National Art Education Association

Art Museum News and NotesAuthor(s): Burt WassermanSource: Art Education, Vol. 16, No. 3, International School Art Program Issue (Mar., 1963), pp.22-24Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190513 .

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BURT WASSERMAN

art museum news and notes

A New Low A prominent American publisher of art books and

reproductions has recently presented his latest product to the buying public: reproductions of paintings that are "near original." The pictures, in color, are mounted on canvas after being impressed with a die simulating the brush strokes of the copied work. These "birds of paradise" even come complete with their own "golden cages"-ornate frames, brass name

plates, and reflector lights to be attached over the frames. Each reproduction and its housing costs only five cents less than thirty dollars.

While these reproductions are apparently intended for "glorifying" homes, I can not help but wonder when a pitch will be directed toward art educators and school administrators with a view toward using these reproductions as instructional visual aids and/or decorative trimming for school walls.

Frankly, I am troubled by the basis of the manu- facturer's appeal. Isn't this a new low in vulgarity- to suggest that reproductions, through the use of

"tricky" production techniques, can be anything like

genuine, original oils by great masters? Surely this

appeal to pretentiousness is still another affront to the taste and intelligence of cultivated people.

What especially disturbs me is the fact that for what these "near original" copies cost, individuals

and/or schools could purchase original graphic work of first-rate quality that could be used instructionally or as objects to be lived with in the home. I have long wondered why art teachers do not utilize school funds for the purchase of original graphic work by living artists. What better way for students to learn about the dynamics of visual expression and design than

through contact with original contemporary art in school? Amounts up to $100 could be utilized annually out of materials budgets for the purpose, or a separate budget item could be set up for this purpose. Why shouldn't each school have an art collection for in- structional use just as it has a library for instructional use? When money is spent for materials that are not always used and when qualitative original graphic prints (not reproductions) can be bought for as little as ten dollars (some, such as Maillol wood-cuts

Dr. Burt Wasserman is associate professor of Art at Glassboro State College, Glassboro, New Jersey.

or Daumier lithographs, for even less), one wonders why art teachers are not doing more about this.

Shows Worth Seeing The work of one of Worcester's best-known color

photographers, Daniel Farber, will be on view until April 17 in gallery 431 of the Worcester Art Museum (Massachusetts). This show continues to reflect the interest in photography evidenced by the museum in their recent exhibition, "Ideas in Images."

Farber's show, titled "Reflections: Color Photo- graphs" consists of 19 pieces. They are 13" x 19"

enlargements, made by dye transfer process from 35 millimeter transparencies.

The exposures were made in Provincetown and Boston harbors, showing the colors of fishing boats and/or wharves reflected in the water. The colors flow

together, and because of the motion of the water, objects are not recognizable. They are thus photo- graphic abstractions of the subject matter. Farber's work has previously been exhibited at the Province- town Art Association and at the University of Massa- chusetts Art Festival.

The Albright-Knox Art Gallery of Buffalo (New York) is featuring the 27th Annual Western New York Exhibition until March 31. The show was juried by critic Katherine Kuh, painter Hedda Sterne, and

sculptor-designer Harry Bertoia. Incidentally, the

Albright-Knox permanent collection was recently enriched by the acquisition (by gift) of Gotham News, one of Willem de Kooning's high-point paintings of the mid-1950's.

Art educators in the vicinity of Central-Western New Jersey should become familiar with the Hunter- don County Art Center in the Old Stone Mill at Clinton. On Sunday, March 31, they will hold an

opening reception for their seventh Annual National Print Exhibition. The show will stay on view until

May 15. The Center features a very full regular schedule of concerts, exhibitions, stage productions, social activities, and classes for children and adults.

Until March 31, the Fine Arts Gallery of San Diego (California) will be presenting two notable shows: "Carved Chinese Ivories" and the "Southern Cali- fornia Artists Guild Spring Exhibition."

