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

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.

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 17 text:

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.