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Cg) SWAIN SCHOOL OF DESIGN

19 Hawthorn Street

New Bedford, Massachusetts 02740

(617) 9973158

History and Purpose 6

Location and Buildings 6

William W. Crapo Gallery 7

Admission 8

Portfolio for Admission 8

Tuition 9

Financial Assistance 9

Saturday and Summer Schools 9

Academic Procedures and

Regulations 10 11

Housing and Medical Care 1 1

Foundation Program 13

Foundation Studio Courses 15 17 18

Major Program 21

Major Program Studio Courses 22 25 26

Liberal Arts Courses 28 29

Calendar 31

Faculty 32

Visiting Lecturers and Critics 32

Trustees 33

Advisors 33

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HISTORY AND PURPOSE

In 1881, the will of William W. Swain
established a non-profit educational
institution whose Trustees and Faculty
were charged with the responsibility to
"qualify the pupils for the practical
duties of life in the spheres they will be
probably called upon to act in." Origi-
nally named the Swain Free School, a
variety of subjects were taught includ-
ing courses in language, mathematics,
science, history, logic and art. With the
development of other educational facili-
ties in the community, increasing em-
phasis was placed on instruction in the
arts. Today the Swain School of Design
is a co-educational professional art
school offering a four year program
in the visual arts, leading to a Bachelor
of Fine Arts degree. It holds the distinc-
tion of being the oldest private art school
in the State devoted exclusively to the
teaching of fine art and design.
The Trustees and Faculty of the Swain
School believe that in developing a su-
perior professional art school they are
not only fulfilling a vital responsibility
to the community but meeting a great
challenge. If this country is to maintain
a tradition of excellence in the visual
arts, it must have artists and designers
thoroughly trained in the fundamentals
of their craft since the leading artists
and designers achieved their greatest
statement as a result of the struggle
with the technical demands of their pro-
fession.

The Swain School of Design is a charter
member of the American Federation of
Arts, an associate member of the Na-
tional Association of Schools of Art and
a member of the American Association
of Museums.

The School is approved by the Board of
Collegiate Authority, the Veterans Ad-
ministration, and the United States De-
partment of Justice for the training of
foreign students, and the Department of
Health, Education and Welfare.
LOCATION AND BUILDINGS
Built on the site of the original William
W. Swain residence, the School is located
in an area of New Bedford noted for im-
portant examples of 18th and 19th cen-
tury architecture. In close proximity to
the campus is the New Bedford Public
Library and the Whaling Museum. The
Library is of particular value to the
School for its fine collection of paintings
illustrating the unique artistic tradition
of the city. New Bedford was the birth
place of Albert Ryder and home of Al-
fred Bierstadt and Dwight Tryon. The
Museum of the Old Dartmouth Historical
Society records another aspect of the
city's history, that of the whaling indus-
try. Across the street from the museum
is preserved the Seaman's Bethel which
Melville describes in his classic novel
Moby Dick. The cultural life of the city
is further augmented by its advanta-
geous position between Boston, Provi-
dence and Cape Cod.
The campus is bounded by County, Haw-
thorn and Orchard Streets. The buildings
include the main school complex, adjoin-
ing Crapo Gallery, the Library building
and the Design Graphics Studio build-
ing.

Following the loss of the Swain residence
by fire in 1948, a new brick building
was constructed housing three large stu-
dios, library, storeroom, faculty and ad-
ministrative offices. Two more studios
and a fireproof vault for the storing of

paintings were added in 1961, the gift
of Mr. and Mrs. John M. Bullard and the
William W. Crapo Foundation. All of
the painting studios take advantage of
northern light.

