The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-07-23

The Sculpture in Central Park-Wards Indian
Hunter'-some Thoughts on Modern Art.

Hunter"-some Thoughts on Modern Art.
The sculptors art is never more delightful than
when seen in contrast with verdant meadows and
graceful Foliage under the immense canopy OF the
blue vault OF heaven. Pure white marble Is espe
cialy effective when bathed in the warm tones Of
the summer landscape that tinge the cold white
surface with
MELLOW, GOLDEN LIGHT,
until the inanimate stone seems to breathe and pal
pitate in harmony with nature. At such moment
art is forgotten. and the passive marble becomes
instinct with life, breathing upon us and whisper
ing TO us, albeit in an unknown tongue. Of dormant
beauties that
OUR TOO MATERIALIsTIC SENSES
had hitherto failed tn perceive and under the magic
influence of new revelation we appreciate the
charms OF art and or nature under conditions new
to US. The influence OF art Is never more heatnfu
than when exercised thus in the pure air, and the
children Of the people may come out from the sor
row and misery Of everyday life to be comforted by
THE CONTEMPLATION OF THE BEAUTIFUL
In order that this source OF general enjoyment
be invig orating 1t IL necessary that great care
should be used in the selection of the works which
are to stand as public instructors and whose lessons
win not be the less lasting because they are un
spoken.
There are two classes OF public statues which
should form part OF the decoration OF every public
place-memorial statues to great men ana ideal
figures or groups representative OF some beautiful
conception or bold, grand thought. Purely ina.
ginative sculpture harmonzes best with the grace
full trees and
sHADowY FOLIAGE
Of park or garden, and when appropriately placed,
heghens considerably the charms Of glade or grove.
Something of this truth seems to have forced itself
on the minds Of our Park Commissioners In their
very successful efforts to embenish Central Park
but so much remains to be done In the sculptural
department that we can scarcely consent to look
upon the work as having been commenced. And
at the same time that we clamor for more good art
we must express hope thar the day is not far dis
tant when some Of the ''art" at present offending
the eye Will be removed to make way for
WORKS WORTHY To CHARM
and educate people.
In previous articles on "Art Matters" we have
dealt with a class OF art that we deem obJectlona-
bic, and have not hesitated to deliver our opinions
and point out the grounds upon which our unfavora-
BILE conclusions are based SO that there might be no
excuse for the suspicion OF partially or prejudice.
To-day We enter upon more pleasing duty. be.
cause while 1t should be necessary fault-hnd yet
the balance OF our good report VIII weigh down
greatly ali that We shall say OF unfavorable.
MICHAEL ANGELO
used to say that perfection was made up Of tribes,
and the truth OF this remark Is not, unfortunately,
sufficiently recognized by the artists OF the present
day. We have q great many more men ambitious
to initiate the bodness and daring Of Angeles
mature efforts than we have students willing 10
follow in the severe discipline which made 1t pos
slble for the master mind Of Angelo to strike Out
from conventional treatment In u wav that would
have irretrlevably lost man OF less power or know
ledge. And the natural result Is the imperlection
Of The noDlest modern works.
INSPIRATION AND POWER
and beauty OF thought are wasted because there Is
not sufficient knowledge 20 give them appropriate
expression. Our lie is too ttful and feverish Oul
objects selfish and worldly, to allow us to toll
patiently in the laborious pursuit OF severe truth
without hope Of any Immediate or
BRILLIANT REWARD.
Among American Sculptors Mr. ward Is hOnOrably
distinguished as one wno cOntending against great
dInicutes, achieved much III the domain Of art. IL
was therefore q well merlted compliment which the
Park Commissioners paid Mr.. W ard In placing his
statue or the Indian Hunter IN Central Park Peer
ing out from the trees near the Mall may be OBJ
served the crouching iormlof bronze ngure bent
forward, with eyes atteuvely directed towards tue
glade in front, as II eagerly watching the move
ments OF some animal Tne head Is turned slightly
TO the right and the right hand grasps firmly the
shortened leash to keep the uog, which Is at the
hunters side perfectly still. In the left hand which
Is drawn up close to tue lett breast the Indian car.
rles his bow and arrow. The weight OF the figure
Is thrown entirely on the right foot. aud though the
pose Is slightly strained and exaggerated
THE ACTION IS so VIGOROUS
that we easily lose sight OF this blemish In the
ing too much for this statue TO state that II tells Its
own story completely that there Is no need OF in
scripton. The most stupid OF mankind could MT
possibly mistake the purport OF the composition,
and though the work cannot claim to belong 10 the
highest walks of imaginative art yet there Is SO
much simple truth and vIgor IN It's treatment that
1t well deserves the honor accorded TO IT, Hal there
been more attention paid to detail the work would
have ranked much higher; but. excellent rs the
conception was as soon as the artist attempted To
realize his thought there came that
TERRIBLE WANT OF KNOWLEDGE
to which we have befUre referred ana which para
lives the modern artist.
We remember one day to have found ourselves
wandering In the Greek Court Of the British Museum
adlniring Ibe wonderful marbles which the titled
roDber, Elgin, stole nom poor distracted Greece
and there by chance we met two OF the greatest
British scuipiors lost IN admiration or the study OIL
horse one of Tue freezes OF the Parthenon. We joined
them anu the conversation at once turned upon the
question Of relative knowledge Oi the artists OF the
two periods, when one OF them, suddenly pointing
TO one of the horses, said, ''lt would require
THE STUDY OF A LIFE-TIhE
TO acquire the KNOWLEDGE displayed IN that single
ngure," and regrefully conlessn2 Tie decadence Of
high art knowledge those great men departed &c
they would produce ANYTHING which SHOULD las
into the ages they should labor and learn unceas
'ng NY have SAID that the EXPRESS on OF Mr.. ward
| figure was very good and the intent look OF TIT
lace natural and ilIelkc. Cautious ana suspended
action are wei expressed IN the pose. though W,
thluK the figure would have been been improved by
assuming more stable equilibrium. IL appears u
us also That the introduction Ol this dog was
| lake though no doubt IL was influenced by
THE QUESTION or EQUILIBRIUM.
But 1t Is TO be regretted that the ARTIST, having de
cided TO the dog In the composition, die
not take SUFFICIENT pains III modelling MIN. A
| present, though only an accessory, the dog mars
Tue force OF the composition and nterieres with tn,
sweeping lines Of the figure. In his modelling ant
! flesh treatment the artist has rot been near,y 81
! successful as he has been happy IN conception
AS a rule the flesh modelling Is hard and wantin;
! IN deicacy. The larger muscles are loo strong
marked. and their Insertions are SO pronounced a
| to seriously interfere with
| THE FuLNfsS AND BEAUTY OF THE OUTLINES.
This n painfully evident looking from the riRh
side Of the hgure at the right arm holding the dog
The outline Is much cut up at the Insertion Of til
deltold that the arm looks absolutely broken. an,
! TINS Is accompanied 10y an iDdecis0n IN modelling
the smaller muscles 50 marked as To suggest wan
| OF knowledge. The treatment Of the pecforal mus
covering vi the stomach Ii Also hard and leather