The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-05-26
ART MATTERS.
Wards Statue OF Shakespeare.

1t is always trying matter for an artist, even
when he has already achieved some fame, to at
tempt to grapple with great subject. And there
are subjects so great that anything short of the
highest human power must of necessity fail to do
justice to them In the oi~the sculptor this Is
peculiarly and especially true His work is to cast
no mere shadow or reflection of his thought, but
THE THOUGHT ITSELF
crystalized into enduring form. Nothing can be
effected by trick or contrvance; either the work
speaks to us directly it's dumb. Hence the num-
Der of failures that we see among men with some Of
the SKILL but little Of the thought, depth Of insight
or quick sensibty to all that is grand or beautiful
or base that must distinguish
THE TRUE SCULPTOR.
1t is no thrilling undertaking to attempt to ex-
press life that has been worthy to be commence
rated in a piece OF bronze--to endow the lifeess
metal and make 1t reflect the noble thoughts
and acts OF a busy and eventfu life
from one poor pose, or expression, which
shall be changeless, yet suggestive OF infinite
change II is evident that man who undertakes
this requires to be pardoned much II he fails to
realize his subject as we realize 1t in imagination
or even the artist sees 1t himself All this and
much more would be true of very commonplace
hero, but when the sculptor has for his subject
genius like Shakespeare, how gigantic becomes the
task he undertakes. 1t is true that the difficulties
by strange paradox, bring aid for though the
artist should fall ever far below his own and our
conception OF
THE MEMORY WE CALL SHAKESPEARE,
If he has felt any true sympathy with his subject he
must, even In failure be far removed from common
place. Now, the question naturally occurs, has Mr.
Ward discovered sympathy with his subectY And
we unhesitatingy say that he has. We do not
mean that he has fully seized our notion OF the
great poet, but he has produced the best and most
worthy statue to the Bard of Avon Of which we
have any knowledge. 1t is noble and dignined
composition marked by originality and
B0LDNESs OF CONCEPTION.
Much Of the conventional Shakespeare has been
preserved, but new moulded so as to express new
thought The statue is poised easily on the left
foot the left hand placed on the hip In the right
hand the poet holds closed book. 1t would appear
TO be the intention Of the artist to express ar
rested motion, and If this be so he has well sue
ceeded. The whole expression of the figure
breathes deep reflection, and is both striking and
impressive, without being in any sense theatrical.
Adhering within certain limits to the traditional
likeness OF the poet Mr.. Ward has departed from
them all In some respects giving. us a composite
likeness which better represents the man he
appears TO us through his works than any we have
hitherto seen. lndend it is evident he has based
his likeness on
which s said to have been taken after the death OF
the poet. We are glad he has done so, as all the
other kenesses are weak and unsatisfactory. The
effect of the face In profile Is better than when
viewed In front, but the impression Of the whole
statue is most pleasing in the front view. Owing to
Of shoulders the statue appears Just shade too
short. 1t appears to us that 1t would have
GAINED IN MAJESTY
had greater length been given to the lower limbs.
This effect may possibly be true to the position OF
the statue above the heads OF the spectators. Other
wise have little to say except In praise OF the
work. II Is well and carefully modelled, and the
bronze has been finished In most creditable man.
ner Such work entities Mr. Ward to the generous
the obbing in art which threatens to Hood us with
statues that would disgrace the South sea Islands.