Word: visualizing
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Dates: during 1960-1969
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...months is muzzily unclear. Mr. Feininger himself attributes the idea to terminate his courses to former Dean Bundy, who supposedly decided in the spring of 1960 that all studio courses would be separated from the Fine Arts department, and, presumably, placed under the aegis of the new Carpenter Visual Arts Center--as soon as the Center was able to shelter these courses...
...other hand, Arthur Trottenberg, the vice-chairman of the Visual Arts Center Committee, a group that has planned the Center, and will run it when it is runnable, says that the Fine Arts department itself decided to drop Fine Arts 16 and 18, and that the Center has been, at the same time, independently studying plans for courses in the studio arts...
Whatever its actions in the past, the department now appears only too happy to divest itself of Mr. Feininger's courses. And, presumably, it has found in the Carpenter Visual Arts Center the proper closet for these discarded classes--even though the full faculty has officially recorded its disapproval of a plan to create a "Division of Studio Arts" at the Center that would be able to offer courses in painting, sculpture, architectural drawing, and even acting. (This idea, incidentally, can be traced to the 1955 Brown Report on the Visual Arts which first planted the idea of building...
...Feininger's studio courses from the Fine Arts Department (see article below) represents an unfortunate blow to the cause of the creative arts at Harvard. Hopefully the loss will be only temporary and courses in painting and drawing will soon re-emerge under the auspices of the Visual Arts Center; and hopefully they will still retain Mr. Feininger's preocupation with the creative rather than the scholarly approach...
...credit for the watercolor's popularity in England, some scholars say, goes to the British aristocracy. Young lords and gentlemen who took the Grand Tour got the urge to make a visual record of what they saw, and it became a matter of pride to know how to draw. As early as 1622, Henry Peacham's The Compleat Gentleman included drawing as an essential part of the aristocrat's education; later editions of the book contained a whole section on "Lantskip.'' The aristocratic amateurs produced no masterpieces of their own, but they set the stage...