Fine Arts 13

CONTENTS: Sculpture, Architecture, and Painting considered individually. Outstanding works of art from Egypt to the present used to trace the evolution of new forms and methods. Little or no background in art is needed.

LECTURES: Three men gave the divisions of the course. Kochier and Coolidge in the Fall covered sculpture and architecture; Kochier finished architecture and Deknatel covered painting in the spring. Coolidge led the field with a clear, enthusiastic delivery. Students found him exciting, dynamic and inspiring. Koehler was also excellent and inspiring, but was found a bit slow and occasionally inarticulate. Deknatel was considered dull, verbose and given to far fetched explanations.

SECTIONS: '55 found them very helpful since there was an excellent crop of section men last year. All were well informed, competent, and interested in students. They balanced discussion and lectures evenly. Schmaiz was tops. Bober was criticized for picking on students. Turner was excellent, presenting some new material. Miss Davidson was good, but had a demanding, high-level approach. Miss Meyer was excellent, but sometimes too obvious, and was a hard marker.

READING: Practically none. '55 found that smatterings of the suggested reading were helpful, but not essential.

PAPERS: 7-10 assigned papers taking from 3-5 hours each. '55 found these very useful. They stimulate creative thought, develop a critical eye and slow down the survey course to a specific object.

EXAMS: This is not a gut. It is interesting, valuable general education. The course helps develop creative thought, helps verbalize experience. '55 advises patience, learning the language of art at the beginning of the course, and sitting near enough the front to get all names and dates. For the concentrator, it may seem a bit elementary and too all inclusive, but for rounded distribution, many said "This is the best course at Harvard."