And set against a common story thus laboring dully over what the writer says and how he felt and what he saw, the fairy tale is a sparkling splendor of concise enchanted words, phrases of enormous implication, and sen- tences like Bacon s that em- brace a lifetime. So we read fairy tales, come back to them again and again as to the best. 1 lie last of the fairies, waving her wand gently over a II, gave them the power of light in a dark world; and indeed they are the loveliest possessions of this earth, rare and precious and glittering. Nowhere is such wealth as in a book of fairy tales, such a gaudy unbelievable wealth of delights and dangers and deep enchantments. We never tire of the glass hill, the enchanted fawn, the cloak of darkness, of the ashes and the straw and the gold; these are more to us than all the world, for we created them ourselves, gorgeous fancies and golden dreams to shimmer between us and the pages of the book. Sometimes one gifted above men comes with the daring to make his imagery articulate, to display his dream. Such a one was Walt Disney. Working swiftly, laughing softly to himself, he fashioned a bri ght new thing. With bold fastidious hand he emphasized a knife, a daisy wreath, an apple, a box to hold a heart. Skilfully he tangled the old with the new, let some of Donald Duck s unholy laughter echo in the dwarfs glee, sent the big had wolf dressed up like the Fuller Brush man stalking through the river mist in the witch’s place. And then with fear and trembling when he thought of all the dreamers of the world, against whose own firm notions of beauty and hate he must pit his witch and his princess, he offered, as a great king scattering largess. Snow White and the Seven Dwarfs . And we accepted it as largess. In spite of many things, we acknowledged in our hearts that though we might indeed have asked for something different, we could not well have asked for anything better. And when it was all over and we went out into the world again, we looked curiously up and down at the color of the sky and the shape of the street. Partly we looked because it was as though we were back from a long journey and as yet scarcely knew where we were, partly because to our affected eyes all the buildings loomed in mystery, and magic hovered over all the people. Far off in the middle distance we could just make out Dopey, skipping off un- certainly, with many a backward glance, to take his rightful place among the immortals. Susan Richert, ’39 Life Painting John Ananis V 4 A ikJ M are graduating from the Massachusetts School of Art. At some time during the past four years the letters of that name hlurred into a far more significant pattern than any type face could reveal. It is a beautifully intricate pattern, and so dearly familiar that its details have become one large impression. To say home to one who is still living at home does not conjure up separate memories, but an emotion without name and indescribable, an association of the familiar. So it is with us. Perhaps in retro- spect the name will mean a succession of clear cut memories, incidents, places, and people, — the first picnic at Provincetown, fencing in the Junior D. P. room, old Shelt on singing to the freshmen. But now, the weaving of the pattern not yet done, it is difficult to stand apart and choose the underlying motifs that are the strength and beauty of the cloth. Tliese major designs are so large that all the rest seem bright threads of decoration and their strongly woven web is made of an unsentimental recogni- tion of the principles of art. We learned them not from one instructor, but from all the men and women who have guided us in the past four years. I hey may feel that the lesson has been imperfectly realized. Yet the sturdy material of it is there: our own exfierience will exj)lain what we understand in [ art now. I ' .ach ol us has a different [)attern because it is a II the st ulf of individual exf)erience and friendships, but there was much that we all shared during oiir freshman year. I hat first Se[)tember we were continually bedazzled, lliere was the glamorous vision ol the Pageant and our green Smock Day. Watching a succession of three Smock Days sin e has bound the .years with a green tKread. In the spring we made our Pilgrimage with Mr. Jamison to Lexington and Concord, a blue and gold day beneath the elms of Concord green and the tall pines of Sleepy Hollow. We were signally privileged in making our acquaintance with color under the gracious Anna Mayhew Hathaway and in watching Cyrus the Great make our inert clay round and living. Along the banks of Muddy River and before sparkling still life groups we learned to make juicy ” ones under the bustling tutelage of kindly Miss Bartlett. The next fall found us acutely conscious of our added dignity and os- tentatiously impressing the freshmen with the same. But that is traditional. On every campus sophomores plunge as we did into the deeps of Stoicism, Epicureanism, and Idealism, study the action of motor neurones and the ductless glands. But our birthright as artist-sophomores was fulfilled in painting with the aid of Mr. Hamilton’s color fringe glass and creating compositions under the stimulus of Mr. Major s ’Whoop it up, daughter half close your eyes and stand on your head! ” On warm starlit nights of that spring we often joined the silent throng that stood ten deep in the aisles to hear Robert Frost at Harvard. At the beginning of the Junior year we made a somehow inevitable choice and were definitely enlisted under the standards of Mr. Philbrick, Mr. Allen, Miss Whittier, or Mr. Porter. But irrespective of departmental persuasion, the class journeyed to Worcester for the Rembrandt exhibition, and again moved en masse for the Van Gogh show at the Boston Art Museum. The de- partments also joined forces in a second attempt to interest the school in that step-child of the Mascart Theatre ‘ The Swan ”. More or less serene in our rank as upperclassmen, we talked severally of practice teaching and the Pea- body House, of copper plates versus zinc plates, of draping and dra fting, of plastics and methods of reproduction, of Lee Lawrie and architectural sculpture. With June the last class of friendly seniors stepped out into the world and left us with their position nearest the jumping-off place . Registration, after a summer of camping, sketching, and furious pot- boiling, was haloed by the realization that it was to be the last no other return in cool September weather to freshly painted stairs, familiar tanned faces, and the happy counter-point of greetings. The months poured over us, and we suddenly became aware of the hastening year. Christmas came, and there was no very great pile of good ones to mark the autumn months that had brought the spread around again. TLe Eastern Arts Association Conference loomed importantly and in- spired pageantry, goodly exhibitions, and the best style show ever to grace the boards of M. S. A. Meanwhile spring unobtrusively stole in between April snow flurries, and theses began to blossom on typewriter ribbons and to bloom on thoughtful palettes. The time between April and June has telescoped in Wonderland fashion, and there is a dreami ike maze of unfinished fragments to assemble harmoniously before the Day. The last of the pattern is emerging upon the loom. The faults