DOI Heft:
Nr. 161 (July, 1910)
DOI Artikel:Recent work in applied design
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0124
Recent Work in Applied Design
ARCHITECTURAL DRAWING BY C. R. VAIL
and red, is exceedingly well managed, as well as the
few streaks of white and the white in the center.
The conventionalized grape design is probably more
easy for the layman to identify than the butterfly
design. The trellis effect is striking and nature is
well simulated in the perpendicular stems of the
vine. The coloring is dark and exceedingly rich,
varying from rather light to a very dark purple,
which is almost black. The butterfly design re-
ceived the first award in the recent exhibition.
The exceedingly practical nature of the school is
instanced by the fact that all the instruction in the
use of the brush is to teach the students to work in
flat tints, so that a design may easily be copied in
silk, wall paper, or whatever material is used.
The elementary training in design is thorough and
no student can advance until she has mastered the
main principles. Every student must receive a cer-
tain number of eagles, or approval marks, before
she can progress.
Instruction is offered in various subjects, among
them dressmaking and architecture. The courses in
dressmaking were first given because of the many
applications for instruction in this branch of work.
In architecture the students of the school have done
particularly well, for they have won mentions at
exhibitions of the Society of Beaux Arts architects.
But in all the practical walks of life the students of
the school have made their way and have given
proof that the artist is not merely a dreamer, jostled
rudely in the race of life, but one who is able to bear
a part with distinction among the toilers of the
world. The school, moreover, seems to have an
important function in the life of New York City, for
it spreads knowledge of the true principles of art
and develops the artistic taste of people who are
only too frequently captivated by the tawdry and
commonplace. Is not the eighteenth century re-
nowned for the artistic taste of its craftsmen, who
represented the people at large rather than the upper
classes? Art must be thoroughly infused into the
people before it can really flourish.
Two or three great painters or art critics edu-
cated at the most noted universities are not what
we need, but artisans who, like the medieval
workmen, are really artists.
DESIGN FOR LOUIS XIV BY F. HAGARTY
TAPESTRY
XXVI
ARCHITECTURAL DRAWING BY C. R. VAIL
and red, is exceedingly well managed, as well as the
few streaks of white and the white in the center.
The conventionalized grape design is probably more
easy for the layman to identify than the butterfly
design. The trellis effect is striking and nature is
well simulated in the perpendicular stems of the
vine. The coloring is dark and exceedingly rich,
varying from rather light to a very dark purple,
which is almost black. The butterfly design re-
ceived the first award in the recent exhibition.
The exceedingly practical nature of the school is
instanced by the fact that all the instruction in the
use of the brush is to teach the students to work in
flat tints, so that a design may easily be copied in
silk, wall paper, or whatever material is used.
The elementary training in design is thorough and
no student can advance until she has mastered the
main principles. Every student must receive a cer-
tain number of eagles, or approval marks, before
she can progress.
Instruction is offered in various subjects, among
them dressmaking and architecture. The courses in
dressmaking were first given because of the many
applications for instruction in this branch of work.
In architecture the students of the school have done
particularly well, for they have won mentions at
exhibitions of the Society of Beaux Arts architects.
But in all the practical walks of life the students of
the school have made their way and have given
proof that the artist is not merely a dreamer, jostled
rudely in the race of life, but one who is able to bear
a part with distinction among the toilers of the
world. The school, moreover, seems to have an
important function in the life of New York City, for
it spreads knowledge of the true principles of art
and develops the artistic taste of people who are
only too frequently captivated by the tawdry and
commonplace. Is not the eighteenth century re-
nowned for the artistic taste of its craftsmen, who
represented the people at large rather than the upper
classes? Art must be thoroughly infused into the
people before it can really flourish.
Two or three great painters or art critics edu-
cated at the most noted universities are not what
we need, but artisans who, like the medieval
workmen, are really artists.
DESIGN FOR LOUIS XIV BY F. HAGARTY
TAPESTRY
XXVI