The Swain Library is adjacent to the
studios. It is maintained as a specialized
collection, emphasizing those areas rele-
vant to the school curriculum. All books
and periodicals are readily accessible
in open stacks. Swain students have the
additional privilege of borrowing from
the New Bedford Public Library through
special stack privileges.
WILLIAM W. CRAPO GALLERY
The William W. Crapo Gallery was
founded in 1925 to provide Swain stu-
dents and the community with an op-
portunity to view original works of art.
Each year the Gallery offers approxi-
mately ten exhibits including such di-
verse achievements as primitive art,
nineteenth century painting and the
more contemporary efforts of the avant
garde. In order to fulfill its educational
function more completely, lectures and
panel discussions are regularly sched-
uled and often re-broadcast for the tele-
vision audience. The Crapo Gallery is a
member of the American Association
of Museums.

ADMISSION

Admission requirements have been de-
signed to select students who give prom-
ise of excellence in the field of art.
An applicant must be a high school
graduate or have acceptable equivalent
preparation. However, a candidate who
evidences special interest and unusual
ability or promise may be considered
for admission as a special student at
the discretion of the admissions commit-
tee. Each applicant is considered on the
basis of his aptitude as well as his
character and personal qualifications.
Most students are enrolled in a full five
days a week program but in exceptional
cases a special student is admitted for
a more limited program.
Each applicant must complete the
School's application form and submit
it together with $10.00 application fee
(not refundable and not credited to
any school bills) to the Registrar, Swain
School of Design, 19 Hawthorn Street,
New Bedford, Massachusetts. The appli-
cant should request the principal of his
secondary school to forward a transcript
of grades at the time of application. He
should file, also, three letters of recom--
mendation and the school medical form
signed by the family physician. It is rec-
ommended that the applicant visit the
School and arrange for a personal inter-
view by the Director, preferably no later
than April 1st.

PORTFOLIO FOR ADMISSION

Each applicant must submit a portfolio
of original work clearly marked with his
name, address, telephone number and
the name of his school. The portfolio is
to be no smaller than 16" x 20". A neat
presentation is advised. Pieces submitted
can be done either independently, or
under guidance, but should be so desig-
nated. Work executed from photographs
is not acceptable. The following items
are requested:

Self-portrait in pencil or charcoal to
be done from life in a line technique.
Interior to be done from a room in
your home.

Still-life that includes at least four ob-
jects plus branches, twigs, leaves or
flowers in pencil or charcoal to be done
from life. ^^- J^~

Repeat pattern to be printed in three
colors.

Poster in three colors.
Design using geometric shapes in black
and white.

Three drawings, paintings, sculpture,
and/or graphics of one's own choice.

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TUITION

$750.00 per year

$150.00 per year for one day weekly
$300.00 per year for two days weekly
$450.00 per year for three days weekly
First Year Admission Application $10.00

Lab Fee $20.00
Locker Fee $2.50

A deposit of $25.00 is required of all
new students within two weeks follow-
ing notification of acceptance for ad-
mission. It is applied to the charges of
the academic year and it is not re-
fundable after May 1st. All fees must
be paid at the time of registration, un-
less special arrangements are made with
the Registrar. Any student with bill not
paid by the second Monday of the se-
mester, will not be allowed to continue
in classes. Since school operating ex-
penses are planned on a yearly basis,
no refunds can be made. The school
store maintains a supply of materials
required for classes. Prices are kept at
a minimum.

FINANCIAL ASSISTANCE

SWAIN SCHOOL FUNDS. Scholarship aid
is available to a limited number of stu-
dents from general school resources and
the Clement L. Yaeger Trust. Financial
assistance is allocated on the basis of
proven artistic ability (usually limited to
students above the freshman level) and
need.

FEDERAL ASSISTANCE. The Swain School
participates in three government pro-
grams: the National Defense Student
Loan Program, Educational Opportunity
Grants, and the College Work Study Pro-
gram. Information on all Federal assist-
ance may be received from the School.

GUARANTEED STATE LOANS. Most states
provide guaranteed loans for educa-
tional purposes. Detailed information
can be received through local banks.

