Arti

Published for the students of the Famo Vol. 1 No. 1

Robert Cato, Kew Jersey Mary Smith, Indiana

Christine Benson, sweden James Kubat, Illinois

H. Listman, Washington Rita Reed, Iowa

Bernice Lyman, Pennsylvania X. Mendirichaga, Mexico Ruth Young, New York

Col. B. Ford, Virginia Patricia Janetzke, Michi Luis A. de Lugo, Venezuela

 FRED LUDEKENS, famous illustrator whose
favorite subjects are those of homespun
American life.

From GHOST TOWN* " • . • and legs so

long tbat they say when he rode in on
his mule he had his spurs fastened at
the calf."

Higgins American India Ink, of course.

THE BAS IC ART MEDIUM
SINCE 1880
Mr. Ludekens is a~ded in his well known
sensitive line treatment by the con-
trolled surface tension of Higgins Ink.
Like many other famous American illus-
a·ators, he likes the way Higgins Ink
flows freely and evenly. Add to the
quality and character of your own work
with Higgins-ask your dealer for Higgins
American Drawing Inks.

HIGGins IJVfi co., I.Nc. •REPRODUCED FROM GHOST TOWN BY G. EZRA DA NE,
.271 ;NI.NTH STREET, l:UWOI~LY;N 15, N.Y. ILLUSTRATED BY FRED LUOEKENS, BY PE RMISSIO N O F
ALFREDA. KNOPF,INC. CO PYRI GHT 1941 BYG. EZRA DANE.

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 Famous

Artists

Magazine published for students of the Famous Artists Schools, Westport, Connecticut

VoL.1, No.1, AuTUMN 1952 Cover: The first cover dedicates this magazine to those
for whom it is intended- our students, the famous
artists of tomorrow. On this cover are many faces from
many places - typical students of the Famous Artists
2 Greetings Schools. Like those on the cover, our students are of all
ages, of innumerable occupations, and they reside in
4 A News R eport about you
·- many countries. But regardless of age, occupation or
5 From slide rule to sketch book nationality, all of them have one trait in common - an
6 Basic forms are fun interest in and an enthusiasm for art. This, perhaps, is
7 The painting that opened my eyes but another way of saying that art is a universal lan-
by Harold Von Schmidt gua ge. We hope that thi s magazine may prove an aid and
8 Across the hoard an inspiration to artists and would-be artists everywhere.
9 Courage-a case history
10 Showcase
16 Blueprint for a job in the "sticks"
hy Paul Sheldon
17 Westport Events
18 New Horizons Editorial
20 Try it thi s way
21 Honored Students
22 There is more than meets the eye Four years ago we mailed the first lessons of the Famous Artists
by Milton S. Fox Course to our pioneer students. Like proud fathers, our vest
24 Questions and Answers buttons popping, we had great expectations for our "hahy." We
24 Sale No. 1
25 Faculty ews had worked long and hard to produce this child, horn of the
26 1oney·makers conviction that someday, somehow, a school of art could he cre-
27 You will find useful ... ated and run by successful men, teaching the same theories and
28 We recommend methods by which their own personal accomplishment had been
28 It happened to me
achieved. With our hacks bent to the job, and our fingers some-
Staff times crossed, we wondered, "How well could we teach?" "How
Editor: Harley W. Magee would the public receive our efforts?" "How far could we go?"
Art Editor: Walter Miles In four short years we have the answers . . . in the large per-
Associate Editors:
Elizabeth Musante, Rosemary McMorrow centage of our students who take their places in the world of
Educational Editor : AJex Domonkos art upon completion of their training . . . in the unanimous
Student News: Dorothy McNabb approval accorded u s in national publications and art journals,
News Editor: Rex Taylor
Advertisin g Manager: Beth Dickinson by teachers, universities and authorities across the country . . .
Publisher: John Copuzelo and now - in this magazine - the common medium through
whose pages a large, hard-working student body may get to
Contributing Editors:
Albert Dome, Fred Ludekens, know one another, exchange ideas, and voice their problems
Norman Rockwell, Al Parker, Ben Stahl, and aspirations.
Harold Von Schmidt, Stevan Dohanos,
Many of you will recall our visits together when I have been
J on Whitcomb, Robert Fawcett,
Peter Helck, John Atherton, in your cities. I have looked into your eyes and seen the earnest
Austin Briggs, Edwin Eberman, Director hopes for your own place in the sun - and I know how much
Famous Ar tists Magazine, pu bl ished quarterly
you count on us to help you to reach your goal. As men who
Publication office, Emmett S treet, Bristol, Conn . achieved our places the hard way, we are keenly aware of our
Executive and Editorial Office, Westport, Conn.
Yearly subscription $2.00; single copy 50 cents. responsibility to you. We cannot do it alone - but with your
Advertising rates furnished on request.
Application pending for entry as second class sincere effort, we can take you a long way toward that final goal
matter at Bristol, Conn.
Copyright 1952 by Famous Artists Schools, Inc. - your success.

L
The home of the Famous Artists Schools Photos: Hans Knopf

2
Some of the faculty
Michael Mitchell, Tony Memoli, Walter Miles, George Roach, Duval Broun, H. Leavitt Purdy, Alphonse Radomski,
Harold Von Schmidt, George Kraynak, Albert Dorne, Scott Evans, Stevan Dohanos, Fritz Henning,
Robert Fawcett, Charles Kitt, Ben Stahl, Ingoff Qually, Alex Domonkos, Patrick Barclay, Edwin Eberman.

GREETINGS
We are happy to present to you Vol. 1, No. 1, of your Famous
Artists Magazine.
The new publication has but one purpose - to serve you and
all other students of the Famous Artists Schools. We hope
through thi s medium to help you in your ambition to become a
better student and a better artist.
We welcome you as a reader of this first issue and trus t
that future ones will prove so useful and stimulating that you
will become a constant reader.
Through this magazine we will bring you news of your school,
the faculty heads and the staff of faculty instructors who grade
and criticize your lesson assignments. But the most important
function of the magazine is to permit you to exchange ideas with
each other. You will get more than you can possibly give in this
exchange. It is your opportunity to see what some of your fellow
students are doing, to learn what problems they encounter and
how they solve them, to offer experiences of your own. Indeed,
here is just what you have asked for, your Famous Artists "Club."
We here present these photographs to whet your appetite for
th e nex t issue when we will take you on a picture tour of the
entire school. Students who are able to visit Westport are always
inspired by a personal tour of the school. They meet the instruc·
tors, see lesson assignments being corrected, and watch all of the
operations of the various departments. Unfortunately, most stu-
dents cannot visit with us in person. So in the next issue we will
bring the school to you and show you everything you would see
if you co uld make a personal visit.
You will look over the shoulders of your instructors and see,
step by step, just how your work is criticized and graded.
Through the eye of the camera you will watch the functioning of
each operation. You will meet the members of the staff. You will
see what happens to your work from the time it is received until
it is on its way back to you.
This is the next best thing to seeing it all yourself. So "visit"
the school and let us show you around through the Winter issue
of your Famous Artists Magazine.
3
- -- - -- -- - - - -- - -- --·--·-- --
Our request for information about you for the Famous Artists
Magazine brought a prompt response. The replies came by the
hundreds. They continued to arrive for weeks-and they are still
cmning in.
Each reply has been read, studied, analyzed, evaluated- and
enjoyed. Your answers overwhelmingly prove your interest in
other students and your willi ngness to share your experiences
with them through your student publication. Some of you are
contributing articles and art. Scores of you have reported out·
standing achievements.
The reports have come from students everywhere, of all ages,
and of all walks of life. Typical students who have told us about
themselves are a seventy-two-year-old grandmother and a seventy-
six-year-old great-grandmother, a lady cab-driver, a nineteen-
year-old farm boy, a secretary, a twenty-year-old tuberculosis
patient, a fi lli ng-station attendant, a mother of eight children. All
of these students work at somethi ng besides art. All of them
study art in their spare Lime. We beli eve you will want to know
more about students like these.
All of you listed certain changes in your lives since becoming
students which are more or less common- keener observation,
fuller appreciation of art, life, nature, and beauty, a sense of ac-
complishmen t, a goal to achieve, happiness and contentment, di-
version, realization of a childhood ambition, better budget of
your time. You also confessed that while you used to work most
of the Lime, now you work all the time . . . the drawing
board always stays up.
Many of you got jobs as a direct result of your art training- a
Keep Your News Coming!
To all the students who responded to our questionnaire,
since re thanks. The Famous Artists Magazine is for and
about you - the students of the Famous Artists Schools.
The cooperation of all students is necessary for success.
Keep the news reports coming about your activities.
Tell us when you get a raise or a promotion, obtain a
new job, have an unusual experience, or develop a
shortcut fo r doing things. Share your news with your
fellow students. Remembe r, they are sharing the ir news
with you.
An art magazine requires art. So send photographs
and illustrations with your new s items, pictures that
show you at work, that te ll your story b etter than words,
We will do our best to make the Famous Artists Mag-
azine an invaluable medium to you. Won' t you join us
in the effort and become a regular contributor!
4
··········••e••························
You r Famous Artists Club - this is it !
Many of you ha ve in q uired about fo rming local clubs
of Famou s Artists stude nts. The desire to exch an ge ideas
and ex peri en ces with other students is na tural . This
publicatio n is in te nded primarily to meet the need.
Wh ile Fa mous Artists students ha ve a common inte rest
•
in art, you must rememb er tha t they are of all ages
and co me f rom inc red ibly va ried w a lks of life. The ir
••
one common interest in a rt, in many ca se s, would not ••
compensa te fo r the differe nce in a ge, occupation and •
e nvi ronme nt. For the social con tacts a nd stimulation of
••
meeting other peo ple interested in a rt, join the art clubs
••
which al ready exist in your communi ty.
••
We ho pe you will rega rd you r Famous Artists Mag a -
•••
zin e a s you r Famous Artists Club-an open forum in
w hich to exchang e idea s, sug ges tion s and experiences
••
with you r fell ow stude nts on a na tional and even a n
•••
inte rnational scal e. We believe thi s " club" will b e much
mo re useful than any you could form locally.
•
•••••••••••••••••••••••••••••••••••••••
corporal who is illustrator for an army field printing plant, a
bartender who is kept busy doing free- lance work, a woman who
is illustrating a book about bugs. Some of you stated that al-
though you didn't get your present job because of your art
cour e, it is helping you advance more rapid ly by increasing yo ur
knowledge, speeding up your work, and pointing out new tech-
nique . A number of you have even changed jobs- from chiro-
practor to artist, from engineering to free-lance art, from music
teacher to painter.
The suggestions you offered as most useful were fundamentally
words of advice-follow directions accurately, read instructions
carefully, practice and study and then prac tice some more, let
nothing interfere with your art work, keep a reference file of pic-
Lures, make sketches and take photographs, join art clubs, get
yourself known in your community. The shortcuts you recom-
mended reflect your training in art or your progress in the course.
You suggested simple composition sketches before starting to
draw, a place to work apart from the confusion of a family, sim-
pl ification, the use of tracing paper and the importance of con-
stant sketching.
Prizes, scholarships, and recognitions ranged from five-hundred
dollars in cash to honorable mention in a school poster contest,
from election to the presidency of an art association to a five-
dollar-a-week salary increase. Your first art jobs for pay aftP-r
enrolling were legion- murals in local restaurants, handpainted
neckties, letterhead designs, newspaper cartoons, church posters.
To make pin money you've done scenic bathrooms, birth an-
nouncements, photograph coloring, Christmas cards, and paper
dolls. Many of your most interesting experiences are actually
confessions of a struggling artist, tips to fellow students, or items
on what you are currently doing as an artist.
For future articles you pointed up problems you are having as
students and questions you raise as artists. You are vitally in-
terested in the lives of the faculty, the workings of the school,
the way other students solve lesson difficulties. You have also
asked for information on left-handed technique, South American
and Spanish art, West coast artists, and art for hobbyists. You
want to know how other housewives take care of children, homes
and studies at one and the same time. You seek details on art
for television, set design, contemporary design, and how art can
be combined with music, writing, and photography.
Your news reports showed us how interesting and appealing
your stories are. Beginning with this issue, we report to your
fellow students what you have reportP.d to us.
l\'leet one of your instructors . .. Lev Purdy

