Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

Page 29 text:

the best exhibition galleries of New York.” Consistently the exhibits gave full value to the lesser arts, opening as it did at the highest pitch of the “‘poster craze.” The paintings of William M. Chase, the sculpture of H. A. MacNeil, the ecclesiastical glass of J. R. Lamb, the exqui- site wares of the Tiffany Glass and Decorating Co. gave place in turn to Rookwood, Grueby and Volkmar pottery, to textiles, rugs, posters, and, even, butterflies and moths. Music, too, was a fine art, and while the singing classes were drilled in the “tonic-sol- fa’ system, the Music Department had its little day. The Department of Museums was soon des- ignated “The Technical Museum” aiming to be a collection “illustrating all those processes which have as their ends the production of artistic as well as useful objects.” Though dis- continued in its initial phase, it was the fore- runner of the public Museum of Science and Industry of today. In 1887 ‘“‘Woman’s Sphere” was generally admitted to have a place of distinction in the

Page 28 text:

beginning with Art included Women’s Depart- ment, Mechanic Art, Kindergarten, Commerce, High School, Music, Museums, Library. The Art Department now deliberately as- sumed character as devoted to the artistic im- pulses and manifestations of the day. It was the period of the Arts and Crafts movement, and the minor arts came into their own. Drawing became more serious, as freehand, architectural, mechanical, but pleasant diversions were of- fered in clay-modeling, wood-carving, art needlework, jewelry, metal-chasing, enameling, medal-work. The unmet want of teacher train- ing in the arts urged the creation of the Nor- mal Art Course of two to four years duration. Architectural Drawing led to Architectural Design, and later into professional Architecture. Thus grew up by natural transition the Depart- ment of Fine and Applied Arts. The Art Gallery, in the new Library Building opened in 1896, was a province of the Depart- ment, and many, varied and notable were the exhibits shown there in the earlier years. It was said of the Gallery that “‘it took its place among

Page 30 text:

ordering of human relations, and women them- selves were content to occupy their exclusive place under the sun. So there soon came about the Women’s Department at the Institute which took charge of all matters “domestic.” So much so, that two departments were evolved —Domestic Art and Domestic Science—Art having to do with sewing, dressmaking, shirt- waist-making and millinery—the two latter of special significance in the hey-day of the balloon-sleeve shirt-waist, and when women’s hats were monumental structures of flowers and fruits, feathers and ribbons, each resultant tri- umph of art and ingenuity termed a “‘creation.” Domestic Science embodied hygiene, nursing, cookery, laundry-work—definitely utilitarian. Art and Science were later merged into a com- mon cause as the Department of Domestic Art and Science, which, after a second brief separa- tion, took on new dignity when the term “Household”? was adopted, implying the growth of the work into trade and institutional im- portance. The Department of Mechanic Arts at first