SATURDAY AND SUMMER SCHOOLS

Classes for adults and children are
held on Saturdays and in the summer.
A separate bulletin is issued describing
these programs and listing fees. The
Trustees and Administration reserve the
right to make changes in all phases of
the school program without further noti-
fication when deemed necessary.

ACADEMIC PROCEDURES AND
REGULATIONS

GRADES A grade scale of A B C D and
F is used to designate the students'
standing. The letter grades are consid-
ered the equivalent of the following
percentage scale: A=90-10G\ 6=80-90,
C=70-79, D=60-69. The grade of E or
Incomplete is a substitute grade for situ-
ations in which students could not com-
plete required assignment due to circum-
stances beyond their control. The re-
quired work must be completed by a
designated time for a student to be
awarded credit. For the computation of
scholastic averages, reported grades
have the numerical value of A=4.0,
B=3.0, C = 2.0, D = 1.0, F =0 for each
credit hour.

CREDIT HOURS Studio credit hours in
all courses are based on a ratio of one
credit for every two hours of scheduled
studio time. Credit hours for academic
subjects are based on a ratio of one
credit for every one hour of class attend-
ance.

PROBATION A first year student earn-
ing a semester average of less than 1.7
and an upper class student one of 2.0
is placed on probation. Any student who
is on probation for two consecutive se-
mesters will be subject to dismissal.
ABSENCE Absences are considered per-
missible only in case of illness or for
other reasons of necessity. It is the stu-
dent's responsibility to notify the School
immediately of his absence and its
cause. Missing work must be made up
whenever a student has been absent.
GRADE REPORTS Grade reports will be
given out at the end of each semester.
Freshman and other students whose

10

grade average is D or less will receive
a grade report at mid-semester.
REGISTRATION Students already in the
School are required to register and make
out tentative schedules for the following
year by June 1. Students enrolling af-
ter school opening date are required to
pay a five dollar late registration fee.
TRANSCRIPTS Graduates and students
in good standing are entitled to one
complete statement of their school rec-
ord without charge. One dollar will be
charged for each additional copy.
STUDENT WORK The School reserves the
right to retain two works of each student
for exhibition purposes. All other prop-
erty must be removed from school prem-
ises at the end of the academic year. At
no time does the School have responsi-
bility for student property.
MEDICAL CARE AND HOUSING
The services of a school appointed physi-
cian are available to all students. Charg-
es are made directly to the student. All
students are urged to avail themselves of
low-cost Health and Accident Insurance
policies. Forms for the Blue-Cross Blue-
Shield student policies are available
through the School.

The School does not maintain dormitor-
ies. A diversified list of accommodations
is available. It is suggested that any stu-
dent wishing to make housing arrange-
ments apply well in advance of the
opening of school, stating type of accom-
modations and price range desired.

11

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FOUNDATION PROGRAM

The Foundation Program, involving the
first and second year, is directed at four
goals considered necessary in the mas-
tery of the artist's craft.
An ability to render the likeness of the
human figure, still life objects and land-
scape in common drawing and painting
media.

A knowledge and understanding of tra-
ditional theories of color and composi-
tion.

An ability to analyze and resolve a va-
riety of problems in two and three dim-
ensional design.

A view of civilization as a whole evolv-
ing process in which clear relationships
exist between all of the accomplishments
of man.

The Foundation Program correlates work
in drawing, design, the humanities,
painting and the graphic processes. In
contrast to the more traditional ap-
proach, the emphasis in each course is
not on an independent body of informa-
tion but common or contrasting solu-
tions to the basic problems such as line,
shade, space and volume. The student
is led through a carefully planned se-
ries of problems and research projects;
for example, line is introduced in both
the drawing and design classes during
the same week. While the drawing in-
structor emphasizes the use of line to
convey a naturalistic image, the work
in design involves the use of line as an
abstract element that can be used to
create solutions to whole new functional
problems such as lettering or a poster
layout.