From slide rule to sketch book Portrait of daughter Noa, oil, 1940.

Had the field of engineering appeared more promising to a young

chap graduating from Central High School in Grand Rapids,
~fichigan, it's quite likely the Famous Artists Schools would not
list H. Leavitt Purdy as one of the senior instructors.
Lev admits to some show of artistic talent in his very early
childhood but claims he outgrew that before his school years. He
can"t recall making a single school poster, b11lletin or other ar·
ti tic creation. Engineering it was to be and not Qntil he started
Junior College did he give the slightest thought to art. Then,
finding himself with some free periods, he happened into an eve-
ning sketch class. It was purely for relaxation, but he made rapid
progress. Opportunities in engineering were none too good in
those days so, encouraged by his teachers, he turned to art. Lev giving his son Frazier some fine points
The Chicago Academy of Fine Arts, the Audubon Tyler School while daughter oa looks on.
and the Art Institute of Chicago were followed by recommenda-
tions and his first job as sketch man with Lord & Thomas Adver-
tising Agency. After several years there, at other agencies in
Chicago and some free lancing, Lev gravitated to New York
where the demands of the day led him into layout. However, his
preference was always sketch work which he feels is more crea-
tive. So, after five or six years with the Frank Seaman Agency,
making finished drawings and sketches, he went with J. Walter
Thompson as sketch man. Spare time he worked on finished draw-
ings for Fleischmann Yeast, cartoons for Chase & Sanborn, art
work for Lux Soap and finished paintings for Shell Gas and
Chesterfield Cigarettes.
Lev's first love is fine art, so a year in Europe, painting in
France and Italy, was a really rewarding experience for him.
Frazier and Noa discussing technique, and
The influence of this period of work in the art centers of Europe below, Lev watching his wife Irene work on
is seen in Lev's paintings. He works in all mediums but mostly a ceramic piece.
in oils. His ambition is to paint that really great picture which
every artist dreams of doing and he's well on his way- having
exhibited his portraits in New York exhibitions with Matisse,
Picasso, Rouault, Braque, Stuart Davis. (Continued on page 26)

5
 Lessons can sometimes be done with a chuckle. The practice
work on the human form so intrigued Mrs. Renee White of
Providence, Rhode Tsland, that she came up with a whole col-
lection showing almost every type of figure in every conceiv-
able position. Diagnosing her sketch book as "an attack of
popping out at the seams," she dedicates it to the assignment
that reads "make numerous sketches of the human figure
from life and reduce it to its simplest form." Mrs. White, a
social worker for the Rhode Island Department of Social
Welfare, reports, "This book is my contribution to two years
spent in an office with social workers, where we must have
Basic forms are fun some fun or fall into despair over the lives we deal with.
The figures range from the supervisor to the janitor. I started
to do the sketches because Lesson 3 made me very happy. I
A student has a lot of it with Lesson Three felt that I need never worry again about putting a figure
together. Every now and then I break out in a rash of this
kind-it is just the happiness of knowing where I am going."

Some people take Some people are aller- Often we're up to our Some tread cautiously Some take radical Some people are
things very bard gic to garden bose neck in things & don't get ulcers steps in emergencies deep thinkers

Some people would And some are in a Some like to sleep Some other people- mind their own knitting Many of us suffer
give you their shirt state of woe from repressions

Q ~:y

~
~.
~;(~
~ .··

Some have a majestic Some beckon and

1l ' ~
Few preserve the Another can sleep One of my friends Some of u s do not fe.,-
carriage pursue beautiful posture any old time loves to court danger taking a plunge

Few, too few, shout One T kno\1 - has l1er daily JlU7.>d es Oth ers can't resist tltc Some are hoo·n T have fun with baoit
and lcatJ for joy ca ll of th e wild investigators forms- Renee \\' hit,

6
 Funeral at Omans, by Gustave Courbet
The painting that
opened my eyes by Harold Von Schmidt
A great illustrator tells how a great painting influenced his life
You cannot escape th e influence of other artists unless you go
arou nd with yo ur eyes closed. Sometimes the work of a great
arti st exer ts a profound effect on another artist or art student.
It has been so with me. I believe th e painting which influenced
me more than any other was Gustave Com·bet's "Funeral at
Omans." Courbet painted it in 1849. I experienced its first im-
pact some seventy-five years later.
I was an art student, about twen ty years old. Looking at a
color print of this great painting, I suddenly realized it was not
just a painted scene- I sensed an interplay of line, tone and
color. I was aware of what had been created and how. All the
instruction I had been receiving fell into place.
The priest in hi s white-banded black robe had to be the center
of interest. The white, black, gold and reel of the church func-
tionaries around the priest were given direction and interest by
the placement of the dark band of mourners and the color, tone
and texture of their bonnets, kerchiefs, faces and hands. The
lin es of mourners facin g in two directions gave me the feeling
Harold Von Schmidt's diagram showing the inter-
play of line and tone within Com·bet's painting.
of a procession. This procession was held within the picture by
the turning and placement of the figures at the right and left-
at the right by the child's head and the line of the dog's back,
at the left by the scarves, robe and censer.
The upright accent of the cross and Christ crucified- the line
descending through thi s gold figure- contin ues along the hairline
of the priest, then along his should er to the right. It proceeds
through the left arm of the kneeling figure to the feet of the
men, then is turned up by the line of the feet and body. When
my eye moved down to th e priest's robe it was carried to the
left, around and up along the censer, robe, scarves and heads,
back to the staff of the cross. I then realized the white kerchief
and the clog's hind leg created anoth er vertical- a repeat of the
staff se nsed rather than drawn.
Here was a small world governed by and existing through its
own constructed and con tained laws. This was what a painting
co uld and should be. It was of this that my instructors had been
talking. It took Com·bet's painting to make me see it.
7
Across the board·
Pfc. Daniel Bat·tley, Drexel Hill, Penn-
sylvania, now stationed on the 38 ° parallel
in Korea, did the above pin-up. "They seem
to be what the GI's want most," he says,
"and believe me, I've been busy. I've also
gained experience in layout and lettering,
and I turned one project into a calendar
for our company."
Betty Whitmm·e, Richmond, California,
shown above, has a floating studio built on
a large war surplus float of natural reJ-
wood. She says that it never rocks because
it is very firmly anchored. It has fluorescent
lighting, a shower and all the conveniences
of home.
Jeffrey A. Cuddy, Jr., Concord, New
Hampshire, just completed a mural for the
new Commodore Restaurant in Portland,
Maine. Done in full color depicting the
Georgian-Chippendale Period, one panel of
the mural is eighteen feet long and five
feet high. As a result of it, he was inter-
viewed on two local radio programs.
Wal'l'en Cha1nplin, Dumont, New Jersey,
writes and draws a small syndicate feature
on amateur astronomy. While it requires
only simple diagrams and a stick figure, he
hopes someday to have three more features
appearing in two hundred papers each.
8
Marjorie Wilson, Gulfport, Mississippi,
has been asked to do a magnolia painting
for the new Pen Women's Building in
Washington, D.C.
Gem·ge Maniates, Chicago, Illinois, was
given a four·color illustration job of a lawn
and garden scene. ever having worked
with color in opaque, he didn't think he was
prepared for such a job. But he did it any-
way, hoping the client would print it. The
client did- 250,000 times. It was used as a
cover for a lawn and garden catalogue.
Three Canadian students, Jet·ry Lazare,
C. F. Cantwell, and Bill Roberts, have
just formed their own art studio in Toronto.
Vem Culbertson, Richmond, Indiana, did
the sketch ideas to illustrate dialogue in a
slide-type movie depicting the hi story and
activities of the local YMCA. The sketches
were sen t to the concern making the film
for its artists to pick those most suitable.
"When the film came back, almost every
idea I had sketched was used," she reports.
" I was thrilled."
Cur t Witt, Greenwich, Connecticut, art di-
rector of Remington Records who has re-
cen tly developed a new format for the
records and redesigned the entire existing
line, is now working on the current monthly
releases. Striving for good design that ex-
presses the feeling of the music and still
stays within a low budget, he uses three
flat s (line cuts) completely separated by
Model-At·tist Student William B. Ingra-
ham gets the right models for the char-
acters in his pictures-even if it means
posing for himself. "I needed a fero-
cious-looking cab driver for my illustra-
tion. I photographed two actual drivers
and then an amateur actor friend but
none seemed right. In desperation, I sat
color and r eady for the engraver. His work
for Remington Records was recognized in
the April issue of Art Director and Studio
News. "Since many record sleeves are pur-
chased from free-lance artists," Mr. Witt
says, " th ey offer a fine opportunity for
creative design."
Lawrence MacNeil, Medford, Massa-
chusetts, has just finished a series of indus-
trial spots for American Optical, two por-
traits, and two landscapes for an art show.
He was artist and art director for the Blue
Cross, Blue Shield television program, in
addition to his regular agency job.
Ft·ances Wright, Newton, Kansas, de-
signed an autograph book for the National
Music Camp at Interlochen, Michigan,
where she is dance director. Six hundred
copies were sold.
John N. Weaver, Queens Village, New
York, will leave his advertising agency job
at Schwab and Beatty in January and go
to Hawaii where he and his wife will work
as missionaries for the Watchtower Society.
As pioneers they will each put in a mini-
mum of one hundred hours a month of
missionary activity. In addition, Mr. Weaver
will do part-time art work for a se mi-
monthly newspaper.
Barham Fiebig, Fort Wayne, Indiana, is
staff artist of the employee magazine which
is published by the bank where she is clerk
and typist.
before the camera, my wife snapped the
shutter, and I had my cabbie." Photo
shows "cabbie" in action and student
happily putting finishing touches on an
assignment. When he's not posing, Mr.
Ingraham works in the advertising art
department of the Chicago Sun-Times.
 Student of the issue ... Gilbert Provencher

