DOROTHEA A. DREIER

AND

KATHERINE DREIER

INVITE YOU TO ATTEND THE
PRIVATE VIEW

OF THE 1ST EXHIBITION OF PANELS DONE IN
THE COOPERATIVE MURAL WORKSHOPS
TO BE HELD ON SUNDAY AFTERNOON,
JANUARY TENTH, FROM THREE UNTIL
SIX O'CLOCK AT THE CARROLL GALLERIES,
9 EAST 44TH STREET, NEW YORK.

## Mural Decoration

FOR THE HOME

Whether City or Country House, Apartment or Bungalow.

Over-Mantels, Over-Doors, Panels, Friezes, Borders
Modern or Adapted from Old Designs.

Also Decorative Portraits of Family Groups or Children.
Designs for Stained Glass Windows.

FOR PUBLIC BUILDINGS

Panels, Friezes or Altar Pieces

For Churches, Schools, Theatres, Auditoriums
Small Theatres, Offices and Studios.

Katherine Dreier, Chairman

Dorothea A. Dreier

Edith Cowles

Anna Goldthwaite

Isabel Whitney

Fred Dana Marsh

L. Wood Gaylor

Morgan Stinemetz

I. Slomka

John T. Briggs, Architect

## Interior Decoration

FOR THE HOME

Whether City or Country, Apartments, Bungalows, Studios
Offices, Small Theatres, Auditoriums.

Consulting Decorators. Practising Decorators.
Architectural Interiors.

Curtains, Lamp Shades, Pillows, Bed Spreads
Divan Covers, made up in plain materials, or
special designs in batik or applique.

Color Schemes and Estimates on Application.

Practising Decorators

Mrs. H. A. Brickner

Miss Georgia Todd

Consulting Decorators

Miss Katherine Dreier

Miss Margaret Owen

## The Ark

An Unusual Room for Unusual Events
Size, 45 x 50 feet. Height, 24 feet
Perfect Acoustics

For arrangements apply to
THE CO-OPERATIVE MURAL
WORKSHOPS

## Painted Furniture

FOR THE HOME

Attractive Furniture, Individual and Unusual Pieces
for Living Room, Bed Room, Dining Room,
Nursery, Porch, Garden.

HALL SETS: Clocks, Chests, Chairs, Benches.

BATH ROOM SETS: Stools, Cabinets, Mats.

## SCREENS

screens and fire screens.

Boxes, Trays, Invalid Trays with Writing
Attachments, Lamps, Lamp Shades of Chinese
Lacquer and Parchment.

Margaret Owen, Chairman

Wilhemina Mead

Constance Bigelow

Mary U. Whitlock

Verna Cook

In 1914 a group of painters interested in the principles of art banded together to see a way in which they could further art in various forms to the mutual advantage of both the public and the artisan.

In modern times art is rarely considered. Instead successful mannerisms seem to hold the admiration. The fine old spirit which rested in the great leaders of the old workshops of the Middle Ages down to the 18th Century has vanished. The spirit in which the artists were ready to make the useful, beautiful, and, in which Michael Angelo did not think it was beneath his dignity, to design the grill work for the windows of palaces or dwelling houses, no longer exists.

Art is a spiritual quality taking its physical form in balance, line, and color, and will exercise its influence wherever it exists.

The Co-operative Mural Workshops are striving to get back to the normal point of view of the artisan who is ready to create beautiful things, and to have the public realize that art when found in a table or a chair has the same spiritual influence that a picture on the wall has, if the intrinsic value of both are alike.

Eventually the aim is to include Architects, Landscape Architects, Sculptors, Pottery Makers, Cabinet Makers, Tile Makers, Weavers, Needle Workers, etc. At present there exist the following:

- Mural Department

- Painted Furniture Department

- Interior Decorating Department

Business Manager, Miss Bertha von Zastrow

Offices, 311 Fourth Avenue, New York

Telephone, Gramercy 6119

N March, 1913, the idea of founding a Co-operative Mural Shop took form. It is with great pleasure that the management of this shop presents its first panels to the public and explains in this brief foreword its aim and reason for existence.

The directors were interested in seeing whether it was feasible to found a Mural Shop, the work of which was based on co-operation in place of the older эmpiralistic ideal of leadership heretofore held.

Art has always had the great masters and their pupils—the founders of great schools and shops—Cimabue, Bellini, Verones, Titian, Tintoretto, Rubens, and a dozen more who immediately occur to everyone's mind. These men were leaders and their pupils or assistants had to carry out their ideas of art. In

modern times this has grown to the extent that it is rarely that Art is considered. Instead there is taught the successful mannerisms of the successful painters of the day. But such training is detrimental to all progress in art.