The four semesters of liberal arts were
planned in relation to the studio pro-
gram. The objective of these courses is

to provide the students with a broader
and more critical view of civilization.
Through the seminar approach, the
reading of assigned texts and the writ-
ing of research papers, the student is
encouraged to develop his ability to
analyze and express himself verbally.
The emphasis on basic skills and con-
cepts in the first two years makes it
possible to maintain instruction in the
Major Programs on a high professional
level. Furthermore, the individual will
have to face many unexpected and un-
planned challenges within the full span
of his career. The Foundation Program
assures the student of having a wide
frame of reference and skills with which
to meet these problems.

FIRST YEAR

Foundation Drawing

Design I

English Composition and Literature

Problems of Western Civilization I

Art History I

SECOND YEAR

Life Drawing

Graphics

Introductory Painting

Design II

American Literature

Problems in Western Civilization II

Art History II

Credits

16

16

Credits

16

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FIRST YEAR DRAWING Emphasis is
placed upon the observation and un-
derstanding of natural forms and their
translation through line, form, light and
shade. A complete study of the human
skeleton and muscle structure is includ-
ed. Media used are pencil, charcoal,
crayon, silver point, and a limited pal-
ette of black and white oil paint.
GRAPHICS While continuing the basic
studies of the previous year, Drawing
and Graphics places special concentra-
tion on composition and freer technique,
and introduces wet and mixed media.
Incorporated in the program is a com-
prehensive course in graphics that allows
each student the opportunity to acquire
a working knowledge of relief printing
(linoleum and wood block), intaglio
printing (drypoint, etching and aquatint),
in serigraphy.

LIFE DRAWING A concentrated study of
the model.

15

16

DESIGN I The course is concerned with
the basic elements and principles of de-
sign. Line, shape, color, value, texture,
space and form are studied not only as
tools for the description of nature but as
abstract elements with their own laws of
structure. In the first semester the stu-
dent is limited to simple media in black,
white and gray. A close coordination of
assignments with problems incurred in
drawing emphasizes similarities and
contrasts of approach. The second se-
mester is devoted exclusively to color
and its relationship to space, light and
form. Three dimensional as well as two
dimensional exercises are used.
DESIGN II The emphasis is on the ap-
plication of the experience and ideas
learned in the previous year to the reso-
lution of functional problems such as
lettering, package design, and pictorial
composition.

Design includes lettering, perspective,
color theory, and varied techniques.

17

INTRODUCTORY PAINTING is based on
the drawing, design, and color experi-
ences gained in the previous year. A
groundwork in traditional methods of
representation and composition is stud-
ied in a series of studio problems and
seminar type criticisms. Problems in the
visual organization of volumes in space
through still life, figure composition, and
the portrait, provide the student with a
basis for representational painting and
illustration. Introductory Painting in-
cludes perspective, anatomy, color the-
ory and basic oil painting techniques.

18

19

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MAJOR PROGRAM

The three Major Studio Programs offered
are Design and Illustration, Painting,
and Graphics. The Major Program,
which comprises the last two years at
Swain, is a radical departure from the
Foundation Program. The Program, built
around the student's specific vocational
needs, is more individual in nature since
the student instead of taking formal
courses, spends the principal part of his
time in his major workshop. Essentially
this program most resembles the tutorial
or honors program in a liberal arts col-
lege. The weight of responsibility for
organizing research materials, equip-
ment and time is gradually transferred
to the student. The teacher's role bcomes
that of the critic, approximating, as
clearly as possible, a professional situ-
ation.

Since the Major Program is essentially
individual in nature, imposing no speci-
fic standards or requirements on the stu-
dent, the problem of guidance and eval-
uation of student achievement becomes
particularly important. During the third
year the adviser plans a program of
studies with the student. At the begin-
ning of the fourth year the student pre-
sents to a committee of the faculty an
outline of his plans, a first draft of sket-
ches, layouts or models. Periodically the
student meets with the committee to pre-
sent work done and discuss revisions
and projected plans. Though no school
can program into being an independent
and responsible individual, such a curri-
cula does set up a situation in which the
student can achieve genuine maturity
as an artist and as a person.