Courage A CASE HISTORY

If you ar e h aving di fficulty in dt·a wing,

read th e stm·y of Gilbert Proven ch er.

Ordinarily, the story of student Gilbert Provencher, a 19-year-old

of Manchester, N.H., would be classed as a miracle. But there
isn't such a thing as a miracle in Gilbert's book so his life must
be classed as a case history in raw courage.
For 14 years Gilbert was a typical American boy who spent
a great deal of time fishing, swimming and playing football in
the back lots with his friends. He attended a boys' club in his
horne town where he became interested in art. He was a quiet,
serious-minded boy and enthusiastic about his drawing.
One hot August day Gilbert and a few chums were swimming
in a tiny creek. Young Provencher took a clive into the shallow
waters and struck his head on the creek bed. He severed two
vertebrae and was paralyzed from his neck down . .
His parents, Doria and Mary Jane Provencher, in very meager
circumstances, devoted their lives to cheering up the boy. Mrs.
Provencher feel him all his meals, lifted him from bed to wheel-
chair and tried to keep up his spirits.
He never felt sorry for himself but was unhappy that he
couldn't help support the family and relieve his mother from her
nursing duties. The turning point carne when he saw an armless
artist painting on a television show.
At first Gilbert tried painting with his teeth but this failed
since he lacked the necessary mobility of his head. This disap-
pointment made him more determined. Gilbert's mother and
father patiently encouraged him and in March of 1949 he began
to draw with the aid of an invention which he devised. It was a
Gilbert Provencher was commissioned to strip of leather, in which two holes were punched for holding
do thi s oil painting. He received $200 for it. the brush, which was attached to the left arm. This arm fostered
the only living muscle in his body below the neck and enabled
him to get just enough movement for painting.
Now a new life had opened for Gilbert Provencher. In August
of 1951 the Institute of P hysical Medicine and Rehabilitation
held an exhibition of his paintings and ten of them were sold.
Recently Gilbert and his mother told their story to a nation-
wide television audience. They got $500 in gifts on the show and
extra donations came in from all parts of the country. Besides
cash, they received a car, the use of an eight-room house for the
summer, several cameras and more paint supplies. This was an-
Pencil drawing, 1952
other turning point in the life of Gilbert Provencher.
His immediate plan is to earn a living for his family. He wants
to set up a one-man exhibit along a busy high way to paint and
sell pictures-and with forti tude such as his, you can bet he'll
make it. But for now young Provencher figures he'll be able to
make a nice livelihood until bigger things come his way.
It is with great pride that we award the first Student of the
issu e honor to Gilbert Provencher who should provide for all of
us an incredible example of what courage, and determination in
the face of unbelievable handicaps, can do to make an artist.

9
 A Display of the Work of Students of the Famous Artists Schools

Robet·t M. Buckham, Pointe Claire, P. Q., Canada, is con·

sidered one of Canada's outstanding illustra tors. A bomber
pilot with the Canadian Air Force, he was shot down behind
the German lin es and survived two years in a German prison
camp. Thirty-three years old, married, with a beautiful wife
and two lovely children, he is art director of Cockfield, Brown
& Company, Limited, Canada's largest advertising agency. He
also dces free-lance edi torial illustration. The illustrations
shown here appeared in Weekend and in Maclean's magazine,
both Canad ian publications. The advertisement was done for
Trans-Canada Airlines.

MM~ • .-.-..-*"*
.........""""'·tt•• ...
------·~~ ...<'_..,
-~...... ~-~.-s....

10
 Gote Got·ansson is a very versatile commercial artist in
Taby, Sweden. His free-lance work includes a 40-panel-a-week
comic strip, comic book covers, magazine illustrations, adver-
tisements, and book jackets. In addition, he works three days
a week in a commercial art agency. Mr. Gorannson is thirty·
one years old, married, and ha s one son.

••••••••••••••••••••••••••••••••••••••

. IJ Ross Mendes, young Toronto artist, designed the cover,

t\ format, and did these drawings for the program of the Ca-

-~
nadian National Ballet. Currently with an advertising agency,
he hopes some clay to illustrate women's fashions in New York

~~
or Paris and to design ballet costumes and sets.

ll
 Courtesy Consolidcted Book PubliShers

·walter Parke, a free-lance artist in Libertyville, Illinois, also

works on a commission basis for Sundblum, Johnson and White
Studio doing oils and some water colors for posters and maga-
zine and display ads. His extensive interest in mural painting
led to his doing the Canterbury Tales and Thomas Jefferson
murals in the Library of Congress. In 1939 and 1940 he worked
with Ezra Winter on murals for the New York World's Fair. He
is married and has one child.

12
 Thomas Eaglin, a Navy reservist recently
discharged after two years service as radio
operator on a troop transport, used his
spare time for on-the-spot sketching of the
men sprawled about on deck. The young
Dayton, Ohio commercial artist has done
free-lance work, layout and finished art
for direct mail, and production work for
a printing company.

•••••••••••••••••••••••••••••••••••
Edward Brittin, thirty-year-old Philadelphia artist,
was a car cleaner for the Philadelphia Transporta·
tion Company when he began the Famous Artists
Course three years ago. After six months study, he
started doing art work as an apprentice textile de-
signer. Now, two years later, he is an advertising
artist for the Evening Bulletin in Philadelphia. He
is married and has two children.
 Ruth Conerly Zachrisson, a San Antonio, Texas, housewife
and mother, is a highly versatile free-lance artist who ha s been
doing professional work on her own for many years_ Now an
enthusiastic student of the Famous Artists Course which she
claims is "the greatest thing in the History of Art," she does a
tremendous amount of art work in addition to running a home
and caring for her family_ Her talents range from highly stylized
fashion drawings to hard-hitting, dynamic advertising illustrations_
Although already successfully engaged in a promising art career,
she is taking the Course for technical training and the professional
know-how and background which she finds it affords.

Courtesy San Antonio Express

Courtesy Joskes of Texas
Courtesy Marshall Field & Co .

'
:_ I
 s? s""~ ~0'wu t
flllttockeq
··--··-
sport
shorts

~ }<>Ur~ &aler tm- ~~~tlwtt ll<'V

Nyll!lldU /"'f\ey ~~ Sj.,_.t•, 'n•t> f.d!rk ~t\' Wit J~.-J .o1111!

lUWitW'l\ ,,!.,,.,~ lf.AA_o>y "f_ill•d ~h<>tt, ~;lh ~It ~lliH< 1<> tl>«I..-J•,

s ... .-n Fall....-·« IMy 11u.t 1.t.~ •. HJ;fl1 ~

Wiliiam Keith Fernin, Evanston , Illinois, is

one of the leading illustrators with Kling Adver-
tising Studio in Chicago. He has an exciting style
of drawing and is eq ually versatile at handling
men's and women's fashion illustrations. The ad-
vertisement shown here for Jockey sport shorts
appeared in Esquire Magazine. Mr. Fernin is
thirty-seven years old, marri ed and ha s two chil-
dren. He is most interested in story illustration,
advertising illu stration and fa shion drawing .

• • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • •
Gene Langley, staff artist with The Christian
Science Monitor for six years, does all phases of
staff work including feature and children's story
illustration. He is twenty-seven, lives in Cam-
bridge, Massachusetts, and works free lance on
folders and promotion cartooning.

