The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-09-07
UNIVERSITY EXTENSION.
Three Courses OF Popular Lectures
Outlined for the Coming Season.

The directors of the University Extension
work in Indianapolis have issued their pros
pectus for the coming season. Heretofore
the lectures have been of a character 10
interest students or specialists chiefly, but
the three courses now announced are evil
IDENTIFY arranged with the purpose of at
tending a wider circle Of hearers. 1t is
stated that two main objects have been
kept prominently in view, mainly, to provide
lectures for busy people on popular topics
without requiring close application or studi-
Gus preparation, and to furnish opportuni-
ties for study to such as desire to pursue
collateral reading and to receive university
credits for the work accomplished. The
first series TO be given will be six lecture
studies on painting and sculpture, by Will
French, art director of the Chicago Uni
versity. They will be illustrated with sketch
board and s~tereopticon. These lectures will
embody a clear, systematic and authorita-
tive statement of the principles of art crit
icism, presented in agreeable form, and so
illustrated by drawings and by stereopticon
reproductions of masterpieces Of art as to
make the study profitable and entertaining
to any intelligent mind. 1t is the intention
in each of the lectures to explain, by the
help of sketches, some of the essential
points of artistic practice, and to exemplify
them in the works of masters of painting
and sculpture. The scope of the course is
sufficiently indicated In the following lee
ture scheme:
Sept. 2-"Truth. Beauty and Expression
certain qualities essential; certain works of
art standards; the material elements upon
which pictorial effects depend the subject
of the present course; abstract beauty;
vases; value of continuing lines, especially
In human figure; favOrlte lines of particular
artists; Raphael. NJ. Angelo. Ghiberti. Mil
let, Hogarth, antique sculpture.
Oct. 4-"Formal Composition. or Arrange
ment.' Composition of line continued; an
i Iinal. G foTmS: character s. tS and q. ID direction : 6 of
sition: Ruskin's Law Of Help The prin-
ciples of pictorial art and decorative art
IDENTICAL. but differently applied; control of
recent art practice less conformable to rule
than that of the renaissance; Cimabue, An
drea del Sarto. David, ~Bougeureau. Kaul-
bach, Stanfield, Landseer.
Oct. 11-"Analogy Between Literary Com
position and the Composition of the Ar
list" Structure. principality, balance. rep
Poe's Raven laws of composition really
only Foundations Of pleasing natural facts:
radiation. pictorial and decorative. some
times the result of perspective; analogy to
literature helpful; art and literature very
distinct nevertheless; The English pre-
Raphaelites pre-eminently a literary school;
it'd luIncIs AlIld 1dutlld, oQInc-
Jones, Rossetti, Wilkie.
Oct. 1S-"Pictorial Limitations" Nate
rails; paint, canvas, paper, crayon. clay,
marble, bronze; necessary degrees of con-
naturalization: extremes Of idealism and
realism. early Italian and modern French
and American: Dutch school; fairgrounds
and backgrounds. frequent failure OF in
photographs: pictures of Venice: David
Roberts's Holy Land" perspective, aerial
and linear; photographs from nature; igno-
dislay of 1t a little later; Simone Memmi,
Raphael. Reynolds. VanMieris. Ostade.
Meissonier.
Oct. 25-"Light and Shade" Abstract
beauty. as In line and color; perception TO
be cultivated by practice rather than study:
lighted and shaded sides OF objects; reliefs;
Titian's illustration by a bunch of grapes:
composition by spots and spaces, Sir Joshua
Reynolds on light and shade of old mas
ters; broad and simple light and shade:
lights. Correggio, Fortuny; radiating light
In distance; gray grounds with black and
white accents; Turner's illustration of
Italy, Cuyp-
Nov. 1-iColor and Expression" Not
much to be done with color without actual
pictures; sense Of color instructive. but sus-
ceptible of cultivation: colors, primary. Sec
ondary, complementary, ETC.: value of grad
old masters: terms. tone. values. atmos-
phere, textures. technique versus express
sion; ~realists. impressionists. ciasslcists and
other schools: Fra Angelica. Paul veronese,
verocchio. Rubens, Munkacsky. Uhde. Dore.
The second series. beginning on Friday.
Nov. s. also consisting OF six lectures. will
be on the subject of Money" and will be
delivered by. DR.. Edward w. Bemis. late of
sists OF twelve lectures. beginning June 10.
1896. They will treat OF american Lead
ers and Great Historic Movements" ana