21

PAINTING WORKSHOP I AND II Paint-
ing Workshop develops from materials
first presented in the introductory draw-
ing and painting studios. In conjunction
with the Painting Workshop, a concen-
trated study of traditional and modern
art theory is made in composition and
criticism. The student is introduced to
painting techniques in which the history
and practice of a variety of basic paint-
ing media is studied. Through class and
individual problems the student is en-
abled to develop as a serious painter.
Painting includes oil, encaustic, egg tem-
pera, and eggoil emulsion media.

THIRD YEAR

Credits

Painting Workshop 1

6 6

Life Drawing

2 2

Studio Elective

2 2

World Literature

3 3

Problems in Western Civilization III

3 0

Art History III

0 3

16 16

FOURTH YEAR

Credits

Painting Workshop II

12 12

Literature Seminar

2 0

Criticism and Aesthetics

0 2

14

14

22

23

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25

GRAPHICS WORKSHOP I AND II The
printmaking workshop gives a tradition-
al grounding in the basic techniques of
relief and intaglio printing. The relation
of graphics to type and industrial meth-
ods is discussed. The advanced student
is encouraged to experiment and unify
graphic techniques with his individual
approach. Graphics includes linoleum
cuts, wood cuts, wood engravings, dry-
point, etching, metal engraving, aqua-
tint, lithography, and typography.

THIRD YEAR

Graphics Workshop I

Life Drawing

Studio Elective

World Literature

Problems of Western Civilization III

Art History III

FOURTH YEAR

Graphics Workshop II
Literature Seminar
Criticism and Aesthetics

Credits

6

6

2

2

2

2

3

3

3

0

0

3

16

16

Credits

12

12

2

0

0

2

14

14

DESIGN AND ILLUSTRATION WORK-
SHOP I AND II The Design and Illustra-
tion Workshop integrates the basic de-
sign elements with the functional and
creative applications of typography and
technical skills into a strong, direct pres-
entation of graphic design. Communi-
cation in advertising and other design
areas is investigated through class re-
search and individual projects. Illustra-
tion includes painting, graphics and
drawing within the framework of design
communication. A scheduled critique en-
courages an exchange of creative ver-
bal as well as visual ideas. Design and
Illustration includes calligraphy, letter-
ing, typography, layout, and production
techniques.

THIRD YEAR Credits

Design and Illustration Workshop I 6 6

Life Drawing 2 2

Studio Elective 2 2

World Literature 3 3

Problems of Western Civilization III 3 0

Art History III 0 3

FOURTH YEAR

Design and Illustration Workshop II
Literature Seminar
Criticism and Aesthetics

16

16

Credi

its

12

12

2

0

0

2

14 14

26

27

LIBERAL ARTS COURSES

PROBLEMS OF WESTERN CIVILIZATION I
A semester' s course that seeks to suggest
the problems faced by an individual in
relation to his society. Readings from
the Bible and the works of Thoreau, Paul
Goodman, Jonathan Kozol, Janson and
others will be used. 3 - 0
ART HISTORY I An examination of Paleo-
lithic, Greek and Roman art forms the
basis of this course. The iconography of
these periods will be explored in detail
as the means of understanding and ap-
preciating ancient and contrasting cul-
tures. 0 - 3