.,"
u
c
."
"'c
-~
·.:
6
1!
>-
>-

"
~
0
u
 Blueprint for a job
in the ''sticks''
By Student Paul Sheldon
Art Director of Profile Advertising
Nashua, New Hampshire
I work for an advertising agency hundreds of miles out of New
York. I hire artists, tell them what to do-and sometimes how
to do it- and generally direct their work. My ideas have landed
in print in many an advertising campaign- some even on a na-
tional basis. Yet I'm not an artist myself, so I'm taking the
Famous Artists Course-and having all kinds of trouble trying
to learn how to paint the simplest object in opaque.
Because artists come to me looking for work, I know that some,
at least, seek jobs out in the sticks. They lack confidence in them-
selves, or maybe they feel a job with a small advertising agency
would be good training. Anyhow, they come around in droves,
show elaborate portfolios of their work, and tell me how good
they are.
Well, they are good artists. If I could draw as well, I would
be mighty proud. But ninety percent of these job hunters have
one basic fault which puts them squarely behind the eight-ball-
they are not sufficiently interested in their work. I would like to
explain my statement for the benefit of students planning to
descend on the small-town agencies.
A small advertising agency does not have the big-budget ac-
counts that cause the rash of ulcers in metropolitan advertising
circles. It is not our job to spend the client's money, but to save
the client's money while giving him the most effective advertising
he can afford. We do that in many different ways. For example,
we have our own artists to provide advertising art at the lowest
possible prices. We don't just sell art to the client-we include
art within his budget. There's a world of difference.
This invariably means that we handle very few full-color jobs
because process color is expensive. We might use two colors and
black, or one color and black, invariably line stuff, but most of
our work is produced to be printed in simple black and white. So
portfolios filled to the brim with gorgeous color just do not regis-
ter with us. We haven't much use for that sort of thing.
In New York the tendency seems to be specialization but out
here in the sticks it is just the opposite. The artist must be quali-
fied to do everything. The more of a specialist he is, the less use
we have for him. We must find artists qualified-and willing-to
do the whole job, from layout to final color separations.
That's why the sticks can be good for the budding young com-
mercial artist. He will learn his trade out here- or he won't be
here long. He may even be forced to learn more than art work.
He may get a few ideas about copy, advertising psychology,
media purchasing, and even salesmanship. If the guy is interested,
he can learn the whole advertising business from the ground
16
up while he is officially at his drawing board. It will make him
a better commercial artist - and a better advertising man.
The artist who knows his business has found the answers
because he was curious, read the proper books, asked questions,
visited some of the industries involved. He knows which method
will save the most Lime and money, and does not limit himself to
any one method, either. A small advertising agency expects its
artists to know about line cuts, halftones, and combinations, and
how to prepare art work for each. An artist in such an agency
must also have experimented in the black-with-one-or-two-colors
field and know how to achieve interesting and arresting effects
within those limitations. He must know how to prepare overlays
that guarantee getting the interesting effects he desires - and
he should know how to get three tones of one color on an over-
lay in the easiest and least expensive way. While we expect him
to know all about this, we realize it is not reasonable to expect
him to have had practical experience in all these things. We are
willing to provide him with background material at the begin-
ning of his career since he won't be getting a New York salary
Jut here in the sticks. We are not looking for an authority
created by years of experience - but we are looking for an
:~rtist who wants to be that kind of an authority.
We want an artist who has at least heard about such things
even if he only read about them in an art store catalog. In fact,
we recommend that he read about them in such catalogs. We
want the guy to be interested in his work - the guy who has a
bump of curiosity about everything new in the art realm. We like
artists who have had interest enough to visit the photo-engraver
and the offset printer, and look around. We like the man who is
so intrigued by his own field that nothing gets ahead of him.
That way, we feel, he will be the kind of guy who will quickly
~ stablish a reputation as an artist because of the way his work
looks when it is reproduced. That will make him an artist in
print ... the most commercially appreciated artist of them all!
If you can draw well and have studied the Course faithfully,
you will know all about these things I've mentioned. But the
Course cannot make you maintain a burning interest in your work
- even if it does do everything possible to inspire you to do so.
The advertising agencies and art studios in the sticks, and in the
metropolitan centers as well, will greet you with more enthusiasm
if you're truly interested in your work. Ge tting the practical ex-
perience you need will be easy then, and you'll be on your way
to big things.
But that first qualification - the will to learn - depends
Arictly on you.
 Of many events staged by the Westport staff in recent months, a party for the New York columnists
at the new home of the Famous Artists Schools was the prime success. Noted columnist Robert Ruark,
movie actor Charlton Heston and the great sports writer Red Smith sketch a lovely model while faculty
members AI Parker, Stevan Dohanos and Jon Whitcomb look on.

Employees on the Famous Artists Ball Team

know a good pitch as well as a good picture.
The Artists defeated the VFW, 1950·51 champs.
Westport events

"King" AI Dorne (impersonated by instructor

AI Radomski) rides high at employee Square
Dance. Below, instructor Mike Mitchell's station
wagon was a study in line and tone when fellow
faculty members Bud Sagendorf, Charlie Kitt
and AI Radomski "overlaid" it with color.

A Clothes·for·Korea Drive among employees of the Famous Artists

Schools sent twenty.five boxes of clothing to the war·torn area. With
the help of GI's who befriended them, these Korean orphans try a
pair of boots from Westport for size.

17
 •

New Horizons
How.the Course affected the lives of some students
"I am doing the work that I have waited all my life to do. This
is a sa tisfa ction I find very diffi cult to put into words." Douglas
Banks, Ladner, Canada.
" I have much less tim e to fret about business and other problems.
The many changes and revisions necessary to get good results
have also develop ed my patience." JetTy Slutzky, Sacramento,
California.
"Since I became a stud ent, I've never been bored. Previously, the
places I went, th e things I saw, and the people I met were only
fleeting memories. Now they've become fa scinating studies. I also
have a much greater understanding of human nature." Don
Sinclair, Toronto, Canada.
'"The Art Course is a wonderful way to develop an interest out -
sid e the married per sonality." Evelyn Tm·net·, St. P etersb urg,
Florida.
" I now work twenty-four hours a day instead of the usual dull
fourteen. T h~ Course is worth every snatched minute obtainable."
Baline Sludet·, Anaheim, California.
Dugout a•·tist Bill Wight-Bill Wi ght, Detroit Tigers so uth-
paw pitchin g star , has decid ed hi s left arm will earn him a good
living long after hi s pitching arm has given out on the baseball
fi eld. Th e thirty-year-old, far- seein g Wight enrolled in th e
Famous Artists Co urse, and with hi s sports backgro und and
artistic ability, plans to become a sports cartoo ni st when his
baseball career is end ed.
For the past few seasons Wight has entertain ed his tea mmates
by sketching prominent sports fi gures. When Detroit was playing
the Yankees in New York thi s summer, he looked up AI Dome
to show th e artist so me of hi s art work. Dome felt that Wight
had th e makings of a competent artist and arranged for him to
meet Willard Mullin, the great sports cartoonist. Mullin was also
impressed with Wight's artistic ability and thought it might be
fun if they both collaborated on a cartoon.
The result is shown here. Wight did the portrait of his team-
mate Walt Dropo ; Mullin did the rest of the cartoon. The final
result appeared in the New York World-Telegram and other
Scripps-Howard papers all over the country.
"For the next few years," says Bill, "I'll be throwin g curves on
the diamond by day and drawing curves on the drawing board
at night."

"I now have a fe eling of belonging, of id entifi cat ion, a long range
goal, and a definit e plan of action toward its achievement. I take
John Ruskin 's words as my challenge, 'To give color to pi ctures
is much ; to give color to life is more."' Delby Rudolph, Jack-
son, Michigan.

" I have stopped worrying about what to do with my spare tim e.

Those lessons are enough to take a full clay every clay. Pictures
become more interestin g now, wh erever I see th em. I look at all
the ads in the magazines to see what med ium is used. I am al-
ways anxious to quit work at my jewelry store so that I can get
home to study." Cha..Ies Tolet·, Ki ssimmee, Florida.

"Sin ce spendin g many hours daily on my ' homework', I am no

longer wasting tim e and rnergy on useless fan cy work whi ch I
ca n li ve very happily without, but which I had previously des-
perately needed as occupational then py. After three lessons, I
can do things I co uld only drea m about for many years. I ca n
draw an object or a human fi gure and make it resemble the thino-
itself. For me, that's progress!" Anne S. Batchket· Brookly;:
New York. ' '

"I now see beauty in homely people." Robet·t F. Lyons, Indian-

apoli s, Indiana.

" Ph ys ically, I've achieved co nfid ence in myself, stopp ed smoking

and gained twenty pounds. Mentally, I have a happier outlook
for nights a nd weekend s and an in centi ve to work for th e nex t
thirt y yea rs." Hugo Evangelista, Gloversville, New York.

