WILLIAM M. CHASE GIVING A "TALK" TO HIS PAINTING CLASS AT THE ART STUDENTS' LEAGUE, NEW YORK. (The Art Students' League was organized some twenty-five years ago by a body of students, mostly from the Academy Schools, who were dissatisfied with the methods of teaching there. The school has been from the beginning self-supporting, and without endowment, though a few prizes have been presented by interested patrons. For a number of years the League held supremacy as the representative art school of the country; such men as William M. Chase, Carrol Beckwith, Walter Shirlaw, Kenyon Cox, George De Forest Brush having been among its instructors.) of understanding thoroughly the applied arts, such as pottery, embroidery, metal work, rug weaving, dyeing, etc. Probably no Arts and Crafts school in the country has shown such excellence in its output. Prof. E. Woodward, director of the Art Department, thus explains the admirable purpose of this school: The Art-Craft Building has become a clearing-house of all art school products and thus the old Italian bottega idea of keeping a shop, so to speak, finds a sort of reflection in our work. . . I am interested to see that the commercial idea so far from influencing the art product adversely has unquestionably im proved it. At Alfred Center, New York, Prof. F. Binns teaches his ceramic students to be chemists as well as modelers and designers. They know the pottery process from A to Z. Leon Volkmar, a pupil of his father, the pioneer potter, teaches the same scientific principles in the School of Industrial Art of the Pennsylvania Museum. This school, of which Leslie W. Miller has long been principal, conducts large classes in carpet weaving, and almost all the branches of applied design, as well as in illustrating, drawing, and painting. It is affiliated with the Museum, in Memorial Hall, Fairmount Park, which is under the charge of Edwin Atlee Barber, who makes a specialty of collecting early American pottery. In New York, the National Society of Craftsmen has rooms in the building of the National Arts Club. The club, of which the National Art Teaching Association two years ago at the Museum of Natural History, New York, and afterwards in London, showed how widespread was this correlating of drawing, coloring, and modeling with other forms of study, while the principles of decorative design and composition are taught more scientifically to-day than ever before, thanks to Prof. Arthur W. Dow, who at the Pratt Institute and the Teachers College has long conducted a strenuous course of Normal work, influencing art teaching far and wide. The Pratt Institute, under the directorship of Prof. Walter Scott THE CORCORAN GALLERY OF ART, WASHINGTON, D. C. Spencer Trask is President, and Charles de Kay an active member, interests itself in all New York art matters, and exhibits regularly the work of painters, sculptors, and more especially of craftsmen. TEACHING OF THE ARTS AND CRAFTS The Arts and Crafts movement has indeed permeated to the elementary schools and the kindergartens. The child is no longer limited to drawing cubes or spheres or to pencil lines. But the fingers that to-day hold the pencil to portray a floral form, may to-morrow model in wax or clay, or the next day cut in wood with a knife. In such schools as the Ethical Culture School in New York one sees art work closely correlated with all the other studies. THE PRATT INSTITUTE, BROOKLYN Perry, gives practical instruction in the arts and crafts to thousands of pupils. In some of our art schools, as the Art In The exhibition held under the auspices of stitute in Chicago, as soon as the students. Copyright. 1905, by the Rotograph Co. THE SCHOOL OF INDUSTRIAL ART OF THE PENNSYLVANIA MUSEUM, PHILADELPHIA THE NEW BOSTON MUSEUM OF FINE ARTS OPENED TO THE PUBLIC IN NOVEMBER, 1909 phia, Chicago, and St. Louis is of an academic standard quite on a par with the high standards of the French schools. FOREIGN SCHOLARSHIPS AVAILABLE The general art student as well as the art craftsman often gains much benefit from the art departments in the libraries. Frank Weitenkampf, Curator of the Print Department of the New York Public Library, arranges exhibitions of Whistler etchings, Dau Columbia University teaches architecture and the University of Pennsylvania and mier lithographs, and Japanese wood-cuts Harvard College give de Other influences working for the general art improvement are: The American Federation of Arts, with headquarters at Washington, of which F. D. Millet is secretary; the American Chapter of Architects, of which Glenn Brown is secretary, with its headquarters also in Washington; the Municipal Art Societies of New York and many other cities, the Society of Beaux-Arts Architects, which has established a course of study, modeled on the French system. While the directors and curators who are working to build up our museums and schools (besides those mentioned in our article) must not go unnamed. Among these are: J. H. Gest, of the Cincinnati Museum; William Henry Fox, of the John Herron Art Institute; James Simons, of the Gibbes Memorial Art Building; Mrs. Dunlop Hopkins, founder of the New York School of Applied Design for Women; Emily Sartain, of the Philadelphia School of Design for Women; Frank von der Lancken, of the Mechanics' Institute, Rochester; Miss G. I. Norton, of the Cleveland School of Art; George Raab, of the Layton Art Gallery; Frederick Dielman, of Cooper Union Art School; Frederick B. McGuire, of Corcoran Gallery of Art; Arthur Fairbanks, of the Boston Museum of Fine Arts; William M. R. French, of the Art Institute, Chicago; John M. Beatty, of the Carnegie Institute; William H. Goodyear, of the Art Institute. Brooklyn; James MacAllister, of the Drexel Institute, Philadelphia; A. H. Griffith, of the Detroit Museum of Art; George W. Stevens, of the Toledo Museum of Art; James Frederick Hopkins, of the Maryland Institute; J. C. Dana, Librarian of the Newark Public Library, and Miss Cornelia B. Sage, Assistant Director of the Albright Art Gallery, |