PROBLEMS OF WESTERN CIVILIZATION II
The city as a "corporate personality" in
Greece, the Renaissance, and in nine-
teenth century Industrial Society will be
examined. Emphasis will be given to a
consideration of changes in architectural
forms as expressive of various economic
and social forces. 3 - 0
ART HISTORY II The lives and works of a
sequence of artists will be examined to
see how individuals such as Cellini, Del-
acroix, Van Gogh, and Ben Shahn have
encountered and resolved such issues as
the political events, taste, and religion of
their times. The use of autobiographical
material will be used. 0-3
PROBLEMS OF WESTERN CIVILIZATION III
The relationship of developments in sci-
ence and in technology to traditionally
humanistic definitions of the individual
and his world will be explored. Particular
attention will be paid to a consideration
of the conflicts and reconciliations be-
tween science and the visual arts at var-
ious periods in the course of history. 3-0

28

ART HISTORY III Close attention will be
given to the ideas, philosophies, and
techniques behind the major movements
in twentieth century painting and sculp-
ture such as Cubism, Dada, Surrealism,
and Abstract Expressionism. The rela-
tionship between European and Amer-
ican versions of these styles will be ex-
amined to see how particular national
characteristics may influence the devel-
opment of artistic styles. 0-3
CRITICISM AND AESTHETICS (Eighth se-
mester) Through readings in criticism
and aesthetics, viewings of past and
contemporary art and classroom discus-
sion, the student will acquire a height-
ened awareness and a responsible criti-
cal judgment in the visual arts. 0-2
ENGLISH COMPOSITION AND LITERA-
TURE (First and Second Semesters) This
course in the fundamentals of prose com-
position will pay particular attention to
the development of language skills.
Readings of literature classics will be
required. 3-3

AMERICAN LITERATURE This course on
19th and 20th century writers will in-
clude the works of Poe, Hawthorne,
Thoreau, Hemingway, Lewis and others.
3-3

WORLD LITERATURE Paying particular
attention to form and imagery, this
course will include the works of Homer,
Aeschylus, Beowulf, Shakespeare, Mil-
ton and Dante. 3 - 3

LITERATURE SEMINAR Such concepts as
form, texture, space and tension will be
related to selected works of literature.
To better emphasize the relation of these
studies to the students7 own creative
problems, small group discussions will be
employed. 2 - 0

29

CALENDAR 1969 1970

September 15 Monday

November 1 1 Tuesday

November 26 Wednesday

December 1 Monday 8:30 A.M.

December 19 Friday 12:30 P.M.

January 5 Monday 8:30 A.M?

January 16 Friday

January 19 Monday

January 23 Friday

January 26 Monday

February 22 Sunday

March 27 Friday

April 3 Friday 12:30 P.M.

April 13 Monday 8:30 A.M.

May 15 Friday

May 1 8 Monday

May 21 Thursday

May 27 Wednesday 8 P.M.

First Semester begins

Veterans Day

Thanksgiving Recess begins

Classes resumed

Christmas Recess and Independent Studies Period

Classes resumed

Classes end

Exam week begins

First Semester ends

Second Semester begins

Washington's Birthday

Good Friday

Spring Recess and Independent Studies Period

Classes resumed

Classes end

Exam week begins

Semester ends

Commencement Exercises

31

ADMINISTRATION AND FACULTY

WILLIAM J. FINN Director and Instruc-
tor of Sculpture, University of Toronto;
B.F.A., Rhode Island School of Design.
DAViD LOEFFLER SMITH Dean of Students
and Instructor of Painting and Drawing,
B.A., Bard College; M.F.A., Cranbrook
Academy of Art.

EDITH R. CADEMA Assistant to the Dir-
ector.

MRS. LOIS FORTIER Clerical Assistant.
MARION H. HANFORD Librarian, Har-
vard; State College, Boston.
MRS. ALFRED U. COLLINS Director of
Saturday School and Instructor of Sculp-
ture.

LEO KELLEY Instructor of Humanities;
B.S. and M.S., M.I.T.; Ph.D Candidate,
University of Wisconsin.

RUSSELL MROCZEK Instructor of Design
and Photography; B.F.A., Massachusetts
College of Art.