18
FRENCH PAINTING at the time of the IMPRESSIONISTS
,..----Start Your-- -....,
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MODERN ART
IN THE MAKING
By BERNARD MYERS
457 pages, more tbatt 200 re-
productions, 6 in full color.
Bibliography and 1ndex.
The fascinating, behind-the-
scenes stories of Renoir, Cfz.
anne, Degas, Picasso and
others who developed modern
art in Europe and America.
Said the Saturday :Review of
£iterature: uor. Myers suc-
ceeds admirably in establish-
ing the modern creative artist
as a vital force."
Reta il I'rice $7 .50
Member's Price $5.50
The Guild's National Adviso ry Board
Regi nald Marsh Walter Pach
By RAYM O ND CO GNIAT
Richly and faithfully illustrated with special plates
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in design ... this sumptuous vo lume is probably
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H ere are the gems of that star-like shower of
exciting and wonderful paintings which for
Retail price: $9.50
YOUR PRIVILEGES AS A MEMBER
When you join, we send you the beautiful and unique
1'rencb Painting .At J'be J'ime Of J'be 1mpressionists:
FREE.
Also, as a Guild member, you get a free subscription.
to the interesting Guild brochu re, .Art itt Books. T his
informative monthly booklet tells about art books of
all publishers and describes the next Guild selection.
For each four selections you .accept, we send you a n
additional, valuab le Bonus Book free.
)'ou don't buy any book unless you really want it.
All you pay for each book yo u want is !he special low
member's price plus a small fixed mailing charge,.
after you receive the book. Savings on selections run
as high as 40%, sometimes higher. If you do not want
to receive the forthcoming book, you simply return a
printed form. You enroll for no fixed te rm, and you
may cancel your membership at any time after you
accept four Guild selections.
ALL Art Book Guild books . . . your FREE member-
ship gift book, the selections and your FREE extra
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editions. They are beautifull y illustrated, handsomely
designed books you'll be proud to own.
Why not get the extraordinary a Impressionists" at no
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that become a treasured "museum without walls."
twenty-odd extraordina ry years flowed from the
brus hes of the struggling fo unders of Impression-
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FREE TO NEW MEMBERS
$1700 $550
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This coupon makes .!jOu a member
with all pri1•ile.9cs
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Please enroll me as a member. I am to receive, FREE as a
gift upon joining, 1rencb Painting .At J'be :lime Of J'be
1mpressiottists. With it, send as my first selection :Modern
.Art Jn J'be :Making a t the special, low member's price of
$5.50 plus 38c postag_e a nd packing c~arge. I will receive
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19

A. First, we try this arrange·
ment, moving the figure of
the gunman in the fore·
ground well into the picture.
He gives us a good dom·
inant form in the foreground
but crowds the rest of the
picture. It's quite clear we
don't need to show this
much of him.
20
Try it this way
B. This arrangement doesn't
come off because there is no
dominant shape. All three
compete with each other.
Many of you have had the experience of finding
your attention wandering from the basic problem
of arrangement during the rough, preliminary
stages of a composition to a preoccupation with
the drawing of details. You can avoid this by
the method described on this page for solving
your composition problems. Here's how it works:
First, decide on the general size, shape and
value of the main elements in your picture and
draw them out on pieces of dark, light or half-
tone paper. Cut them out roughly with a pair of
scissors as we have done with the two figures, the
tree and the rectangular background. Then
simply shift them around until you arrive at an
arrangement that gives you the best composition.
By cutting out a white mat you can cover up
the parts or the figure or tree that overlap the
borders of the pictures.
C. This time we tried over· D. Here is the best solution
lapping the foreground fig- and the one we'll use for our
ure and the tree, but the final composition. The action
tree obscures the action and is clear, the shapes are well
looks too important. related and the composition
is balanced. The shapes are
overlapped to take full ad-
vantage of value contrast.
Now you can start working out the drawing problems.
 The faculty
of the
Famous Artists Course

Prizes, scholarships and recognitions reported by our stud ents.

reads
ART NEWS

regularly
Charles B•·att, Marcellus, ew York; Bobby Redman, East
Gadsden, Alabama; and Tina Prentiss, Somerville, Massachu- because -
setts, each received awards of $500.00 by winning competitions in each single issue
which the Famous Artists Course was offered as the prize. Be·
cause they already were students, the School paid the students of ART NEWS "America's first art magazine"
$500.00 each, in lieu of the Famous Artists Course. brings them
Zelda Zoe Rife, seventeen, Marion, Indiana, won the $500.00 FIVE superb full color, full-page reproductions of
fine arts scholarship from Kappa Kappa Sorority. the world's great art, modern and old masters

Charles Littleton, Los Angeles, California, won first prize and
honorable mention at the Eastern Winter Exhibit for Faculty
Assistants of the Disabled Veterans Art Guild.
Gordon Wasley, Chehalis, Washin gton, showed work in several
mediums at the Southwest Washington Fair. Grand prize, three
firsts, two seconds, and one third.
Francis Danovich, New York City, won second prize in casein
and honorable mention for oil painting at the New York News-
paper Guild Art Exhibit.
Emily J. Sting, Banning, California, who sells water colors and
prints, exhibited in the Legion of Honor Palace in San Francisco,
the Oakland Gallery and the Henry Gallery in Seattle.
Denice Seeley, Lincroft, New J ersey, won honorable mention at
the National Open Competition in Newark. Her work also was
accepted for the Audubon Artists Show in 1951 and she won the
Grumbacher Award at the Florida International Show in 1952.
Jacqueline Wilber, Denver, Colorado, received honorable men-
tion in the Latham Foundation International Poster Contest of
1952 out of twelve thousand entries from nineteen countries.
France M. Folse, Raceland, Louisiana, won an award of merit
certificate at the Florida Interna tional Art Exhibition, sponsored
by Florida Southern College, Lakeland.
Anna Iannuzzi, Bronx, New York, has a certificate of merit
award for a painting entered in the Gimbel's Scholastic Contest.
Scores of other illustrations
Advance announcements of open competitions and
scholarships
Reviews and Previews of all new exhibitions
The most authoritative articles about the contem-
porary artist and how he works, as well as others
about the Old Masters.
You, too, should read ART NEWS regularly
Now available to you at this special reduced rate
By special arrangement with the Famous Artists
Course, students of the Course may subscribe to
ART NEWS at ONLY $4 for a full year instead of
the regular $7.
This reduced rate is available only to students of
the Famous Artists Course.
Your order (filled out below) and paym ent must
be sent to the school (checks payable to the Famous
Artists Course) .
Famous Artists Course, Dept. AN, Westport, Conn.
I enclose $4 to cover a full year subscription to
ART NEWS at the sp ecial reduced rate to students
(regular rate $7).

