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Page 1: Special Sculpture Number || American Sculpture

American SculptureSource: Art and Progress, Vol. 4, No. 5, Special Sculpture Number (Mar., 1913), pp. 913-914Published by:Stable URL: http://www.jstor.org/stable/20560851 .

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Page 2: Special Sculpture Number || American Sculpture

ART AND PROGRESS 913

ART AND PROGRESS AN ILLUSTRATED MONTHLY MAGAZINE

Published by the American Federation of Arts 1741 New York Ave., Washington, D. C.

LEILA MECHLIN, Editor

ASSOCIATE EDITORS CHAIRMEN OF STANDING COMMITrEES

Herbert Adams Francis C. Jones John W. Alexander Percy MacKaye T. Lindsey Blayney Lee McClung Henry Turner Bailey F. L. Olmsted, Jr. Ralph Adams Cram C. Howard Walker

PUBLICATION COMMITTEE Francis W. Crowninshield

James Barnes David Lloyd A. E. Gallatin D. C. Phillips, Jr.

Articles, Photographs and News Items are invited. All contributions will be carefully examined and, if un available, promptly returned. Contributors will kindly address, The Editor, 1741 N. Y. Ave., Washington, D. C.

SUBSCRIPTION PRICE $2.00 A YEAR

VOL. IV MARCH 1913 No. 5

AMERICAN SCULPTURE

When we recall that the first eques trian statue now standing to be erected in the United States-the General Jack son in Lafayette Square, Washington, D. C.-was dedicated on January 8, 1853, a little over sixty years ago, and are reminded that the sculptor, Clark Mills, had never seen an equestrian statue when he executed this one, we tMust realize how short has been the history of American sculpture and how mauch in that brief space has been ac complished.

It is true that many works have been produced which give little reason for Pride, that our parks and public places have too often been disfigured rather

than ornamented by sculpture, and that our Hall of Fame in the Capitol at

Washington is a laughing stock for the people. But in noting these lamentable facts are not the better, the really worthy achievements, overlooked and disre garded?

Our sculptors, rather than our paint ers, first sought a truly national ex pression. When the spirit of the time was classic, or pseudo-classic, J. Q. A. Ward turned from Roman traditions and modeled the "Indian Hunter" now in Central Park, New York. A host of others followed his lead-men of strong conviction and real capability. As a re sult much of our sculpture to-day is dis tinctively American.

The World's Fairs afforded great op portunities which were put to good ac count, and if, as Mr. Taft says, some fine works perished in the passing of these transient "White Cities" they sure ly did not come into being for naught.

Not only did the sculptors gain knowl edge through production, but those who viewed their works gained wisdom and a standard. If our public had always been more intelligent we should have many better monuments to-day, for more than once the least good has been chosen deliberately, though unknowingly, rather than the best.

Outside of the sculptors' studios the value of silhouette, the significance of composition and importance of a plastic form of expression have been little un derstood. Classicism going out of fash ion, realism came into vogue and the shadow was mistaken, or accepted, for the thing itself-indeed, not only ac cepted, but demanded.

Yet, in spite of all this, our sculptors have held to their ideals and increased their knowledge. They have produced some noble works such as Saint-Gaudens's "Lincoln," "Farragut," and "Sherman";

Ward's "Thomas"; French's "Milmore Memorial"; Bartlett's "Michelangelo" and many others. They have, moreover, produced joyously, mastering and em ploying those secrets of technique which add ineffable charm to significant ex pression.

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Page 3: Special Sculpture Number || American Sculpture

914 ART AND PROGRESS

Gradually the lessons the sculptors would teach are being learned. We are ceasing to be satisfied with a portrait statue which is no more than an effigy; we are beginning to realize that sculp ture is not merely a graveyard art, but, a

medium peculiarly fitted for the inter _pretation of joyous themes; that we do not need a hero as an excuse for a work of art, that its own beauty and charm are excuse sufficient. Slowly we are learn ing that the emplacement of sculpture

must not be haphazard, that a work of art whether in pigment or bronze is de serving of a worthy and suitable setting. Lastly, we are coming to appreciate the delight to be derived from the possession and constant companionship of a work of sculpture on a small scale and are placing them in our gardens and homes. All this looks to development and prom ises much for our sculpture in the future.

NEWS ITEMS The Bill authorizing the erection of

the Memorial to Lincoln, designed by Mr. Henry Bacon, on the site in Potomac Park, selected by the Park Commission and approved by the Commission of Fine Arts and the Lincoln Memorial Commis sion, was passed by the House of Repre sentatives with an overwhelming major ity on the 29th of January.

The Italian Government has just pur chased for the Uffizi Gallery, Joseph Pennell's lithographs of the Panama Canal, together with those by the same artist of the Grand Canyon and the Yosemite. It is the first time lithographs have been acquired for the Uffizi, and the first instance, it is believed, of the work of a modern artist being bought for this Gallery.

Mr. Robert A. Holland has been ap pointed Director of the City Art Museum of St. Louis to succeed the late Halsey C. Ives. Mr. Holland has been asso ciated with art interests in St. Louis since the World's Fair, 1904, when he was Superintendent of Records of the Art Exhibit.

A remarkable exhibition of Textiles, brought to this country by the Buffalo Fine Arts Academy and shown in the Albright Gallery early in the winter, which was described at some length in the December number of ART AND PROG RESS, was more lately set forth in the Chicago Art Institute, where it attracted much attention.

Mr. C. Y. Turner has just finished two notable mural decorations for the Cuy ahoga County Court House, Cleveland, Ohio. One represents the interview be-. tween Captain Roger of the "Roger Rangers" and Chief Pontiac of the French Allied Indians, and the other the Trial of Captain John Smith. Both of these panels are to be reproduced in a later issue of ART AND PROGRESS.

Twenty-nine pictures belonging to Mr. J. Pierpont Morgan, which have been for some years in his London home, are now on exhibition in the Metropolitan Mu seum, New York. Further description, and it is hoped illustration, of this bril liant collection will appear in a later number of this magazine.

The Annual Convention of the Eastern Art and Manual Training Teachers' As sociation will be held in New York City on Thursday, Friday and Saturday, March 20th, 21st and 22d. The ses sions will be held in the Ethical Culture School, 6sd Street and Central Park West.

An interesting loan exhibition of por traits by Sir Henry Raeburn was held for the benefit of The Artists' Fund and

Artists' Aid Societies at the Galleries of M. Knoedler, of New York, from Janu ary 9th to 25th.

The Rhode Island School of Design has recently received, as an anonymous gift, a painting by Charles Cottet en titled "Young Girl with Muff."

A choice collection of Pewabic Pottery has been presented to the Detroit Mu seum of Art by Mr. Charles L. Freer.

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