A rather lush publication, Treasures from the Na- tional Gallery, was recently placed on sale by the

ART EDUCATION 22

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National Gallery of Art in Washington, D.C. In- cluded are 85 large color plates illustrating master-

pieces from the gallery's collection. Priced at $25 (post paid), this might well make a valuable contribu- tion to a school library.

NAEA members in the Washington, D.C., area

might enjoy attending a lecture on Yuan Chiang and the Fantastic Landscape in China to be delivered by Dr. James Cahill at the Freer Gallery of Art on Tues-

day, April 16, at 8:30 P.M. There is no admission fee. "Treasures of Versailles," an exhibition being circu-

lated by the French government Ministry of Culture, will be at the Los Angeles County Museum (Cali- fornia) until April 28. Simultaneously, at the other end of the country, another show sponsored by the French government, "Barbizon Revisited," will be on view at the Boston Museum of Fine Arts.

Another show in Boston, at the Boston University Art Gallery, will present an exhibit of work by seven

sculptors from Boston and New York. The exhibition, which may be seen between March 22 and April 20, was arranged by Harold Thurman, acting director of the gallery.

Until March 24, the Reading Public Museum and

Gallery (Pennsylvania) is showing an art exhibition of work from Kutztown State College. This is a novel twist, since the more frequent practice is for

college art departments to show work loaned from museums and galleries. Perhaps more showings of this

type should be tried. The first major loan exhibition of American decora-

tive art, paintings, and prints in 20 years went on display in the American Wing of the Metropolitan Museum of Art in New York City on March 8. The

objects, many of which have never been exhibited

publicly before, come from 63 private collections throughout the country. The exhibition is sponsored by the Friends of the American Wing, a group of interested private collectors. The show will close on

April 28. This show, entitled "American Art from American

Collections," covers the Colonial and Federal periods, roughly a hundred-year span from the 18th to the

early 19th century. More than 250 objects will be dis-

played, including furniture, silver, glass, porcelain, miniatures, paintings, and prints.

The great cabinet workshops of New England, New York, Pennsylvania, and Maryland will be repre- sented by furniture attributed to such craftsmen as John Townsend, Benjamin Frothingham, Duncan

Phyfe, and Henry Connelly. The major styles of the

period, Queen Anne, Chippendale, Hepplewhite, and Sheraton are seen in chairs, tables, highboys, and chests. Over 30 silver items display the skills of such smiths as John Burt, Jacob Hurd, and Paul

Revere of Boston, and Adrian Bancker, George Rid- out, and Myer Myers of New York. Ceramics are represented by a charming menagerie of porcelain birds and animals which were manufactured in China for the American market. From the glass manufac- turers of Ohio and New Jersey come fine examples of blown and blown three-mold glass, including a rare witch's ball.

Portraits by some of America's best-known Colonial artists include works by John Wollaston, John Single- ton Copley, Thomas Sully, and various members of the Peale family. A group of rare prints, drawings, water colors, and miniatures will be arranged to show "Views of New York" and "Historical Scenes and

Personages." Historical scenes include naval battles from the War of 1812, Revolutionary War battles- the Battle of Bunker Hill and the Boston Massacre- and Congress voting independence. Among the prints is a "View of the Boston Light House" by the engraver William Burgis, which was the first mezzo-tint done in the colonies by a native American.

To Show Your Creative Work

Potsdam National Print Exhibition (Graphics) April 19-May 15. Entries due by April 15. Write for

prospectus and entry forms to: Marvin Garner, Chair- man, Art Department, State University College, Pots- dam, N.Y. (Open to residents of all states.)

Connecticut Academy of Fine Arts 53rd Annual Exhibition (Oils, sculpture, graphics) April 6-28. Entries due March 27. Write to: Louis J. Fusari, Sec- retary, P.O. Box 204, Hartford, Conn. (Open to resi- dents of all states.)

Allied Artists Guild Spring Show (Oils) Entries due April 13. Write to: Allied Artists Guild, 307 E. 37th St., New York 16, N.Y. (Open to residents of all states.)

