Newark School of Fine and Industrial Art - Fawcett Yearbook (Newark, NJ)

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JEWELRY DESIGN EWE LS are older than houses, older than pottery, older than clothing, The oldest of all—early Neo- lithic necklaces of teeth, pendants of ammonite, fos- sil shells and strange pierced stones—show man’s first crude attempts at ornamental jewelry. That the jewelry craft is an old one is shown by pieces dating back to 8ooo B. C. unearthed in Egyptian tombs and the many and recent excavations testify to early man’s achievements and superlative skill. Examples of historic jewelry of ancient and medieval times may be seen in museums of almost every country. Jewelry in those days was not made for the masses. It represents the work of the finest artists often patronized and maintained by kings, their favorites and nobles, who counted not the cost but demanded excellence. A study of historic jewelry will reveal that each piece is the product of a cycle or period in art. Civilizations have risen and declined and in passing have left us a record of their splendor written in their ornaments. A study of modern jewelry shows that we have already passed through several cycles in which ornament has been influenced by the past and the beauty of the ages has repeated itself. Today we stand at the beginning of a new era in jewelry design. The wave of modernism which has influenced painting, music and in- terior decorating is now evident in jewelry. The keynote is sim- plicity. Straight lines are set at severe angles and strong con- trasts of color are obtained with stones precious and semi-precious cut to every shape imaginable and held in place in the most dis- creet settings. A designer of modern jewelry must be a creative artist. He must have a sound knowledge of the principles of design in gen- eral, plus a knowledge of the particular materials used and their limitations. He must also be familiar with historic and modern ornamentation. : The Fawcett School through its course in jewelry design is making this knowledge available and as the manufacture of jew- elry is one of the important industries of Newark the influence of Fawcett is invaluable and makes. a distinct contribution to Newark. EDITH GUSTAFSON ’28 [ 19 ]

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The crowd slowly dispersed, and I found myself separated from those I was with and wandering aimlessly alone, when I was suddenly awakened from my musings by the loud honking of a horn and the crunching grinding of brakes. I looked up startled and beheld the most beautiful car I had ever seen. A liveried chauffeur and assistant sat in front. I wondered who the owner might be of such a high-class car, when lo! and behold! as I looked there sat Gerard W. Hesselgren and his wife, the former Marie Fiorito. After much rejoicing at seeing these old friends they told me they had a studio in New York and had just arrived from a trip around the world. A magnificent granite structure next caught my gaze. What can this building be? ‘The Fawcett School of Industrial Arts! —now the outstanding art school of the entire country. Turning around I beheld our genial Mr. Philip Wagner. We chatted together in front of the school. Along came Steve Hanratty, now a distinguished citizen of great wealth. Another surprise was in store for me. Along came Sid Knoller and Mrs. Knoller, who had lots of news for me. They told me that Irma Losi was now editor of “Vogu e” and although she retained her maiden name for business purposes, she was happily married, and the lucky man was Leo Kabis, a successful architect. Regina Shillcock was now Mrs. Thomas Jones, both successful in their respective lines, she as a costume designer and Tom as a poster artist. Dorothy S. Breman was now a great portrait painter and the wife of Frankie DePaulo, automobile racer. Miss Lietta Troiani had married a millionaire, and occasionally visited Fawcett. And the smiling Mabel Reisig married a sculptor of national reputation. After listening to all these pleasant surprises, I expressed a desire to see the interior of Fawcett. From classroom to classroom I went. My admiration for Miss Marguerite Marquart became more pro- found, because it was mainly through her untiring efforts that the new school became a realization. I expressed a desire to be alone. I wanted to dream about my old classrooms and hear Mr. Klein- feldt say, “You must learn to see,” and Mr. Gussow impress upon me the importance of using reds and greens—and the smiling Mr. Brown tell me to get more action in my drawing. As I mounted the elevated monorail on the way to my little suburban home, I thought of the various pleasing events that had happened during the last few days. Surely it was something that will be remem- bered; something that will leave an impression which time alone can efface. With thoughts of fervent love for my old classmates and of deep gratitude to my teachers welling up in my bosom I was about to step from the— “Cyril, this is the third time I’ve called, do you hear?” And I heard. CyriL A. Horn, ’28 [ 18 ]

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INTERIOR DECORATION T is a known fact that the history of decoration is inter- woven with the history of mankind. The most prim- itive peoples had a desire, very crudely expressed it is true, to make their dwelling places individual and of interest to themselves. A rude doorway, hewn from a panuie tree, was carved in a curious notched effect of geometric design. A little stool was covered with the skin of ante- lope or deer; it too was decoratively carved. The jungle grass, carefully woven for the roof, is the forerunner of the later thatch. With highly civilized races this inborn desire for beauty again finds outward expression in the home but now the setting must be more complex and, from the bewildering variety and range of objects available, the difficulty is to select just those things which will prove harmonious and “right” in order that a suitable and distinc- tive setting for a home and its inhabitants may be created. Charm is not achieved by blindly following the period work of the past. The only effect worth attaining is a gracious and enduring one— one that accentuates the personality of the occupant, as well as the dignity and comfort of the home. First of all, one must answer this question “What do I wantr” There may be decided ideas about the basic period to be used. Perhaps walls of rich brown pine would prove an interesting background. Certainly the decorative treatment of walls, as well as the height of the ceilings and the general size of the room, re- quires careful consideration. Should drapery and rugs be strongly contrasted in color, then one will accentuate the other. Again, one tone throughout may be better with the particular furniture to be used; the effect is softer. In this way a general idea is worked out. Odd to relate, it is usually by a gradual elimination of previous ideas that a concrete decorative scheme is evolved. All of the essentials having been decided, including the lighting effect upon draperies, it is time to think of accessories, and it is highly im- portant that these decorative objects be happy in their enviroment —that they be a truly intimate expression of their owner—for under their magic, what might at first glance have appeared a slightly cold room becomes a living thing of personality. It is impossible to over-estimate the influence exercised by one’s surroundings. A home furnished with a view to the comfort and convenience of the occupant, and in good taste, is a lasting source of enjoyment and of quite legitimate pride, and it is no more ex- [ 20 |