International studio (48.1913)

Exhibition of National Society of Craftsmen

impression at the same time. And he is right.
The principles of advertising arrangement bear
the same relation to an advertisement that a well-
designed body does to a motor car. An efficient
engine is necessary, but graceful lines, lines that
suggest the motor car at its best, are also necessary
for the fullest expression of the motor car.
There are but ten short chapters in this book.
No reader will accuse the author of being prolix.
But each chapter makes its point, the language is
clear and easily understood, and any one engaged
in producing advertising or, for that matter, any
kind of printing, will find much that he can use to
his artistic and financial betterment. While some
of us may disagree with the author on some minor
points, still they are minor points. They have
more to do with his illustrations and applications
than with his principles. Besides, the book itself
in its foreword lays out so modest a program
and at the same time so inspiring a platform,
that this notice will close with Mr. Parsons’ own
words:
“The erroneous idea as to the meaning of art
and its application to industrial problems, more
particularly in the advertising field, is the reason
for this book. The term ‘prettiness,’ frequently
used as a synonym for art, gives an entirely wrong
impression. Pictures and drawings, particularly
in color, often pass for art objects when the Art in
them is too slight to be detected. Art is quality—
not mere material. Its elements are fitness and
beauty. The successful choice and arrangement
of materials of any kind must take into account
this art quality, because human intelligence de-
mands fitness in things. The same human being
loves and requires the element of beauty in all
objects with which he is associated.
“Art is a force and is, therefore, subject to laws
or principles. A knowledge of Art as a force in
advertising means a knowledge of the principles of
fit, arrangement and harmonious color. These are
common to every field of so-called Applied Art.
This modest effort is not calculated to exhaust the
subject. It is only a set of condensed abstracts
taken from ten lectures given before the Advertis-
ing Men’s League of New York City. Its aim is
to make clear some principles of form and color,
and to apply them specifically in some of the
fields of this important subject. If it proves to
the advertiser that ‘Order is heaven’s first law’; to
the business man that Quality, not Quantity,
counts, and to the public in general that color and
arrangement each speaks its own language, then it
will have done its work.”

SIXTH ANNUAL EXHIBITION, NA¬
TIONAL SOCIETY OF CRAFTS-
MEN
Some one hundred members of the
Society are represented in fifteen hundred or more
exhibits, including fine examples of jewelry, metal
work, ceramics, bookbinding, illuminating, leather
work, pottery, woodcarving, textiles, embroidery,
and basketry from craftworkers from all parts of
the United States.
The walls of the galleries are hung with beauti-
ful, soft-toned tapestries, some of which are old
and priceless, while others are American reproduc-
tions of the output of looms of the Middle Ages.
Exhibits of jewelry shown are the chains of
clouded amber and silver links, also the aba-
lone and pearl-blister necklaces Mary P. Gries
is exhibiting. In gold stickpins and rings she has
shown how harmonious and satisfactory is the
opal matrix, and has fashioned a true artist’s ring
in her lapis with the lotos design. Floyd N.
Ackley shows his famous “Moonlight” necklace, of
silver, moonstones, sapphires and pearls, which
was shown in the circuit exhibition of last winter
sent out by the American Federation of Arts.
His straight-lined ring set with pink topaz also
deserves mention.
The Metal Workers are well and ably repre-
sented. Mr. Samuel Yellin, of Philadelphia,
shows a wonderfully interesting collection of
wrought iron work, inspired undoubtedly by the
achievements of the medieval craftsmen, and the
spirit of the old work is admirably retained. The
exhibits range from examples of the best Gothic
period to those distinctly influenced by the later
Renaissance. Mr. Yellin has done much of the
metal work used in the cathedral of St. John the
Divine.
In the pottery exhibit it is evident that it has
been the endeavor of each individual potter to
show the best of his products. The Penman &
Hardenbergh pottery, made at Birdcliffe, is espe-
cially interesting, beautiful in texture and full of
individuality and distinction. Other potters
showing charming work of a high standard in
shape, texture and color, are the Marblehead, Wal-
rath, Van Briggle, Quaker Road, Fulper, Glen Tor,
and others. The Bowl Shop has a new variety of
children’s sets, attractive in design and in com-
bination of color. Among those showing beautiful
and interesting pieces are Dorothea Warren
O’Hara, J. Nuger, Mrs. K. E. Cherry, Mrs. Hodg-
son, Mrs. Hibler and Miss Crowell.

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