The Management of the Co-operative Mural Shops is seeking the principles of art along the lines of democracy, and to bring it into the realm of art.

In general their plan runs as follows:

To band together a group of earnest painters who desired to express themselves in decorative art.

To take a problem—whether it be panels for a church, school, restaurant, private or public building, and to discuss it in its various phases. To study what form would best express the need of that special problem, whether abstract decoration or a more realistic form.

After discussing the problem thoroughly and agreeing on the form, the group disbands, to meet again with sketches for the problem under consideration.

The merits of these sketches come next under discussion. In case no one had succeeded in carrying out the idea to the satisfaction of all, they disband to meet again.

Should, however, several sketches meet the need, a discussion would arise as to the relative merit of each sketch, and one would be chosen or a composit made.

After the sketch had been decided on by vote, it would next be placed in the hands of the person who had the most knowledge of the construction of a wall panel. From there it would pass into the hands of the one with the finest color sense, until each member had contributed his best to the whole.

The sketches being complete, the final panels would be begun, everyone working on them, never losing sight of the beauty and oneness of the whole, which is the underlying principle of all good art.

When the idea was first promoted it seemed almost impossible of accomplishment. The management is prepared to exhibit these first panels. They herewith extend special recognition to the earnestness and fine purpose free from self promotion on the part of the three men who did most of the work exhibited here. The management refers to

Mr. Morgan Stinemetz

Mr. Wood Gaylor

Mr. S. I. Slomka

## The General Question of Decoration in America

It is dangerous for any of us to hint even that we, in America, are behind in anything. It immediately causes an outcry. Still, at the risk of running into unnecessary dangers, it may be suggested, in a properly apologetic spirit, that it is time for our painters to attempt something serious in the way of decoration. The twin sister of architecture has been treated as if she were not a real relative—as if she is to be allowed in the house only on sufferance. She is compelled to be a drudge and kitchen maid, with what result we all know—if we have eyes to see, and minds to understand.

Things would have been quite different if our best painters had had any chance. But that was really out of the question. The new buildings are there and

plenty of them. Imagination and high talent are ignored, in order that dullness and mediocrity may not be inconvenienced. The politics of the studio is rampant. So able artists stick to easel painting, being tired of struggling against those who are entrenched in power and influence.

Largely owing to the stimulus supplied by the French, certain of our men are turning their attention again to decoration, the sort of decoration which is essential and not casual or makeshift. What the result will be, of course, no one can tell. The opportunity is great, and even to disturb the stupid and make them uncomfortable is no mean end in itself.

FREDERICK JAMES GREGG.

PRESERVATION PHOTOCOPY: ORIGINAL MATERIAL RESTRICTED

200

CURRENT OPINION

A PANEL FOR A RESTAURANT

One of the striking results of cooperation in mural decoration, this panel is said to have been subtly designed to awaken the spirit of gaiety and gustatory emulation.

COOPERATIVE MURAL DECORATION—AN ATTEMPT TO
ESTABLISH DEMOCRACY IN ART

IN THE great days of painting, the *bottegha*, school, or shop represented a number of assistants working under the direction and inspiration of a single master. "Art has always had the great masters and their pupils—the founders of the great schools and shops," so we are reminded by Katherine Dreier, who calls attention to Cimabue, Bellini, Veronese, Titian, Tintoretto, Rubens and other masters of the past. "These men were leaders and their pupils or assistants had to carry out their ideas of art." But in the continuance of this system, in Miss Dreier's opinion, a great injury has been done to Art. "In modern times this (system) has grown to the extent that it is rarely that Art is considered. Instead there is taught the successful mannerisms of the successful painters of the day. But such training is detrimental to all progress in art."

In March, 1913, a small group of decorative artists, under the leadership of Miss Dreier, decided to seek the principles of art along the lines of democracy, and to make a vigorous attempt to bring democracy into the realm of art. "In place of the older empiricalistic ideal of leadership here-tofore held," these decorators decided to found a shop the work of which was to be based on cooperation. The first panels of the group have just been exhibited, and, to Charles H. Caffin, of the New York *American*, they are the work of real decorators. "No work so truly decorative, in principle as well as in accomplishment, has hitherto to my knowledge been produced in this country."