1963 Mid-American Annual Exhibition (All paint- ing media, sculpture, graphics) May 2-June 3. Entries due March 25 to April 6. Write to: Mrs. Cecil Carsten- son, Executive Secretary, 4525 Oak St., Kansas City 11, Mo. (Open only to residents of Missouri, Iowa, Arkansas, Oklahoma, Kansas, Nebraska, Colorado, and New Mexico.)

Mead Painting of the Year Annual (All painting media) April 21-May 25. Work due until March 31. Write to: Nina Kaiden, Ruder and Finn, 130 E. 59th St., New York 22, N. Y. (Open only to residents of

Alabama, Florida, Georgia, Louisiana, Mississippi, North and South Carolina, Tennessee, Virginia, Mary- land, District of Columbia, Ohio, Indiana, Illinois, Iowa, Michigan, Wisconsin, Minnesota, Kentucky, West Virginia, and Missouri.)

MARCH 1963 23

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Like from Heaven An entire collection of woodcuts, etchings, and litho-

graphs by Edvard Munch has been recently added to the permanent collection of the Art Institute of

Chicago. The 81 works by the Norwegian master were first

assembled by the German critic, J. B. Neumann. Architect Mies van der Rohe purchased the collection after World War II and brought it to America. A number of the prints were shown at the Museum of Modern Art, New York City, during a Munch exhibi-

Like from Heaven An entire collection of woodcuts, etchings, and litho-

graphs by Edvard Munch has been recently added to the permanent collection of the Art Institute of

Chicago. The 81 works by the Norwegian master were first

assembled by the German critic, J. B. Neumann. Architect Mies van der Rohe purchased the collection after World War II and brought it to America. A number of the prints were shown at the Museum of Modern Art, New York City, during a Munch exhibi-

Like from Heaven An entire collection of woodcuts, etchings, and litho-

graphs by Edvard Munch has been recently added to the permanent collection of the Art Institute of

Chicago. The 81 works by the Norwegian master were first

assembled by the German critic, J. B. Neumann. Architect Mies van der Rohe purchased the collection after World War II and brought it to America. A number of the prints were shown at the Museum of Modern Art, New York City, during a Munch exhibi-

Like from Heaven An entire collection of woodcuts, etchings, and litho-

graphs by Edvard Munch has been recently added to the permanent collection of the Art Institute of

Chicago. The 81 works by the Norwegian master were first

assembled by the German critic, J. B. Neumann. Architect Mies van der Rohe purchased the collection after World War II and brought it to America. A number of the prints were shown at the Museum of Modern Art, New York City, during a Munch exhibi-

tion, but many are little-known works of the "Father

of Expressionism." In acquiring the Munch Collection, the Art Institute

continues its tradition of acquiring as many as possible of the works of important creative artists. The gallery's Prints and Drawings Department is noted for its exten-

sive or definitive collections of works by Gauguin, Redon, Toulouse-Lautrec, and others. The addition of

the 81 works by Munch greatly enhances the Art

Institute's total collection. What a windfall for resi-

dents of and visitors to the "Windy City"!

tion, but many are little-known works of the "Father

of Expressionism." In acquiring the Munch Collection, the Art Institute

continues its tradition of acquiring as many as possible of the works of important creative artists. The gallery's Prints and Drawings Department is noted for its exten-

sive or definitive collections of works by Gauguin, Redon, Toulouse-Lautrec, and others. The addition of

the 81 works by Munch greatly enhances the Art

Institute's total collection. What a windfall for resi-

dents of and visitors to the "Windy City"!

tion, but many are little-known works of the "Father

of Expressionism." In acquiring the Munch Collection, the Art Institute

continues its tradition of acquiring as many as possible of the works of important creative artists. The gallery's Prints and Drawings Department is noted for its exten-

sive or definitive collections of works by Gauguin, Redon, Toulouse-Lautrec, and others. The addition of

the 81 works by Munch greatly enhances the Art

Institute's total collection. What a windfall for resi-

dents of and visitors to the "Windy City"!

