The oldest art association in the United States is the Penn sylvania Academy of the Fine Arts, which was established in Philadelphia in 1805 to provide instruction in the fine arts, ex hibit works of contemporary artists and maintain a permanent collection and gallery. An Academy of Sciences and Fine Arts had been formed in Richmond, Va., in 1786, but the project had languished and finally been dropped. The New York Academy of the Fine Arts was organized in New York City in 1802; it existed until 1841 and is said to have provided almost the only art influence in New York City for nearly a quarter of a century. In 1825, however, a number of its students formed the New York Drawing Association, an independent society presided over by the painter-inventor Samuel F. B. Morse, which in 1828 was incor porated as the National Academy of Design.
The development of interest in art in the United States has been progressive, for the first ioo years undoubtedly slow, but during the last 5o more rapid, and during the last 20 surprisingly so. It may well be noted that the art movement has been largely fostered by laymen. In i9o9 the American Federation of Arts was formed to furnish a channel for the expression of public opinion in matters pertaining to art, to maintain a central clear ing house for art organizations throughout the country and to undertake educational work for which only a national organization could qualify; with headquarters at Washington, D.C., it now has more than 400 art associations and museums affiliated with it. To have a central organization, art associations in some states have federated. The Southern States Art League is pledged to the development of art in the South.
The National Academy of Design, already mentioned, elects to membership painters, sculptors and architects who have attained distinction, holds two exhibitions a season and maintains a permanent collection of works by members, of which there are now 293, and a school. The National Sculpture Society, New York, 372 members, was organized in 1893 to advance sculpture and the welfare of American sculptors. In its field, the Mural Painters, New York (1895), is similar. The American Water Color Society, New York (1850), holds annual exhibitions jointly with the New York Water Color Club (1890). Equally important
is the Philadelphia Water Color Club (1900), whose annual ex hibitions are usually in association with the Pennsylvania Society of Miniature Painters (19oi). Boston, Baltimore, Washington and other cities also have well established water-colour clubs. The American Society of Miniature Painters, New York (1899), 31 members, exhibits regularly, and similar societies are active in Chicago and in California. In recent years etching, lithography and wood-block printing have had a renaissance in the United States. The Chicago Society of Etchers (Iwo), comprising 485 professional and lay members, holds and circulates exhibitions, gives demonstrations and has established a fund for purchase of works exhibited. The Print Makers' Society of California (1914), 310 members, is similar but holds an annual international ex hibition of prints. Other societies of a like nature include the Brooklyn Society of Etchers (1915), 489 members; the Print Club of Philadelphia (1914), 678 members, which holds exhibi tions of prints every two weeks during the season, has a press and gives lectures and demonstrations open to the public ; and the Print Club of Cleveland (1919), 221 members. The Architectural League of New York (1881), 85o members, includes not only architects but painters, sculptors, craftsmen and workers in the allied arts; it holds annual exhibitions and encourages a close alliance of the arts, both fine and industrial.
To further literature and the fine arts, the American Social Science Association organized in 1898 a National Institute of Arts and Letters, New York, which was incorporated by Act of Con gress in 1913. It comprises, by election, 25o writers, painters, sculptors, etchers, etc. In 1904 it organized an American Academy of Arts and Letters, New York, limited to 5o members. The American Academy of Arts and Letters, was organized, obviously, along lines similar to the French Academy.
An organization to advance the artist as well as his art is the Guild of Boston Artists (1914), with 77 artist and 600 associate lay members co-operating in sustaining a gallery for exhibition and sale of members' works. Somewhat similar, the Grand Cen tral Art Galleries, New York (1923), with the frank purpose of marketing works of American artists, maintains a continuous exhibition of works of members and also sends out travelling exhibitions. The Societe Anonyme, New York City, was founded in 192o by Marcel Duchamp and Katherine S. Dreier. Its aim is to promote art progressive in all its branches. Its first Inter national Exhibition represented 23 countries.
The alumni associations of the leading art schools are closely allied with the professional art organizations. Examples of these are the Fellowship of the Pennsylvania Academy of the Fine Arts, Philadelphia (1897), Boo members; and the Alumni As sociation of the Art Institute of Chicago (1912), more than ',coo members; the Art Students' League, New York (1875). (See