in it are all too plain to the weaver, but the colors glow bravely. It should be a fine blazon to bear against the indifference of the world that will not pause in its advance to welcome our slender column. Elizabeth Balcom, ’58 Senior Class Officers President Vice-President Ruth Christie Rita McManus Secretary T reasurer Helen Clayton Louis Classman f HERE is an old saying that failure is tKe only high road to success. If it is a true one, then we are all destined to triumph. Eor in the happy rooms of the drawing and painting department we have suffered the most glorious defeats, and bedizened the very walls with magnificent ruin. And we are strangely hopeful and light-hearted. Beauty will surely appear on our next canvas or in the bitten lines of the burnished plate that now gleams before us. We are busy with our wood blocks and pen drawings, our illustra- tions which are more apt to catch the spirit than the letter of the text, our sensitive drypoints, and gay pastels. And though we understand that we may never fully realize our dreams of greatness, we know, too, that this is our element from which we cannot be exiled lest we perish. So we are resolved as long as we live to hold fast to the qualities we have discovered here: the bright enthusiasm and creative courage, the intense and sincere labor so difficult to maintain, the delight in well-kept materials, and the pure joy in seeking out Beauty and learning her ways. 3 ' Joan Drew. ’38 So when the Anqel of the darker Drink At last shall find yon hy the riuer brink, And, offering his Cap, inrite yoar Soul f orth to your Lips to (juaff you shall not shrink.” Elizabeth Balcom Rubaiyat John Ananis Steady, conscientious, and tliorougli. Witli liis fine sensibilities and quiet patience, Jolin lias kept bis work to tbe bigb professional standard that Kas become a letjend around school, and will no doubt soon gain for biin a noteworthy reputation in tbe field of ]jainting. Elizabeth Balcom Peeping around doors and slipping noiselessly into class, Mascart’s Greek goddess comes in and does good ones with enviable ease and facility. Modestly disclaims tbe evident merit of her work. She often goes dreamy-eyed on us and we know her thoughts are not in New England clouds. Guido Carbone A genuine craftsman, Guido turns out ingeniously designed and beautifully executed sketch boxes, not to mention innumerable little knick knacks indispens- able to an artist. His canvases look better and better each week, and we all admire his consistent progress, not only in painting but in jjhotography ' as well. Joan Drew Fragile, cobwebby bits of poetry, ecjually fine and delicate etchings are spun from Joan’s lively imagina- tion. It’s easy to tell the mornings she’s had a letter, for her eyes sparkle as brightly as does that certain pin on her smock. Nathan Fitch Tall, dark, debonair owner o f “Ooh , whose car is that! Pianist e.xtraordinary, coupled with an irre- pressible enthusiasm for swing: a compendium of the recorded classics and a member of the 12 o’clock Frolic Makers. Proud parent of many a plaque in Mr. Porter’s salon, and designer of merit, --cliarm- ing, affable, and unaffected. Edward Goldman With amazing aptitude in each field, Eddie has de- voted his time to photography, fencing, and sketch- ing, without forsaking his painting, in which he has his own delinite ideas and somewhat rebellious at- titude. I le s always frie ndly and good-natured, and willing to |)ut himself out to do favors for his class- mates. Nathaniel J. Jacobson With Robert Henri as bis shining light, Nat fights things out for himself to what will be h is ultimate satisfaction. His varied interests have been given expression in fencing, sketching; and, along with Eddie, Nat was influential in establishing the Pho- tography Club. Virginia E. Major Vitally interested in everything w orth knowing about, our vivacious Jimmy has innumerable friends w lio deluge her with social invitations. Her outside activities, however, do not prevent her from making progress here. Dean Murray s old dependable for assemblies, pageants, plays, recitations, dancing, and what not. She’s one fine gal! Donald W. Moss Ten-fifteen usually marks the arrival of Mascart s popular matinee idol, at which time Don goes into an impenetrable isolation of feverish painting, even continuing to work long after the model has stopped posing. The results more than make up for any inconsistencies in the method. Norma Murmes She may he c(ulet about most things, hut just wait till you hear her sneeze! Norma is hlessed with the enviable knack of being able to draw the figure from memory, an accomplishment of which most of us cannot boast. Her ability in handling children has taken her into the teaching field. Richard G. Packer A man o f few words, Oick paints wi th calm deliber- ate planning and deep concentration. His snow scenes are evidence of the fact that he has made real progress. Reading the Monitor during rest periods keeps him well informed on the news of the day. Byron Reed Fred Allen’s ’’cousin,” liyron brings in all the latest chatter of radio and screen with a few spicy bits of his own thrown in. kascinated by choo-choo trains and Cla ire Whdis. I arty of the opposition to i Ir. M ajor and one .lac k Be tiny. 1 las a strong feel for ( olor. Jacofi Sanf)i.i;r I lajjpy-go-Iucky member i)io-lein, lormerly of llie design deparlinent, wlio always comes into the studio in lime for 1 uncli and a chance to discuss our paint- ings. An ardent pholograplier, a leiu ing enthusiast, a camp counselor, and a student of jisychology; he is a friend of all. David A. Stearns The jDipes of Pan never created more merriment on tire hillsides of yore, than does the fife of Davy among the maze of easels in the painting room. Hardwork- ing and observant, he unobtrusively accomplishes a good deal. The school store profits must have soared under his able salesmanship. Barbara A. Iolman God’s gift from the design department! Between house party week-ends, Batsy settles down and shows us what little girls can do with paint and canvas. Always cheery and smiling, she is a Nvel- come addition anywhere from the Glee Chdr to the e.xclusive milk-at-noon society. Yaroslav Yavarow In one minute, out the next, Jerry paints spasmodic- ally between furniture designing, interior decorating, carpentry, and gallery banging. Being a good fel- low at everyone s disposal, Jerry laugbs bis way tbrougb life and makes us feel a little happier for it. Keep on with those block prints! David Baker Always willing to experiment, David boldly piles paint on with bis palette knife and brings in land- scapes to which Mr. iMajor can say ' Not bad, um — Turns out some bne prints, but won’t reveal bis secret process. And bow’ does be always keep way ahead of Mr. O Donnell s deadlines? Jacob W. Silver.man “S till waters run deep. A serious student of Michel- angelo and lacovleff, be has become a careful, scien- tific d raugbtsman. We were not surprised that be made the dean s list. AKvays glad to oblige by giv- ing helpful criticisms and suggestions to bis fellow students. I JAVARD 1 CoN.NE ELY Beneath bis collegiate air and c levil-may-c are atti- tude a really serious minded pers� )ii. very we II read. 1 le seems to pi( k ide; IS from 1 lats for bis c lever (artoons. An ;uitbority on wba t sboidd be ■ worn here, there, or