tion, but many are little-known works of the "Father

of Expressionism." In acquiring the Munch Collection, the Art Institute

continues its tradition of acquiring as many as possible of the works of important creative artists. The gallery's Prints and Drawings Department is noted for its exten-

sive or definitive collections of works by Gauguin, Redon, Toulouse-Lautrec, and others. The addition of

the 81 works by Munch greatly enhances the Art

Institute's total collection. What a windfall for resi-

dents of and visitors to the "Windy City"!

books in review books in review books in review books in review

The Worm, the Bird, and You, by Leonard Kessler, New York, Dodd, Mead & Co., 1962. 64 pages, price $3.25.

Subtitled, "A Long and Short Look at the World About You," the work is an attempt to teach aerial and linear perspective to the six- and seven-year-old. Attractively illustrated by the author and designed for the beginning reader, Kessler's aim is to develop within the reader a new kind of personal seeing. Utiliz- his "worm's-eye-bird's-eye-you-eye" approach to

viewing, the author optimistically hopes that the child will be enabled to represent in his drawing high, middle, and low viewpoints in perspective. His use of the railroad track stereotype is, however, somewhat less inventive.

Despite the developmental questionability of his aim to teach perspective to the six- and seven-year-old, Kessler does effectively use a child-centered and psy- chologically organized approach that is effective with the primary age child. The author also does a good job of integrating his somewhat childlike sketches with im-

portant questions about the child's personal seeing, stressing his viewing of objects near and far, high and low~,small and large. Though the book is perhaps limited in realizing its primary aim, children will find it interesting. Primary grade teachers may also find it useful in provoking children to find new and per- sonally more expressive space concepts in their crea- tive work.

The Art of Ancient Egypt, by Shirley Glubok, New

York, Atheneum Publishers, 1962. 48 pages, price $3.95. A handsome photographic collection of Egyptian

artifacts selected from museums throughout the world with accompanying descriptions suited to the reading abilities of the intermediate school age child. Included

The Worm, the Bird, and You, by Leonard Kessler, New York, Dodd, Mead & Co., 1962. 64 pages, price $3.25.

Subtitled, "A Long and Short Look at the World About You," the work is an attempt to teach aerial and linear perspective to the six- and seven-year-old. Attractively illustrated by the author and designed for the beginning reader, Kessler's aim is to develop within the reader a new kind of personal seeing. Utiliz- his "worm's-eye-bird's-eye-you-eye" approach to

viewing, the author optimistically hopes that the child will be enabled to represent in his drawing high, middle, and low viewpoints in perspective. His use of the railroad track stereotype is, however, somewhat less inventive.

Despite the developmental questionability of his aim to teach perspective to the six- and seven-year-old, Kessler does effectively use a child-centered and psy- chologically organized approach that is effective with the primary age child. The author also does a good job of integrating his somewhat childlike sketches with im-

portant questions about the child's personal seeing, stressing his viewing of objects near and far, high and low~,small and large. Though the book is perhaps limited in realizing its primary aim, children will find it interesting. Primary grade teachers may also find it useful in provoking children to find new and per- sonally more expressive space concepts in their crea- tive work.

The Art of Ancient Egypt, by Shirley Glubok, New

York, Atheneum Publishers, 1962. 48 pages, price $3.95. A handsome photographic collection of Egyptian

artifacts selected from museums throughout the world with accompanying descriptions suited to the reading abilities of the intermediate school age child. Included

The Worm, the Bird, and You, by Leonard Kessler, New York, Dodd, Mead & Co., 1962. 64 pages, price $3.25.

Subtitled, "A Long and Short Look at the World About You," the work is an attempt to teach aerial and linear perspective to the six- and seven-year-old. Attractively illustrated by the author and designed for the beginning reader, Kessler's aim is to develop within the reader a new kind of personal seeing. Utiliz- his "worm's-eye-bird's-eye-you-eye" approach to

viewing, the author optimistically hopes that the child will be enabled to represent in his drawing high, middle, and low viewpoints in perspective. His use of the railroad track stereotype is, however, somewhat less inventive.

