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

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.

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 16 text:

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.