anv ' vbere : a good cl lancer; and. linally. a (austic wit accompanied by cb ; vastaiing s; ire asm. Life Painting Donald Moss CVICV v� 0 ’ that we have finished our course we are ready to take our places in the business world. We have learned something of layout, color, industrial design. W hat are we going to do with our knowledge? The question is unimportant if we hope to do no more than design another layout or another lamp base. However, it is a very important one if we consider the fact that it will be in our power to influence public taste. W ' hile we shall strive to create interesting and attractive layouts, we must not overlook the fact that advertisements are primarily to inform the consumer of the merits of a product. We must remember, too, that through advertising not only do we inform the consumer, but we can also influence him. And so a powerful weapon is placed in our hands. It will be up to us to use it wisely and in good taste. W e shall encourage sales in the prod- ucts we advertise by public faith and confidence. W e must carry on the fight for truth in advertising. Tlie greatest chance to influence public taste is through the design of objects used every day in home and office. Economical, social, and scientific trends suggest a mode of life which we shall interpret in our designs. Science gives us new materials to work with, and suggests better uses of the old. The materials themselves suggest objects and how they shall be used. Following these natural tendencies we cannot but get functional designs. w e, as indus- trial designers, shall determine the physical appearance of these objects. Science makes living easier, more comfortable. We designers can make life richer, more beautiful. Florence S.mith, ’38 WITH EVERY PURCHASE OF BARONET CIGORETTES f fSPLAY Boniface Soliwocki Elizabeth Boos l-iings, bracelets, green gloves. New Hampsliire, blondes, skiing, riding, Rags, dancing, Strauss waltzes, jokes howling, hockey, Cireta C� arho, Fred Waring, the countryside. A slow h e l-M-o-o-o, ev-er-y-ho-dy-y-y, and a warm smile announces that Betty is hack from another week-end of skiing at New flampshire. Betty goes her unhurried way designing stunning rings and setting up new howling records. Frances CttAMBERUN Water color, mountain climhing, whistling, choco- late pudding, howling. Jade green, Gilbert and Sul- livan, strong winds, flowers, shooting the rapids, vocal harmonizing, plastics. Franny has a strong howling arm that directs her brush to produce charming water color drawings. She lias a practical business-like manner which lasts until she is with friends, and then she is delightfully frisky. Fi.orence Colby Crystal spheres, quaint people, Harriet Hoctor, hy- acin th hi ue, arahescjnes, country, Ourer, Sw eclisli glass, pottery, plastics, dogs, Nancy Dyer. Wistful blonde Terpsichore in a black reefer. Flor- ence draws sensitively beautiful charcoal portraits and slinky red dragons. Her animated fingers are a vent for her enthusiasm. Here is the rjuiet warmth and still depth of late afternoon. Dorothea E. Day Textiles, dogs, people, winter, 2 Iaine and Xew Hampshire, mountains, cold food, cold drinks, cold weather, historical novels, Aida, Europe. Gracious lady with a sweet smile. The essence of Southern hospitaliU ' and cool summer evenings. Her ready laugh is a rush of soft notes from silver bells. Deedee designs elegant packages in white and gold, and is a textile designer plus. Phyllis E. Eoster Perfume bottles, blue-green. Maine. countr life, chocolate frosting, cats. Dale Xichols, German p olice dogs, snowstorms, thunder and lightning, yodelling, freckles. Dean s ofiice. Restraint in blue-green. The quiet beautx of snow resting on mountain tops. By her rehned. elegant de signs and beautiful script lettering. Phyl turns drab assignments into exquisite patterns of tone and color. Berth.v a. Giffels Metal crafts. Sand Nich glass, whale’s teeth, boats, camping, fishing, pine groves, fine drawings, the ankee. magic. Gustave Jensen. The door opens softly and is closed as softly, and Berdie has come in with another swell design ex- pertly rendered. Berdie divides her time between Cape Cod and the crafts room. The timbre of De- bussy s , fternoon of a 1‘aun. Louis Classman Air brush, candid camera, co- eds, camp life, com- mercial worl , Skippy, ” red, walking in the rain, animated cartoons, bright ties, sandpaper chins. Cadenza in E minor. Lou is the class agitator, sin- cere in his efforts to right wrongs. He is strictly a business man, interested in art only as it is rela ted to commerce and industry. Witness his excellent letterhead designs. Vartouhi R. Kazan j IAN Magenta, murals, Mexican design, Benrimo, Bohri, Cassandre, Ciauguin, billboards, modern designs, so- phistication, cats, brown corduroy, powerful posters. An ingenious, ingenuous designer. Toidii uses magenta on murals and packages with startling, interesting results. She is a master de- signer of the unusual in composition and color. Anne M. Levy Jello, Marie Laurencin, Boston Symphony, Degas, Sibelius, free lance artists, layouts, quips, strong de- signs, McKnight Kaufer, Picasso, Bohri, Kolhe. .An intense personality, with all the force and subtlety of a Beethoven symphony. Anne is a clever layout artist and designer, and, in good American slang, a swell kid. ” Gordon Mayo GebrauchsgrapKik ' , } IcKnight Kaufer, Feininger, coca-cola. Ravel s Bolero, tennis, bowling, triangle and T-square, puns, philosophy in geometric terms, modern art. The precision and searching quality of a microscope in the hands of a shilled scientist. Gordon is a top designer with ideas that go heyond the surface pat- tern of line and color. T like him because of, and in spite of, his puns. Kathleen Morrissey Biographies of artists, line drawings, Philharmonic concerts, tea, pastels, art galleries, phil osophy. Pro- fessor w einer, life classes. W alter Gropius, drawing and painting. Kay walks along lightly and swiftly, talking breath- lessly of this and that. ' Isn t it mar-velous!!! ” Beautiful line drawings, life studies, color— an artist supreme. Turbulent serenity. A white flame. INCENT OSTRAND Sports, coca-cola, hamburger, blondes, neat-checked suits, Charlie McCarthy, k C. Fields, Madeleine Carroll, plastics. ee whiz! fieau lirummel carrying his lunch in a brown paper hag, ' inny dashes in and out of class on important business. I le designs electrical layouts with €� dash — |)leasant and friendly, an ofren door wi th the sun streaming in. Rose H. Schwartz A-n-a-li-li-li ! I learls and llovvers, cupicls and lacey valentines, slioes, figure drawing, tlie Fine Arts Tfieat re, jjriglit lipstick, Arturo Toscanini, Boston Symphony, peasant design. Broke creator of Barocjue designs. Rose does swell water colors in the life class sparkling, dy- namic; and she draws figures with, oh, such style! Bright lipstick, bright laugh, bright hair, bright girl. Florence Smith I eople, trees, rainstorms, cinnamon toast, Toulouse- Lautrec, wrestling matches. Serge Koussevitsky, NIarx brothers, wliipped cream. Lily Pons, Greta Garlio, palmistry. Delightful Peter Pan, pensive, appreciative, imag- inative; possessed of a sensitive response to things artistic in all forms. Will fight fervently for sincere artistic experimentation, produces advertising ideas with psychological roots, rendered