In the catalog of the exhibition, Miss Dreier has explained the method of the cooperative decorators. The plan generally runs thus:

"To band together a group of earnest painters who desired to express themselves in decorative art.

"To take a problem—whether it be panels for a church, school, restaurant, private or public building, and to discuss it in its various phases. To study what form would best express the need of that special problem, whether abstract decoration or a more realistic form.

"After discussing the problem thoroughly and agreeing on the form, the group disbands, to meet again with sketches for the problem under consideration.

"The merits of these sketches come next under discussion. In case no one had succeeded in carrying out the idea to the satisfaction of all, they disband to meet again.

"Should, however, several sketches meet the need, a discussion would arise as to the relative merit of each sketch, and one would be chosen or a composit made.

"After the sketch had been decided on by vote, it would next be placed in the hands of the person who had the most knowledge of the construction of a wall panel. From there it would pass into the hands of the one with the finest color sense, until each member had contributed his best to the whole.

"The sketches being complete, the final panels would be begun, everyone working on them, never losing sight of the beauty and oneness of the whole, which is the underlying principle of all good art."

Frederick James Gregg, in a note on the general question of decoration in America, which is also published in the same catalog, compares mural decoration in this country to a drudge

and a kitchen maid, altho' decoration is, he believes, actually the twin sister of architecture. "This would be quite different if our best painters had any chance." There are plenty of buildings to be decorated. But, as Mr. Gregg analyzes the situation, imagination and talent are neglected, in order that dullness and mediocrity may not be inconvenienced. "The politics of the studio is rampant. So able artists stick to easel painting, being tired of struggling against those who are entrenched in power and influence." The value of the new movement for co-operative mural decoration, this critic believes, is that it will tend to emphasize the essential and not the casual and makeshift; the opportunity is great, he notes, "and even to disturb the stupid and make them uncomfortable is no mean end in itself."

Regarding the actual result of the group which is now exhibited, Charles H. Caffin writes that an absence of leadership and consequently of unity is evident in the panels. He admits the presence, as we have noted, of the truly decorative spirit and principle. This critic notes in the *American*:

"As to the principle involved in this new departure, it is pertinent to ask whether democracy has ever yet accomplished or ever will accomplish anything great without a leader. The voice of the people is confined to registering a 'Yes' or 'No.' It is the absence of leadership, in the sense of a single mind conceiving and controlling the whole, that one is conscious of in these panels. The composition is not unified: nor do the lines and masses flow freely into one another. They suggest a compromise between slightly different motives of feeling."

The meeting of the Directors of the Post Graduate Course met on Saturday evening, November 15th, at 8:30, at the Studio of Miss Katherine S. Dreier, 80 West 40th Street.

Miss Dreier reported that she had had 500 cards printed which she and Miss Proper had sent out with a letter to the various critics and art schools throughout the country. Several news items had appeared about the school in the American Art News, in the New York Times, the New York Sun, Brooklyn Life, New York Press, Town and Country, New York Hearld, all speaking most favorably of the new project.

Miss Proper reported that there were three pupils who had been admitted to the school, that the school was to open on Monday, November 17th, and that she had secured the necessary atelier outfit, that the present quarters was a small room on the third floor at 96 Fifth Avenue, which were simply temporary quarters until we were able to secure a better room on the top floor of the same building.

Mr. Harris reported that he would submit for the first problem to be carried out by the pupils a theoretic one which the architects had submitted last spring. It was the decoration of a green room in some theatre. He further reported that the Eastern District High School of Brooklyn, on Keep Street, as well as the DeWitt Clinton High School lunch

3

Mr. Harris further suggested that it would be well to
interest Mr. Arthur B. Davies, whose assistance, as President
of the American Society of Painters and Sculptors, would be valuable.

Miss Dreier said that she would be willing to speak of
the subject to Mr. Davies, whom she was to see the following week,
and report at the next meeting. She also said that she would try
to interest the Colony Club in the matter of lectures.

As there was no further business, the meeting then
adjourned. Present were: Miss Proper, Miss Dreier, Mr. Harris
and Mr. Crisp.

Respectfully submitted,

New Mural Workshops.

The Co-operative Mural Workshops of New York City

Eighty West Fortieth Street.

Katherine S. Dreier, President

Dorothea A. Dreier, Vice-President

Under the above title, New York's latest art educational art enterprise will hold its first public exhibition of Decorative Panels done in its workshops, at the Carroll Galleries, No. 9 E. 44 St., from Jan. 11-18, inclusive, opening with a reception Sunday afternoon, Jan. 10.

