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

Page 14 text:

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.

Page 13 text:

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.

Page 15 text:

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.