International studio (60.1916/1917)

Fanciful Drawings of Frederick J. IFaugh

caps and then I made careful drawings of roots
and placed these little people near them, and by
and by I began to think it would be a good plan
to form a story or a series of stories about these
drawings. I had made about ten of them before
I left Monhegan. When I came back from Mon-
hegan with those drawings and some large boxes
of Mune parts the following winter, I made the

ture form, for I have always been a sculptor by
nature, it being easier to me than painting or
drawing, and I studied modelling under Thomas
Eakins in the Pennsylvania Academy.
“To sum up all, I now find myself a success-
ful sea painter in possession of a new vocation,
which is really older than the marine painting,
being the thing I was born with. What it will
lead to is to be continued in our next.”


Copyright by Charles Scribner’s Sons
A MUNE BY FREDERICK J. WAUGH
pieces of wood into figures in my Montclair studio,
and then made more drawings of them. All this
time I’d been despairing of ever being able to
write appropriate stuff to go with the drawings,
until one evening the whole thing dawned upon
me and I wrote the first draft of the story which
I afterwards, as you know, corrected and slightly
changed. I am going to model in clay some of
the characters in the story and use them in sculp-
LII

|~^ HANEY ON INDUSTRIAL ART
“Our industrial art instruction, the
country over, is shockingly deficient. Even New
York, the biggest manufacturing city on the con-
tinent, has no industrial art school of its own.
“We do not even know how far we are behind
and so have taken practically no steps to unite
our forces wrhich might lead for industrial art
supremacy. Before the war these lessons were
apparent, but as the war has progressed our fail-
ure to recognize our industrial art opportunities
has become more and more clear. Our art socie-
ties should unite to advance the industrial arts.
Most of our artists in the trades are mere copy-
ists, sponging on the work of men in Paris and
other Continental cities. There is no need of
this. We have the skill, but we do not know how
to use it. Twenty-five years ago there was vir-
tually no market for American landscapes. A
canvas had to bear the mark of Paris or Munich
upon it to be acceptable. Thanks to intelligent
action on the part of a few scores of people, the
American landscape school is now known through-
out the world, and the American landscape
painter has reaped the reward of this recognition.
“Exactly this same thing is possible along the
lines of industrial design. What we need is co-
operation between art society and manufacturer.
We need an industrial art committee of the
Board of Trade; an industrial art committee of
the Board of Education; an industrial art com-
mittee of the Fine Arts Federation. We need
scholarships for talented pupils; we need indus-
trial art courses in a dozen different high schools
in which these pupils can early be trained. We
need an industrial art school of our own with a
dozen to a score of different courses, forwarding
the student directly into the industrial art trades.
“All this costs money, but more than this, it
costs interest and attention. The money it costs
is not a tithe of what the city loses yearly.”