feelingly wi th both delicacy and strength. Boniface Soliwocki Plaids, circles, samples, co-eds, blurbs, buckeye acl- vertising, air brush. Bon Sol, lectures, business, ]5uns, dark blue, staid designs. Sturdy, aspiring Bonny gets his thesis done early so he II have time to design World s Fair posters and borders for the State House. He has a c lelightful sense of humor which does not stop at punning. And he is an ace lettering man. Decorative Mural irssf Street Car Card Boniface Soliwocki J V| MAO artistic world tKis is, Of fraud and freak and friglit; But we do feel tliat we have kept A hcilanced, sane foresight. Some folks look down their noses At “FasI lion Firsts careers; They think we re vain, hut we maintain Our poise in spite of leers. With needles, thread, and patterns. In cells of gingham forms. We ve struggled with our problems For fashion shows and proms. A stranger might take sudden fright If in our class he d spy A humped-up miss with eelish feet As she went truckin by. Bedraggled, sleepy, curldess, and With heavy feet and heart. We bring in every morning Our sad attempts at Art . We crave to hear just one small word; Tis something we all seek. 1 o gain it means to gain success . — ' Of far-famed umph I speak. Eleanor W ' hatmough, ’38 Elizabeth Varnum, 38 I ' AsnioN Duawinc; Rild Janus Alice J. Arozian I lie sialic half ol ihe parlnership wilh Dol. A paradoxical [jersonalily wilh her vivid coloring, hlack hair and eyes, creamy olive complexion. A pelile person possessing undaunled delerminalion for sue- cess in spile of illness. I )esigns unusual creations wilh a maslerfid handling of technical restrictions. Merrianne Cefalo A pert elfish personality, complementing her crisply- cut red hair and translucent shin. Designs carefree clothes for a vivacious miss in subtle colors. Cursing the travails of late hours while unceasingly striving for perfection. Paged at rest jieriods hy a junior who might he her sister. Catherine P. Clancy Our humorous member with a new smart flair to suh-deb styles and illustrations. A provocative way of talking about hilarious ex]jeriences. The one girl whose hair-do met with Miss Cox’s unc|ualified ajj- proval. Languidly producing hatches of polished work, enhanced hy streaks of brilliant color. The funny quirk in the three-some. Phyllis C. Coleman Small and poised, the most unobtrusive member in the class — hut pops from nowhere when needed. Business-like and going places in her own quiet way along the path of real merit. Has investigated the reproduction processes behind the scenes of illustrat- ing to bring hack her hndings for class enlightenment. Pauline E. Flynn Striking blue-black hair, pouting scarlet mouth, and smart clothes in reds, beiges, blacks. The coy baby of the class with a nicety which measures others through herself. Acclaim seen for her long-legged, slim- anklecl figures. Who me?” and a tripping walk beside a freshman shared by Mary. Grace M. Garbarino I ligh style face and sport clothes. Fond o f dark lipstick. An indispensable cog in the wheel of pag- eants, costumes, and fashion shows — late hours, tiny scraijs o f cloth, and angel s wings. Friendly, tire- less worker, and with unusual effort, seeing things through. Companion to the tail red-head. Constance Gerlach A placid blonde willi a Io eIy coni|jIexion, possess- ing distinction — still waters run deep. Unruffled by minor irritations: and tlirougli persistent effort, witb ber calmness and directness, she will achieve ber cherished end. Unknown fields to conquer, — Cali- fornia, here I come! Barbara Gordon Page boy, — broad shoulders and short skirts make up in part our abused irregular. A frank and en- gaging manner w ' ith no understatements. Individual style in life drawings and in her real and spirited illustrations. Has innumerable business contacts to give substance to her future. Ten-minute-Iater Cor- don, ha! hal Thelma Grant A heart-shaped face and a tiny active figure. Bound to follow her own will with surprising defiance for a diffident person. Accomplishing her most worth- while results under last minute pressure. A casual and easy-going view toward living and peojile, but wi thal a care for the future. Elizabeth C. Howard Winged eyebrows, tbe perfect tailored suit type. Caustic tongue to bide ber sympatbetic nature. Smooth gal, and smoother drawings which deserve every bit of the praise they receive, with no reason to worry over the future. Has countless outside interests, but never neglects her work. Dorothy E. Jepson An electric blonde with an explosive nature and ready laugh. Boundless energy displayed in poses full of action and high style. Contains the necessary vividness for wearing any color, and is the perfect complement for Alice s dusky demeanor. Avid fol- lower of all forms o f the dance, with an eye to design- ing for the ballet. Rita E. McManus I he tall perfect fashion figure with bronze coloring embod ied in a sincere personality. Eager to tackle any problem, be it pageants, fashion shows, or illus- trating— such training will prove acl vantageous for success. r Iiss Idint s right hand helper and our con- nection with hilene s. Our liberal timekeeper, shar- ing her responsibilities with Crace. Helen Nordin Mad lials, and deucedly soft asli-Iilonde hair. Di- plomacy with snap analysis of situations. Organized purpose heliind figures of verve and abandon, wliich must find their niche after tfiese many commutings to and from New Yorh. “Poor Slu, won I anyone go to a show?” Louisa C. Pike Serene blue eyes and an unhurried manner — always ready to answer a call for help with a cheerful coun- tenance and really good advice. A good steady worker who is climbing right along up and getting there fast. But, oh-oh! She likes to cook — sniff-sniff —do we smell a romance? Bertha Richardson Neat and glistening hair, her fair coloring best ac- centuated by subtle shades of blue and green. A lackadaisical gal who deftly manipulates fabrics into e.xcellent gowns to aid in reproduction of textiles in wash drawings. Mastery assured by steady applica- tion of her well-founded principles. The stabilizing element of the three-some. Mary E. Tetreault Fresh and delicate complexion, classic features com- bined with an effervescent enthusiasm. Divine dis- content, with a breathless impatience for know ' le dge and culture. Tactful and considerate contributions to the less informed. A determination to reach the level of Paris designers, and a mania to costume the stage. Elizabeth Varnum The enfant terrible of the class — the incorrig ible gamin, but wi th all her waggish ways a quiet man- ner. Jingles, catch phrases, all amusingly impersonal. Clever copy illustrated by puckish figures with plenty of umph. Did we hear someone w ' ail. But you know I can t draw— what is this thing called art. anyway? Eleanor M. Whatmough Smart appearance accompanied by a slow care ful way ol talking. A (|uiet business-like purposefid man- ner and infinite consideration for the next fellow. Speaking ability as evidencerl by fashion shows and outside talks on line, color, and current trends. An effic ient and conscientious worker deserving success in her litie of endeavor. Mary E. Young Quiet and unassuming; on the surface, a ; racious mien and cjueenly carriage. Is one of our hesi seamstresses, turns out coats and clever little bathing suit numbers