Greydon W. Pipei·, Newport, Maine, reports that Graphic Arts Name

listed his layout of a town of Carmel, Maine, as the leader of
New England in layout and design. Address
Harry Rich, Jr., eighteen, Albany, New York, won a $100.00
City & State
award and airplane trip to New York City as the grand prize in
a city-wide art contest.
21
 Laocoon by El Greco
•
There Is more than meets the eye
When the great French painter Renoir was
asked where one should learn to paint, he
said, "In museums, parbleu!" Renoir knew,
of course, what a vast amount of study
was necessary working directly from nature
both in the studio and out of doors. But
for style, for ideas, for that some thing
which helps a painter to find himself and
to build on .what he finds, Renoir knew
what we must all learn sooner or later:
that the great art of all periods is an im·
mense storehouse of treasures which is
ours for the taking. Every outstanding
22
by Milton S. Fox,
artist-whether he practices "fine art" or
so-called "commercial art''-has closely
studied the work of his peers and predeces-
sors. Nobody can learn by himself and
somebody has said of those who think they
can, "He who would have only himself
for a teacher would be taught by a fool."
Today an artist really has to work at it
to be a fool. Travel and communication
put us in touch with distant places, and
we can see in a matter of hours or days
more than our ancestors could see in years.
For artists, this is especially important. It
Editor of The Library of Great Painters
means that we can study new develop·
ments in our profession; we can learn
about forms of art which are strange or
unusual to us, like the great and intricate
designs of South Seas peoples; we can
really examine at our leisure the master·
pieces of our own Western civilization; we
can become acquainted with the best (and
the worst) that is being done everywhere.
Not all of us can travel, but there is
for all of us a magical "second best."
There have been tremendous advances in
the reproduction of art and in the tech-
niques of using reproductions in teaching.
It wasn't so long ago that artists and
••ther had to be satisfied with very me-
lioc re engraved reproductions if they
"·anted to have some idea of, say, Michel-
angelo's work. A hack would grind out
-omething which seemed to resemble the
rigi nal- probably working not from the
•·riginal but from an earlier mockery of it.
Then the engraving might be tinted by
-omebody with a pretty fantastic notion of
the master's color. And there was your re-
production. Color lithography improved the
-itua tion somewhat, because it was a good
<:>al more flexible than engraving and per-
mitted a wider range of imitated effects.
But it wasn't until the camera came along,
and with it the rapid development of color
photography, that accurate and trust·
worthy reproductions could be made.
Color photography, however, is only part
of the story. We all have observed that a
color photograph of a painting seems to
lack something. I don't know exactly how
to say it, but a color photograph of a paint-
ing makes us think of a color photograph
of a painting, whereas, what we want to
thi nk of is the painting itself. We want
to feel when we are looking at a reproduc-
tion that we are looking at something
whi ch really stands for the painting; which
makes us feel that we are getting the same
ki nd of experience we would get from the
pai nting itself.
Here is where the modern four-color
process engraver comes in. (There are
many kinds of reproduction processes, but
I will deal only with the one I know best,
and which is most widely used.) This en-
graver, with a highly specialized skill and
infini te patience, receives not only the color
photograph, which guides him, but also a
set of color separation negatives from
which the plates are made for the four
colors-black (the key plate, for depth,
body, modeling) , blue, yellow, and red.
After each of the colors is photo-chemically
registered on its individual metal plate, the
engraver goes to work to lighten or darken ,
to accen tuate or suppress, always looking
to his color photograph and written com-
ments and, if possible, the original paint-
ing itself, in order that when he prints the
four plates one after the other, the result
will accurately reproduce the original. As
most people know, each color plate is com-
posed of thousands of tiny dots which print
more or less of a given color amongst
other dots of other colors-somewhat like
the paintings of the so-called P ointillists.
All the colors that you see in reproduc-
tions such as those in The Library of Great
Painters result from th e juxtaposition of
the colored dots, and it is indeed amazing
that such an infinity of tones and shades
can result. Of course, I have greatly sim-
plified the actual procedure, for it is often
a long and hard battle before the plates
are regarded as satisfactory. The fir st
proofs are compared with the originals by
the museums or owners of the pictures,
and th eir suggested corrections are given
to the engravers. There follows more work
and more proofs (sometimes I have re-
quired our engravers to go through thi s
process for six successive corrections and
1·eproofings, much to their disgust) until
it is felt that the reproduction does jus-
ti ce to th e original. And then the battle
begins all over, for it is one thing to have
a fine color reproduction in a hand-pulled
engraver's proof and quite another thing to
get the same results in high-speed presses
for commercial purposes, at a price which
people can afford to pay. It may sound
fantastic, in view of the fact that so much
of the process is purely mechanical, but it
is a fact that different artists present dif-
ferent problems when it comes to repro-
duction. One of the masters who makes
both the engraver and printer shudder is
Cezanne with hi s flecking style, his shadows
modeled in color, and hi s abrupt shifts
from nuance to nuance, from warm to cool.
A color reproduction is still a color re-
production. Th e question is how to make
it convey the impact and "personality" of
the original which is a large object with
a real texture and r equires the eye to
move back and forth over it since it can
seldom be taken in at one glance. The r e-
production, on the other hand, is generally
small (plate costs are frightful; the artist
may have received less for the painting
than the engraving hou se receives for the
plates), and it is printed on a piece of
paper which ha s no relief and almost no
texture. Some people feel that glossy
finishes help to convey the vitality which
in our mind s we associate with a memorable
picture. Even frescoes with matte smfaces,
they say, remain in o11r minds as sharp
and vivid images. Thus, we must try to
match the vividness of the memory image.
Others insist that the reproduction should
match the original in all respects. But thi s
much is tru e-be it glossy or matte, some-
body thinks you've mad e a bad mi stake.
However, the argume nt over glossy ver-
sus matte is pallid in comparison with the
diverse opinions about color accuracy.
These optmons range from the conviction
that black-and-white is the only satisfactory
way of reproducing paintings, to the other
extreme where the observer will frankly ad-
mit that he cannot recall exactly what are
the colors of the original, but that the
reproduction before him looks pretty good.
The fact of the matter is that most of us
do not remember specific colors at all
well, and we remember general effects only
somewhat better. And the more time that
elapses, the less exact is the accuracy of
our recall. There are many reasons for this,
and it is a wise man who will not be too
dogmatic on the subj ect.
I will cite a personal case to show how
difficult it is to be exact even about things
which are right before our noses. Know-
in g that we were going to reproduce the
Chestnut Trees in our book on Cezanne,
coming out this Fall, I made elaborate and
very precise notes about the canvas in 1951
when it was at the Philadelphia Museum,
on loan from the Minneapolis Museum
which owns it. Some months later, the same
canvas was shown in New York at the
Wildenstein Galleries. I again made de-
tailed color notes in front of the picture
for I had forgotten that I did so in Phila-
delphia. Gathering all the material to send
it to the engraver, I discovered both sets
of notes and compared them. Having
learned how far off people can be on color
-experts, too- l wanted to see how two
reports on the same picture, made under
different conditions, would square with
each other. I can only say that in some very
important respects, it would be hard to
believe that the two sets of notes dealt
with the same canvas. To check a certain
important area, one of the two fairly large
houses in the landscape, I phoned a per-
son who saw the canvas many times in
New York. He thought it was unreason-
able to ask him for an account of a specific
color area, even though it was an important
one several square inches.
The moral of thi s tale is that things are
not always what we would have them. But
it is also true that too many reproductions
now on the market, as loose prints and in
books, are nothing but a travesty of the
originals; and only familiarity with the
paintings themselves and with good repro-
ductions will help us to discriminate. It is
all important for artists and students to
visit museums and galleries often. The more
experience we have, the more discriminat-
ing we become and the greater will be
the rewards of study of the masters.
There is one shortcut. If we appreciate
a person who has spent years and years
studying a certain artist or school of paint-
ing, we can have the benefits of his efforts.
Artists do not often like critics or scholars,
but there can be no question about it-a
good, sensitive man who has for years ex-
plored the life work of a master can tell
us much that we would not discover in less
time, and perhaps not at all. A good stu-
dent of a certain painter- a really good
student-is a specialist, and just like any
other specialist, he is apt to know more
about hi s specialty than the sidewalk su-
perintendent. Unhappily, there are not too
many good, penetrating-a nd readable-
writers on art, but t.he good ones ca n help
us to unlock many doors in the storehouse
of art treasurers - to our great benefit as
artists and students.
23
 A. Organize your time so you have definite
hours for studying each day or each week.
Many students find morning hours best.
The more time you spend in studying and
drawing, the more you will get out of your
Course.
?• Q. Why isn't there more work on color in
the early part of the Course? A. E. Con-
way, Shamokin, Pennsylvania .
• A. Our experience in teaching has clearly
uest1ons shown us that the student can learn the
important principles of drawing, composi-
tion, and control of values better by first
making black and white pictures. The first
paragraphs of Lesson 21 explain this fully.

Q. Is there any practical plan for a small

Q. Can students v1s1t Westport? Jean
Waddell, Jersey Shore, Pennsylvania.
A. We are happy to have students visit the
school. The latchstring is always out, Mon·
days through Fridays, 8 :30 a.m.-4 :30 p.m.
home studio - one that would occupy a
corner of a room? Frances Stahly, Mil-
ford, Nebraska.
A. See illustration and text in Lesson I on
suggested arrangement of working space.
Q. I live in a small town and I don't want
to give up my present job to go to a large

Q. After what lesson would a student have

sufficient background for a beginning art
job? Nancy Hyde, New York, New York.
A. It depends on the individual. Some
hard-working students get an art job after
a few lessons. Many at the half-way point.
Q. Why not a special course for married
students on which the whole family (if ar·
tistic) could work and send in assignments
together? John Bowden, Bronx, N. Y.
A. A "family" art course would present
many problems- but we do have many
husbands and wives, sisters and brothers,
etc., each taking separate courses.
Q. Is thirty too old to begin an art career?
Marguerite Conant, Detroit, Michigan.
A. No, many great and famous careers in
art as well as in other fields have been
started after thirty and much later. Grand·
rna Moses is a rare but excellent example
of a very late start.
Q. Could it be that American art patrons
are going insane in their liking for mod-
ernistic art with all its abimrdities? W es-
ley Steelman, Kingston, Pennsylvania.
A. No, it is through groups such as these,
who try to understand and support new
movements of sel£-eipression by mature ar-
tists, that many a&vances are made in all
forms of art. Because of the sympathetic
attitude of just such groups fifty years ago,
the public today understands and admires
the work of Cezanne, Matisse, Van Gogh,
Picasso, Degas, and the many giants of
modern creative painting.
Q. What has been the average time re-
quired to complete the Course? Eugene
Knowles, San Diego, Calfornia.
A. Few students devote full time to the
Course. As a result, most require more
than two years to complete it.
Q. When you can't devote all your time to
drawing and studying, what kind of a
schedule is best to follow? How many
hours a day, what hours are best, etc.?
Judith Haagen, Dundalk, Maryland.
24
city. What are my chances as an artist
here? William Dorman, Milton, Canada.
A. Nearly every commu!lity of any size has
business firms and industries which adver-
tise their products and services and have
occasion to purchase art work. Consult your
supplement "How to make money in com-
mercial art and illustration" for more
specific information.
Q. Is six weeks long enough to spend on a
lesson? By the time I read extra books,
study, and do practice work, I have to hurry
through the assignments. Betty Pierce,
Lakeside, Michigan.
A. The time to complete a lesson depends
on the individual. Never "hurry through"
lesson assignments.
Q. Instead of selling $10 paintings to peo-
ple who can afford it, how can I sell $100
paintings to people who can afford it?
Mark Warren, Culver City, California.
A. First make paintings worth more than
$100. Then find people with $100.
Q. I have heard that some of the "famous
artists" sign their work with names other
than their own. Is this true? Grace James,
Oakland, California.
A. No, of course not.
Q. Have other students found it hard to
switch from a completely different field of
work to commercial art? Robert Stolow-
ski, West Allis, Wisconsin.
A. Certainly- but it is less difficult if you
would rather be an artist than be what you
now are.
Q. Don't you think the lessons are too de-
tailed for a beginner? Lydia Sievert, Glen-
dale, California.
A. No, Detail in teaching is all important
for the beginners.
Q. Can anyone really learn to draw? Isn't
an artist really born with his talent? Bill
Fortune, Brooklyn, New York.
A. Any normal person who has the desire
and determination to draw can do so. "Born
talent" is useless to anyone without desire,
ambition, and training.
$ale No.1
Richard Punnett, Los Angeles, California,
whose first sale was the above mailing piece,
reports, "I pilfered the perspective angle
from the rooster illustrations by Michael
Mitchell (F AC instructor) in Lesson 19."
"I d<lsigned a 'Round the World' cruise
certificate and had it printed diploma style.
I lettered over five hundred names on these
certificates in Old English lettering. This
more than paid for the Famous Artists
Course." George Haines, F.P.O., New
York, New York
"I hand painted a skunk on a yellow tie-
for $4.00." G. R. Stave, Kansas City, Mo.
"Last year I made Christmas cards for
friends and businesses at $10 for the art
work plus production costs. I have 100 per-
cent reorders for this year, plus many new
orders." Carrie Lucas, St. Petersburg,
Florida
"My first sale was to Hoofs and Horns, a
rodeo magazine. Each month I drew an
India ink portrait of some rodeo cowboy."
Bernice Kalland. Sacramento, California
"Illustrated a new cancer chemotherapy
system developed in the clinic where I
work." Jacqueline Speelman, Silver
Springs, Maryland
"A 16-page basketball program. It took the
fancy of the public here and now I have all
the work I can do." Bob Ellenwood, Wat-
sonville, California
"The pastor of a small out-of-town church
wanted a picture for the parsonage. The
subject, size and price were agreed upon.
Much time and effort went into the paint-
ing. The pastor left town suddenly. For
Sale: one large religious painting to any
member of the clergy with esthetic rather
than amorous interests." Dwane Jackson,
Alliance. Ohio
 Faculty as the masters are known
by their work • •