JOSEPH MURPHY Instructor of English
Composition and Literature (faculty ex-
change, Bristol Community College);
B.A., Boston College; M.A., University of
Rhode Island.

L. JOHN OSBORNE Instructor of Graph-
ics; M.F.A., California College of Arts
and Crafts; Undergraduate; Medway
College of Art and Kent College (Eng-
land).

DANIEL RADIN Instructor of Design and
Painting; Queens College; University of
Connecticut; B.F.A., M.F.A., Cranbrook
Academy of Art.

HAROLD SNEDCOF Instructor of Human-
ities and American Literature; A.B., Col-
gate; Ph.D Candidate, Brown University.
PANAJOTIS VOTORAS Instructor of
World Literature, University of Genoa;
University of Athens; B.A., M.A., Wayne
State University; graduate study, Univer-
sity of Connecticut.

VISITING CRITICS AND LECTURERS

ALLEN APPEL free-lance photographer
PAUL BEAULIEU Cameraman at W.T.E.V.
Channel 6 and free-lance photographer.
JACK COUGHLIN Associate Professor of
Printmaking, University of Massachu-
setts Department of Art.
MICHAEL FINK Assistant Professor of
English, Rhode Island School of Design.
KATHERINE HELMOND founding member
of the Trinity Square Repertory Theatre
Co., Providence, Rhode Island.

DR. ROSWELL D. JOHNSON, M.D. Dir-
ector of Health Services, Brown Univer-
sity.

ANDREW KNER Art Director of the New
York Times; formerly Head of Advertis-
ing Department, Esquire.

GABRIEL LADERMAN Widely-known
painter and author; visiting critic at Yale;
teaching at Brooklyn College.

ARIS PAPPAS Professor of Psychology,
Southeastern Massachusetts University.

CHARLES RODERIQUES free-lance car-
toonist; publishes in national magazines
such as Esquire, Look, Post.
THOMAS SGUOROS Head of Illustration
Department at Rhode Island School of
Design and free-lance illustrator.

DICKSON TASHJIAN Ph.D in American
Civilization, Brown University; teaching
at the University of California at Irvine.

CECIL WYLDE painter and instructor at
the Museum School, Boston.

32

TRUSTEES

GEORGE C. PERKINS President

THOMAS N. BUCAR Vice-President and

Treasurer

RICHARD A. PLINE Secretary

MRS. JOHN M. BULLARD

MRS. ALFRED U.COLLINS

GEORGE L.CONSIDINE

MRS. WILLIAM E. COYKENDALL, JR.

MRS. STANFORD T. CRAPO

EARL W. DEWALT

SIMON RUBIN

MRS. PAULA. SCHMID

W. JULIAN UNDERWOOD

MRS. RICHARD P. WATERS

ADVISORS

ROBERT L. BERTOLLI Professor of Art-
Boston State College; State Director of
Art Education

JOSEPH A. COLETTI Sculptor
GILBERT FRANKLIN Chairman, Fine Arts
Department, Rhode Island School of De-
sign

BARTLETT H. HAYES, JR. Director, Addi-
son Gallery of American Art

PHILIP HOFER Curator of Printing and
Graphic Arts, Houghton Library, Harvard
University

BORIS MIRSKI Director, Boris Mirski Gal-
lery

ARTHUR POPE Professor of Fine Arts,

Emeritus, Harvard University

OLIVER PRESCOTT, JR. Attorney

PERRY T. RATHBONE Director, Boston

Museum of Fine Arts

W. KNIGHT STURGES Architect

S. MORTON VOSE Director, Vose Gal-
leries of Boston

33

&fa

Titles set in linotype 10 point Spartan
bold and text in 10 point Spartan me-
dium; lithographed on 80 pound Hamil-
ton Starwhite and Strathmore Grandee
duplex cover.

Design by Keturah Kowalke.

Photography by Milt Silvia.

Lithographed by Reynolds-DeWalt Print-
ing, Inc.

mm

M

,

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