before the clock gets around and while the rest of us are still thinking about it. Where and When” should he her theme song. Fashion Drawing Elizabeth Howard OR many years we have been progressing steadily along the trail ol education to know ledge and truth. Upon this trail we have expe- rienced much. 1 o each one this experience has meant something different, as perhaps it should. We have, however, one characteristic in com- mon — sincerity. We are not phdosophers or sages, but for this moment we feel a certain strength and power perhaps never again to return to us. Along the trail there have been many wonderful associations with the culture of the past in literature as well as in art. Our study of psychology and sociology as well as our drawing courses, bas been most vital in aiding us to acquire a clearer perspective of the problem which we are ca lied upon to solve. Our problem is to teach not art for art s sake, but art because we believe it is vital to every child. We believe that drawing enriches and influences the whole future of the child. Creative art enables him to think coherently, and to express that which he thinks. It enables him to become a better citizen and a more intelligent consumer by training him to buy the best with what he has. WA believe that drawing is vital to him because it is a way to living. With this view definitely in mind, we are entering our search for truth and knowledge. Finally, we have learned from Miss Whittier not only teaching in theory and practice, but also, under her guidance, the values of friendship, of responsi- bi lity, of cooperation and helpfulness. So love and service shall be forever foremost in all our work. Marion Foster, ’38 “Creative Atmosph ere” Marie Stier Crafts: f EORCiA McNamara Roih KT Rankin l osi F irry I iHODtjRi Meinei.t Norman E. Brule He has dynamic convictions and the will to stand hack of them: is a natural leader in any activity: an exponent of beautiful design with a modern flavor: a lover of symphony and opera: an incurable ro- manticist and a day-to-day realist by turns! Ruth Christie Competent mistress of the situation, particularly when it is urging the Persian colts to arrive at definite decisions: a gift for making friends: a casual attitude toward worry: and a confidential way of wearing her smile that puts people perfectly at ease. Helen T. Clayton Her work in the Junior Eastern Arts Association, and as secretary of her class, has been conducted wi th the natural poise and simplicity we have learned to expect of her. The perfect committee woman, done in black with gardenias and a leather notebook. A madcap personality and dimples. Frances J. Evans A person of frequent moods who is exceedingly happy in most of them. Music is her avocation, both the composing and rendering of it. She reads the latest hooks and converses fluently on current events — a composite personality and an interesting one. Marion Foster School — a pause for trips to Hawaii — and school again. Marion is frequently in a contemplative frame of mind, which accounts for much of the meticulous detail in her work. Concise in thought herself, hut understanding of others who are not, she is a sincere and hroad-minded student. RuTtt Kelly E|)ilome ol poise and graciousness; a graphic lesson in how to say the right thing at the right time with- out stammering. I ' nlike most of us. she is more at ease when s|)eaking before a group than at any other time. In her more frivolous moments she is the cocoa- nut hosting on the 1. 1 .’s education cake! nut hosting f n Israel M. Latkowitch 1 lie clock moves liackwarcl rapidly, and Israel fol- lows after, Iml at llie hour of reckoning he is miracu- lously prepared. A friend in every profession, and a dozen clever caricatures in his notehook; €i joke for every occasion, and a good-natured grin if the joke is stale — a regular fellow, flacky. Gertrude Laughlin This teaching is a serious occupation—” hut the gleam in her eyes betrays her. Efficiency rolled up in a small package w ' ith a supporting air of optimism, and a way o f tak ing every remark literally that puts her on the receiving side of most of the gang s jokes. Myrtle Lichtenstein Art classes of her own in collaboration with Norma: the choice ol sub tie and unique colors in sweaters and skirts. In the abstract, a strand ol e.xotic jewelry with a charming voice, and a brief charcoal sketch tucked under its arm. Georgia McNamara A study in black with gold stars. Miss Hatliavvay s perfected palette, and a way with oils, quiet with- drawal unless one merits her confidence. Georgia speaks seldom hut always wisely, and stores away much knowledge in the interim. Theodore Meinelt Uncjuenchahle good humor, a flair for costume de- sign, and the ability to create the season’s latest from a scrap of blue and a feather, willingness to do any- thing for anyone at any time— cooking, marionettes, or popular songs before class. There s a special corner in our hearts for Teddy! Robert Ivankin Shades of Springfield and Krag (guns to you) and ultra modern automobile designs. Have you heard the one about the Scotchman. ' ' W ' e look to him for h umor and for logic, knowing that the satishic- tory friend and the thinking artist will undoubtedly berome the tear her with vision. Isabel Rector Site lias a personality mucli like lier own poelry a mixture of joy and liumor vvitli a few drops of rain. 1 lie smile of a little child and the hark of Oavid are her chosen accompaniment to life. Idealistic, honest, faithful, and beautiful in thought and sjieech lsahel, the world is yours! Anne Sawitsky A day-to-day philosophy of finishing all assignments and a little more-psychological research, and achieve- ment in the crafts, plus tape measure and suit pat- terns whenever there is time. She pursues any and all occupations with a fervor that predestines all her plans to worthwhile fulfilment. Ruth Sparkes She 1 aughs with the world, and at it, laughs when we are happy and laughs when she is sad. Her eyes are serene with the serenity that is horn of jileasant dreams and a quiet acceptance of fate. Children and kittens and fairy tales and rahhits,— all things precious belong to Ruthie. Marie Stier One of tfiree— and a very attractive trio it is! Art with vigor, and art with finesse; dancing after draw- ing, and a sparkle of fun in hoth; an hour for labor and an hour for rest, and much vibrant living sand- wich ed in between. Elizabeth D. Barba A determined but refreshing viewpoint in argument, and a staunch believer in better things to come. Libby is invariably hurrying from one problem to tackle another, with a smile for fellow sufferers, and the will to carry through the most Herculean task to com- pletion. Dorothy Knott delinite tecfinif|ue in drawing which she capably transmits to her students — scholastic honors — soft strains of music on a violin — a general attitude of achievement. l!)orothy is the far-seeing, gentle- voiced, patient type of which the best teachers made. are a f l is a little disconcerting, considering tliat we have been here three years, and already wallc into private places with all the gay abandon of a senior, to find that we have no great message. There is, frankly, no whis[)er of our vast experiences that we can say unblushingly is of imperishable worth, or any prophecy, unless it be the quite unjustihable one