ART APPRECIATION GROUP.

Sources of Material

Arcoeuen of masterpieces is invaluable to the art student, both
for study and appreciation. Such a collection can be built up quite
inexpensively by selecting from the reproductions published by the
art galleries and museums of Europe and America. With this thought
in mind a list of several valuable sources of material is given below.
Write for the “Catalogue of Publications and Prints,” which is usually
free for the asking.

Great BRITAIN: Eurore:

National Gallery, Trafalgar Sq., Chez Moutet (Aux musées de |’Europe),
London, W.C. 2. 61 Rue de la Seine, Paris 6, France.

Tate Gallery, Millbank, London. Cluny Museum, Paris, France.

British Museum, London, W.C. 1.

Victacks atid Mibexe Mdieiain Leidol. Rhyks Museum, Amsterdam, Holland.

South Kensington Museum, London. The Louvre, Paris, France.

Ward Gallery, Baker St., London. Russta:

Zwemmer Book Store, Charing Cross, Museum of Modern Art, Moscow.
London, No. 76-78.

British Broadcasting Corporation,
Broadcasting House, London, W. 1.

Cotor Print MANUFACTURERS:

AMERICA:
Museum of Modern Art, N.Y.C.

Metropolitan Museum of Art, N.Y.C.

Max Jaffé, Vienna. Philadelphia Art Museum, Philadelphia, Pa. q

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Verlag von Seeman, Leipsig. Carnegie Art Institute, Chicago, Il.
Fra Alinairi, Via Nazionale, 8, Florence. Ca
Medici Prints Ltd., London. ; ere ena
Heiss Companys, Patek, National Gallery, Ottawa.
Brown-Robertson Print Co., N..Y Art Gallery, Toronto.

Perry Pictures Ltd., N.Y. Royal Ontario Museum, Toronto.

Sa! ee

Valesquez when he painted

Used brushes eight feet long
And stood back from the canvas...

So runs my simple song. ®
O would some modern painters

Observing what they lack f L
Try using shorter brushes _ Surrealist picture title, Artists’ International

And standing farther back. _ Group Show, London. ¢
“Lie there, thou precious white psychiatrist

Why in the deuce

Paint abstractions abstruse
With subjects profuse
Much less obtuse?

Screw loose?

To The Amateur Artist

Step forward and bless them, each in your turn.

Art teachers first—you have good reason to do so. Sellers of paints, brushes, paper, and canv:
Picture-framers. Makers of easels and stools. Travel agencies. Cobblers, tailors and others—rise ani
bless them. Serve an amateur and reap a friend. 4

To The Commercial Artist

Thanks! Many thanks!—for the books you illustrated; for the stage settings; for brightened
billboards. Thanks for cards, for fabrics, and for much care bestowed on our domestic needs. Thanks
for the evidence of your work in our homes and public places. 4

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