Rhode Island School of Design - Portfolio Yearbook (Providence, RI)

Page 15 text:

STUDENT BOARD OF GOVERNORS ARTHUR WILLIAM HEINTZELMAN MARION RAY HAWES MARGUERITE E. FIDLER JOHN ARNOLD CRANSTON HOPE CURTIS DAVIS ALICE MARY GREEN WILLIAM M. TILTON CHARLES S. OATMAN GERTRUDE E. VALE EDITH C, COE ROBERT F. SHAW GEORGE ALBERT WATSON ROBERT A. COOK DANIEL V. McGEOUGH EXECUTIVE COMMITTEE JOHN ARNOLD CRANSTON, President WILLIAM M. TILTON, Secretary ARTHUR WILLIAM HEINTZELMAN MARION RAY HAWES MARGUERITE E, FIDLER

Page 14 text:

JOHN H. HILL, Machine Shop Work. JOHN W. BROMLEY, Machine Shop Work. WILLIAM H. WHITAKER, Machine Shop Work. GEORGE H. KELLEY, Mathematics. PERCY T. PHILLIPS, Jacquard Design. A. J. DOBBINS, Weaving, Loomfixing. MILES R. MOFFATT, Textile Chemistry. FREDERICK G, KEYES, Textile Chemistry. ROBERT BAIN, Jewelry Design. FINN O. ER ICHSON, Jewelry Design. CHARLES B, FULLER, Jewelry Drawing.

Page 16 text:

AS TO SCHOOLS OF DESIGN HE Cynic grinned at Common Sense, as he turned to the Artist. “Here’s a poser for you,” he said, “Why is a School of Design?” The Artist shifted his pipe. “T’ll tell you,” he started quickly, “you see—” “He’s off again,” groaned Common Sense. “Why did you start him? Now we'll hear for the thousandth time all about the awakening of the Na- tional Art Consciousness, when he means the individual artist’s conceitedness, and the uplifting power of the Ideal, instead of the levelling power of the dol- lar, and———” “Oh fiddlesticks!” broke in the Artist, “you pride yourself so on your practicality that you let it blind you to the fact that this world is to be lived in for far other purposes than the mere gaining of a livelihood. But if it can be proved to you that more money can be made from a thing by its having some of that quality you are taught to call artistic, then you will ad- mite the almost human intelligence of the ‘artist chap’ who did it—reduce it all to a money basis, and forget that to do it the artist must have dreamed dreams and seen visions—have been fed in the spirit rather than in the flesh—” “Don’t you think the Artist is getting rather stout?” asked the Cynic of Common Sense. “Yes; and also away from the subject.” “Not at all,” cried the Artist. “If a School of Design were merely a place where the hands were taught to be a little more skillful it might be argued about in terms of dollars and cents instead of ideals and aspirations éf “And pray tell me,” interrupted the Cynic, “what are the idealistic aspira- tions of a man who is weaving cloth for ‘pants’ at so many cents per yard?” The Artist sighed. “He may not have any, but he should have. There is as much difference in the beauty of a good and a bad design for trouser cloth, relatively, as there is in the figure of the Apoxyomenos and ! “And mine, for instance,’ put in Common Sense. “And who is the Apox- yomenos ?” “And the St. Gauden’s Lincoln, I was going to say.” “But I thought you admired the Lincoln,” said the Cynic. “] do, immensely. But it has spiritual beauty, not physical, and it was the ideals and aspirations of the sculptor that made it possible for him to make a masterpiece of an acknowledgedly unbeautiful subject—a man in modern clothes.”