that we are about to become great successes. And of this, like all things divinely inspired, the proof is inconspicuous. Still, we have left our mark: covered walls wi th etch- ings, forms with gowns, poured out our inspiration into advertisements of mythical sales of non-existent gloves. And we have had our fun but wait until we are seniors, then we will give you our memories. And we are almost seniors now! Beatrice Holmes, ’39 President f ETER Belitsos Secretary Earle Rowe Vice President Raymond Andrews Treasurer Edward Malsberg xL’RING our Fresliman year our teachers, with infinite patience, and ' ' J the upper classmen, with the wisdom of fresh ex[)erience, drew out the best that was in us and oj ened to us undreamed of f)atliways. W ' hile as freshmen we liad l)een a group, now we begin to show some individualism, as the work ol our talented students shows. Many things were new to us this year. Sorjie lamiliar laces were rnissetl, and new [)er- sonalities were encountered. W’e benefited by the new members on our stall. A wider road in music and other associated arts was o()ened to us. W ' e do not want [)raise and loo early continue on the search lor bejiutv and wil [)ats on the back. Rather wc ' will not go down unsung. . ' Iaky I)R i)i.i:y, jo President Arthur Copplestone Secretary-Treasurer George DeRosier Vice President Ralph Mann Class Representative Charles Turner N September 20, 1937, a group of eager, earnest, inclined-to-be-arty ' young people entered tbrougb tbe portals of M. S. A. to become its fresbman class. As far as they were concerned, tbey were a very promising young flock. But tbey bad mucb to learn. After registering, tbey were separated into four groups, and tbey made acquaintances wKicb have led to firm friendships. Arriving at classes for tbe brst time, tbey were presented witb mysterious lists of supplies needed, and tben began one of tbe important businesses of art school life . — portfolio lugging. Tbey were soon very busy keeping assignments separated and having them done on time. Freshman week descended upon them with all its delights and whimsies. Then, the more anticipated because ol its being deferred one week, Smock Dayl They received Joseph De Camp s palette, to serve as an inspiration. Edward Flatley won the Freshman Award for his clever sketches of his father. Then President Newell introduced them to their mascot, and they became the little deer(s) of M. S. A. Life then began in earnest for the little freshmen. They discovered that they could interest themselves in the future as well as in the present by joining any of the many clubs which form our extra-curricular activities, and this they did, knowing full well that with no outside interests the mind becomes cramped and narrow. Musicians joined the Ensemble and the Glee Club, while actors and orators had the Mascart and Public Speaking classes to turn to; and our photographers, fencers, basketball enthusiasts, magicians, all found outlet for their energies in the clubs dedicated to those pursuits. They blossomed out with an ensemble which played at assemblies and in the foyer the week before Christmas. They discovered that they were not the Leonardos that they thought, and they did their best to be not arty, but artists. They elected class officers Arthur Copplestone, President; Ralph Mann, Vice-President: George Derosier, Secretary-Treasurer; Charles Turner, Student Association Representative: and under these capable officers they have sailed through the freshman year, guided by their pilots. Miss Munsterberg and Mr. Hoadley. Now they are looking ahead to the mysterious waters of the Sophomore Seas. And so, with Columbus they cry. Sail on! Jane O’Regan, ’41 . ' HE Hind u ballet depends more on its musical accompaniment than does tlie more familiar American or Russian ballet. Tbe unfamiliar, yet strangely appealing sounds, varying in tonal quality from a simple tinkling of cliina bowls to tbe deep resonant vibration of tbe large gongs, makes us forget our habitual j rejudices and prepares us emotionally to appreciate tbe delicate, ratber sedate tempo of tbe ballet itself. 1 be dances all tell various stories, bgbt, pretty ones sucb as a boy playing witb a bird, and heavy serious ones sucb as tbe tale of Vishnu and tbe other gods in a mortal struggle for tbe possession of tbe Hindu Olympus. This last episode takes tbe combined efforts of all tbe orchestra, most of tbe dancers, and a large cloth elephant to bring it up to an impressive climax. To say tKat these dances are meaningless is to reveal a gross lack of sen- sitive perception of the artistic motives of the Hindus. Art of any form is, after all, an attempt at the expression of the feelings of the soul, and if it is to succeed, must convey to someone a genuine sense of sympathy with the performer. For the first time in my life, the mind of the Oriental, as an artist, became clear to me. I had always supposed that the mind of the eastern artist worked in some peculiar fashion utterly uni ike our own; that they had been trained to express themselves in line, pattern, and color, in contrast to our western conception of form and three-dimensionality. But the working of the artist s mind is no dif- ferent from our own. His outlook on life is naive and honest. He paints what he sees as he sees it, but ; — he does not see what we do! For if the dance is a true reflection, and it must be, life in the Orient looks like a Japanese print. Figures are not figures as we know them. Instead they are thin, paper-1 ike outlines exquisitely designed against a background not atmospheric, not exist- ing in space, but flat. The positions of the body, head, hands, and feet are unfamiliar when viewed with a western attitude, but become more real when we realize that we have seen representations of the same movements immor- tcilized in Oriental art. The lines are flowing, rhythmic, beautiful, the colors sensitive and expressive. If is hard to believe fliat even wifli yetirs ol study, a |)erson born anti bronglif uf) in tlie west coultl ever leel the i)altern ol lile in a civilization so oltl, so remote, not only in tlie measure ol S| ace, but f ar away in custom, in heritage, and in interf)retation ol lih;. An intense e llorf is necessary even to try to com- [)reliend the danct , tlu? music, and the art ol the Hindu; but, the ellort once made, tlie observer is rewarded by a [jartial insiglit into llie rnecinirig ol it all. I heir art is different from ours because their demce is different, their dance is strange because their music is strange, their music is unfamiliar because their poetry is unfamiliar, their f oetry is mystical because their religion is mystical, . — and so it goes, through all the complexities of life, as well as in the sinijile things. And yet, with all the differences, with all the th ousands ol miles and years between the two civilizations, I am convinced that the minds and hearts of artists are fundamentally the same on this terrestrial globe, each honestly trying to paint the Thing as he sees It for the God of Thi ngs as They are. ViRGiNi. Major, 38 ■r ,. iA President David Stearns Yice-President Lorne Craig Acting Secretary Dorothy Knott Treasurer Raymond Andrews f HE Student Association, established in 1922, has absolute control of the finances needed for student undertakings, and helps to