C laud e Mone t
ln ter ie ur:
Apr eS· Diner

There's no rest for a topnotch commercial artist. In the months

ahead you'll he seeing more and more illustrations by the mem-
bers of your faculty.
Jon Whitcomb will he busy with illustrations in Ladies'
is kno w n by craf ts me n for la youts,
Home Journal, Cosmopolitan, McCall's and other magazines ...
ge ne ral pa ste-u p , cop y and moun l-
He'll continue those wonderful advertising jobs for Community
in g. Sto Set bond s paper to p ape r,
Plate and is working on a big series of Catalina Swimming lea t her, texti les, r ubbe r , gl oss,
uits . . . Jon plans to take a trip to Europe this year. wood , met a l and pla st ics wi tho ut
Peter Heick is turning out those illustrations from his charm- wrinkle, curl or stai n .
ing home and studio in Boston Corners, N. Y. . . . He is busy
with a National Field campaign hut continues to collect old rac-
ing cars and gets his extra-curricular "kicks" spinning along in Dea lers of the bes t art is ts material s sell and
hi s old machines. recommend 5to5et PAPER CEMENT.
John Atherton recently completed a "research" trip from
.'IIassachusetts to Maine ... John gathered a world of material Produ ct of
which will he put to use in his paintings. There'll he a couple
of Atherton fine arts exhibits late this year. THE MONET COMPANY
Up at Arlington, Vermont, Norman Rockwell is finishing a 4 3 South Ave . • Fanwood , N . J .
series of six paintings for the 50th anniversary of the Ford Motor
Company ... These will he the meat of what promises to he one
of the most powerful advertising campaigns in automotive history
. . . Be on the lookout for Norman's Election Day cover for the
Saturday Evening Post.
That amazing westerner, Harold Von Schmidt, is completing
his paintings for a six-part serial slated for the Post in '53 . . .
Von, who is headed West for a research trip of his own, reports
a new hobby- studying the ducks that frequent Dead Man's
Creek on his property, making careful notes while observing
them with his field glasses.
A report from Austin Briggs shows a crammed but exciting
schedule . . . Having completed his annual Christmas ad for
Plymouth he is working on a series for American Airlines for
'53 and will turn out one illustration a month for the Post.
You'll be seeing those Stevan Dohanos Post covers just as
frequently through 1953 . . . He has done over ninety of them
so far in his brilliant career . . • Steve will take time off from
his painting to accept the Ohio Career Medal in Columbus in
October- an award for recognition of achievement . . . Dohanos,
who perhaps does more painting for charity than any other
artist in the nation, has also completed a Sister Kenny poster
for a fall campaign.
Ben Stahl has a program which calls for a variety of assign-
ments . . . From hook covers to fine art, Stahl never lets up
. . . He turns out his assignments from Westport during the
summer months and from Sarasota, Florida, in the winter.
AI Parker will continue his beloved mother and daughter
covers for the Journal and will do a number of American Airlines
illustrations . . • AI beats the drums for relaxation and occa-
sionally plays the skins in jam sessions with Benny Goodman at
the maestro's Connecticut home.
Fred Ludekens has one of the busiest schedules imaginable
. . . A six-part murder-mystery serial will appear in the Post
soon . . • Two covers for True magazine are already set . . .
Also a pheasant cover on Hunting Year Book . . . Fred plans
to take some time off for some trout fishing sessions in Wyoming.
Albert Dorne is writing a book, "How to Paint with Colored
Ink." . . . Al is the foremost authority on this medium and
this will he the first time in the history of publishing that such
a book has been done . . . By popular demand, Mr. Dorne is
also doing a colored motion picture entitled, "How to Make a
Picture," and is hooked for a full schedule of lectures this fall.

25

Money-
makers
Student suggestions for turning ideas into dollars
" There is always work for artists but you
have to dig for it," says Geor·ge 'Vat·d,
New York, New York. "I letter comic books
and daily strips, work as assistant to comic
artists, work vacation reliefs in my home
town newspaper art department, and paint
murals on bars and restaurants."
" I paint my friends' pets from photographs.
I do them in opaque and oils. So far I have
done two pedigreed angora cats, a cocker
spani el, and several thoroughbred race
horses. This is quite a thri ving business if
you find the right people." Constance
Flanagan, Springfield, Massachusetts.
"I decorate wedding invitations, mount and
frame them. I design greeting cards, get-
Ling as much as $35 for some. At $200 each
I do portraits. I am also working on color
jobs for calendars." John Watet·s, Twin
City, Georgia.
"Since I've been in the Marines, I pick up
ex tra money doing portraits and caricatures
of my buddies. They like the drawings; I
like to do them; and the money sure comes
in handy." Pfc. Rick Davis, Oceanside,
California.
"Two plans particularly su ited for my com-
munity are: Starting an art appreciation
class for very yo ung children, and decOl·at-
ing store fronts and windows." Jean
Stauffet·, Anderson, South Carolina.
"My art director at work suggested I show
my sampl es from the Course to the editor
of a farmers' magazine. He gave me a story
to illustrate and I sold it free lance. Now
I've done three more." At·thm· Gilpin,
Toronto, Canada.
"I let all my friends know I design birth
announcement ideas, dance posters, club
activity notices, show cards, etc. I include an
illustration plus lettering." David Hares,
Ferguson, Missouri.
"I do murals for children's room s. I outline
the main characters with luminous paint
that casts a soft blue glow at night." Joy
Demsey, Pine Lawn, Missouri.
26
The painting above is one of the "custom-
made" paintings for homes done by Alice
Wolf McCm·thy, Dallas, Texas, "an idea I
have found successful," she reports. " The
color scheme and decor of the home estab-
lishes the colors for the board, mat, and
paint. The personalities and preferences of
the customer more or less decide the sub-
ject. Interior decorators are very pleased
with my idea. Sales have been modest, and
I haven't don e enou gh to establi sh much of
a reputation. I try to kee p my prices rea·
sonable although framin g is expensive."
"About a year ago I began submi ttin g gag
cartoon s to various magazines and I've man-
aged to sel l five cartoons to a trade mag-
azi ne. Such magazines don't pay much but
it is good ex per ience and gives me an
opportunity to see my work in print,"
Kenneth Dyet·, Fort Lee, New J ersey.
" I hand paint ti es ( mo stl y bathing beauties)
for men. I have clone many of them - a
plane for a pilot, a Mexican scene for n
orchestra leader, etc. - priced from three
to five dollars a tie. I also paint so uvenir
handkerchiefs and letter 'Hastings, On tario'
on all kind s of knick-knacks to sell to you
Americans." Rose M. Baket·, Hastings,
Canada,
"I decorate sceni c bathrooms, using oils
and a thin coat of Valspar," reports Beulah
B. Talpey, Claymont, Delaware. "Being of
old pioneer stock, most of my activities pay
for themselves and many times my art crea-
tions are to cover up so me defect around
hom e. Then I begin doing the same thing for
friends for pay."
"I keep in tou ch with local business and
industrial concerns," says Shidey Millet·,
Hagerstown, Maryland. "One of the men
here has a part interest in a shoe factory
and owns a shoe store where he retails his
own styles and some nationally known shoes.
He has ' mats' for the nationally known
material hut none for the shoes he makes.
I do hi s ske tches for hi s advertising. This
also applies to pocketbooks or anything
else where he does not have mats."
Lev P urdy (From page 5)
Weekends have always been devoted to
fin e art with the time between profitably
applied to sketch work. After hi s return
from Europe, Lev spent several years with
the William Esty and Newell Emm ett agen-
cies, and fr ee la ncing. Hi ghly successful in
hi s cho se n career, and having se ttled with
hi s fam ily in Westport, Lev wa s th en pre-
vailed upon by Al Dorne to join th e fa culty
of the Famous Artists Schools.
Art is work and play for Lev and this
interest is shared wholeheartedly by hi s
wife and their twenty-two-year-old twin son
a nd daughter. Indeed, his wife Irene has
emerged as a full-fled ged professional artist
in her own right - and without any formal
art trainin g other than her husband's in-
flu ence and association with hi s many artist
fri end s. Always an enthusiastic hobbyist she
had studi ed dancing, singing, etc. and even-
tually decided to try her hand at art. Lev
wa s am used by her early interest, thinking
it just another fad. However, he sat up and
took notice when she went out and land ed
a job doin g illustrations for a New York
department store. A successful career in
fashion illustration followed and although
she is not active in the commercial fi eld
today, she ha s taken up ceramics as an
outlet for her artistic talents.
Their son and daughter are both launch ed
on promisin g careers in commercial art.
Noa excelled in her art studi es and from
her first job in a pattern hou se ha s gone
on to the art department of Montgomery
Ward. Frazier would have no part of out-
sid e trainin g, preferring to study exclu-
sively with hi s dad. He is now an artist with
the Lennen & Mitchell Agency. That's
fast progress for a couple of Lwenly- Lwo-
year-olds, and fir sthand evid ence of Lev's
ability to teach art as well as p1·actice it.
At the Famous Artists Schools, Lev is
rega rded with great respect by hi s fellow
instructors. This may or may not be due to
the bull whip which he handles so expertly.
Braiding whips is a hobby with him and
he ha s quite a collec tion. Along with whip-
cracking to keep hi s associates on their
toes, Lev claims one other distinctive work
habit. He prefers to work in a cluttered
atmosphere. A certain amount of co mfort-
able disorder provides inspiration, he says.
Caricature of Lev Purdy by fellow faculty
member Michael Mitchell.
You will find useful . ..
Mongol Colm·ed Pencil Sketch Kit
Folding pocket-size kit for quick, on-the-
spot sketching, completely fitted with 12
colored indelible pencils, to be used dry
or with plain water for wash effects, and
a pad of 48 sheets of white and colored
drawing paper. Attached swivel hand grip
makes horizon tal or vertical sketches pos-
sible. Priced around 82.00. Eberhard Faber
Pencil Company.
F lo-master Fountnbrush
A precision-made, aluminum, felt-tipped
instrument with an automatic valve that
controls the flow of ink for broad or nar-
row line marking. Five felt nibs of various
shapes easily interchanged. One filling of
ink lasts from a week to many months.
Writes on any surface and dries instantly.
Fountnbrush with 3 nibs, $3.00; with 4
nibs and a fine mark adapter, $3.25. In -
troductory set of Fountnbrush, 2-oz. can of
black ink, 4 assorted nibs and adapter,
3.75. Cushman & Denison Company.
Higgins Pen Cleaner
Removes dried waterproof drawing inks
from pens, instruments and brushes after
a 30-minute soaking. Odorless, non-inflam-
mable, harmless to brushes and instru-
ments. Non-injurious to skin, and non-
volatile. %, oz. bottle with dropper, $.30;
2% oz. jar with screw top, $.35; 16 oz.
bottle, $2.00. Higgins Pen Company, Inc.
art student,
an amateur,
a professional
?
IF SO, you will want to read the coming:
monthly issues of AMERICAN ARTIST
MAGAZINE - America 's most widely read
art publication (readership over 2oo,ooo! )
considered the "Bible" of the Art World.
Folding Table Easel NORMAN ROCKWELL , famous illustrator .
wrote: "Continue my subscription for life."
Perfect for use where space is at a pre· AMERICAN ARTIST ea:h month will bring
mium. Can be stored in a drawer. Light in you IDEAS to help you become a more
weight yet sturdy enough to support draw- capable artist. IDEAS to advance you in y_ou1
ing boards, it is adjustable to any angle present work or lead you to a better JOh .
from horizontal to vertical. Seasoned hard to aid you in selling yo ur paintings, draw-
ings, designs. IDEAS for building a firmer
wood and metal construction. Priced abou: reputation as an artist, for gaining a_ broader
82.25. Anco Wood Specialties, Inc. cultural background. IN SHORT, 1deas for
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AM~RICAN ARTIST MAGAZINE IS an mspmng
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and filled from cover-to-cover with clown-
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nature which makes it a practical working
tool. J UST look at this subject listing: Paint-
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Amateur Art, Printmaking, Design, Graphic
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Attractive colorful sets put up in II Address ..... .. .. . . .. . ..... ... .• . . . . .
sturdy partitioned wood boxes with hinged J City, Zone, State . . ......... .... .
covers. The brilliant rich pastel sticks are I FAMOUS ARTIST SCHOOL registration number •.
placed in individual grooves fqr easy ac-
cessibility. Set #3, 40 pastels $4.50; Set
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1Add 5011 lor Canada, Cuba, Mexico. $1.00 lor foreign.
#5, 60 pastels $6.00; Set #7, 99 pastels • Enclose $5.00 if you are not registered in tile
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27
 Volume 3 From Picasso to Surrealism-
112 reproductions in full color .... $17.50
One book of which we are justifiably
proud, since it is about one of your faculty,
*
is Nm·man Rockwell, Illustrator by it happened
Arthur L. Guptill. A great book about a
truly great illustrator, affording an intimate * to me
acquaintance with Rockwell the man, for
the millions who are delighted by the work
*
of Rockwell the artist. It takes the reader
right into Rockwell's home and studio
where he demonstrates just how he goes
about his work. In addition, this is a
treasury of Rockwell's illustra tions, includ-
ing every one of the 24-0 Post covers he
had painted up to the time of publication.
208 pages-50 in full color.
Watson-Guptill Publications, Inc.... $5.00
Another fine book presents all of your
faculty and many of their illustrious col-