Despite the developmental questionability of his aim to teach perspective to the six- and seven-year-old, Kessler does effectively use a child-centered and psy- chologically organized approach that is effective with the primary age child. The author also does a good job of integrating his somewhat childlike sketches with im-

portant questions about the child's personal seeing, stressing his viewing of objects near and far, high and low~,small and large. Though the book is perhaps limited in realizing its primary aim, children will find it interesting. Primary grade teachers may also find it useful in provoking children to find new and per- sonally more expressive space concepts in their crea- tive work.

The Art of Ancient Egypt, by Shirley Glubok, New

York, Atheneum Publishers, 1962. 48 pages, price $3.95. A handsome photographic collection of Egyptian

artifacts selected from museums throughout the world with accompanying descriptions suited to the reading abilities of the intermediate school age child. Included

The Worm, the Bird, and You, by Leonard Kessler, New York, Dodd, Mead & Co., 1962. 64 pages, price $3.25.

Subtitled, "A Long and Short Look at the World About You," the work is an attempt to teach aerial and linear perspective to the six- and seven-year-old. Attractively illustrated by the author and designed for the beginning reader, Kessler's aim is to develop within the reader a new kind of personal seeing. Utiliz- his "worm's-eye-bird's-eye-you-eye" approach to

viewing, the author optimistically hopes that the child will be enabled to represent in his drawing high, middle, and low viewpoints in perspective. His use of the railroad track stereotype is, however, somewhat less inventive.

Despite the developmental questionability of his aim to teach perspective to the six- and seven-year-old, Kessler does effectively use a child-centered and psy- chologically organized approach that is effective with the primary age child. The author also does a good job of integrating his somewhat childlike sketches with im-

portant questions about the child's personal seeing, stressing his viewing of objects near and far, high and low~,small and large. Though the book is perhaps limited in realizing its primary aim, children will find it interesting. Primary grade teachers may also find it useful in provoking children to find new and per- sonally more expressive space concepts in their crea- tive work.

The Art of Ancient Egypt, by Shirley Glubok, New

York, Atheneum Publishers, 1962. 48 pages, price $3.95. A handsome photographic collection of Egyptian

artifacts selected from museums throughout the world with accompanying descriptions suited to the reading abilities of the intermediate school age child. Included

are sculpture, toys, pottery, and objects of everyday use including books, furniture, and games used by

Egyptian men, women, and children. The author pro- vides a limited amount of factual information on each of the art objects, describing its construction and use and the cultural factors affecting its form.

In attempting to state facts simply and make them

directly understandable to the elementary school child, author Glubok's descriptions of Egyptian artistic con- ventions become, at times, oversimplified to the degree that both historic fact and potential meaning are obscured. Unfortunately, the book places too much

emphasis upon diluted fact rather than on applications that have direct meaning to the child and his own creative effort.

Despite these apparent weaknesses, the author has

made a significant attempt to bring the art of ancient

Egypt to the young child. Though the content is organ- izationally weak, the objects utilized are visually at-

tractive and psychologically suited to the interests of

the young student. Surely one of the better art history references for young children, it should have real

value as supplementary reading in the elementary school classroom.

The American Library Compendium and Index of World Art, by American Archives of World Art in

Association with American Library Color Slide Co., New York, 1961. 465 pages, price $35.

An art compendium and index including 60,000

listings derived from 30,000 works of art listing his-

torically important works of art by title, date, medium, the name and dates of the artist, period and country of origin, and present location. The works of the artists

are arranged chronologically and alphabetically in

four divisions: (1) architecture, (2) painting, (3)

sculpture, and (4) the minor arts. Each division con-

are sculpture, toys, pottery, and objects of everyday use including books, furniture, and games used by

Egyptian men, women, and children. The author pro- vides a limited amount of factual information on each of the art objects, describing its construction and use and the cultural factors affecting its form.