promote and supervise social affairs and activities outside the regular cur- riculum. The main duty of this organization lies in the fair distribution of its finances, the fund supported by the students’ rnembersliip fees, among the various classes and extra curricular activities. I liis method jilaces responsibility di- rectly upon one organization, and clarifies tlie business relationslii|)S ol the scliool with ou tside concerns. Dorothy Knott, 38 Public Gardens Nathaniel jacohson Tl; CU OMORROW S dusty piles of canvas or, perhaps, motives for great paintings are l3riefly hung side hy side in the north gallery, as the Sketch Cluh holds its regidar exhibition and meeting. Kaleidoscopic walls stand witness for many a happy painting excursion in search of nature s heauty spots. Whether the sketch hunter hits or misses, he is rewarded hy a sincere criticism and a word of encouragement from our leader and one-man art jury, Mr. Phiihrick. Challenge him with a few dauhs of paint, and he will fear- lessly enter the sketch and try to put his foot on the foreground or venture down the road to your center of interest. It is this possibility of being able to share one s impressions with his fellows, of being able to describe by the stroke of brush or pencil one s great enjoyment in nature s works that is the incentive of each member of this group, and. indeed, of all who endeavor in art. N.xthaniel J.xcobson, ’38 e st e f ONTRARY to public opinion, Mascart is far from a dead organization. AH activities taking place on the stage of the auditorium are responsible to Mascart. Most of the stage lighting and equipment used on such occasions is owned by Mascart. Mascart has prompted the school s costume design department to the gradual accumulation of an enviable and versatile supply of stage costumes . . . Mascart need not be obvious to flourish. In January of this year Mascart offered gratis for the enjoyment of the school an evening s performance by Sue Hastings world famous troupe of marionettes. An intelligent handful of students gratefully accepted Mascart s invitation, and were well rewarded. As this goes to press, Mr. Robert Delaney, who needs no introduction to the school, has just arrived from New ork to be with us the remaining two months of school. By producing a few one-act plays with casts selected mainly from the lower classes, lie hofies to prepare the [lersonnel of Mascart lor a larger and more active season lliis coming year. Donald Moss, 58 T j, ACH Monday afte moon our loyal band of Glee Club members bas rnet in tbe auditorium for tbe brief but joyful bour of a bit of vocalizing in every way, shape, and manner. Tbe first balf of tbe year we spent under tbe enlightening directorship of Mr. Marier, who successfufly coached us to provide music for Armistice Day and tbe Christmas pageant. Tbe latter balf of tbe year we have been under tbe supervision of Mr. Bleau, whose ability as a fine singer is an incentive for our own improvement. With Mr. Bleau s aid we gave an assembly of folk songs with a peppy round or two. An assembly program is required now and then, but we have tbe best times at our weekly meetings when we can relax and sing merely for tbe fun of it. Tbe ball may not vibrate with tbe volume of a hundred voices, but tbe spirit with which we sing more than makes up for our small number. It is our hope that tbe club will multiply its numbers in tbe future, and that more will join us in finding out what s in a song. Harriet Ross, ’39 HE Fresliman Ensemble, organized and directed by Dean Murray, made its first appearance before tbe assembly on Smock Day, tbe an- nual initiation of tbe fresbman class. Tbe ensemble represented its answering tbe welcome address witb Forget-Me-Nots. ’ Tbe small orchestra bas bad a large year. For several months, under Miss Murray s tutelage, its cellist, pianist, and two violinists provided atmo- sphere ’ at assemblies. During Christmas week orchestral music floated through the school halls, while artists, turned carollers, lined the staircases and filled the lobby with song. Entertaining at the Christmas spread brought the ensemble s first term activities to a climax. The coming of the new year marked the advent of a new director. Mr. Bleau is preparing the group to play at the Commencement exercises in June. On two important occasions during the year the freshman orchestra joined with that of the upper classes: the Armistice Day program and the Todd Lec- ture provided opportunity for display of their combined efforts. Kathi.een Burns, ’41 ' TTHH C ralt Ouild was orgcUiizecl for tlie f)nrpose of giving tliose inler- esteci a l)eller nnclerstaricling of liand crafts and tfie o|)|)ortunity of contacting craltsmen who are in the crafts field professionally or as a hohhy. 1 he Guild s first function, an Invitation Social, introduced new niein- hers to the organization. Miss Lennon and Miss Phill ips lectured on hlochprinting, exjilaining its many uses and demonstrating the coni[)lete process of making a print. In collahoration wi th the Junior Eastern Arts Association of Boston, the Guild presented the Red Gate Players in a successful shadowgra[)h per- formance. An interesting feature of the Christmas Spread was the Guild s grouping of holiday table decorations and its presentation of a continuous shadowgraph performance. Mrs. Timmins, a collector of old boxes, presented a fascinating talk on the variety of uses for them. Mr. Svenson, a well-known woodcarver, exhibited his work and gave a short demonstration of woodcarving before the group. 1 he Guild closes shop with an exhibition of work by members, having chosen woodcarving as a craft for the spring. Theodore Meinelt, ’38 AMILIAR art school figures steal noiselessly clown the darkening cor- ridors to their sanctum sanctorum where none hut the initiate dare enter. In the gloomy shadows they practice their art. Bats hover above their heads, heating their wings ominously. Bunnies appear and dis- appear, hopping from tall si Ik hats with the ease that comes o f long experience. Fumbling hands grow skillfid in the manipulation of cards, coins, large ker- chiefs, and ropes. Pieces of ribbon or newspaper, snipped in two, are mys- teriously restored at the command of the snipper. It’s vu ursclay allernoon again, and Magic liolds sway. oi K1 ingsor s magic tliis, nor tliat ol Me[)hislof)holes, but that rare skill wliich is develo()ed by long liours ol try, try again. May art students continue forever, by an (‘soteric wave? ol tlu hand and llie rc ' citing ol the necossary abracadabra, to suf)f)ly f ' .aster eggs, bunnies, and silkc ' n niullk ' rs. Mary M)ijnc,, cT, CviCiVi f HE Fencing Cl ul) offers to tfie school the thrill of the thnist, the parry, the touche. Those who accept the challenge know these thrills, the exciting hard keen fun to he had once the game is mastered. The members have found space to practice between the easels, and have started freshmen in this delightfid game, a sport that they may carry out of school, on to their later lives. Edward Goi.dman, ’5S Tl;cC (:u HE Camera Club is tbe youngest ol tbe clubs. Amateur photography is now an established part of the school. We have a dark room, the necessary equipment, and a good supply of enthusiasm. Almost any afternoon, after school, members can he seen hurrying down to the dark room to mix chemicals, develop