In March, 1913, the idea of founding a Co-operative Mural Shop took form. The directors were interested in seeing whether it was feasible to found a Mural Shop, the work of which was based on co-operation in place of the older empiralistic ideal of leadership heretofore held.

The management of the Co-operative Mural Shops is seeking the principles of art along the lines of democracy, and to bring it into the realm of art, and in general their plan runs as follows: To band together a group of earnest painters who desired to express themselves in decorative art. To take a problem—whether it be panels for a church, school, restaurant, private or public building, and to discuss it in its various phases. To study what form would best express the need of that special problem, whether abstract decoration or a more realistic form.

The result of the work of the Shops will be found most interesting.

RANT
PSYCHOLOGY RESULTS IN SOME NOVEL PANELS

a co-operative way.
rich. A certain num-
ether and a problem
discussed. Then the
the particular mural

submitted. As it is
her does not meet the
to was formed. De-
tches was first deter-

cided on and the de-
cided over to the artist
the majority to have
were allowed to work
are compelled to keep
ness of the whole.”

of an effort for free-
which has been "a
"Imagination and
say the artists of the
lowness and mediocrity

The present panels are described by Miss Dreier
as being purely decorative.

"They have resulted from a study of the
psychology of the restaurant," she declared, "and
they should prove a direct stimulus to gayety.
We have all endeavored to make our work stimu-
lating—to give new freshness to the tired spirit.

"We have taken as our theme the subject of
the restaurant's chief needs. Fruit is upon the
trees and there are goats to be milked. We have
portrayed the fish, the sheep, the apples and the
grapes. Unconsciously the eye travels in the paths
that we have laid for it."

"There is much in these paintings. The more
you study them the more you see. From the
brilliant figures in one panel the eye is taken to
the little group of mushrooms, or whatever they
are, that you see in the second panel. In one of
the panels there are figures bathing in the ocean
that forms the background, while in the front of
the panel are four flowers that imitate indirectly
the pose of the four figures. If the flowers were

not there the four figures would seem isolated.
I do not quite like your suggestion that we belong
to the cubists and the futurists. There is nothing
cubic about our work in the present instance, nor
is it so extreme. You cannot pigeonhole the work
of painters in a cut and dried way like that.

"Our idea has been solely a decorative one.
It is not intended to be realistic. You grant your-
self that the color tones are pleasing, in spite
of the close association of the most brilliant hues.
In both color and design we have sought to get
away from the current shop idea of mechanical
workmanship, and I believe that we have suc-
ceeded. We seek to do what in our estimation is
art, and to leave it to the public to pass judgment.
That we have something to say is evidenced by
the fact that more than two hundred persons were
in here yesterday.

"You may have seen in our announcement the
statement that the great artists of the world have
founded schools in which others of less ability
have followed them. The result has been to
teach manner rather than the principle of gen-

uine art, and mannerisms hinder rather than help
real progress."

In the announcement referred to under the
heading of "The General Question of Decoration
in America" Frederick James Gregg declares
that it is high time for Americans to undertake
something serious in the way of mural decora-
tion. Able artists have clung to easel painting,
he says, because of the stupidity of fashion that
has been in vogue in murals. But now things are
different. "Largely owing to the stimulus sup-
plied by the French, certain of our men are turn-
ing their attention again to decoration, the sort
of decoration which is essential and not casual
or make shift. What the result will be, of course,
no one can tell. The opportunity is great, and
even to disturb the stupid and make them un-
comfortable is no mean end in itself."

To this end certain screens have been hung at
the exhibition, as well as the restaurant panels.
One of the screens shows Eve having her hair
brushed by a Nubian handmald. Adam is sitting
lovingly at her feet and holding her hand while

she undergoes the process. Great admiration
was expressed for the freshness and charm of
this painting.

There is also a screen showing butterflies.
These, in the opinion of one of the artists, would
look "perfectly exquisite embroidered on silk."

In the Carroll Galleries, where the screens and
panels were shown against a background of black
and gold, a crowd of curious women followed the
exhibitor and hung upon her words as she de-
scribed the murals. When the writer ventured
that such modern art was beyond him and that
the color of the paintings was the only thing
about them that he could appreciate in its full
significance, she said that the reason was because
the lay people have expected a conventional treat-
ment in painting, and when it is not given to them
they are displeased or mystified. "The same
thing has applied in music," she added, "as was
shown by the treatment Wagner received when
his operas were first produced. Everybody pro-
nounced them a jumble of discords-but look
where they are now!"