Word: prix
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Henri E. Chabanne of Tompkins Corners, N. Y. won the Prix de Rome award in landscape architecture last week for his solution of the problem: "The development of an addition to a private estate." The announcement caused excitement because Landscape Architect Chabanne never went to Yale, has nothing to do with the Yale School of Fine Arts. He is a graduate of the University of Pennsylvania, has been working for a year with the Taconic State Park Commission at Poughkeepsie...
Yale made up for this in the other departments. The Prix de Rome in Architecture went to George Nelson of the Yale School of Fine Arts. The Prix de Rome in Sculpture went to Robert Johnson McKnight of the Yale School of Fine Arts. The Prix de Rome in Painting went to James Owen Mahoney Jr. of the Yale School of Fine Arts, making the eighth successive year that Yale has won the painting award...
...many years students of rival academies have referred to the Prix de Rome painters as "Little Savages" (TIME, May 19, 1930, May 18, 1931). By this they refer to Yale's Leffingwell Professor of Painting & Design, bristle-lipped Eugene Francis Savage, a muralist best known as the decorator of that amazing fane, the Elks National Memorial in Chicago. Professor Savage is an active member of the Fine Arts committee of the American Academy in Rome. Almost all recent winners of the Prix de Rome have painted in the manner of Eugene Francis Savage. Finding little in their own time...
Yale authorities deny that Professor Savage has any particular influence over the Prix de Rome and its winners. They point out that Professor Savage is a very intermittent teacher at Yale, and that, though a trustee, Professor Savage is not a member of the Prix de Rome jury. The eight consecutive winners were really students under Professors Edwin C. Taylor and Deane Keller (a "Little Savage" in 1926) who teach the way Professor Savage paints...
...Capy, winner of the 1930 Prix Severine, transplants the stolid peasants of George Sand's pastoral novels to the War-years of 1914-18 and presents them in crisp, classic profile. Madeline of the white skin, Sebastien of the shadowy mustache loved each other, planned to be married. That was before the War. The War forced first the old men, then the women to work the fields, drive wavering plough-furrows through the hard earth. Madeline's white skin and plump cheeks turn weather-brown, her muscles harden. She is admired as the finest woman in the whole village. Sebastien...