films, or become engrossed in llie most interesting of all, enlarging. Not ordy are the members finding f)hotography a good fiohhy or sideline, hut also a keif) in tlieir art work. I he club expects, in the near future, to hold exhibitions ol its work in the school. SniRI.HY I MOMSON, jQ I f HE Art School Associates was incorporated in 1935, and in the same year moved from what is now the Student Association office to its present location. The enlarged quarters enabled the store to do a greater volume of trade, and each year this trade has grown. Through the cooperation of the faculty, the specific materials used hy the students make up the greater amount of stock in the store. Because of a small overhead, the store is able to sell the needed supplies at reduced retail prices. The profits are annually divided into nine scholarships, which are given to juniors and seniors. Employment as clerks is also provided for a number of students. The board of directors is drawn from the faculty of the school, the president of the Massachusetts School of Art serving as president of the board of di- rectors. On the board also is one member from each of the four classes. Lorne Craig, 39 f HlS actual printed and bound appearance of the year book seems per- haps more wonderful, more novel to us who made it than to you for whom it was conceived. W e have long known intimately every word and separate drawing which adorn its pages: we have envisioned and revised and finally patterned after our will these same stubborn pages; and at times the penumbra of our labors seemed to merge and mingle with the shadowy tasks of Hercules. But now that it is out of our hands, now that it is printed, the year book contains, we sense, something above and beyond what we put into it; and all our enormous labor seems strangely remote and unreal. Like a painting ex- hibited, like a play on opening night, the book has acquired a personality, a magic quality of its own, transcending its first humble beginnings among the type faces and the layout paper and the first drafts. And to us, in our pride, it seems very brave and bright and new. And when other year books shall come, to date its newness and dim its brightness, we hope that it may still be sincere and significant, a book to rep- resent us worthily among those that have gone before and are yet to come, in the chain of ' great dreams before us and deeds as great behind. As we look through old year books, marvelling at that strange race which wore its skirts and its hair so curiously, we find glimpses and hints and fragments of a time- less quality to add to the picture of our school and ourselves as of the school. And it wi 11 be enough if in tliis, our year book, we achieve lor ourselves and our times and our school a like measure ol snch quaint immortality. Susan Richfrt, jQ lA C VI VV 1 C c V� ti; members of tlie Year Book Staff, especially to our new faculty ad- visor, Mr. Roubound, and to all others whose cooperation, assistance, and advice have made this book possible, the Editor takes this oppor- tunity of expressing her thanks and sincere appreciation. A very large part of the credit of this hook goes to Gordon Mayo, Boniface Soliwocki, and Leonard Sansone, who had charge of the layout: to Susan Richert and Beatrice Holmes, the Literary Editors; and also to Vincent Ostrand. Other acknowledgments are to Nathaniel Jacobson, for the introduction to the Drawing and Painting Department; to Beatrice Holmes for her illustration of Snow White : to Bette Magnuson, for her decoration of ‘The Hindu Ballet ”; to Elizabeth Howard, for the introduction to the Costume Design Department; to Norman Brule, for his introduction to the Teacher Training Department; and to Harold Rosen- hloom. Credit is also due Victor Sindoni, for the End piece and the Ex-libris: Phyll is Poster, for the title page; and again Gordon Mayo, for the introduction to the General Design Department and the jacket design. Editor -in-Chief Mary Kittredge Assistant Editor Ella Coburn Senior Editors Gordon Mayo, Boniface Soliwocki Elizabeth Balcom, Joan Drew, Virginia Major Junior Editors Susan Richert, Beatrice Holmes Leonard Sansone, Victor Sindoni Sophomore Editor Peter Belitsos Faculty Advisors .... Mr. Roubound, Mr. Jamison, Mr. Philbrick the following insert, we are displaying student work representative of our school. The work was chosen because we felt that its original merit would he enhanced by reproduction in this special section. Catherine Clancy, Senior Costume Illustration Jacob Silverman Senior Drawing and Painling Jean Day Junior Drawing and Painting SlllHI.I Y I MOMSON Junior Drawing and Pai nting ' ' 1 Interior Oordon Mayo, Senior (General Design Forhine Magazine Clover Frances Chamherun, Senior C eneral Design Allison Macomber, Modeling Portrait VI c VI f VM C VI f E are quite lost by now Do not trouble to pity us. We have forsaken the dusty ways of the world For the mansions of Beauty. She has called us in to paint her portrait, Laughing idly and playing with a bit of lace. Here is a painting we will labor over forever, Nor reaching even the shadow of her face. We are so happily lost. Choosing our brushes with rapt concentration. We have forsaken all but this lady named Beauty -— Do not trouble to pity us. Joan Drew, ’38 CVliC V RCHITECrURE Past --- 1 aj Mahal Present Radio City Biography Stone’s Lust for Life Cartoonist Dahl Comedy Amphytrion 58 Color Blue Composer Past Beethoven Present Sihelius Composition Past Moonlight Sonata Present Einlandia Etcher Past Whistler Present — Pennell Elower — Gardenia Hobby Photography Illustrator Past Daumier Present Norman Rochweil Magazine General — Eortune Style Vogue Art Technical — Gehrauchsgraphih Weekly — Life Medium Water color Motion Picture Snow White and the Seven Dwarfs Motion Picture Actors Dopey Motion Picture Actress — Garho Myth — The Idylls of the King Mythological Character Rohin Hood Novelist Kenneth Roberts Opera Light The Eirefly Grand La Traviata Painter Past Rembrandt Present — Picasso Painting Past Blue Boy Present Speicher s Anna Poem Long In Memoriam Short Congo Sculptor Past — Rodin Present — Dallin Sculpture Past The Kiss Present Dallin s Paul Revere Short Story Dickens Christmas Carol Tragedy Othello RCHITECTURE Past Parthenon Present Lincoln Memorial Biography Merejkowski s Leonardo da Vinci Cartoonist Walt Disney Comedy The School for Scandal Color Blue green Composer Past Wagner Present Rudolf Eriml Composition Past — Schubert s Serenade Present — Ravel s Bolero Etcher Past Rembrandt Present — Prank Benson Elower Calla lily Hobby r— Dancing Illustrator Past Howard Pyle Present — ' J. C. Leyendecker Magazine General 1 lie Reader s Digest Style Vogue Art Technical — Art I3igest Weekly I lie Saturday I‘Aeriing Post Medium — Water Color Motion fhcTURE I mile Zola Motion Picture Actor Spencer Tracy Motion Picture Actress Luise Rainer Myth The Nihelungenlied Mythological Character Pan Novelist Charles Dickens Opera Light . — The Mikado Grand Lohengrin Painter Past Rembrandt Present Sargent Painting Past Mona Lisa Present Homer s All s Well Poem Long The Ruh aiyat Short Silver Sculptor Past Michelangelo Present Dallin Sculpture Past I fie Winged Victory ol Sa moth race Present — - I lie Apfieal to tlie Great Spirit Short Story I lie Pit and tlie Pendulum 1 RAGEDY — Romeo and Juliet