We recommend! leagues in th e profession. Forty Illus-

One of the most important departments of
this magazine will be "Recommended
Books," its function to review what we
believe to be the finest books on art and
related fields. Our only consideration will
be their aesthetic and practical value to
students of the Famous Artists Schools.
It is quite fitting in this first issue to say
something about the fine achievement of
a man dedicated to an ideal.
Harry N. Abrams started out more than
twenty-five years ago to become an artist.
The great artists of history made such a
profound impression on him that he de-
cided his mission in life would be to some
day bring before the public the works of
these great artists, rather than try to
achieve personal success in the field of
art. In the opinion of the most eminent
art cri tics, he has achieved this goal-
The Library of Great Painters.
We could do the students of the Famous
Artists Schools no greater service than
to endorse without reservation this mag-
nificient contribution to our culture.
Renoit· Text by Walter Pach- 50 reproduc-
tions in full color . . . . . . . . . . . . . . . . $12.50
Van Gogh Text by Meyer Schapiro-50
reproductions in full color ....... . $12.50
El Gt·eco Text by Leo Bronstein- 50 re-
productions in full color .......... $12.50
Degas Text by Daniel Catton Rich-50 re-
productions in full color .......... $12.50
Also, the first volume in a new series,
The Library of Great Museums, entitled,
Art Treasures of the Louvt·e. 100 repro-
ductions in color-extra large page size.
Text translated and adapted from the
French by Rene Huyghe .......... $12.50
It is impossible to speak about great
books without bringing into sharp focus
8ome of the fine volumes published by
Skira Art Books. For this issue we choose
Histm·y of Modern Painting, presented
in three magnificent volumes. Each is
complete in itself and can be bought sepa-
rately. The authors have given objective
judgments of the works reproduced, so the
historic and cri tical comments are side by
side with the illustrations themselves-un-
rivaled reference books for modern art.
Volume 1 From Baudelait·e to Bonnm·d
80 reproductions in full color ..... $15.00
Volume 2 Matisse-Munch-Rouault-80
reproductions in full color ........ $15.00
28
trators and How They Wm·k by Ernest
W. Watson. Forty of the top artists in the
field are here represented in a variety of
ways to give an excellent over-all picture of
contemporary illustration. Some chapters
stress technical matters; some, training
and experience; others, a single phase of
the artist's work. Young illustrators will
find thi s book inspiring and informative.
332 pages, 9 x 12 inches. 300 illustrations.
Watson-Guptill Publications, Inc ... $10.00
We liked also a book called Calli-
gt·aphic Lettel"ing with Wide Pen and
Brush by Ralph Douglass. For some years
now, a growing demand has become evi-
dent for calligraphic styles of lettering for
use on book jackets and the like. Many
are easy to learn and, once acquired, are
both rapid and effective. 64 pages. Illus-
trated. Text hand-lettered. Spiral bound.
Watson- Guptill Publications, Inc.... $2.50
You can save 40%
On behalf of the Famous Artists Schools,
we have made discount arrangements with
the two most important magazines in this
country devoted to art.
American Artist is the "bible" of the
professional, student and amateur art worlds.
Beautifully illustrated and printed. Color
in every issue. Regular rate is $5.00 per
year ( 10 big issues). Students enrolled
in the Famous Artists Schools may sub-
scribe at the low group rate of only $3.00
(add $1.00 for foreign subscriptions). Send
your order and remittance to American
Artist Magazine, 24 West 40th Street, New
York 18, N.Y. (Give your student number.)
Art News, America's first fine art maga-
zine, is celebrating its fiftieth anniversary.
This most beautifully designed fine arts
magazine is unique in its coverage of art.
An important feature of each issue is the
series of five fine full-color reproductions
of the world's great art. Hundreds of other
illustrations, reviews and previews of all
exhibitions, advance announcements of open
competitions and scholarships plus the
highly authoritative articles in each issue
make Art News easy to recommend to you
for regular reading.
By special low group rate, students may
subscribe to Art News Magazine for only
$4.00 per year. Regular rate is $7.00. Your
order and remittance must he made out
to Famous Artists Schools, and mailed
directly to Westport, Connecticut.
"I was deeply absorbed in oil painting in a
pasture in the Catskill Mountains when I
gradually became aware of a herd of cattle
slowly eating its way toward me. My four-
footed friends slowly surrounded me, step-
ping on and breaking several of my brushes.
The cows gazed with large eyes at my work
and gurgled disapprovingly. Suddenly they
left. I like to think that the smell of turpen-
tine drove them away, and not my oil paint-
ing." Robert Scherer, Washington, D. C.
"I was so embarrassed at my first life class
- I was right down front- that I spent the
whole two hours drawing the beautiful,
but nude, female model's hand." Joseph
Beck, Melrose Park, Illinois.
"I work in a hospital in pediatrics, as a
nurse. When I admit a child, I find myself
scrutinizing him first as a subject for my
art work. Then I look for symptons." Re-
becca Gabel, New York, New York.
"Being a novice who had never handled
opaque water colors, I mixed too much
black with the white in starting my set
palette. I used up all the white in my kit
and had to travel fifteen miles to the near-
est city to get more." Beth Haley, Guil-
ford, Maine.
"I did an 8-foot wall mural in my mother's
powder room, a full-size painting of an old-
time drug store window. It consumed sev-
eral days, many tubes of paint, and much
of the skin from my face and forearms. I'm
allergic to oils!" Jean Hallstead, Clarks
Summit, Pennsylvania.
"Every time I go to a museum or zoo to
sketch, a crowd forms. It's embarrassing,
but sometimes instructive." Drusilla Arter-
bm·n, Columbia, Missouri.
 des •• ·
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satisfaction- a complete assortment of
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