Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. by Clara Erskine Clement
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Art Academies and Museums have also been greatly multiplied. It is often
a surprise to find, in a comparatively small town, a fine Art Gallery, rich in a variety of precious objects. Such an one is the Art Museum of Bowdoin College, in Brunswick, Me. The edifice itself is the most beautiful of the works by McKim that I have seen. The frescoes by La Farge and Vedder are most satisfactory, and one exhibit, among many of interest--that of original drawings by famous Old Masters--would make this Museum a worthy place of pilgrimage. Can one doubt that such a Museum must be an element of artistic development in those who are in contact with it? I cannot omit saying that this splendid monument to the appreciation of art and to great generosity was the gift of women, while the artists who perfected its architecture and decorations are Americans; it is an impressive expression of the expansion of American Art in the nineteenth century. * * * * * The advantages for the study of Art have been largely improved and increased in this period. In numberless studios small classes of pupils are received; in schools of Design, schools of National Academies, and in those of individual enterprise, all possible advantages for study under the direction of the best artists are provided, and these are supplemented by scholarships which relieve the student of limited means from providing for daily needs. All these opportunities are shared by men and women alike. Every advantage is as freely at the command of one as of the other, and we equal, in this regard, the centuries of the Renaissance, when women were |
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