In attempting to state facts simply and make them

directly understandable to the elementary school child, author Glubok's descriptions of Egyptian artistic con- ventions become, at times, oversimplified to the degree that both historic fact and potential meaning are obscured. Unfortunately, the book places too much

emphasis upon diluted fact rather than on applications that have direct meaning to the child and his own creative effort.

Despite these apparent weaknesses, the author has

made a significant attempt to bring the art of ancient

Egypt to the young child. Though the content is organ- izationally weak, the objects utilized are visually at-

tractive and psychologically suited to the interests of

the young student. Surely one of the better art history references for young children, it should have real

value as supplementary reading in the elementary school classroom.

The American Library Compendium and Index of World Art, by American Archives of World Art in

Association with American Library Color Slide Co., New York, 1961. 465 pages, price $35.

An art compendium and index including 60,000

listings derived from 30,000 works of art listing his-

torically important works of art by title, date, medium, the name and dates of the artist, period and country of origin, and present location. The works of the artists

are arranged chronologically and alphabetically in

four divisions: (1) architecture, (2) painting, (3)

sculpture, and (4) the minor arts. Each division con-

are sculpture, toys, pottery, and objects of everyday use including books, furniture, and games used by

Egyptian men, women, and children. The author pro- vides a limited amount of factual information on each of the art objects, describing its construction and use and the cultural factors affecting its form.

In attempting to state facts simply and make them

directly understandable to the elementary school child, author Glubok's descriptions of Egyptian artistic con- ventions become, at times, oversimplified to the degree that both historic fact and potential meaning are obscured. Unfortunately, the book places too much

emphasis upon diluted fact rather than on applications that have direct meaning to the child and his own creative effort.

Despite these apparent weaknesses, the author has

made a significant attempt to bring the art of ancient

Egypt to the young child. Though the content is organ- izationally weak, the objects utilized are visually at-

tractive and psychologically suited to the interests of

the young student. Surely one of the better art history references for young children, it should have real

value as supplementary reading in the elementary school classroom.

The American Library Compendium and Index of World Art, by American Archives of World Art in

Association with American Library Color Slide Co., New York, 1961. 465 pages, price $35.

An art compendium and index including 60,000

listings derived from 30,000 works of art listing his-

torically important works of art by title, date, medium, the name and dates of the artist, period and country of origin, and present location. The works of the artists

are arranged chronologically and alphabetically in

four divisions: (1) architecture, (2) painting, (3)

sculpture, and (4) the minor arts. Each division con-

are sculpture, toys, pottery, and objects of everyday use including books, furniture, and games used by

Egyptian men, women, and children. The author pro- vides a limited amount of factual information on each of the art objects, describing its construction and use and the cultural factors affecting its form.

In attempting to state facts simply and make them

directly understandable to the elementary school child, author Glubok's descriptions of Egyptian artistic con- ventions become, at times, oversimplified to the degree that both historic fact and potential meaning are obscured. Unfortunately, the book places too much

emphasis upon diluted fact rather than on applications that have direct meaning to the child and his own creative effort.

Despite these apparent weaknesses, the author has

made a significant attempt to bring the art of ancient

Egypt to the young child. Though the content is organ- izationally weak, the objects utilized are visually at-

tractive and psychologically suited to the interests of

the young student. Surely one of the better art history references for young children, it should have real

value as supplementary reading in the elementary school classroom.

The American Library Compendium and Index of World Art, by American Archives of World Art in

Association with American Library Color Slide Co., New York, 1961. 465 pages, price $35.

An art compendium and index including 60,000

listings derived from 30,000 works of art listing his-

torically important works of art by title, date, medium, the name and dates of the artist, period and country of origin, and present location. The works of the artists

are arranged chronologically and alphabetically in

four divisions: (1) architecture, (2) painting, (3)

sculpture, and (4) the minor arts. Each division con-

ART EDUCATION ART EDUCATION ART EDUCATION ART EDUCATION 24 24 24 24

This content downloaded from 91.229.229.101 on Mon, 16 Jun 2014 13:29:35 PMAll use subject to JSTOR Terms and Conditions